When Vega and I started making beats for an EP in early 2010 our good friend Johnny Utah hit us up about making him a beat. We had this sample laying around and thought we'd put together a little something for the kid. We were at Vega's sisters place with all my 'equipment' set up in the lounge room working on Black Magic stuff, so by the time we finished the beat we decided it was for us rather than Utah. My mate Smiles had recently finished a track where he rapped on a beat that was 142bpm, so we made this one 150bpm just to better him. Yano, because we're good friends and stuff.
-Zilla

This was actually the first track we worked on for this project. we even hadn't thought of a name yet, i was just showing Zil some samples and he picked this one. So we started to touch its lady parts and play with some drums and thats when the first Black Magic beat was born (still not really Black Magic doe). THE NAME! Honestly, I just wanted to have already bigged us up on a track and I'd said Black Magic in my verse and yeaaahh, the rest is history?
- Vega

Sometime in 2011 I was sitting at a friends place I hadn't seen in a while with her new roommates and given that I lack any hint of social skills whatsoever I was awkwardly perched in a chair that was the farthest I could get from the general crowd of humans. For some reason they were listening to the Easy Rider soundtrack and the Electric Prunes song that plays during that bar scene in the movie came on and all the dirty guitars and shit sounded like half the jams we'd been working on for Black Magic so I decided to hunt it down.

There were two sides of the EP, one with Gregorian Chant on it and one without it but more/different instruments, so I chose the one without the Gregorian stuff; mainly because I had no idea what it was saying. We actually did the cuts first before anything was even written, so I'm glad the track (and every other track I write) is basically about nothing or they may not have fit and they're up there with my favourite scratches Nta has ever done.
-Zilla

This was a track for John's 2011 Christmas mixtape that we had to knock out really quickly before his deadline. Drake was living on the couch in The Sword Fish Tank at the time and I was flying down to Victoria in 2 days. After wasting most of the day furiously arguing over a late bus and what shade of red Zilla's hair is, we made a beat and parted ways, never to speak again.

The next day he called before my flight to say his hair was actually a crimson weave. Oh, and that I had to go first on the track. I wrote my verse on the plane to the version of the beat I had and later recorded a dummy to send back. They keep telling me my verse is 4 bars shorter but I don't believe dat' shit
- Vega

The day I called Zilla to tell him about this sample is the day his life changed. I think so anyway, he never said anything or showed any indication to make me think otherwise so we'll go with that. I already loved disco breaks so my life was sweet as shit!
-Vega


The day Vega called me to show me this sample was not remarkable in any way, shape or form.
-Zilla

When I found this sample I knew it was going to be something special. I didn't even wait for Vega to finish work before I started working on it and essentially had it done within an hour. I'd wanted to use the break for ages so I already had it chopped and ready to go which helped everything come together quickly. I'd recently watched Nineteen Eighty Four and the idea of Room 101 (where they create your worst nightmare for torture) had always creeped me out so I grabbed anything that mentioned it and cut it onto the beat then shopped the idea to the boys. Vega said some nonsense about Tom Waits and Nta said it should be about sandwiches but eventually I won out.
-Zilla