The music critic Ben Ratliff terms this quality, “wasteful authority”. It’s also a perfect example of the sheer resourcefulness and musicality of Thug’s speech. You can almost sense a change in the atmosphere after its done.
#Young thug slime season 3 release date free#
He commands the shape and movement of the instrumental by throwing himself, with devastating ease, into all sorts of impossible, undiscovered gaps and breaths in the beat, practically deconstructing and rebuilding the tempo and structure from within, his voice stretching and snapping in all sorts of weird and wonderful contortions, as if trying to break free of itself and go in search of a new host. "Drippin’", for example, might be one of the most singular, arresting displays of Thug’s multifaceted rapping ability. Thug’s vocal delivery is as inimitable as ever, even If lyrically or conceptually it seems more disparate - lacking the madness and mystique of SS2, or the fragile sadness of Barter 6. Elsewhere, London on da Track furthers his case for being one of the most interesting and versatile producers currently active (Thug has said he has the potential to be one of the best ever), conjuring the absolute divine on "Worth It" (the first twenty seconds alone are sheer bliss) and invoking the stuff of gothic horror romance on "Tattoos": jangling keys, plucked strings, crescendoing, choir-like harmonies. "With Them", might be one of the most expensive-sounding and decadent instrumentals he’s rapped over, and "Drippin’" – an instrumental in properly absurdist Young Thug territory and the coolest thing on the tape – has this frantic stomping quality, similar to "Beast", that builds progressively between bursts of thick cascading tom-tom rolls. Instead, that energy has been redirected at constructing bigger, clearer, more completed sounds. There’s nothing quite as surreal or disjointed as "Special" ( I’m Up), or as sparse and distorted as "Quarterback" ( SS1) here. Like any great master of mixtapes, his art and process are things inseparable (if The Life of Pablo - as some critics discerned - was “process-as-art”, then for Thug process and discovery is style, as well as everything else), each release marking a small but important stage in the evolution of his craft. The call for Young Thug to refine his output, to rein in and concentrate his ideas seems to miss the point of his music entirely it both defies and transcends conventional formatting – the heavy, old fashioned, clunky work of album-making. Which is odd, because it’s not coherent at all really – not in any thematic or conceptual sense - and neither was I’m Up. SS3 is also short (only 8 tracks in total), and it too will be described in terms of coherence, structure, focus. Where this implied coherence was supposed to be emanating from was confusing. Truth is, at nine songs, I’m Up was just short.
When I’m Up dropped out of nowhere in February, critics were quick to label the effort a coherent departure from the sprawl and quixotic energy of the Slime Season 1 and 2 mixtapes, implying they somehow suffered from an excess of ideas – which was, instead, precisely what made them - and 2 in particular - so endlessly fascinating. He doesn’t need or care for any of it his content sustains itself in its own unique and mysterious orbit. His videos aren’t particularly memorable (‘Best Friend’ being the exception) and his social media output is not interesting at all.
And while the likes of Drake and Kanye West masterfully manipulate the climate surrounding their product and their material, in a way that borders on performance art, it’s Young Thug’s music alone that generated the anticipation and subsequent impatience surrounding Slime Season 3. But Young Thug isn’t normal, and his success rate is nothing short of frightening there really isn’t much in his vast and sprawling back catalogue that sounds tired or overworked.
Ordinarily, the most hyper-productive artists go through a sort of seasonal slump in the quality of their material – which is fine, and totally normal. There were periods throughout 2015 when if felt like he was dropping new music everyday, while an endless stream of material was leaking unofficially online.
0 kommentar(er)
