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Photo by Daniel Drinkard On Memphis rapper 's summer jam 'Coastin', he boasts 'By the time I'm 25, yeah, the world is mine.' That gives 22-year-old Gavin Mays three years until he takes over. It's a big, probably-fake goal, but if his singles and recent album are any indication, he's at least poised to grab some attention with his flow (somewhere between and ), eclectic samples (,, cheeseball pop duo ), and quotability ('In this 8-bit world, I'm Bowser'). When he was 18, Mays and his friends formed a hardcore band called, and he describes their shows as 'a bunch of our dork-ass friends just punching each other in the face.'

(Hilariously grainy corroborates his account.) While Mays was screaming with Copwatch, he was also experimenting with rap on the side. Eventually, he made the full leap to hip-hop and started rapping as Cities Aviv. Right now, he's working on a follow-up to Digital Lows, though it may take a while. 'I’m lazy and I don’t work as much as I used to,' he told us, 'but now, when I write, I feel like it’s worth it.' 'The album is like a depiction of who I am as a person: scatterbrained.'

Pitchfork: Who were some formative rappers you listened to growing up? Cities Aviv: I always thought Big Pun was the fucking shit, straight up.

And I remember rocking the fuck out of 's The Future is Now in ninth grade; the early 2000s underground shit got me interested. But I'm not trying to be an underground rapper or anything like that now. More than ever, it's soul music that's influencing me to write more and stay involved. Rusifikator beersmith 2. Pitchfork: Both of your singles and 'Coastin' have these really breezy samples, and there are songs on Digital Lows that sample Steely Dan and the Alessi Brothers. Do you ever listen to any 70s soft rock or yacht rock? CA: I don't really fuck with yacht rock, but I like everything from soul to minimal wave. Actually, I had a beat that I didn't use on the album that sampled 's.

The album is all over the fucking place, and that's how I wanted it to be. Sometimes people will tell me the vocals aren't loud enough on certain tracks, but those aren't about me being on the forefront. They're about the production coming at you from the left, knocking you inside the fucking head. At the same time, I'm in the background, just telling you the fucking story of the shit that's going down.

The album is like a depiction of who I am as a person: scatterbrained. Pitchfork: Do you know where you want to take your sound next? CA: Digital Lows is fucking awesome, but I'm really trying to go for a heavier sound with the next album. I think it'd be fucking awesome if I could get a remix, though it'll probably never happen. My mission for the next album is to throw Digital Lows off the cliff, that's where I want to take it.

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