That’s absurd. If you don’t think there was a conscious effort by music critics to try and overcorrect for past dismissals of that kind of rap in favor of more technical conscious hip-hop than you’re delusional.
or, a new generation just knew how to listen to it more than the previous generation
More than anything, Barter 6 feels like a 50-minute performance of what rap, as a form, can do: rap that need not transcend itself, towards High Art on one hand or commercial art on the other, in order to succeed in 2015. Thug’s rapping itself, known for its unpredictability, is sharper than ever; his voice feels clarified, strengthened. Take "Halftime", the most thrilling technical display here, on which Thug seamlessly snaps into a dozen different flows: casually extending the second syllable of "re-cy-cles" so that it threatens to throw the song off track entirely, pausing a beat, unleashing a quick guffaw, snapping back on beat. It's an almost-reckless balance-beam routine. He pauses only for an ingenious vocoder breakdown that melts his cries of "Havin’ the time of my muhfuckin’ liiiiiife" into semiotic ooze, suddenly giving the blood-red backdrop of the cover art an almost Lynchian cast, like the velveteen Black Lodge interior.
something like this could only come from someone who grew up with at least a passing interest in rap in contrast to
Though he’s a sharp, detailed writer, a meticulous craftsman and an influential stylist — as well as lifestylist — Jay-Z is not extremely expressive or innovative, and The Blueprint threatens at times to slide into monotony. This is not just because of his unvarying flow, but because he never turns it off. He rarely pauses to let the beat breathe, and has a bad habit of talking back to every sample. So when the sped-up voice (RZA-style) of Bobby Byrd sings, “You don’t know what you’re doing,” Jay-Z responds, “Sure I do”; when David Ruffin sings, “Never change,” Jay-Z responds, “I never change”; when Bobby “Blue” Bland sings, “Ain’t no love in the heart of the city,” Hova asks, “Where’s the love?”
I wasn’t saying you did and I wasn’t saying what you were saying was racist, just found it bizarre you threw that implication back my way.
You outright said these guys are d*** addicts and that it's comical to even picture them addressing track sequencing.
I will say a lot of the indie stuff in the first half of the decade definitely has worked its way into a lot of peoples essential canon. I have a huge nostalgia for discovering stuff like Beach House. You’ll see Bloom’s album cover on all sorts of favorite album lists right next to like classic 70’s and 80’s records.
or Teen Dream
You outright said these guys are d*** addicts and that it's comical to even picture them addressing track sequencing.
He was only joking haha
You outright said these guys are d*** addicts and that it's comical to even picture them addressing track sequencing.
That had nothing to do with them being black. Wtf?
He was only joking haha
The fact both of you jumped to “he must mean they don’t know what they’re doing because they’re black” is significantly more racist than anything I said.
or, a new generation just knew how to listen to it more than the previous generation
More than anything, Barter 6 feels like a 50-minute performance of what rap, as a form, can do: rap that need not transcend itself, towards High Art on one hand or commercial art on the other, in order to succeed in 2015. Thug’s rapping itself, known for its unpredictability, is sharper than ever; his voice feels clarified, strengthened. Take "Halftime", the most thrilling technical display here, on which Thug seamlessly snaps into a dozen different flows: casually extending the second syllable of "re-cy-cles" so that it threatens to throw the song off track entirely, pausing a beat, unleashing a quick guffaw, snapping back on beat. It's an almost-reckless balance-beam routine. He pauses only for an ingenious vocoder breakdown that melts his cries of "Havin’ the time of my muhfuckin’ liiiiiife" into semiotic ooze, suddenly giving the blood-red backdrop of the cover art an almost Lynchian cast, like the velveteen Black Lodge interior.
something like this could only come from someone who grew up with at least a passing interest in rap in contrast to
Though he’s a sharp, detailed writer, a meticulous craftsman and an influential stylist — as well as lifestylist — Jay-Z is not extremely expressive or innovative, and The Blueprint threatens at times to slide into monotony. This is not just because of his unvarying flow, but because he never turns it off. He rarely pauses to let the beat breathe, and has a bad habit of talking back to every sample. So when the sped-up voice (RZA-style) of Bobby Byrd sings, “You don’t know what you’re doing,” Jay-Z responds, “Sure I do”; when David Ruffin sings, “Never change,” Jay-Z responds, “I never change”; when Bobby “Blue” Bland sings, “Ain’t no love in the heart of the city,” Hova asks, “Where’s the love?”
I don’t really buy the idea of “knowing how to listen”.
The fact both of you jumped to “he must mean they don’t know what they’re doing because they’re black” is significantly more racist than anything I said.
especially since there are non-black rappers who do that s*** you were joking about like lil xan and lil pump
The fact both of you jumped to “he must mean they don’t know what they’re doing because they’re black” is significantly more racist than anything I said.
At what point did I ever say that at all?
I listed a bunch of artists I consider to have been great in the decade and defended Future and Young Thug as serious artists. Where the f*** did I ever bring up race?
especially since there are non-black rappers who do that s*** you were joking about like lil xan and lil pump
Yeah those two are the prime examples.
especially since there are non-black rappers who do that s*** you were joking about like lil xan and lil pump
Because we're always talking about those rappers in this thread? He name dropped thugger and future
At what point did I ever say that at all?
I listed a bunch of artists I consider to have been great in the decade and defended Future and Young Thug as serious artists. Where the f*** did I ever bring up race?
Are you not even conscious of what you just responded to. You were agreeing with Elric’s assessment of what I was saying.
All these albums are ones I really enjoyed for a couple weeks then never went back to. I should revisit
It's just driving or chilling music for me. Not something I actively pay attention to on re-listen like Swans or something.
Because we're always talking about those rappers in this thread? He name dropped thugger and future
I only mentioned them because they were on Galaxy’s list. My initial dismissal of a lot of modern rappers as dumb was not targeting Future and Young Thug specifically. I was more so talking about the Lil Xan’s of the world. Idk maybe the guy with a d*** in his name is who I was calling a d*** addict.
Are you not even conscious of what you just responded to. You were agreeing with Elric’s assessment of what I was saying.
I was responding directly to that quote about your initial dismissal of many artists fitting under that umbrella and I was not part of your little back and forth before that. Are you conscious of the fact that I was only responding to ONE comment rather than the precedings of the discussion which I did not comment on beforehand or agree with.
I was responding directly to that quote about your initial dismissal of many artists fitting under that umbrella and I was not part of your little back and forth before that. Are you conscious of the fact that I was only responding to ONE comment rather than the precedings of the discussion which I did not comment on beforehand or agree with.
Fair
Because we're always talking about those rappers in this thread? He name dropped thugger and future
I def don't agree with that but Fidel started out s***ting on "half of these new artists people hype up". His whole stance sounds exactly like someone who hasn't dug too far beyond the mainstream, even if that isn't true.
I def don't agree with that but Fidel started out s***ting on "half of these new artists people hype up". His whole stance sounds exactly like someone who hasn't dug too far beyond the mainstream, even if that isn't true.
I think my broader point was getting lost and I came off reductive because I chose intentionally provocative language as an attempt to be funny in my description. I said something similar about deaderic’s taste in modern rap in a copypasta a few years back that I remember some of you finding amusing so I was replicating the wording a bit.
It’s not the best decade for rap by any means. Not to sound like an old head but half of these new artists people overhype are d*** addicted morons who don’t have an artistic bone in their body who get by simply by having interesting producers. I feel there’s been an over corrective response in the last decade to annoying “real rap” dorks who care only for technical ability. There’s so much disposable junk rap in the 2010’s.