If you played this album to someone who didn't know Carnage and told them it was Rap Caviar, they probably wouldn't guess you were messing with them until track seven. With Battered Bruised & Bloody, Carnage's EDM past has gone entirely out of the window save for two instrumental songs that are thrown in the middle of a rap album with little warning. Last year's Young Martha EP with Young Thug was his most rap-centric work yet, with the tropical-house-y " Don't Call Me " the only of the four songs that could even judiciously be called dance music. Two Lil Yachty collabs ("Rari" and "Mase in '97") showed his ability to fit in with each of SoundCloud rap's tranquil and abrasive poles, respectively. " WDYW ," released in February of that year, still sounds a little like an EDM/rap hybrid (specifically, A$AP Ferg's "Work" with more low end), but his debut album, released that October, brought with it the OG Maco-featuring " The Mud ," which could at least pass for the work of a forward-thinking Atlanta rap producer.Ĭarnage has only leaned harder into hip hop in the past three years. In 2015, Carnage started blending in more with rap production. and MSTRKRFT's "Bounce." Carnage had already pulled that move, outfitting G-Eazy with "Harlem Shake"-era trap-rave on 2012's " Loaded " and Migos with an even more jacked-up dance tent sound on 2014's "Bricks" (Obviously, there's no trap-rave without trap-rap, but that's an entirely different essay). I'm not talking just collaborating with rappers- electronic artists have been throwing rappers on dance beats with regularity since the bloghaus era gave us stuff like Kid Cudi and David Guetta's "Memories" or N.O.R.E. Somewhere around the beginning of 2015, it became clear that DJ Carnage was getting serious about rap production.
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