Daringer

"Lloyd Banks Assists on Conway Campaign to Prove that He's the Grimiest, Ever" (AFH archive)

First published at Ambrosia for Heads, 29 September 2017, read the article on the AFH site

That highly distinctive deep-atmosphere, kept so twitchy and tense, that defines the Griselda Records sound is on full display in “Bullet Club” – the first single taken from Conway The Machine’s upcoming G.O.A.T.  The track sees him paired up with G-Unit MC Lloyd Banks and fellow Griselda affiliate Benny.

Produced by Griselda beat-maker Daringer, the track perfectly captures the menace we now associate with the Buffalo, New York crew.  “Ni**as know something, don’t play stupid…” the sample at the start begins, setting the scene for Conway’s more measured than usual verse, against the trademark hysterical laughter and simulated gunfire.

Conway addresses the listener, or to be more accurate, the competition directly, telling us he’s “dropped the hardest tapes since ’94.” And that even though his face might be “twisted,” no other rapper can “spit it the way [he] spit it.” At one point, Conway challenges us to come up with a name equal to his, even stopping for “a minute” – literally. This adds a humorous touch to his earlier riff on people getting stabbed in the face and all the other elements that typically make up his dark musical head-space.

Lloyd Banks, who with 50 Cent dominated the East Coast Gangsta Rap game through the 2000s is fully at ease here with this next generation kindred spirits, setting it up perfectly for Griselda stable-mate Benny to close, as he makes a strong showing.

According to Mass Appealwho premiered the songG.O.A.T. will feature involvement from Alchemist, 9th Wonder, Styles P, ScHoolboy Q, Anderson .Paak, Royce 5’9”, and Westside Gunn.

"DOOM & Westside Gunn are the Bad Guys on New Collabo" (AFH archive)

First published at Ambrosia for Heads, 27 September 2017, read the article on the AFH site

Few would expect that DOOM would be taking on the straight role as he does in this vaudevillian Rap High-Art wonder, “Gorilla Monsoon,” produced by Daringer and more than ably set up by the unhinged prevarications of Westside Gunn.

Ayo/Ayo” Westside Gunn repeats in his squeakiest voice ever, alluding to himself as if he were Dorothy, far, far, far away from Kansas. “Ayo, I was in my cell, I clicked my heels three times / P Just 2’s, my khaki suit mastermind / Water whip, tossed the coke in the alkaline … Immaculate rhyme (Immaculate rhyme) / It’s so obvious / Watchin’ the world from up top / Snakeskin binoculars.” It’s hard not to be impressed by an MC that rhymes “obvious” with “binoculars.”

Stoned immaculate, the Buffalo, New York little brother sounds quite strange here. His helium-maniacal delivery is buttressed by the pure creativity of the Daringer beat, drenched in a tacky ‘50s B-grade movie vibe, but it sounds like he’s spinning about lyrically – letting off sparks.

It’s funny too, as Westside Gunn enunciates his rhymes with such an earnest style that sounds pre-adolescent: this is not an insult. He spits with great enthusiasm: “My bedroom had a bedroom, my wrist be dancin’ / My bedroom had a bedroom, my wrist be dancin’ / The flyest that’s livin’, we live and die by the kitchen / Choppin’ on dishes, rack the puff in…

In comparison, DOOM’s verse comes across as relatively sedate and even seems to make some sense. Unlike Westside Gunn’s verse with all its trademark Griselda interruptions – all the “skrrrrrtttt” and “Pow-pow-pow-pow-pow-pow-pow” and “Drrrrr” and “Du-du-du-du-du-du-du-du…” – DOOM’s only has a subdued “yup” and “psst.”

DOOM seems to be taking on the older statesman role here, surveying the contemporary scene. His closing words are typically elegant, albeit with opaque references: “What’s revealed is of a certain feel – growth / Yellow moist mushy, banana peeled coke / At worst, could not be confused with real soap / Nope, you see disaster is intended / In the face of truth, don’t ever be offended….Overstand the past to get a grasp of the present (psst) / I make it faster than you spends it / End it.

What is particularly nice on “Gorilla Monsoon” is the way the musical mania is sustained by Daringer, in a way that supports the MCs’ imaginative flow. It never lets up, even while the drums are relatively relaxed and laidback.  Occasionally, there is a drum-roll, just for show almost, but it’s the wall of wavy sound that creates the highly cogent and distinctive mood that is almost beyond words.