Freelance Flint - "I have a vision in my head so I’m just trying to properly execute it day by day." - Stereo Stickman

Freelance Flint “I have a vision in my head so I’m just trying to properly execute it day by day.”


Backed by a string of original releases and a lifetime devoted to the music realm, creative artist and entrepreneur Freelance Flint stopped by to talk all things hip hop, production, songwriting and plans for the future. Here’s the conversation in full.

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Hey – thanks so much for the interview, and congrats for the growing success. For those who don’t know – how would you describe your sound?

I would describe my sound as raw, eccentric with a dark sense of humour. I grew up on golden age, old school hip hop, so it almost feels like I’m doing something wrong when I don’t rap my heart out every single time.

The feeling of spitting or even hearing a fire verse, bar, punchline, etc is still to this day my favourite high (and I’ve tried a lot of drugs).

Bora Bora is a huge indie hit – not surprising given that ambient production, catchy hook and dreamy storyline. How did this track come to be, and why do you think it stood out so prominently to listeners?

This track came to be at our studio during renovations, Bobby Clark and I were probably on one (or two) and messing around with a beat. I remembered we found the groovy loop and were messing around with the drums and I was like, let’s make this different instead of the typical fast hi hat and 808 trap template.

We opened up Native Instruments Kontakt and used the West Africa bank to add some different type of drums then usual and I personally think that sets the tone with the guitar loop.

Once it got time to writing the song the beat just felt so dreamy and almost reminded me of being on vacation, which then influenced the Dreaming of Bora Bora theme.

How long have you been making music, and how has your approach changed over time?

I’ve been making music on and off for around 10 years. To be perfectly honest my approach hasn’t changed much over time other than becoming more hands on in the production and mixing process.

I find learning new things and diving into those YouTube rabbit holes about how plug ins, pedals and synths work so interesting, and the more experimenting you do, the funner I find the process to be.

Your music is notably colourful, loaded with personality in vocal tone and production – who or what first inspired you to get so creative and fun with your sound?

If I had to choose one person, I would have to give flowers to Lil Wayne. When I first heard his album The Carter 2 is when everything changed for me. I never heard rap before with his lyrical ability mixed with his southern accent, slangs and wittiness over top of hard hitting production at the time.

I think from then on and watching him grow and transcend generations using his same formula for years inspired me to just be myself but always get in there and give it my all, tell a story and make it clever.

Do you produce your own tracks, and if so – how does that process begin?

I co-produce a lot of tracks, Bora Bora being the first one I ever attempted. I have to give credit to my team at The Back End Recording who have been holding me down for many years. Shout out I.R.Evan, Bobby Clark, IvnTwnsnd as well as Moezart, Aidan 5 Times, KGB, Eng, Five Gawd, Ray Mosaic, Mason Rex, Stevie Ross and so many other talented producers I’ve worked with in the city.

The feeling of spitting or even hearing a fire verse, bar, punchline, is still to this day my favourite high (and I’ve tried a lot of drugs).

Tell us about Tomorrow ain’t that far away – a little lo-fi vibe with tonnes of theatrics and character – what does this track mean for you?

I listen to a lot of 70’s psychedelic rock and was really influenced by Tyler, TheCreator at this current time. I wanted to make a song that was different for me sonically but still had the elements of me that people love me for.

The beat forced me out of my comfort zone and I eventually found a pocket that really worked well for that song.

It is slept on in my opinion, that song is one of my best works to date.

You also host a podcast – who’s your target audience, and how does the process of episode making feel when compared to making music as content?

I co own a clothing store called The Front Supply Co which has a recording studio in the back called The Back End Recording. I was going through a creative block and couldn’t write anything for months so I decided to hook the microphones up and just start interviewing some of the characters who pop in and out of the store/recording studio.

I’d say my target audience is currently people interested in the local arts and small business scene in Vancouver, BC, Canada. Sometimes I feel like the scene as I hope to see it isn’t quite there yet but the talent is here.

Sometimes I feel the pressure to do more and create avenues and outlets to get other people heard, which all works in favour of the greater goal, which is putting the city on.

What do you have planned creatively or performance wise this summer?

I’m about to release a huge song with Mistah F.A.B. called Super Stupid, end of May. I’m hoping to drop a bunch of EPs from now til New Years while finishing my debut album. I have features in the vault from Lil B, Three Six Mafia, Gunplay, Teejayx6, OG Maco and more.

I’m hoping to step the visual components up on everything and hit em with a lot of music videos also but I’m just being picky about everything because I want it all to sound and look right. I have a vision in my head so I’m just trying to properly execute it day by day.

Is there anything else we should know?

Follow me on Instagram @FreelanceFlint, if you like vintage clothing or my brand Money Hungry (MH) follow @TheFrontSupply and if you’re ever in need of recording services in Vancouver, BC, Canada follow @TheBackEndRecording

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Rebecca Cullen

Founder & Editor

Founder, Editor, Musician & MA Songwriter

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