The East Village’s TabeTomo Ramen is quiet on a Tuesday afternoon — but not for long. Freddie Gibbs and The Alchemist soon stroll in, with the former colorfully explaining his tardiness: “I was underwear shopping…I’m gonna get fucked in these,” he informs, admiring the three-pack as he sits in the sleek, empty restaurant. The duo, who released their Alfredo 2 album in July, arrive with several men who join Gibbs’ manager, Ben “Lambo” Lambert, in the back corner of the restaurant. Customers periodically come in and ogle our nearly 10-man group, with one younger man — and surprisingly, an older chef — coming to our table to laud Gibbs.
Gibbs downs several sake shots, but he didn’t need those to be as unfiltered as he is on social media. He riffs on his love life before eyeing the recorder and striking it from the record, and tells me about how a chance jail encounter with a Parisian named Akpan Love led him to a lawyer named Dr. Maya, who helped acquit him of his 2016 sexual assault charges; with the delivery of a seasoned comedian, he tells us about Love being released from jail then unexpectedly visiting him two days later. He also reflects on the difficulties of making it out of Gary, Indiana, with labels asking him if they could bill him as a Chicagoan to make him more marketable.
“I’m like, not really,” he recalls. “That’s my cousins and my family. But I couldn’t do that because I knew eventually down the line somebody’s going to be like, ‘Wait a minute, motherfucker!’” Things worked out regardless, with his street tales and Freddie Kane persona amassing one of rap’s most impressive catalogs, including 2020’s Grammy-nominated Alfredo with Alchemist, who says it’s his most successful collaborative project. Gibbs says it’s his most successful project period, crediting the branding and merch. They ran it back in July with a sequel that pivoted from Gibbs telling stories inspired by the Italian Mafia to the Japanese Yakuza.
“All rappers talk about the same shit,” he contends. “We all talk about fuckin’ bitches, gettin’ money, violence, shit like that. Andre 3000 broke the shit down simple as fuck: He said rap ain’t nothing but talking shit. When I heard that from him, I was like, ‘Damn, you know what? I just got to talk shit differently than everybody else.’” They paired the album with a short film shot in Japan, which satisfied both of their appetites for jumping into cinema. They also shot the video for “A Thousand Mountains” in rural Japan; they’re set to return after the upcoming U.S. leg of their tour. “Got some surprises,” Alchemist promises of the tour. “So whoever comes, they’re going to be happy.”
Their chemistry is easy to hear on the Alfredo series and noticeable in person. Alchemist gives Gibbs his space to riff, but knows when to interject and add on to the conversation. In the midst of our discussion, their banter yields an idea for the tour. “This is how all good ideas happen,” Alchemist says. “Not in meetings, when you just eatin’ fucking ramen, and drinking [sake.]”
Their promotional run is later than usual, but some of that may have had to do with Alchemist being on tour this summer with Erykah Badu for their upcoming Abi & Alan album. It’s just one project of many that fans are anticipating from Alchemist. Last December, he told Rolling Stone that 2025 was set to be his “biggest year ever,” and he is delivering on that goal, collaborating with Yaasin Bey, Hit-Boy, Mobb Deep, Boldy James, Armand Hammer, and more on upcoming projects. But right now, it’s Alfredo season. The two agree that the importance of the series isn’t just the musicality of Gibbs’ sticky, rapid-fire cadences over Alchemist’s smoky production, it was the tangible success that they hope will inspire other indie lyricists.
“If it was as dope as it is and didn’t [garner] the success that we’re having, it wouldn’t be [effectively] leading by example,” Alchemist says. “We’re trying to show some of these younger guys, ‘Yo, you can be successful doing that.’ To be honest, the Grammy nomination did that, and I didn’t expect that on the first album. They used to try to put the music that wasn’t commercial in these shoe boxes, like ‘You stay there underground.’ We started coming out of the fucking shoebox, and we’re here on the same playing field as all the big dogs. I think that’s important.”
They recently told Complex that they’re already cooking up new music. During our talk, Gibbs hints at additional songs coming from the Alfredo 2 cycle. “We still got more to do,” he says. “Shit, we going do deluxes, all this shit. We going to ride this motherfucker out.“ Over a plentiful spread of Japanese cuisine and sake, Alchemist and Gibbs spoke to Rolling Stone about Alfredo 2, their musical crafts, and recording at Malibu’s legendary Shangri-La studios.
What’s it like moving around in Japan?
Gibbs: Everybody nice. Everybody got honor. They don’t even bump into you. They don’t step on your shoes. They don’t walk and talk on the phone. They don’t throw trash on the ground. I seen a motherfucker out there picking up cigarette butts with tweezers.
The Alchemist: They’re big on honor and respect out there. You’ll come home and feel like you need to be more honorable. They’re so respectful and make you feel like you need to be more [respectful as well].
Gibbs: I felt that way too when I came home. I cussed my baby mama out, and I was like, “Damn, I’m raising my voice.” They don’t even yell over there. I’m like, “Sorry bitch.”
Y’all recorded most of the album at Shangri-La studios. What was that like?
Gibbs: I just like being in Malibu. It’s right by the beach. It’s a good vibe, man. Away from everybody. That’s the way I like to record. If I’m not recording at home or his spot, I don’t like being around a lot of people. I mean, we partied in there, I ain’t going to lie, but with the right people.
Alchemist: It also felt like we needed to make good because that studio is so ill and you know how much legendary shit goes on over there. We was having fun, but I also knew we were going to get a lot of good shit out of these sessions. We are not going to waste this. [It’s like] having a nice dope canvas. If you’re a painter, [you’re like] “I’m not going to fuck this up.” It was a no-brainer for me. Yeah, we was able to work over there. We had the studio locked in for a whole week. We was sleeping there some nights.
How do you think the technological advances of the recording process have affected your craft? There’s new beatmaking tools where you can pull the instruments out of an older song in a way that you weren’t able to do so before.
Alchemist: That’s a dream. [It’s] shit we wished back in the day like damn, “I wish I could take this voice out and sample this part.” Those were dreams when we were younger, we were kind of forced to use parts of the song that had the open moments. It was more clear what our job was. That’s the part. Now, Pandora’s box is open. So 1757171480 I’m like a kid in the candy store, “Oh, I can take that vocal out of this now? I can do this?” I don’t know how the younger guys are doing it, but for the older people, it’s dope because it’s shit we always wish we had. But it’s also important to keep bookends and some type of limitation. Because with no limits [you’re] falling down the black hole of options and plugins. Sometimes it’s good to have a limit.
Freddie, how did you feel about the reception to $oul $old $eparately?
Gibbs: Every time I feel like my shit’s underrated. I feel like I’m just now getting the credit that I deserve. I’ve been dropping shit. Motherfuckers like, “Oh yeah, your discography is crazy.” I’m like, yeah, I know. Did you know that when I dropped the shit nigga? I just feel like one of the most slept on rappers of all time.
I was trying to search and find a tweet where I basically said “Gibbs’ discography stacks up against all of the artists in the Big 3 discussions.”
Gibbs: And when I say shit like that or comment on things of that nature, people take it as like, I’m disrespecting the proverbial top rappers. Shut up. I’m not hating. I’m just saying how good I am. I’m not trying to disrespect nobody by saying that I belong in the conversation. What’s wrong with that?
New rap fans are deranged. Anything that’s not about their guy is “hating.”
Alchemist: When did rappers become sports teams?
Gibbs: I’ve been laughing at it. I like Team Gunna vs. Team Young Thug right now. They talking about how both of them snitched. They showed that video [of Thug in the interrogation room]. I was like, “Damn.”
They said that had been out and I didn’t know that.
Gibbs: I didn’t know that either. Both of those guys make good music. I hope they get past this shit. I wish we stopped blending all this street shit with the rap shit on the internet and all that. Real street niggas used to keep that shit in the streets.
Alchemist: Once all that dies down, all you got left is the artistry. If you’re not putting fire out, a lot of these artists that were real big, when that happens, that varnish gets stripped off them and then you see what it really is. And that’s not for anyone in particular. I’m saying I’ve seen it happen. To have longevity you have to have something that has some type of quality to it.
Gibbs: I got a chip on my shoulder when it comes to MCing because I’m from Gary. There ain’t a lot of MCs [from there] and I love the art of MCing. It’s like a sport to me. I love being a great rapper. I don’t know why it’s in me like that, but I love that I take my craft so serious. That’s why I don’t even rap with people if they’re not serious. This shit is real to me, [like] I’m about to strap up and get a quarterback sack or something when I go in the booth. That’s how I feel. I think the day I lose that, then I’m going to stop. But I don’t know if I ever will. I feel like I’m addicted to it. Of course, I have my days like, “Fuck that rap shit.” But then I’ll listen to somebody else rap and the competitor in me can’t help but to be like, “I could do that. I would’ve did that verse like this. I would’ve did this. Fuck that, I’m about to go rap.”
Can you take me into filming “A Thousand Mountains” video? Was that your first time with a sword?
Gibbs: Yeah. I had been training with it through the week though, so I knew what to do so I wouldn’t cut my dick off or nothing like that. That was an amazing experience being in that rice field in Japan. It was a lot of weird bugs and shit, but it was great. I had never been to that part of Japan, so it was a different experience. Very inspiring. When we was doing that, I was like “Aw yeah, we about to kill it, bro.” Cause ain’t nobody doing no shit like this for the album. The fact that we did all of that and nobody knew we was doing it was crazy. I love the way we did this shit, man. We rolled it out perfectly.
Alchemist: We were trying to keep it quiet, too. I didn’t want people to know that we was cookin’ Alfredo 2 because we knew the minute that people [saw] that cover, it’s on. The expectations have been there for years. That was my most successful collaborative project and I’ve done a lot. I was like, “We already know if we follow this up, we going to have [a lot of demand].” We weren’t worried about rollout perse. It was like let’s get all the chips lined up, let’s get the video shot, the film, the music, the art, because once we put one thing up, I’m pretty sure we’re going to have a lot of attention.
Gibbs: Right. This is my most successful project period. I got two albums with Madlib, so coming into this shit, I had a bar that was already set. We had to reach it or we was wasting our fucking time. So like I said, everything gets greater later, man. Now I feel like we created a franchise and now we not doing nothing but building on top of it. This Alfredo shit going to feed my kids for the rest of their life. I created something that they can always fall back on. We gone, we want them to do art exhibits on this shit and documentaries and film and shit like that. We creating a footprint that can never be erased.
So what was it like when y’all decided to actually go forward with part two? Was it a conversation?
Gibbs: It’s organic, man, that’s my boy. So we always going to work regardless of whatever he working on or whatever I’m working on. And then shit, it’s timing. We knew when it was time. The first one came out five years ago. And we was both doing our thing, both working. We knew when it was time to push the button.
Alchemist: Obviously, Virgin Music Group is our partner now, but I always like to mention when it was time, it was just us. I got beats, got a studio, he got the rhymes. We didn’t need any check or anything. It was literally the power of us two as artists going, “Let’s get back to it, it’s time now.” And then we started and before you knew it, he had some of the most important records already. Luckily, God bless, we were both in positions where our kids are straight, we made money, so we could just get up and do this. Some people might’ve been like, “Let’s go get the check first.” We could have did it like that. We were like, let’s make this because we are both about the art first.
Alchemist, last time we talked, you said you were looking to this year as your biggest best year yet. How are you feeling about your year so far?
Alchemist: I feel like I didn’t play myself because when I said that I was a little nervous. I didn’t want to give it up that I was already working with Erykah Badu, Yaasin, me and Hit-Boy have a record, Life Is Beautiful. So this year it all came together. I knew Alfredo was coming, so if nothing else hit, I knew I was good here. It seems like I’m on a dash, but it’s really the same speed I always work, all these records [just] ended up lining up [in] the time period. Yeah, I’m glad that I didn’t fuck myself up on that quote. I feel like I’m following through. I was like next year, put some duct tape over my mouth so I don’t say some dumb shit
Gibbs: [Next year], I think I’m just going to do features and movies and shit. I’m not doing nothing. I’m going to take a little break next year. I’m going to tour like crazy. But my belly is full off Alfredo. I’m just going to keep chillin’, doing that. I’m going to drop little loosies and shit here and there. I love to rap, but I don’t think I’m going to do another album for a while.
Alchemist: I’m going to send him some fucking beats though. I ain’t going to let him get away with that. I dunno what he’s talking about. We going to still cook. [Laughs] That’s never stopping.
Gibbs: I got a couple movie scripts I’ve been reading. I’m going to do a couple movies.
Lambo was telling me your vampire movie, Night Patrol, is going to the festival circuit.
Gibbs: Yeah. I think we going to get a theatrical release. I got my ass beat in there, but it’s going to be crazy. I was fighting against CM Punk. [He’s one] of the cops. I was like, “Of all the people in this shit, y’all put me against the biggest motherfucker on set.” I tried to shoot him — I ain’t going to tell you the movie, but he fucked me up, I’ll tell you that. But I love him, I loved working with him and Justin Long. Now, we’re getting more acting opportunities. That’s really a passion of mine. I’ve been writing some scripts, too. So I’m trying to get into that lane and expand on that.
What do you get from acting? What do you enjoy about it?
Gibbs: It’s another form of art, man. It’s like when I’m in a great rapping bag, I want to act. When I’m shooting a movie, I want to rap. So all it all does is inspire me. When I was on set shooting a vampire movie, I couldn’t think about, “Damn, I want to get in the booth.” I had to bring my mic in my fucking trailer. All of it really works hand in hand. When I’m doing a movie, I’m thinking about the soundtrack. When I’m doing the album, I’m thinking about doing a movie to it. I see the shit all visually anyway. So it’s all like one thing. Every movie I do, I want to be on a soundtrack. Directors and shit be mad at me. I’d be like, “Hey, y’all doing music to this shit?” They be like, “Nah nigga, go read your lines.” [Laughs] So like I said, it all go hand in hand with me, but I love it.
Alchemist: I want to act more. I always felt like it would be something cool to try. I did it last year, me and Hit-Boy have a whole film that we did that’s crazy. And acting is like…I didn’t think I would enjoy it. The challenge of it, it’s a real artform like he’s saying.
Alchemist, I’ll see a lot where if fans don’t like an album, they’ll be like, “Man, this artist needs to lock in with a producer and focus.” How often do you see that discourse about artists and think, “Damn, I wish they would reach out to me.”
Alchemist: All the time. I’ll be lying if I said otherwise, but that’s an individual thing. With some of those artists, if you could think of them, I’ve probably hit them up. If I have a relationship with [them], I throw my shots and I get in where I fit in. Everybody’s not in tune I guess, or cares about that. Things work where they’re supposed to, but I see it.
Freddie, what’s the status of Montana with Madlib?
Gibbs: I’m not dropping it next year for sure, man. Me and Otis, that’s like my sensei. I think we just got to lock in and knock it out. We did a couple joints already. Maybe one day we’ll drop it. I’m not definitive on it, but I know next year I’m not dropping shit. I can tell you that for sure.
You sure? You said that when you hear something good you get motivated.
Gibbs: I’m going to get motivated. That don’t mean I’m going to drop it next year, though. I might just make a lot of shit. I might stockpile. I’m going to record a lot. But as far as on an album run, I’m about to run Alfredo into the ground. Just do my thing with this. You going to feel it when it’s time. We all need to go on tour together. That’d be crazy, right? All us on stage together. People never seen no shit like that.
Alchemist: That’s four [Gibbs collab] albums between just me and Otis and then his whole catalog and my catalog.
Gibbs: Come on, promoters, that’s a $500 ticket.
Alchemist: Better tap in now. We got to do that. But the US tour’s coming this year.
Gibbs: We about to go crazy with that. I can’t wait. I’m going to [have a] Chris Brown freaky meet and greet. My meet and greets [will be] ladies only.
Alchemist, I saw in one of your documentaries you had a scene with “Free Palestine. Fuck The Police” graffiti.” I was just wondering, do you ever feel compelled to speak to what’s going on in Gaza?
Alchemist: Never really was that type of artist. That was never part of my thing. I think everybody who’s suffering injustice should be free across the entire planet. Free Palestine, Free Congo. There’s so many that we could list. Any place where there’s injustice. [There’s] a lot of fucked up shit across the world. And I don’t stand for none of that. I think my whole life I’ve showed what I’m about. My life is in front of the world. I dedicated my whole life to this. Rap changed my life. So I owe everything to it. And that’s what I stay loyal to.
There’s a lot of confusion about that topic. And people always try to get into it. There’s a lot of misinformation. That’s why I stay away from it. That shit was in a documentary. I saw fans saying that, but it’s like people forcing you to be a part of an agenda one way or another, I’m not really into. Of course, any injustices…I don’t stand for no foul shit on earth. I’m not even into religion in general. I was born Jewish, my family, everybody knows my history, but I’m about love, peace, my family, music, creativity, art, pretty much what I’ve always stood for my whole life. And I try to put something good out there.
How are you feeling about the Mobb Deep album dropping soon? What was that process like, crafting it with Havoc?
Alchemist: We had so much music. He did so much unreleased stuff and we all felt that at some point in time [we’d] figure out how to let it out to the world. Keep that spirit alive since it’s missing. When you hear his voice again, you’ll be like, “Man…” They gave me my everything. When I’m doing Alfredo and doing shit with Erykah to be able to shine that light on Mobb Deep, I couldn’t be any happier than to try to add to pass off that good juice towards my guys. They gave me my start and Cypress Hill gave me my start. Everything happened after that. So me and Hav, we did this album, with no label, no nothin’. I called him, [and said] let’s get the crew back together. Hav, [Big Twins], [Ty Nitty], Chinky, all came to my studio, and we all did it like we used to…[we] started the album that way just to bring the spirit back. His daughter was there, she’s doing crazy stuff now. Shout to Santana Fox.
We just started making an album like fuck it. I had songs with P on it. [Havoc] had some songs, we had some stuff that we mixed up. Some stuff we had to do beats, some stuff he was already on and Hav just rhymed. But it really felt good that we put the energy back together and did it the way we were supposed to. That’s how we always did it. Hav does the majority of the album. I do a couple, I think I did four in the end, and the album is crazy. I’m just like, now I want make sure I can help them push it. Let the world pay attention. Especially after Clipse’s album, they did what they did and it’s another legendary duo.
You see Clipse on Drink Champs. They say who’s their favorite group? They go, “Mobb Deep.” They even been saying it. I just want to do what I can to make sure to do right for P. I feel like anytime I’m winning I could hear him, like “Yes.” Even when he was alive, any shit that I did outside of him, he was always proud of. He gave me my blessing to go work with Nas when [they] were beefin’. I went to P and was like, “Yo, Nas wants me to go out to work on God’s Son, Is it cool?” If he would’ve said nah, I wouldn’t have did it. But P was like, “Ah, you about to give him some bangers man, but go ahead and do it. That’s good for you.” P was a team player. So I know that Alfredo or Erykah, I could hear him. “Yeah, son, because this is keeping Mobb Deep alive.” Freddie and P got a chance to link too, and I see a similar spirit. P knew when he met him. This is the same ilk of what we on — a completely different sound, but the same cloth. So I feel like what we doing carries the torch in a weird way. And the way we doing it indie because that was his spirit.
