![]() With this culture around him, Future inherited a sense of uniqueness and individuality through some of hip hops legends. Their aim and intention with music was to always strive to be different and stay true to yourself. Other members of the collective include Big Boi, Andre 3000, Cee Lo Green & Killer Mike. In an interview with HiphopDX he talks about his 2012 hit Tony Montana: “When I freestyle I know there are bits you don’t really understand, but that’s what you like it for – thats what its all about to me, thats art.” He also spoke of coming from the Dungeon family, a legendary hip hop collective based in his cousin Riko Wade’s basement in Atlanta, Georgia. still has respect for what they do: I want hip-hop to continue to. One of the original mumble purveyors Future has recently discussed his thoughts on the constant debates surrounding mumble rap. Even though Kendrick makes the opposite of what people would call mumble rap, the DAMN. Some think its lack of structure appears ‘idiotic’ and reflects the genre as a whole negatively but others appreciate it as art. Much like the East-West coast divide in the 90s, modern styles of rap clashing over conflicting style is no first for Hip Hop culture. The sub-genre has recently received a huge amount of backlash from artists and fans, notably from J.Cole who’s heard dissing mumble rappers in his 2016 hit ‘Everyone Dies’: “A bunch of words and ain’t saying s***, I hate these rappers, especially the amateur-8-week rappers, Lil “whatever”, just another short-bus rappers”. The conversation revolves around its alleged lack of lyricism which is where the name ‘mumble’ comes from, supposedly coined by Wiz Khalifa. This new sound has recently sparked interesting debates over its authenticity. The use of pitched harmonies rather than slick, quick bars let the big bass drums dominate the song rather than the melodic instrumentals most people are used to when they think of hip hop. ![]() By focusing on the repetition of the words and melody more than lyricism, the emotion is more dramatic. Contrary to Papillon, though, Bispo’s rise to the top of the Portuguese rap scene has been a slower ascent. The particular style of vocalising used in mumble rap is increasingly frequent in modern hip-hop and is spreading across the world. Like Papillon, Bispo hails from the Mem Martins area along the Linha de Sintra. Drake’s unmistakable baritone leads the shape-shifting “MELTDOWN,” while Playboi Carti unspools his magnificent mumble over the buzzy “FE!N.” But when Beyoncé arrives for “DELRESTO (ECHOES),” its muted club contents echoing her own dance music renaissance, she provides a big diva energy that luxuriates amid Scott’s cutting edge.Hailing from the South of America, the genre stems from the glowingly popular sub-genre Trap. The deliberately concealed guest list contains quite a few stars and superstars, and shrewd listeners may enjoy trying to identify them all without a cheat sheet. He now seems to enjoy a certain austerity, as on “I KNOW ?” and “LOST FOREVER,” but remains incapable of completely escaping the maximalist thrills of his past. The opening boom-bap bombast of “HYAENA,” the funkadelic crunch of “MODERN JAM,” and the proggy thump of “CIRCUS MAXIMUS” are just a few examples of how he has so lavishly expanded his sonic universe with this record. ![]() Without fail, Scott delivers something only he could have delivered, a thoroughly riveting album that transmutes star power and experimental artistry into a marvelous musical monument. Thus the collective anticipation for UTOPIA could not have been higher. His commercial success at least partially hinged on the futuristic, otherworldly sound and image he cultivated, with listeners tuning in just to hear what fresh level of the game he’d unlocked. Still, looking at hip-hop and rap music specifically, few could deny the extraordinary impact his music had on a young generation of emerging artists, their radical vocal and production style choices so overtly informed by his own vision. ![]() A great deal obviously occurred in the five years between ASTROWORLD and UTOPIA, Travis Scott’s third and fourth solo studio albums, respectively. ![]()
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