But there was something hypnotic about it, too: By the time you got through with “Versace,” for example, you’d heard the title so much-nearly 200 times-the word felt atomized, more a weird collection of sounds than something with real-world meaning. The triplet rhythms, the staccato flow, the way they crushed their syllables up against the front end of the bar and capped their lines with ad-libs that flew by like buckshot: It was a sound that felt like a hotline into rap’s id. Within months of Migos entering the mainstream with 2013’s “Versace,” it felt like the group’s style was everywhere.
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