Who can save the world, my friend? Who's bold enough to do it? They're just two of the substantial and intrepid questions 19-year-old Atlanta prodigy, Raury asks of all of us on his debut studio full-length, All We Need, yet they're more of a calling than a query. Through a unique blend of fourteen guitar-accompanied folk-tinged rap/R&B songs, the young and upright genre-blending artist projects his compressed concerns in an opus he determines is "leaps and bounds from Indigo Child," his acclaimed debut EP delivered last year that launched him into the spotlight from his humble Stone Mountain, east Atlanta beginnings.

It's just a few days before the album's official release and the afternoon of his awaited listening session in London when the eclectic artist takes time to tenaciously talk about the debut LP and its intended purpose. Raury thinks it's time for the youth to imagine a better world, and through his music, he's helping construct the current sonic blueprint. "All We Need is love," he determines. It isn't a new concept. The Beatles famously sang it the 1967 archetype. But with a modern take on the classic love-fueled revolution, Raury aims to awaken the minds of a new generation.

Before, you had mentioned that the album is leaps and bounds from Indigo Child for the simple fact that you learned to master your creative energy with the help of people like Jacknife Lee, Danger Mouse and Daytrip. What did that process of tapping into your creative energy entail?

It entails opening up with yourself and being truthful when it comes to writing and being an honest judge of your music, but not being your toughest critic. Sometimes, there's nothing really wrong with what you're doing. For example, I was making the song 'Friends' and I almost just stopped, because who wants to listen to this? It was about overcoming the insecurity but also being insecure enough to know when it's right or wrong. Knowing how to let other people in. With Indigo Child, I was recording in a closet by myself and I didn't care what anybody had to say about what the chorus should sound like or how the bridge should sound like or any kind of contribution. I wasn't that good of a collaborator. But when I opened up to collaborating, people like Brian or Danger Mouse, he had something to show me. That's something that I learned, to let go of that ego with creation without being so hell-bent about it all coming from me. Danger Mouse pushed me to become a better writer. They all offer different realms of creativity. I was at Jacknife Lee's house and Danger Mouse, he owns a studio. I can just gage where I am creatively depending on what studio I'm in. I just get a better gage on when I feel creative, or don't.

You've been quoted as saying that while making the new album, you got into a space where you weren't going to worry about who you are or what the album was going to be, genre-wise. That consciousness seems to signify a transitional phase for your generation and shows that it's okay to be lost. What led you to find that type of beauty within misunderstanding?

In that misunderstanding and realm of potential where you are truly you, in the sense of making an album or making art or going about your life. That's when you actually become you, is when you adapt. Otherwise, it's not authentic to who you truly are. It becomes a tactic. It becomes a calculated plan on how to make folk-hip-hop. Even that spontaneity and lost-ness that I use to fuel myself to be able to make 'Trap Tears' on the same album as 'Forbidden Knowledge' or 'All We Need.' It's all about being open.

All We Need is brimming with insight, from forbidden knowledge to the consciousness of what's happening now globally. How much of your time do you spend reading and what are your favourite sites or books that keep you informed?

As of late, I've just been focused on self-help books and books that help me cope with life changing as fast as it is for a nineteen-year-old mind that's not prepared for all of this. Right now, I've been diving into The Celestine Prophecy, The Four Agreements by Ruiz - Joey Bada$$ put me onto that book. It really helped me. No one truly knows who we are. They can adapt some role or claim that they know. But when they do something out of their character, they say that they're not being themselves or whatever, but that's them too. Books like that. In particular, I've been diving into the 48 Laws Of Power. I like that book, but I don't like that book.

That makes sense, because you talk a lot of about intentions and positive vibes and that book doesn't come from a place with the best intents.

Yeah, sometimes I feel like it's the snake's Bible. But at the same time, you've got to read it from a different perspective. You have to read it so that you're aware that people think this way, also. But as far as staying up to date with current events and things like that, it's really just Twitter keeping me posted and I see a link and click on it and check it out. I always wanted to have go-to sites for things like that. How about you, do you have go-to sites?

I'm a Twitter-savvy reader too, so I go deep-diving in the Twitter search bar to find most of my articles.

I love it and I get a grasp of whatever is going on, but sometimes I feel like I'm getting it in a gossip way and not in a real way.

I hear you. So I wanted to get into the album. You start off with the title track, 'All We Need' and it's an ode to the love renaissance that you speak freely about. The Beatles told us that all we need is love. In a modern take, you're telling us the same thing. How has that renaissance of love impacted you and your own life?

It is out of love for the world and love for humanity that I make music the way I make music, instead of falling into the pitfalls of aiming to make it for something more lucrative and aiming to do it for myself. It is out of love and understanding that everything is connected. That people start to care about the world and realize that we can actually live together. It is out of love that G-Star uses their company to recycle plastic from the ocean shores and turn it into clothes. It is out of love that these ingenious ideas come about and ultimately help the world. Once we realize that everything is connected and everything is dependent on each other, we're getting closer. And we're getting closer due to all the horrible things that have happened like police brutality and different things. Especially the young kids. They're getting more in-tune with what's real.

On 'Revolution,' you talk about saving the burning earth. Do you have intentions of getting more involved with humanitarian work?

Yes, definitely. Right now, I'm just focused on my role with speaking and making sure I'm grounded myself and established as an artist before I venture out whole-heartedly. When I do it, I don't want it to be half-ass and then I have to stop to go to the studio. With that being said, my main goal right now is creating the content to raise this type of consciousness in the youth. It's because of kids like me and kids like Jaden and Willow [Smith] and youngins coming up that are 11-year-olds and are meditating and doing dope stuff. Who knows where that kind of mindstate will lead them by the time they're 15. Right now, my mission is to counter-balance all the self-indulgent negative brain-food that's out there and be the counter-culture to that. To help birth positive spirits.

Tell me about DJ Smooth Jazz and his inclusion in the album skits.

DJ Smooth Jazz is actually an alter-ego of mine from whenever I get on the microphone sometimes and I'm just warming up. I don't know why. It's always been funny to me. It's also an Atlanta thing. Around Atlanta, you go to a certain radio station or go to an elevator, there's this super corny jazz music that plays. It was that kind of thing. It's a nostalgia thing about me. I've always wanted to avoid it, that jazz music that's so horrible, hearing it at school at lunch and stuff. I honestly just put that in for me to bring some comedic relief. It's full of dense topics and that was just something to let you know that the album is serious, but it's not all that serious.

You can still have fun with it.

Yeah, I'm still just a 19-year-old kid.

So 'Devil's Whisper' is about you almost changing to make music for money and other capitalist reasons, and in the end, choosing not to. What factors helped determine that eventual choice?

My conscience wouldn't allow me to do anything else. Right or wrong, good or bad, I only do what my conscience allows me to do. I knew I wasn't going to go that way, but I had thoughts about going that way. So the song isn't necessarily about me literally about to, but it's about those thoughts. When I talked about tapping into my creativity, when I was working with Jacknife, we would talk about things and I opened up and would say things that I typically wouldn't have said. No one just up and says that 'I know who I am right now but I know that I could make this dope and take over that way.' But nope. It's about being honest and putting something like that about yourself out there into the world and letting them know that, hey, this is on my brain sometimes, but I'm still me.

It's quite obvious that you measure success by the effect that music has on people. You speak freely in interview after interview about Kid Cudi's Man On The Moon and that album's effect on you in your life and craft. With this album, what are your expectations and hopes for it?

I hope it opens a door, man. I hope it opens doors for not only artists like me in Atlanta to break through, but artists that want to make music for this purpose and are doubtful that they can get recognition for it. Now that they see me, they know that they can. What I want to see is a bunch of awoken minds. In the next five to ten years that this is the standard, that this is what's cool and all that other shit was cool in 2014. I hope to plant the seeds of a musical revolution and I hope that a new standard is set as far as songwriting and videos and all that stuff goes. We need to start trying harder. There's been a lot of dope stuff coming out, but for kids my age, I speak for myself but I also speak for a lot of kids when I say that stuff comes out and it's cool for a week, but nothing really makes me shit my pants. Nothing gets me excited. Kids my age, we're growing increasingly numb to a lot of things and I can chalk it up to the internet. We see so much and experience it before we get there. But, we're getting harder to entertain and it's getting harder to be artists that can make things that grab your attention and are as formless and changing as All We Need. That's the way people listen to music now, really. You don't really talk to someone and they say, I'm hip-hop or I'm R&B or rock. They usually say, I listen to everything. Now artists are coming about that make everything.


Raury's debut album, All We Need, is out on October 16th via LoveRenaissance/Columbia Records.