In a revealing interview with VIBE, Buffalo's own Conway the Machine delves deep into his latest critically acclaimed album, 'You Can't Kill God With Bullets', discussing its profound title, strategic collaborations, and ambitious future plans beyond music. The Griselda co-founder continues to defy expectations, proving himself a lyrical exception in a competitive landscape.
Conway's relentless work ethic is evident, with 2024 seeing him release Special Machinery: The Ghronic Edition, collaborate on Chaos Is My Ladder 2, and deliver the critically acclaimed Slant Face Killah. His new 18-track project further cements his status as an elite spitter while subtly introducing new artistic dimensions.
The Resilient Spirit Behind the Title
The album's striking title, 'You Can't Kill God With Bullets', is deeply personal for Conway. It serves as a powerful testament to his unwavering perseverance and hard-earned staying power in the industry.
Reflecting on the title, Conway shared, "How I came up with the title for You Can’t Kill God With Bullets is just pretty much self-explanatory. I got shot in the head twice and once in the shoulder. Barely made it out of that, but I overcame all the struggles and difficulties I had with my accident. To go from that to where I’m sitting [right here], I just think it’s truly amazing. I just kind of wanted to word it in a fly way."
He contrasts the new album's revolutionary and introspective tone with the darker, feature-heavy sound of Slant Face Killah, noting, "But with this one, I wanted it to sound more revolutionary, more introspective, but still have that bar work that my fans love. I added more instrumentation, and just fly hardcore sh*t, you know what I mean?"
Signature Sounds and Stellar Collaborations
Conway’s new project features a stellar lineup of producers and artists, each contributing to his signature raw, uncompromising Hip-hop sound while pushing its boundaries. Long-time collaborators like The Alchemist, Conductor Williams, and Daringer return, alongside appearances from Roc Marciano, G Herbo, and a surprising anecdote involving Dua Lipa.
Of The Alchemist, Conway raves, "Al [is] just the greatest, man. Al is the G.O.A.T. You get around him, and it’s just a different energy. You feel the love. He’s really hands-on when he’s facilitating his beats, like it’s really an idea that’s tailored [and] custom to each artist... He pushed me like, 'Nah, come on, great mind, that’s fire.' So, shout out to Alchemist, man. I love working with Al. I don’t like doing a project, and Al’s not a part of it, for sure."
He praises Conductor Williams' unique touch: "Conductor’s from Kansas City, I want to say, but he just got that dust. He got that sound that I love, that I like, you feel me? It’s dusty, it’s dark, it feels like he’s a mad scientist. Conductor Williams [is] like a chemist in there, like Walter White on Breaking Bad or something like that, I can imagine. I’ve never been in a studio with him, but I’ve never gotten a bad batch of beats out of him. You see why he’s on so many of my albums, ’cause he’s just fire, he’s crazy like that, man."
Conway affirms Daringer's foundational role in Griselda: "Daringer is the RZA of Griselda. Daringer is the nucleus. We made all that stuff in his living room that people grew and [have] known to love." He acknowledges the collective's individual ventures but maintains Daringer's importance: "We ain’t really had the time to really sit down and just all cook together, but 100%, nothing or nobody would change that. Daringer is the nucleus of Griselda’s sound. Facts."
The track "Diamonds" sees a significant reunion with Roc Marciano. "One of the first big-name features I ever got when I came through the door in this sh*t was with Roc Marci on Reject 2. How this came together with me and Roc Marci for this 'Diamonds' record was I felt it was time to go full circle. It’s been 10 years since that Reject 2 thing. I just felt like it was time to cook back up with Marci. And when I heard that beat, I knew that we would go crazy on that perfectly."
The collaboration with G Herbo on "Nu Devils" came about organically. "I told my brother Fredo, 'Yo, I should send this joint to Herbo,' you know what I mean? That’s Fredo’s favorite artist, too, right now. Even over me, I don’t f**k with you for that, Fredo. But yeah, he was like, 'No, that’ll be crazy.' And I just called him like, 'Yo, I got what I’m about to send you.' He’s like, 'Send me that joint.' And he had it done in the next week or something."
A memorable encounter with Dua Lipa in Paris also made its way onto "Parisian Nights." Conway recalls, "I met Dua Lipa through my friend Clovis [Ochin] out in Paris. When I heard that beat, I could just think about [Paris]... 'Dua Lipa was in the corner, she said, 'Yo, you blew the streets up.' So, that’s where that came from." He adds, "I’m not sure if she was, but if I’m a betting man, I’m sure she was ’cause [of] Clovis. That’s like my brother. He’s excited, he’s like, 'Yo, you’ve got to hear. This is Conway.' And he was introducing me with emphasis, like excitement, like, 'Yo, you’ve met Conway?!'" He closed by saying, "I want the streams, the sales, and all of the Grammys, but I love my people more than that accolade, you hear me."
A standout on the album is "The Undying," a track where Conway experimented with spoken word. "I just wanted to try and do something I’ve never done on any album before, like tap into my spoken word, my poetry side. It was like a poem to me, you know what I mean? When I actually heard that, when Elijah sent that through, it was just the music playing with the skit at the end. The Black Panther skit. It was another one [I thought of] just riding in the G-Wagon. I’m just listening, and I’m like, 'Let me try something.' I just went to the studio, tried it, and it came out crazy. And you know, that’s one of my favorites on the whole album, 'The Undying.'"
The Machine's Evolution: From Streets to Screen
This interview reveals a Conway the Machine who, while deeply rooted in his Hip-Hop origins, is strategically broadening his artistic scope. His new album not only showcases lyrical growth but also signals a concerted effort to diversify his portfolio, moving beyond traditional music releases. This shift positions Conway not just as a rapper but as a multi-faceted entertainment entity.
The expansion into podcasting with 'Talking Sideways' and a foray into film (acting in *Goldfish* and a Langston Sessions-directed movie, plus writing a short film) demonstrates a savvy understanding of the modern media landscape. This diversification mirrors a growing trend among successful artists who leverage their brand across various platforms, ensuring longevity and broader appeal. For Conway, it means transitioning from solely being a 'machine' for street-certified bars to a 'machine' of creative output across mediums, a move that could significantly elevate his profile and influence.
What's Next for Conway The Machine?
The immediate future for Conway includes a comprehensive tour supporting 'You Can't Kill God With Bullets'. Fans can also anticipate the launch of his podcast and further ventures into film and television.
"Obviously, we’re going to hit the road. We’re going to be on tour with it. And I’m going to start airing some episodes of my podcast, Talking Sideways, on the Conway the Machine Network. We’re going to start airing that. That’s going to pop like January, too. I’m just working on that, getting that together, and stuff," he stated.
Beyond music and touring, Conway confirmed his move into visual storytelling: "After that, I’m going to do some directing and some acting, you know what I mean? I wrote a short film, and I was in the movie that Alchemist and Hit-Boy put out, the Goldfish movie. I was in another movie [that] my man Langston Sessions directed. So yeah, I’m just going to be doing more acting and doing more things with film and television."
