Back in the BMW, as we drive to his house off Melrose, Rocky comments on the Pacific Design Center building, his voice carrying a lighter lilt than it’s had all day: “You never realize how beautiful this building is until the night time.”

We pull up to Rocky’s house. There’s a black Range Rover in the driveway, even though Rocky doesn’t drive. Inside, Goyard bags are scattered throughout the living room. A TV is in the kitchen with an old-school Super Nintendo hooked up to it. Rocky takes a seat in the kitchen, and begins a FaceTime call with Chanel Iman (publicly, his ex-girlfriend). Iman—with whom he seems to be on friendly terms—has somehow locked Rocky out of his iPad. “No one told you to put a password on it,” Rocky smiles at Iman through the phone, and she jokingly fires back, “Shut up,” cracking the room up. After the iPad issue gets resolved, Rocky moves the call to his bedroom. He returns 30 minutes later in a Margiela sweater, a camel trench coat, black jeans, and crisp white and green Stan Smith adidas, ready to get back to the studio.

The drive to Sound Factory is short—about ten minutes. Plaques commemorating the Jackson 5, Red Hot Chili Peppers, Brian Wilson, and others line the walls. Vintage copies of Rolling Stone are sprawled across a table. Inside the studio, superproducer Danger Mouse is mid-conversation with MGMT’s Ben Goldwasser—someone Rocky’s always wanted to work with. “Heard the new shit,” Goldwasser shakes Rocky’s hand. “It’s dope.”

That night, Danger Mouse will float in and out of the studio as Rocky listens to beats and browses through WorldStar. At one point, he lands on a Vine compilation, and watches all 17 minutes of it, at times letting out loud cackles, which peak during one Vine titled “Thot Walk,” at which he completely loses his shit. After his food arrives, Rocky forks through it lazily, and starts in on the business of answering questions, however reluctantly.

You’ve been away from the spotlight a little bit. Was that a conscious decision?

Yeah. I needed time to master my craft. You don’t rush art, and I don’t think you quickly produce fine art. You take your time. That’s not an excuse, or me trying to justify [any delays], that’s truly what I believe. I took time off and learned how to act, learned how to make beats and do production.

How has the making of the music changed, then?

This is more free than I’ve ever been. I’ve never been this free making music, ever. I’m experimenting, listening, and looking for different sounds.

Looking back at Long Live A$AP, are there any regrets?

Yeah. I’ve got that cliché thing where I hate my biggest songs.

I remember Yams saying he didn’t like “Wild for the Night.” Would you ever make another song like that?

There’s no need to.

No? What other flaws did you see in the last album?

That album was rushed.

By whom?

Me.

Why?

I felt like I had to prove certain things that don’t matter. [That] I was capable of hit singles and platinum records. That’s not what I was ever after. That’s something that you just hope for.

In the three years since we last spoke, what has changed most about you?

I’ve matured. I’m 26. I view life way different. [Pauses.] A little more different. And I don’t give a fuck, still.

How do you view life differently?

I don’t take people for granted no more. Nobody’s promised tomorrow. I cherish everybody while they’re here right now.

Is that something that you didn’t do before?

Sometimes. I was oblivious. I did that by default. I was always away and getting caught up in my own life.

One of the new songs starts out: “Gentrification split the nation I was raised in.” It’s one of the more politically conscious things you’ve written. What do you see when you look at the state of America right now?

It’s fucked up. That’s all it is. Cops killing people, people killing cops. It’s all fucked up. I think it’ll all change soon. I think people with a badge—or not—are gonna stop abusing authority across the world, and learn to appreciate one another. For real. [Smiles.] All they need is weed, some love, some good sex, some good-ass music. I’m talking about a night with something exotic. I’m talking a night with like an African-Moroccan-half-Swedish-quarter-Italian-part-French-Parisian. Mhmm. But she got the African booty, though! She got caramel skin, but you can tell that like, she got a little bit of vanilla in her, though. You feel me? [Laughs.]

Sure. So it’s safe to say that women still inspire you?

I’m passionate about women. I look for ways to manifest that into my music. If they don’t get the message, then I’ll make something special for them. The message will get through one way or another. I love women. And I love the bitches.

What’s the difference?

There’s a difference.

What is it?

I’m not saying one’s worse than the other, but “women” got they shit together. “Bitches” is just out here, all burnt out with they heads cut off. Chickenheads. But somebody gotta love these hoes.

Are you single now?

No comment.