I thought it was fitting for the general mood of the song. “It felt like they were a permanent part of me beside the just mere curiosity of what it would be like.” I sampled Jeffery Dahmer in the middle of the track during one of his interviews about his cannibalistic tendencies When writing my verse I wanted to embody an obsession where it would lead you to wanting a permanent impression on your person. Even then, it feels like our connection was never amiss, it is as if we were right next to each other recording our verses. This collaboration and the ones prior-“On the Floor,” and “Fishscale”-were all made before we had a chance to meet in person. "lil peep yung goth playboy mansion exclusive footage.mp3" was the original file name that was sent to me before it was later on titled “Pick Me Up” for his timeless project rightfully named Live Forever. We both discovered each other's music online, and quickly grew an admiration for each other as a result. This was around the time Gus and I really started to engage in collaborative efforts. I’ve been so incredibly grateful to be a part of his story. As time went on we stopped talking as much and I watched him grow and grow into the person that connected to the world in a way I had never seen before. His choice and range of collaborators and musical influences was always one of my favorite things about him.
From then on he would message me whenever I released something he wanted to use, send ideas for samples and I would send him packs of unreleased stuff occasionally. He sent what he made and I was blown away by hearing what he recorded to my beat, after that I told him he no longer needed to pay, I just wanted to make as much music with him as possible. A little later on I got a message from him, said he had heard my work with other rappers and I was one of his favorite producers. One day on SoundCloud a song of his came on and I really enjoyed it, not even knowing he had listened to/bought my beats. My first interaction with Gus was when he purchased a beat off my traktrain, he was just another random person I had no information about other than their email. He just took it and used it-the way he used Oskar’s preppy patchwork shirt shirt and golf visor in “Feelz.” Gus did not hold back when he needed to borrow something from either me or Oskar.
What I did not know until I saw the video later was that they had also borrowed my special candle holders to place on the corners of the pentagram. He told me that they had been making a video for one of his songs and that he had wanted to make it seem really spooky and make people think of witchcraft and the supernatural. It wasn’t ours, and I had assumed it belonged to the landlord, so I asked Gus what had happened in the basement. I think I noticed the big animal skull had been moved from its prior location in the basement. I remember coming home from work after they had been making the “nothing to u” video in the basement, going down to do some laundry, and finding a pentagram drawn on the basement floor-drawn with some of the stubs of kid’s chalk I had. They made the video for “nothing to u” in the basement of our apartment at 34 East Walnut Street. In fact, members of Lil Peep’s old GothBoiClique collective said Peep often expressed suspicion of XXX stemming from the allegations of domestic abuse and violence against him.Gus and Emma made two videos that fall. It turns out XXX’s remake of the track wasn’t exactly sanctioned by anyone involved in the original, which became a point of contention ahead of its release. One section focuses on “Falling Down”, a posthumous collaboration with another deceased Soundcloud star, XXXTentacion, originally recorded as a Lil Peep solo track called “Sunlight on Your Skin”. While a parenthetical line near the end of The Times piece is all that mentions the film, there are plenty of other interesting tidbits throughout the story. Malick won’t direct the doc himself, though he will be serve as its executive producer. It turns out the Thin Red Line director is friends with Lil Peep’s mother’s family, the Womacks, which led to his involvement in the project.
Some of that more positive material, it seems, may end up being released as part of the soundtrack to a forthcoming documentary from acclaimed filmmaker Terrence Malick. The piece digs into the unheard potential of the young musician, who died of a drug overdose last November, hinting that his work was taking a “brighter and more optimistic” turn before his passing. The New York Timestoday ran a feature exploring the plans for posthumous music from the late emo rapper Lil Peep.
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