Mr. Complex explains his feelings about his new album.
Queens, NY lyricist Mr. Complex presents the music video for “Gotta Get Homeâ€, his new single featuring Dres of Black Sheep, Sadat X of Brand Nubian, Prince Po of Organized Konfusion, General DV and Nadine Michel.
The single appears on Forever New, his new album produced entirely by Mortal 1, also featuring guest appearances from O.C., Georgia Anne Muldrow, Maya Azucena, Tiye Phoenix, Brianna Nadeau, Caitlyn Riedel and Respect The God.
The video was directed by Mr. Complex himself, who branched out into the directing world after staking his name in the New York indie underground hip-hop scene thanks to his releases as part of New York’s Rawkus/Lyricist Lounge movement alongside peers like Pharaohe Monch, Mos Def, Talib Kweli and more.
Mr. Complex is also part of Polyrhythm Addicts, a group composed of DJ Spinna, Mr Complex, Shabaam Sahdeeq, and Tiye Phoenix. Complex also recently released a visual for Forever Now single “Then Was Thenâ€.
You’ve been in the game for quite a while. Do you still approach songwriting and music creating the same way you did when you started? Or has your process changed? If so, in what way(s)?
The approach is way different. My early hungry, happy to be doing hip-hop, I used to have 4 different writing methods. The way I sourced lines back then was like a nerdy scientist. I would have a stash of lines waiting to be compiled into a masterpiece. I had notebooks all the same color, stacked in my bedroom, and one in my bag.
Audio notes of gems that were too hot to make it to paper. But after the years pass by, once you become a master you are able to short-cut some of the methods. Or maybe it’s me just being lazy. But I’ve learn how to achieve certain outcomes easier. I don’t have anything to prove.
I find success in creating songs that may stick to you more. I still have wordplay. but I don’t need to make 32 bar verses with 3 verse songs. I haven’t seen my notebook in years. The truth I haven’t wrote a new rhyme in a year.
You’re bringing a lot of golden era emcees out on your new tracks. What motivates your choices? Are they all friends of yours? Do the songs come together organically or do you make calculated decisions about who to feature on which track?
My features come together like I’m painting a picture. I may need this color to bring out feeling. All these artists are my friends so it was pretty easy to get them. Most of them are super professional. I just spoke on what I was doing and what I needed from them and boom. A few folks didn’t make it. But hey.
You’re also heavy into directing these days. How did that happen, and how do you find the medium to be different from making music?
I went to film school in ’95. I put my first record out in ‘95. Filmmaking encompasses all my artist talents. But directing may involve a lot of people and money. Music may just be one producer. 
Do you see a new generation of underground New York emcees forming to take the place of what you and your peers were doing? If so, who are those emcees?
I watch some of the new generation of artist scrambling through the social media. I feel sorry for them. They missed out on certain feelings, like walking into a record store and seeing wax on the wall. Or getting thousands of dollars upfront for single deals or album deals from indie labels.
They have different hustles like getting ‘followers and likes’ and ‘shares and comments”  but I watch a young homie I met, MikeLarry Draws, he’s pretty good and stays busy. I see him traveling and doing shows. It’s a different hustle.
How do you feel about the reception of your last album Forever New?
I titled it Forever New because I knew it would be a slow cook. It’s been 10 months and people are still just finding it. I’m still releasing videos from it and working it. But it’s the indie life, I can do whatever I want really. It took me 8 years to make it.
I feel it’s my best work. The reception is funny because it’s all been positive but not enough people heard about it.
