After a three-year hiatus, the enigmatic SoundCloud-pioneer-turned-singer-songwriter Corbin (formerly known as Spooky Black) is back with Crisis Kid, his highly anticipated fourth studio album. With a striking reinvention of his sound, led by raw guitar melodies and shaped under the creative direction of Hendrik Schneider (Charli XCX, Drain Gang, Shygirl), Corbin delivers a deeply emotional and introspective iteration on experimental R&B. This album is not a return, but a transformation. He’s achieved a new level of consciousness.
It’s said that the opposite of addiction is connection, and the LP offers proof. Through his preview work, we experienced a world shaped by substance abuse, isolation, and existential philosophizing. With Crisis Kid, it’s evident that Corbin’s growth hasn’t just been in the sonic realm — he’s found solace, even hope, in the form of community. In the darkness, the dread, and the impending doom, humanity still holds a light, and Corbin navigates it all in this 10-track concept album.
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Known for his haunting vocals and gut-wrenching lyricism, the St. Paul, Minnesota native has made a name for himself in underground music, ultimately collaborating with artists like Future, Chief Keef, Skrillex, and more. To celebrate the album, Corbin is set to embark on his first tour since 2017— the Clown On Stage North American headline tour — which sold out immediately upon announcement.
Hendrik Schneider
As he prepares for this next chapter, we sit down with Corbin to discuss his evolution as an artist, the making of Crisis Kid, and what this new era means for him. Wavering between in-depth and inscrutable not unlike his music, here’s what he had to say.
It’s been three years, and you’re back with new creative direction, new layers to your sound, and a concept album. Can you speak to what’s happened in that time?
I got sober and made an album with my friends. Been through a lot personally, but feel like I have a good foundation to move forward creatively. Largely thanks to those around me.
What’s stayed the same in your work, and what’s diverged — both consciously and subconsciously?
I think the general feeling of dread has stayed the same, but I guess I’m trying to leave a light at the end of the tunnel now. I don’t know if I’ll ever be able to make happy music, but maybe I can make realistically optimistic music.
Do you think Minnesota shows up in your sound? If so, how?
It probably used to, in being cold and kind of isolated. But now I think it’s just American shit. I also live in Los Angeles now, so we hot and stinky these days.
On a similar note, what’s your relationship with the internet and social media?
It’s good for connecting with people, but it’s hard to feel like anything good can come from social media when it’s owned by companies that want to keep us fighting among ourselves. It probably brings more harm than good these days.
I’m curious: How did you start making music? What was it that got you into it? What were the steps or stages before you broke through on SoundCloud?
I started writing songs when I was 13 or so, but didn’t record anything until I started listening to artists like Bones and Lil Ugly Mane, and realized I could try it too. It took a project and more before I found a direction that resonated with people.
Hendrik Schneider
You’re described as enigmatic, reclusive — but tracks like “Diazepam” or “ICE BOY” are pretty heavy and open-hearted. How would you describe yourself — as a musician, but also as a person?
Unimportant. I’m not really motivated by attention or money. I’m really hard on myself. But one thing I’m proud of is my empathy and compassion for others.
How much of you goes into the craft? And how has that changed or shifted — what does it look like in the new music?
I probably put too much of myself into it. I’m aware of the impact my music has on people, and I’m trying to lean in and use that for good. If we can’t find solace in ourselves or each other, then maybe we are doomed.
