luka

Well-known member
he just says his lines really fast and all the internals and that arent really used. they dont do anything because he doesnt use them rhythmically and structurally. it's weird. it always sounds like he's just reading really fast off the page rather than trying to make a piece of music.
 

CrowleyHead

Well-known member
Devlin also looks like he's rotting away internally all the time.

There's nothing to it really, Devlin is just untalented and gets by because people are desperate to acknowledge White Talent in a way that's Overwhelmingly Logistical and Compensatory when it should be about a force of personality that overwhelms by embracing the outsider status. That's why Dogzilla was always better than Devlin.

Devlin literally looks 60 he's so blighted with desperation to be down, yet he raps like he voted Leave.
 

luka

Well-known member
luka said the same. it's no doubt 'changing-same' music, but that's what (when i'm at my most enamoured with it) i find so exciting about it. it's taken it's musical cues from lots of high energy music and turned them completely on their head to create this ethereal, disembodied, mediative music. that fact that most of the tracks sound the same; the same mumbling mcing, the same drums, the same piano lend to the music's mantra feel. it's womb music. listen to it the way you would listen to eno's 'on land' rather than how you'd listen if it was grime.

that being said there are some more charismatic/individual artists:






legendary post.
 

luka

Well-known member
do a drill typology.

based-drill/cloud-drill

devil-drill/redrum-drill

grime-drill

deconstructed drill/Cheshire cat-drill



who was going on about chesire cat on here recently?

reasons i didn't want it to be good.
1)south london prejudice
2)uk rap prejudice
3)stabbing/acid prejudice
reasons it got good anyway
1)the kids are alright
2)'continuum'
2)ive been living south of the river since 2014 adding my energy to the cosmic power grid. most powerful presence here since william blake was living in lambeth.
 
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Corpsey

bandz ahoy
I'm probably not catching nuances and will deserve a trilliam beat down by saying this but just to my ears there's still precious few MCs in this scene that are catching my ears more than the production.

Maybe it's something intrinsic to the genre itself, it's not about provoking reloads like grime was.:

Who are the best MCs ATM?
 

luka

Well-known member
did you see me and barti talking about the horizontal line earlier in the thread?

________
________________

_____________

______
______
______________


that's the way in.
 

luka

Well-known member
it's only just crystallised for me but i'll have a listen at some point and try and
explain what i hear with examples etc. and barty will say something incomprehensible
about time-signatures and the tressillo and how that patterns the vocals.
 

luka

Well-known member
i think what we need to do is get some lyrics and see how they're patterned
how the line is structured and measured, the speed of it and etc
because it is a different thing. there's this aspect of the overhang
and the suspension which is something i was alluding to
with the lines

____________
_________
______
____
__
 

luka

Well-known member
i think it's even worth thinking about the word 'diligent'
the pleasure of that word, the speed and the balance
of that word and why it is so prominent in drill.
 

luka

Well-known member
these little compressed rat-a-tat knots of rhythmic information

Shotgun diligent
Ku quef like I ain't missing him
Clap that ting see nuff opps clinging it
Opp thotty on me man's drilling it

https://genius.com/Zone-2-no-hook-lyrics

diligent RAT-A-TAT
like i aint RAT-A-TAT
missing him RAT-A-TAT
clinging it RAT-A-TAT
 
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luka

Well-known member
there's lots of these beautiful arrangements of monosyllables

pah-pah-pap pap pap

it's actually very beautiful. and you also have these words, like diligent, that do the same thing, very rhythmic, short, snappy syllables that make little rhythmic patterns by themselves
 

luka

Well-known member
becasue silwood nation exaggerate this and the speed of it it's maybe easier to hear in their music
although maybe the speed of it obscures it because you don't get the same use of negative space.
 

luka

Well-known member
they're not always totally keyed in, sometimes just a few moments in a verse where the placement of syllables is so perfect and artistic and aware

 

luka

Well-known member

it was mistersloane who told me to check the genius for this one

https://genius.com/Splash-music-group-smg-olympic-chinging-lyrics

see these little patterned energies

I don’t do Netflix and chill
I get uck, mash bands and drill
I see man dash, dash, trip, splash, back start spill

pap pap pap

the writing does that. in the way it strips back the sentence to bare bones.

Please don’t panic
Cock back, slap it
Qwoof, qweff, splash him
Russ, splash addict

Chase him, hope I don’t lose him
Gruesome, shoot him up and go move him
Who’s indoor? Get booting
Gruesome, olympic chings for a human

Two hands, one eye, chest high
Can’t lie, big Russ won’t miss him

that last quote in particular is a tightrope act. there's lots of that sort of thing about. listen out for it.
2-2-2
2-2-3 basically
 
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luka

Well-known member
i havent analysed this to make sure but my sense is that migos use triplets in a much more symmetrical and stable way so you dont get the same dynamism and sense of suspense, (the tightrope act)
the overhangs and precipices. that's what i means about the kinetics of it.
if we go back to

Shotgun diligent
Ku quef like I ain't missing him
Clap that ting see nuff opps clinging it
Opp thotty on me man's drilling it

the third line is a great example of this where in

clap that ting see nuff opps

every word is distinct and in its own space, vibrating in its own field of tension whereas

clinging it

is rolled into one so you got two different tempos in the one line. i really really love it and admire it.

(this is me setting barty up to talk about drums...
 
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