Track by Track offers artists an exclusive platform to share the story behind each song on their new album. Today, They Hate Change break down their new LP, Finally, New.
Tampa Bay duo They Hate Change have been planning out Finally, New, their debut album on Jagjaguwar, for the better part of three years. Out Friday, May 13th, the LP makes a grand statement with swaggering rhymes and an unparalleled sound drawing equal parts inspiration from East Coast hip-hop, Miami bass, and drum ‘n’ bass, as well post-punk, prog, and krautrock.
“This record was something we had been building toward for the last few years,” Andre tells Consequence. “We wanted to ensure that if this was people’s first time or last time hearing us, we made it count.”
Vonne adds, “Our direction has been clearly defined internally for a very long time. Once we noticed all of the parallels between the genres from around the globe that we love, we knew this is the album we could make.”
For lyrical inspiration, Andre drew on artists like Camp Lo, Rick Ross, Curren$y, Pusha T, and JAY-Z, while Vonne soaked up the “arrogance” of the unreleased Clipse album Exclusive Audio Footage and “energy and raw rhyming ability” of the legendary grime duo Newham Generals.
As Vonne explains, Finally, New was originally named after the Volkswagen Golf GTI Mk1 because the story of how the car became a real successor to the floundering Beetle resonated with what they were trying to accomplish with the album.
“VW had huge success in the ’60s with the Beetle, a new, alternative style of car that spoke to a huge audience crossing many demographics,” he says. “There were a few premature attempts to capture the feeling again, but nothing really struck the people until the Mk1 GTI hit the streets and solidified VW’s place in the market. That story was the perfect inspiration for the making of the album.”
Ahead of today’s release, They Hate Change earned a steady buzz with singles including “1000 Horses,” “From the Floor,” “Blatant Localism,” and “Some Days I Hate My Voice.” Pick up a physical copy here.
Stream Finally, New and check out Andre and Vonne’s exclusive Track by Track breakdown of the album below.
In support of Finally, New, They Hate Change will serve as the opener on English post-punk band Shame’s North American tour in August and September. Pick up your tickets now via Ticketmaster.
My verse is the second oldest verse on the album, originally written in 2019 when we had our first conversations about making a full-length album. Never properly written down, just committed to memory on a commute home from work, my first line references A Tribe Called Quest’s “I Left My Wallet in El Segundo” to set the scene of us becoming rap globetrotters.
The title derives from a tradition started a decade ago by Tampa Icon Tom G. He would start off his mixtapes with a track titled “Snaptro,” aka an intro where he’s snapping, going hard, etc… “Stuntro” is our version: Stunting on the Intro. — Vonne
We’ve always felt like this beat was pure. Just enough bass, just the right amount of our bubbly synth patch along with ambience. We had to continue to float lyrically as well to do this production justice. The first words you’ll hear on this album are “Welcome back… for the first time!” Followed up with more statements to set the precedent of WE’VE BEEN HERE!
I wanted to ensure that the listener, no matter old or new, could relate or understand what this exact moment feels like. “This what full creative control sound like” is my opening line, followed by my explanation that it’s like driving a manual car. Whether it’s the punch from the acceleration to floor shifting, your timing and movements must be in sync. We are in control of everything sonically, and we take advantage of it. — Andre
“Noise Platinum, teeth golden, put your venue on the map” is a reference to a term created jokingly by William Hutson of clipping. to describe quickly selling out a short run of cassette tapes, combining that inside joke with acknowledging our position as outsiders in the DIY arena we helped to grow in the Tampa Bay area.
“Palm trees in the yard, I come from Palm Bay Drive/ That’s off of Palm River Road, Sarge was chilling on Langston/ We learned to live by a code by watching Tommy get famous” is a quick image of the fruits of our labor, combined with a short origin story, naming a few streets in the neighborhood I grew up in. SARGE (featured later on “1000 Horses”) taught me how to rap when we were like 11, and our biggest idol at the time was Tampa legend Tom G, who grew up in our neighborhood and lived on the same street as Sarge (Langston Drive).
We watched the moves Tom made at the time, which included turning down bogus record deals, refusing to move to Atlanta to really blow up (which was something every other Florida artist was doing at the time), and connecting with people directly to build an audience. All important lessons that we folded into our approach today. — Vonne
I’ll just go ahead and say it first, I felt like Sonny Cheeba from Camp Lo. Vonne made me re-record this verse a few times to ensure my charisma was there. I believe we might’ve only had this off-kilter wobbly sound from the Korg MS-20. A few days later, I received a 30-second clip with Vonne’s intro and a call saying, “Dre you gotta…. I don’t know. It’s something here, you gotta swag it out like Camp Lo a lil bit.” “Ice rock gritty/ Do da drunken monk when I’m in it” came from On the Way Uptown by Camp Lo, which features demos from their album Uptown Saturday Night. I wanted to be like them: cool, flashy, and use coded language how they would, and keep it ground level. They’ve also talked about their life and made it cool by getting groovy with their words. It’s as if they were dancing to the beat lyrically.
It has a bit of a standoffish tone, but we are letting it be known that we aren’t like everyone else. Not to say we are saying a bunch of new stuff, but it’s the details that set us apart. Sergio Tacchini’s logo might look odd/bootleg to some people, but those who do know understand that it’s a classic brand. I also mentioned a Haro bike, Roger Linn (created the Akai MPC), and Adidas trainers; not that a specific model was mentioned with any of these, but I wanted to pique the ears of those who have or had these timeless items. Even if the listener doesn’t have it, they are accessible to everyone and not just of the “elite”
We understood with this type of loop/break we had going for this beat we couldn’t let it play for another two minutes. We added a bunch of layers and then stripped it all away. This gave us a bit more clarity as to what we were trying to achieve both lyrically and sonically. To ensure this, we thought about how we would DJ and blend tracks together. We combined three beats into one; not to say that it’s groundbreaking but it was a challenge for us. Our verses had to be loose enough to allow us both to continuously switch. We didn’t want the beat to switch and then also have our flows change as well. — Andre
“I pour a drink out for Loko, we going in for the kill” is about my childhood friend that got killed by police. We came up rapping together so I try to keep his name going through the music.
There’s a lot of DIY scene talk here detailing the feeling of going out of town, not playing for a big crowd, splitting up a small amount of money, and crashing on another band’s floor. Citing these experiences as proof that we’re really meant to be here, whatever here means to the listener: on Jagjaguwar, in their favorite publication, on the BBC, or in the wider hip-hop conversation in general. — Vonne
Over the years I’ve seemed to become jaded with a lot of things in life. Mostly with people’s opinions and perceptions of how I may or may not be living my life. I felt like my opening line said all of this and more. Sometimes things are out of my control and that’s okay. “Paint me a villain because my skin tone tinted/ I built a roof and my family fed, fuck yo feelings!”
Oddly enough, we’ve always thrived in places that might’ve seemed to be “outside of our environment” like plenty of DIY shows where the speakers didn’t do us any justice. We just had to rock out with just synthesizers and samplers. We either couldn’t use the mic or gathered around everyone and yelled out rhymes. — Andre
Another suite, this one has four movements. The first is made of tingling noise and my close childhood friend Bill doing what he thinks is a Caribbean accent while on vacation in the Caribbean, describing the scenery to show you how life could be with a clear understanding of what really matters. A flex and a life lesson all at once.
The second movement is another deep Tampa reference, repurposing bars from an early Tom G classic “Making Cash Forever,” all wrapped up in our best Silver Apples impression. “Can’t tell me I ain’t the shit/ Police jump behind me like I ain’t legit…”
Third, a luscious switch from the previous movement, something to sink into. It’s inspired by our favorite drum ‘n’ bass comps like Total Science, which featured tracks with super smooth, jazzy, and ambient sections that crashed into heavy bass sections and somehow brought it all together by the end. A reverb-y female laugh sits inside the track as an homage to Ethereal, the Awful Records producer whose 2012 album Car Therapy was our first glimpse into the world of jungle that we came to be so inspired by.
The final movement features Vritra, the artist who inspired our journey into becoming experimental producers through his work in Odd Future’s Jet Age of Tomorrow (with Matt Martians). Vritra shows up in the fourth movement and turns our messy chords, sharp noise, and rolling breaks into pure anger pop. — Vonne
Vritra, formerly known as Pyramid Vritra, has been a HUGE inspiration for us dating back to 2011 listening to Journey to the 5th Echelon by Jet Age of Tomorrow, which includes Vritra and Matt Martians. Over the years we’ve developed a great relationship and it’s always special to hear one of our idols paired with our production. — Andre