The thing culminated in a long interview with Pusha-T they sat him on a couch in front of a backlit screen on which his lyrics had been scrawled in cursive, like those Declaration of Independence step-and-repeats that presidential candidates shake hands in front of at steak frys. Last year I was in Berlin at one of those music conferences conjured by an energy drink company. But Bandana is notable for being looser than Pinata and at many points seems to invite lower stakes the first song is titled, simply, “Freestyle Shit.” Compared to its predecessor, Bandana’s beats sound as if they were made expressly for Gibbs, which is both a blessing and curse: there is now an undeniable chemistry, but part of the thrill of Pinata was hearing the Gary, Indiana native over small, psychedelic Madlib vignettes that seemed worlds away from, say, ESGN. The songs that were written during that period, and those that were added in the two and a half years since Gibbs returned are, predictably, studded with painful memories. At the end of September, he was acquitted and returned to the States.
He spent four months in jail, writing to whatever skeletons of the Madlib beat pack he could remember. (He made these ones on his iPad, an interesting admission from the kind of reclusive artist who tells interviewers that he doesn’t own a cell phone.) But in June of that year, Gibbs was arrested in France and extradited to a jail in Austria, where he faced charges of sexually assaulting a woman in Vienna the year prior. Some time in the first half of 2016, Madlib sent Gibbs another pack of beats.
It was made under, well, trying circumstances. Gibbs has released a slew of solo music since Pinata, but Bandana represents the most anticipated record of his nearly 15-year career so far.
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