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In memphis, a movement of soul, gospel, RnB and Jazz was brewing and Isaac hayes grew up within this, this movement pulled it's roots from artists like nina simone and as such so did Isaac Hayes. He was one of the forefathers of this movement with stax records and this influence of nina simone's shows itself in his half rapped half sung vocal lines across his discography. (Crouse, 1972)

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Isaac Hayes was a saxophonist within the band Calvin Valentine and the Swing Kings and in this time he developed a further penchant for other genres that clearly hold artistic influence on his catalogue. Coming from this scene, he states was a large part of his musical education. (Crouse, 1972)

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Mr Hayes grew up in a different time, an era before vinyl was accessible. He did not pull many influences from well-documented artists, instead, he found his music heavily influenced by the church he attended with his mother. (Crouse, 1972)

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A pioneer of lyrical rap to many, Daniel Dumile's music stood out to Earl for his ability to construct complex rhyme schemes with obscure words and meters (NardwuarServiette, 2014), this is something Earl has taken from him and referenced on numerous occasions, though recently stating he has grown past. (Szillus, 2015)

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Madlib is noted as a major influence of Earl Sweatshirt's, his sample heavy music being a direct parallel, with Earl's. This and his signature sound being so recognisable is something Earl has strived for endlessly and is seen in his highly unique production and sound. (Szillus, 2015)

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Keorapetse Kgositsile is the father of earl sweatshirt and a revered poet of south african heritage. His close proximity to Earl displayed its effects in his style of writing and earl even notes this in interviews. Though he understands the link between his art and his fathers poetry, he is apprehensive to accept such comparisons (Kimble, 2019). This, I believe, is further evidence of deep influence, as his approach to writing juxtaposes his father's in his early catalogue with his crass and vulgar lines as opposed to his Kgositsile's introspective and activism laden bars.

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Among dijons various lyrical influences, Ghostface Killah stands out for genre, colliding words in a highly provocative manner, dijon aims to mirror and take some level of inspiration from the audacious and aggressive bars with intricate wordplay. (Renshaw, 2021)

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Dijon paints pictures with lines, using each line as a snapshot of a larger scene, using evocative imagery and literary techniques to string together an impactful story. This methodology was directly taken from Raymond Carver, where Dijon notes that he too has a limited vocabulary and writes with the same "violence" and "crassness" that these authors did as well, using simple tools and language to evoke complex and rich emotions. (Renshaw, 2021)

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As a songwriter, Joni Mitchell has a knack for specificity and using detail as a crutch for storytelling and narrative movement, while dijon does not use detail as a narrative device, he instead uses it as a method of evoking emotion, utilising this tool in the opposite method, using a myriad of non-specific details in order to build a world of emotions and paint his own picture. (Renshaw, 2021)

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In lines of sporadic drum grooves and swung basslines offset from each downbeat by a 1/32 of a beat, dijon and his co-collaborators embrace the spirit of creativity on “Many Times” in ways that drastically stray from the norms. These deviations from convention inspired me to experiment with such offsets and stutters in my composition.

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Buried under eerie instrumentals of heavily twisted samples and lumbering drum grooves, Earl Sweatshirt bares all. In obscure and experimental mixing where his vocals are buried within the instrumental I was influenced to experiment further and ignore conventions, using whatever mixing choices felt right in order to achieve a desired feeling.

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ISAAC HAYES influenced me in structure and theme by indulging in lingering bridges and introductions exploring themes of heartbreak, longing and infatuation and breaking conventions of song structure in the process. Where most popular songs of the modern era have an 8-bar introduction at the most, Mr Hayes emphasises feeling through a 48 bar introduction in a song such as "Ike's Rap IV / A Brand New Me".