Marciano hopes to gain recognition as the latest in a long line of championed MCs and beat-providers. “It’s the music I grew up loving,” he says of self-contained Hip-Hop. “Q-Tip, EPMD, Rakim, Ultramagnetic MCs—all of those artists, they weren’t just rappers. They were involved in their sound and production. So I’m just pretty much following tradition.” With his cold accounts of “Pimpstead,” and a vividly-described metropolitan underbelly, Roc’s dusty sources, film dialogue, and subdued basslines sound made for each other. However, after two albums that topped year-end lists, and prompted a reported debate between Jay Z and The Roots’ ?uestlove over which was better, Roc says he has even more to offer in number three. “Now, when I listen to stuff that I’ve done a while back, I want to flip it a whole different way. Lately, I feel like I have no style: I do what I have to do. Back in the days, I stuck to a four-bar loop. Now, I don’t have any rules.” The unconventional approach comes to life on Marci Beaucoup, through Roc’s personal highlights, including “Squeeze” with Random Axe’s Guilty Simpson, and longtime collaborator, Brownsville’s KA.
In honing his craft, Roc is deliberately hands-off with artists. “I don’t come to people with concepts, unless we have to follow the guidelines of the track,” he admits. “If I’m workin’ with somebody, I want them to do what they feel. I don’t want to govern a project too heavily. I’d rather just everybody do what they naturally do.” Additionally, the Los Angeles-based New Yorker also only makes music when he’s compelled. “The only time I really listen to music is when I’m about to do some creating,” he says, referring to music beyond the N.W.A., Max B, and Erick Sermon in his current car stash. “That’s when I start doing my digging. I did some record shopping today. I’ll listen to the records tomorrow, or whenever I feel. I make the beats as I get the samples. I gather samples and push ‘em aside to track the record.”