"Diamonds" has a similar feel, with gunfire, horn and string stabs, and a manic carnival-ride synth line all rolling out like evenly spaced 8-bit Donkey Kong barrels. "Hallelujah", also produced by Young Chop, is one the album's more involved productions: Its blaring horns gesture towards Waka's "O Let's Do It" over Hammond organ licks that feel smuggled out of Houston rap. There's an unquantifiable line separating the maddeningly catchy from the simply maddening, and Keef has a natural knack for walking it. And in addition to succeeding on its own terms, it proves that Keef has a lot of potential- much more than his detractors might have hoped.īased on a simple four-note earworm, the hook on album opener "Love Sosa" has the feel of something sung under the breath, and after hearing it once or twice, you'll probably find yourself doing just that. Finally Rich benefits from some professional tweaks in the mix, but otherwise leaves Keef's sound untouched. Fellow Chicagoan Kanye West found that out the hard way when his Michigan Avenue makeover of "I Don't Like" was given a public dressing-down by Young Chop the day after it hit the web. There's nothing to add or subtract to this sound that could substantially improve it. Young Chop's crisp snares and hi-hats mimic Lex Luger's (minus the tricky syncopation) while Keef mutters through a thick wall of processing. If Waka Flocka Flame woke up tomorrow utterly drained of the will to live, he might sound like Chief Keef - all the unilateral forward motion and aggression, none of the audible joy. But he established a simple sound that proved powerfully effective and addictive, and he also showed that it was a sturdy enough blueprint to support multiple songs. His youth, his rapid rise, and his association with Chicago's epidemic of gun violence made him 2012’s flashpoint for discussions about what was wrong with hip-hop. Chief Keef's music sparked a lot of arguments this year.
0 kommentar(er)
