![]() Take, for instance, lead single “100 Grandkids”. This optimistic outlook leads many of GO:OD AM’s best tracks. Little bells glisten amongst paranoid synths, accompanying a standard fare of hi-hats and snare claps while pitch-edited vocals flow through the background suggesting that anybody who tries to “bring down”, as the song says, would err in trying. On “Celebration”, for example, he follows up a smooth Miguel-assisted track with an extremely involved beat that comes off as an effortless production. He uses this length to showcase his celebrated ear for production, with intricate beats weaving his narratives better than the faux-gloss of Blue Slide Park ever could. He hasn’t exactly toned down his output with the album coming at a meaty 17 songs and an hour-and-ten-minutes runtime. The music he made whilst under the influence of drugs, most notably manifested on his 2014 mixtape Faces, on which he showcased substantial technical progress as a rapper, relied too heavily on the drug talk for a mixtape that spanned over twenty songs. Who could’ve imagined that the sophomoric, unlistenable Blue Slide Park was just a precursor to some of hip-hop’s most interesting releases? What clairvoyant saw the kid actually using the rhyme scheme “hat/that” as capable of Cam’ronian internal rhymes and flows that could extend multiple lines? From seemingly emerging as marijuana mastermind Wiz Khalifa’s similarly weed-loving sidekick to holding his own with friends and highly-respected MCs Ab-Soul and Schoolboy Q, Mac is acutely aware of his musical growth, and, continuing from his previous, sometimes great album, Watching Movies With the Sound Off, he nods towards substantial personal growth, too. Mac Miller is, without a doubt, in contention for the most improved rapper of all time when examining careers arcs. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |