October London has built a reputation on moving fast, trusting instinct, and staying clear of traditional industry bottlenecks. As the flagship R&B artist for the newly restructured Death Row Records under Snoop Dogg, his approach to music, business, and creative control reflects a very specific mindset. In this conversation, Ural Garrett speaks with October London about carrying the Death Row legacy, building albums through freestyle sessions, avoiding writing rooms, navigating the business side of music, and why creative freedom outweighs awards.
Ural Garrett: You know you’ve been working with Snoop for a while. Now I guess you know just what goes to your head as being one of the first artists to represent the new Death Row Records.
October London: It’s surreal, man, because to think Death Row is Death Row. You talking Pac and Suge and all that hardcore rap. So just the feeling of being the flagship for Death Row is crazy, man, because I’m R&B. Even thinking about it is wild. I had a call with Snoop the other day, we talk a few times a week, and he was like, you helping build the new Death Row. That made me feel good. He told me I’m doing an amazing job representing the label and what we stand for now.
Ural Garrett: Absolutely. And then last year you dropped Crypto Water. Can you describe how your mind and thoughts on the business have changed with the evolution of the technology?
October London: Death Row was always known for rap, but the evolution of music and how people are making tracks now, I commend it. I give it a standing ovation. It’s not easier, but it’s more complex now with EDM, house, even R&B. Music is moving fast, and people are opening their minds to new ways of doing music and not making it cookie cutter. I love where it’s going. I’m always in the studio. I pride myself on being a multi-genre artist, always reinventing something, touching different vibes and audiences.
Ural Garrett: Speaking of evolution, how has your mindset evolved when it comes to the business side, especially with Death Row getting into NFTs and all of that?
October London: The business has always been janky. I honestly think I might have one of the best contracts in the business signing with Death Row and having GAMMA backing me. The business side of music is always trash. It doesn’t take care of artists. It doesn’t pay well. You really gotta be a slave to the industry to make money. But Snoop always had my back. From 2016 until now, he made sure I was financially stable. Anything he worked on, I was included. Before Snoop, every deal I had was trash. Didn’t take care of me financially or mentally. Now I have creative control, financial stability, and freedom. I turned down a major label deal because they wanted me to stop working with Snoop. Too many rules. I’m glad I didn’t take that deal.
Ural Garrett: This year, The Rebirth of Marvin was a huge project. Do you remember the initial conversation or the direction you wanted to go with this project?
October London: There wasn’t really one. Snoop gave me full access to the studio. He plays old-school music all day at the compound. Marvin Gaye kept coming up. I went in the studio and caught that vibe. I wasn’t even going to call it The Rebirth of Marvin. That was Snoop’s idea. I was scared to call it that. I didn’t want people thinking I was trying to fill Marvin’s shoes. The whole album was freestyled in a week. I put it on my hard drive and tried to move on, but Snoop stopped me and said we needed to listen again.
Ural Garrett: How do you pull off a dense project like that in a week, and what have you developed in terms of muscle memory when you create?
October London: If I don’t have a hook in the first 30 seconds, I don’t do the track. Max 45 seconds. Snoop knows that too. I give myself two hours. If it takes a full day, it’s trash. Writing rooms drive me crazy. I can’t sit around for three days working on one song.
Ural Garrett: How many completed songs have you done in a day?
October London: I don’t even take a full day. Two hours max. Then I mix one day and master another. I produce, write, mix, and master myself. That’s why I move fast.
Ural Garrett: Jazze Pha was really crucial in introducing you to Snoop. What were the stark differences you noticed creatively between someone like Jazze from the South and someone like Snoop from the West Coast?
October London: Jazze introduced me to Snoop in 2016. Atlanta is very collaborative. Jazze brings in musicians, builds everything live. In LA, Snoop will say here’s the beat, figure it out. Everyone moves differently. I’ve worked with Diddy, Nile Rodgers, Dr. Dre. My sweet spot is being alone or with my day ones. Two hours. Get it done.
Ural Garrett: When do you know within that two-hour window that a song is working, versus when you know it’s not? What does that process feel like?
October London: Thirty seconds in. If I don’t love it within an hour, I trash it. It’s about the vibe. With Back to Your Place, I immediately saw the stage, the crowd, Vegas residency energy. Once I get that visual, I know where the song is going.
Ural Garrett: You mentioned working with Nile Rodgers. What was the biggest lesson you learned from working with him?
October London: He told me not to worry about awards or branding. Just focus on the track. That stuck with me, especially after getting Grammy considerations but no nominations. Same with Soul Train Awards. At the end of the day, my son is fed and I’m good. That’s what matters.
Ural Garrett: You mentioned you’re working on a project possibly coming in February. Where are you sonically right now, and what’s inspiring you?
October London: After Rebirth of Marvin, I wanted to do one more old-school inspired project, then move on. This one is Studio 54, funk, Rick James energy. Straight disco. It’s almost done already.
Ural Garrett: You’re mixing and mastering everything yourself?
October London: Everything. Produce, write, mix, master. No waiting on anyone. That’s why I move fast.
Ural Garrett: Thank you so much for your time. It’s really been great seeing your growth over the years.
October London: Most definitely. Hit me up anytime.
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