Gh0stboy: Red Ep.2

Something strange occurred at the turn of the millennium.  A strange mish-mash of rock genres fused together, into one all encompassing rock genre. It was a rock genre that synthesized frantic energy of punk, the melodic guitars of The Smiths, the guttural screams of metal, and the depressed lyrics of alternative rock. It was new, it was strange, and it was at the top of the charts.

I am of course talking about emo. Emo has taken on a kind of negative connotation. Even when it was first termed, the pioneers of emo rock despised being called “emo”. After all if you’re a hardcore punk band, and you’re labeled emo(tional) hardcore it’s kind of insulting. Imagine whatever genre of music you specialize in, then imagine some asshole music reviewer calling it emo-(music genre). It’s beyond perplexing. Isn’t all music emotional? Why is it a bad thing to be emotional? Isn’t the goal of music to express yourself? Now some journalist just called the way you express yourself, “emotional?” Who wouldn’t be pissed off at that?

Now take that bizarre label, then add some teenage angst to the mix, sprinkle in some consumerism, and what was before a sincere music genre becomes a commercialized suicidal death cult. It got to the point where I knew that if someone wore an Alkaline Trio t-shirt I could tell you their favorite movie, their favorite store, their hobbies, hell I could even tell you their socioeconomic background. Then, of course, like anything in the entertainment business, if one thing is successful, then there has to be 1 million copies of said thing.

Emo became bland. It become mediocre. From what was once a deeply personal, emotionally expressive music genre, became the soundtrack to every teenager slamming the door on their parents, “Because they just don’t understand me!” Teenage angst maybe profitable in the short term but eventually teenagers grow into adults. Then the whole, “Fuck you Dad you just don’t get it!” Turns into “Holy shit I was such an asshole to my Dad.” That’s how angst turns into cringe, which turns into all of us being lame adults.

So now we finally get to Gh0stboy’s album Red Ep.2 . Which when listening you can hear a lot of those old Emo band’s influence. Yet it’s morphed, and mutated into something wholly different. After all Emo is dead, along with Myspace, and flip phones. Yet it’s when a genre is dead, and other artists have time to reassess things when art becomes interesting.

Take synthwave for example. If you were to invent a time machine, show synthwave to someone in the 80’s and they’d have no idea what the fuck you’re listening to. Yet synthwave is inextricably tied to the 80’s. Now why is that? Well it’s because time has passed, fans of 80’s music sieved through the shitty part of 80’s music to find the golden nuggets that made 80’s music so endearing.

Likewise, Gh0stboy is accomplishing the exact same feat with Red Ep.2. For example if we take the opening track, Hart Filmpje. It doesn’t remotely resemble what we would consider, “Emo” music. It’s atmospheric, dark, ambient, experimental, etc. All things that emo music could have been, yet never explicitly were. Yeah you could say songs about cutting yourself, suicide, and blah blah blah are dark. Hell even some emo guitar riffs are really dark.

Yet there’s a world of difference between sinister guitar chords, and a sinister atmosphere. While one sounds sinister, the other envelops you in a sinister environment. Or a better comparison, it’s the difference between a jumpscare, and The Shining. While one is a director showing off how he can make his audience jump out of their seats, and fling their popcorn in the air. The other director (Kubrick for those who didn’t know) creates an atmosphere that lingers with you for days. It gets into your psyche and disturbs you. It makes you bring a flashlight to a dimly dark room, checking every corner of the house, and haunts you in your sleep.

If we go further with the horror movie comparison, it can be said that The Shining is a slasher flick. After all it’s a crazed man wondering a hotel with an axe. Yet at the same time to categorize it like that would be missing the mark. It’s the same principle with Red Ep.2. While yes, it could be seen as being emo, it’s missing the mark. It’s an artists own interpretation of all the great bands we grew up listening to, and god damn does it sound good.

Which brings me to my next point on reviewing this album. This album isn’t really a typical emo album. Sure there are rock songs in it, yet you can hear A LOT of cloudrap influence. In fact it gets to the point where this could be categorized as cloudrap. Yet I’m not going to do that, and it’s mainly to illustrate a point. That point being that emo music died because it refused to adapt.

Let’s rewind a bit, and go back into the mid 00’s when VH1 was having a special on the history of Heavy Metal.

Now the interesting thing about this documentary is the transition of Hair Metal to Thrash Metal, and then the saga of Metallica being sellouts and playing a more melodic sound. Which is coincidentally what Hair Metal sounded like, albeit with less makeup and hairspray. But what was really interesting was how ardently defensive they were on their definition of Heavy Metal music. How Van Halen’s Jump was garbage because it had a synthesizer, how Punk was too political and wasn’t Metal enough. Then at the end nearly every one of those Metal elitists joined arm in arm to praise Nu-metal. The most cringey genre of music humanly imaginable.

Now we get back to Gh0stboy’s Red Ep.2. Immediately after the first track you’ll begin to notice the amount of collaborators, producers, and other groups. Where usually the criticism that “Too many cooks in the kitchen spoil the dish” is a pretty good rule of thumb when judging collaborators on an album. Yet this principle does not apply here. In fact listening to each individualized track is a complete joy, not only for the song quality, but each interpretation of the genre.

Which should be every musicians aspiration when making an album. Just think of how many times you hear actors complain that they don’t want to be typecast into a role. Yet for some reason when it comes to music, musicians have no qualms whatsoever about being pigeonholed into one genre. Not only that, but they get angry when another artist strays away from that genre!

So now we get to the individual tracks, starting with Breaking Free (prod.madatracker) which starts with that stereotypical emo sound. With the melodic melancholy intro, to the the heavy distorted chorus of guitars. The vocals carry that kind of anthem for adolescent angst, with morose lyrics, and a chorus that just rouses the rebel in all of us. While yes, it is one of the more straightforward song in terms of it’s influences it still shouldn’t dissuade you from listening to it.

While the first song was kind of a shock to the system, Breaking Free (prod.madatracker) brings you back to a familiar state. Because after all if every song was like Hart Filmpje then this I wouldn’t be talking about emo rock. I would be talking about electronic ambient music. Yet because Hart Filmpje exists, followed by Breaking Free (prod.madatracker) it does something to the listener. Which is, it expands their perception of what an emo album can be, or even what a modern music album can be.

Take for instance the common tv/movie trope of the “Fish out of water main character.” It’s something that we as an audience take for granted, when exploring say film, novels, video games, or any other fantasy world. Look at Harry Potter for instance, imagine for a moment that he was brought up in the wizard world. Imagine how much exposition would have to be delivered to explain what a muggle was, that wizards exist in our world, that they send kids to a magical school with a Cerberus in the basement, whatever the fuck quidditch is, etc.

The basic idea is that the audience needs a character to relate to, something familiar for them to understand what is going on. Because no matter how imaginative the world is that the author created is, we still need to know what’s going on. Hence the “Fish out of water main character trope.” Which is exactly what Breaking Free (prod.madatracker) accomplishes. It’s a song that is familiar to us, and something we can latch on to. Yet as strange as the first song is, it sets us up to understand the rest of the album. That this is an exploration, an “Expanded Universe” of emo music.

Which brings me to my next song, Dark World (prod. L I L C L O U D I E ). This is the song where the album gets in it’s groove. While the two other tracks were both great songs, they served a sort of secondary purpose of showing the audience what they should expect in this album. This is the song where we get to see those expectations realized. 

From it’s moody, dark, melancholy guitar intro, to it’s trap influenced beat. This is the song which shows how Gh0stboy is willing to fuse together different genres, and work with other artists who are willing to experiment. Yet this isn’t like Nu-Metal where, “Hey let’s just rap over loud guitars!” Because there’s a lot more finesse that’s required to fuse together music genres.

So what’s the best way to fuse music genres? Well first look to the music aspect of it. Remove a singer/rapper’s vocals and I guarantee 99.9999% of people will recognize what genre of music that song belongs to. So if we were to go to rock music, what’s the most important instrument? What’s instrument that everybody pretends to play when listening to a rock song? It’s the guitar. What about hip hop? What’s the guitar of hip hop? Easy, it’s the beat. If you don’t believe me then listen to Dave Chappelle. So theory holds if you have a good beat, and a great guitar then it’s going to be a great fusion. Which is what this song accomplishes.

Next up we have Poltergeist (prod. D – Low) which further cements Gh0stboy’s hold into hip hop. From the creepy synths, to the beautifully distorted bass, and clear cutting percussion; everything sounds amazing. Then you have the vocals which are so well double tracked, and produced it creates this fun spooky environment. It’s such a cool song with the creepy ambience and just fucking amazing bass. It’s the kind of music that goth kids would walk slow motion down the street to, like in Reservoir Dogs, looking all badass.

Then we go to Past And Present (prod. Rodger) which is one of my favorite tracks I’ve listened to in a long time. Mainly because of that guitar/synth tone, or that melancholy atmosphere that reminds me of Silent Hill 2 which I’ve already written about how much I love that album. Even the lyrics about running away from your problems, combined with the melancholy atmosphere of the music just works perfectly with me. 

Which in all honesty, I don’t think this track which I enjoyed so much would have been possible for any of the emo bands I listened to growing up to make. From the weird distorted synth/guitar melody, frantic hip hop beat, and even the vocal performance with it’s emotional falsettos. Every single thing comes from a variety of influences. Yet they all work together to create this melancholy song about running away from your problems. Could you imagine My Chemical Romance, Hawthorne Heights, or Alkaline Trio using a hip hop beat? Or using that bizarre guitar/synth tone? No, they limited themselves, and while they made great music, I don’t see many kids wearing MCR t-shirts or listening to Nikki FM. Which proves to show, if you don’t look for every tool at your disposal, then no matter how hard you fight it you and your art will be forgotten.

With our next song, Red (prod. CASE B1ZZIE), we have to go back to the VH1 documentary on Heavy Metal. The whole documentary seemed to have this destination of Heavy Metal becoming more heavy, more brutal, more harsh, etc. They lampooned Van Halen for using synths, Hair Metal for being too commercial and pop sounding, and Metallica for making acoustic songs. Yet, not once did they ever mention using, say, different instruments, or using different techniques to sound heavier.

Red (prod. CASE B1ZZIE) is the song I’d show to any death metal band to illustrate how can be heavier by using a synth, samples, etc. For example let’s take electronic music, with the advent of Electro Punk, Death Grips, and even Dubstep. Electronic music has found a way to capture the same heaviness that was only reserved for heavy metal. In fact it creates a whole different feel, and aesthetic.

Take this track for example, it sounds like the ambient music of a nuclear holocaust. In fact the 808’s in this track doesn’t clash with the heavy metal sound of the song. In fact having 808’s in what would usually be a pure metal song only enhances the heaviness of the track. And if you want to purity spiral into being the heaviest sounding rock band, wouldn’t it be in your best interest to use tools that make your music sound heavier?

Next up we have My Oasis (prod.gangabeats) . This is the track where we can see not only how Gh0stboy is willing to experiment with different sounds/ambience/moods but how he can write a song that is thematically tied into the sound. The first thing right off the bat that you notice with this song is that great western sounding guitar. Well, not really a western guitar, but one that is used so often in media about westerns that we associate that kind of guitar sound with westerns. It’s like Johnny Cash’s albums made with Rick Rubin, while not sounding like a typical Johnny Cash album, all of those albums are still the most Johnny Cash songs ever made. 

Likewise the guitar captures this dry barren feel to it, and then Gh0stboys lyrics about “My Oasis” about having this emotional isolation. All of this works in tandem with that western acoustic guitar, that suggests this hot desert. The electric guitars sound dangerous, and the beat sounds like thunder in the sky. Then there’s the threatening lyrics about those who enter Gh0stboy’s oasis. None of this would work if the music didn’t create such a desolate environment. Change any aspect of the music, and I guarantee the lyrics, as strong as they are, would buckle down from the dark themes that are explored.

So now that we’ve addressed how Gh0stboy can write great lyrics, now we have to see how good he is at delivering them. Bringer Of Light has some of the best vocal performances on this album. Usually when Gh0stboy does falsettos he has that type of voice where you can hear a note off key, or some bizarre phrasing yet it’s so quickly corrected that it becomes a non-issue. Kind of like when you’re listening to some Post-punk, Brit-pop, indie or garage band where vocal virtuosity isn’t the center point but rather the emotion that’s conveyed with the vocals. It’s of course an acquired taste, and the argument could be made that while Ian Curtis couldn’t sing a Freddy Mercury song. Yet at the same time Freddy Mercury would be out of place in a Joy Division song.

With that out of the way, the falsettos in this track are done so incredibly well, and the harsh rap vocals in the beginning mesh beautifully with this smooth, harmonic, falsetto. Everybody notices the loud/quiet dynamic of, say the Pixies, but very few artists experiment with harmony and cacophony. We can say it’s rewarding as a listener to listen to a Pixies song, and hear the quite somber mood evolve into this loud grungy chorus. Yet there’s even a greater reward when an artist makes something that sounds unsettling, and morphs it into something beautiful. Which is exactly what Gh0stboy has accomplished in Bringer Of Light.

Then we get to the 9th song of the album, Number 9 (Prod Rise From The Ashez & Axiom). This is probably the only song I believe in the whole album which kind of failed on its premise. The reason I say this is because the intro is so strong, so emotional, and brings back those nerdy memories of HAL being disabled in 2001: A Space Odyssey and the Master’s final speech in Fallout. The reason, personally I find it kind of disappointing is mainly because it would have explored themes that aren’t really present in emo music. While yes, the lyrics fit thematically with the rest of the album. The intro of what sounds to be a dying robots last words, juxtaposed with a heavy rock soundtrack, doesn’t really work for me. It’s one of those things where it either has to be cut out, or further developed.

Better yet, I’ll provide an example to illustrate what I mean. Imagine you’re watching a science fiction movie. The opening scene has this really emotional scene about an astronaut’s robot being disabled. Tears are falling down off the astronauts face. The robot tries to reassure him, and slowly his words fall off into a stream of gibberish, as the robot just repeats his name over and over again. Then BAM! Jumpcut! To an army invading a castle in 1208 and now it’s a historical drama. No matter how well done the science fiction or historical drama of the film is, because there wasn’t a thematic link between them it doesn’t work. There needs to be a theme behind it.

Or in this case since we are talking about music, there needs to be a motif. Some piece of music that carries over between the two parts. While the heavy metal sound of the rest of the track works really well, and Gh0stboy has some fantastic screams. The beginning sets it up for failure. Which is an easy fix, and still deserves praise for the very least being bold enough to experiment with music.

This Fear (prod. NeighbouR Beats) on the other hand succeeds where Number 9 (Prod Rise From The Ashez & Axiom) fails. Not only that, but it shows off how well Gh0stboy can rap. Yeah, I bet I didn’t think you’d expect that. But everything works well here the intro fits perfectly with the rest of the track. The apathetic vocals in the beginning contrast well with the frenzied rapping. The creepy atmosphere of the synths, and 808s. Everything just works, and shows how well a song can sound when it follows through with a single theme. 

This song is also perfect for showing how far emo has come along. With the advent of cloudrap, and the 2020’s soon approaching. Emo eventually is going to be in vogue. With artists like Lil Peep, $UICIDEBOY$, and XXXTentacion emo has infected hip hop. Yet we all have to remember this isn’t about emo becoming rap, or rap becoming emo. Rather it’s artists who are realizing that there are more tools at their disposal. Which is why it’s important to recognize what Gh0stboy is accomplishing in this album.

Now we get to Dog (prod. PENTA) which is 2 minutes of the heaviest, most vicious music I have ever heard. From the guttural screams, heavy distorted screams, and hip hop beat this is the most perfect song to illustrate what I mean by using every tool at your disposal.

Let’s do it like this, say if you as an artist are tasked with making the most aggressive sounding song. How do you do it? What tools do you use? I’m pretty sure that any musician has a thousand different ideas of what they would use. Yet most of the time those ideas are never put into fruition. Why? Because somebody is limited to genre. They’re tied down to their tropes. Yet here is Gh0stboy using every genre, sub-genre, humanely possible to make the most aggressive sounding song humanely imaginable.

Finally we get to Eyes (prod. Ichiban) which has that Yung Lean kind of mysterious intro. Then we get those thudding 808’s, and aggressive almost metal sounding vocals. This is by far the most hard hitting, and yet ethereal track. That combines this melodic dream like synth with harsh vocals and 808s. Yet it’s the most perfect track to end the album on. After all listening to this album, and hearing all of the various influences of different bands, genres, and subgenres. It’s great to hear something so unique, so special, as it’s finale.

Now a lot of what I wrote could seem hyperbolic, after all I am sure there are a thousand emo bands who explored the themes that Gh0stboy has explored. In fact I’m willing to bet that some emo bands even used the same musical genres to express themselves. I’m sure that there was an ambient electronic soundscape of a song in at least one emo bands catalogue. Yet that’s not the point of this review. This review is more about how to approach a genre. How to stay fresh, and to innovate. To keep your music interesting, take it into bold, new, emotional frontiers. As well as knocking down the barriers between genres, which more often or not, limits an artists ability to create.

There’s no other album which does this better than Gh0stboy’s Red Ep.2. As an artist your first, and most important mission in making music should be to express yourself. To do that effectively, and sincerely you need to use every tool at your disposal. A feat which Gh0stboy and his collaborators nailed on the head.

With his ability to give us this expanded world of emo music. I give this album my full recc. Definitely check this out.

YUNG CHUCK: His whole entire soundcloud page

You know when you’re browsing youtube late at night. You’re watching some minecraft videos, and before you know it you’re watching some freaky shit. Whether it’s pimple popping videos, people acting crazy on police cams, weird schizophrenic streamers, we all have gone down that rabbit hole.

I’ve only touched on youtube, but I believe I’ve found the weird part of soundcloud, and God damn is it amazing. YUNG CHUCK is an enigma wrapped in a mystery. At one point he will floor you with his creativity only to say, “Fuck it, I’m going to throw in random anime samples because why not?” It’s that kind of mystery in an artist that has everybody intrigued, where the thin line of genius and insanity is so razor sharp thin.

Now obviously since I’m not doing a review on an album but instead an entire soundcloud page this is going to be different than most reviews. I’ll mainly just be using songs to illustrate my point.

So let’s begin with weeoweeoweeo first off the name should kind of give you a hint as to what artist he is. Nobody who is trying to “make it” in the conventional sense would ever name their song weeoweeoweeo, unless there is some untapped market of people looking up nonsense song titles. Secondly one of the really interesting parts of YUNG CHUCK is that he will establish such great ideas, only to abandon it, destroy it, or let it devolve into gibberish.

Which is so refreshing to hear. As I’ve said before, yeah sincerity is a great thing to have in music. But if we look to the Kurt Cobain’s, Tupac’s, Jimi Hendrix’s, Jim Morrison’s we’re only going to kill ourselves or get killed. When an artist takes something so personal, and individualistic as music and completely makes a joke out of it, you’re either going to be pissed or laughing your ass off by the sheer audacity of it.

So to begin with this track begins with weeoweeoweeo and then there’s this vicious synth, and these edgy lyrics which you will hear so often on cloudrap. Then he raps about his nipples. It’s at this point where if you don’t get what he’s doing then please invest in my magical healing crystals on Ebay I really really need the cash.

Now the beginning of that song is so well executed (besides the weeoweeoweeo). It sounds so much like that edgelord cloudrap that you hear all the time. That YUNG CHUCK really shows his hand that he is more talented than you would be led to believe. In fact I would place money that he could easily make that kind of edgelord trap music, but the fact he abandons it so easily kind of shows the fragility of that particular music genre.

Nearly every aspect of this song, and nearly every aspect of every other song he does is almost a commentary of the state of underground music. Where anime samples are overused to death, males bragging about some false sense of machismo, edgelords being edgelords, etc. Because as soundcloud artists would like you to believe they’re popping Xanax, shooting cops, and catching up on the latest episode of My Hero Academia. It’s all nonsense, nothing on the internet is real, and yet people will still slop this shit up. Which is why in those song in particular I love the Jimmy Neutron Carl sample, almost so anti everything that soundcloud rap is, that is in and of itself is hilarious.

Now if you don’t believe me that YUNG CHUCK isn’t a talented producer then listen to Harvey Bean (beat)  which sounds so amazing. It’s the kind of song you want experimental hip hop to sound like. The song borders on being a cacophony of noise yet at the same time being so incredibly harmonious. It’s this kind of song where you see what YUNG CHUCK would be if he wasn’t poking fun at soundcloud, or just having fun on soundcloud (I have no idea what his motivations are.) Whether it’s crafted on a DAW or he uses samples, the point remains that it sounds amazing.

The same principle can apply to Achieve Nirvana which has this amazing rock track. Whether it’s sampled, or handmade is irrelevant. Since the does such a great job of switching between genres, beats, vibes, etc. And it all sounds amazing.

Which brings me to my next point. Remember when I wrote that article about Cringe? In that article I wrote that artists will purposefully sound mediocre, and goosestep in line because they’re so afraid that people will ridicule their music. Which is something so incredibly annoying, and draining to music as a whole. Yet YUNG CHUCK is probably the most fearless person I’ve ever seen online in my entire life.

I can’t tell you how many artists I’ve seen take professional headshots, go to photoshoots, pay people money to get “Professional” music videos, and all of it to look “legitimate.” Then there’s YUNG CHUCK in a school girl outfit. Which I love so much. There’s nothing more satisfying than seeing someone dump a bucket of ice cold water on a party. Especially when everybody takes themselves so seriously.

Yet what’s truly ironic is that YUNG CHUCK is succeeding more than these wannabe “Professionals.” Why? Well, if you’re in a creative field and you want to be successful, then why don’t you–I dunno–BE CREATIVE!

So with everything his image, to the music he makes, the bizarre lyrics, to the absurd samples. Everything is just a breath of wild and crazy air. That you cannot help but enjoy. And if you don’t enjoy it, then you don’t get it, and you’ll need to reread this whole entire article all over again.

With his unique approach to music, his image, and everything else. I can’t help but give this guy my recc. Check him out, and hopefully you’ll get as much joy out of him as I did.

Ryan Deranged: Deranged EP

There’s been this kind of desire in music for awhile now. It’s like when Kurt Cobain said, that he wanted his band to be vicious like Black Flag, heavy like Black Sabbath, while poppy and melodic like the Beatles. While other bands had done it–specifically Husker Du and the Pixies–it was that unconscious idea that was brought up to the mainstream that made them the overnight success that they were.

Now hip hop kind of has that same kind of unconscious desire: to sound heavy like metal, to have the viciousness of punk, the nostalgia of vaporwave, and the instrumentation of electronic music. That’s kind of why, regardless of what Kanye does, music lovers can never really fault him. I mean how often does a hip hop track sound Psychedelic?

So what do unconscious desires have to do with Ryan Deranged’s album, Deranged EP? Simple it fulfills the desires you never knew you had.

So let’s dive into the first track of Deranged EP, Hamartia. In Soundcloud rap, the Navi sample, “Hey” in Ocarina of Time is kind of a staple. I mean I even have the Skull Kid’s laugh in one of my songs. If there’s ever a debate on whether someone is an industry plant or not; if one of their early songs doesn’t feature an N64 Zelda reference, then they’re probably a plant. Yet also the reason I point out this sample, is because it gives the track a really needed levity. What I mean by that is that there are hip hop groups that are experimenting with heavier, darker sounds; bands like Death Grips, $uicideBoy$, or GHOSTMANE. Yet I wouldn’t say those groups are “fun” in the way that Ryan Deranged is fun.

The best analogy I can come up with is picture punk rock, all the earnest bands singing about Anarchy, getting fucked up, social upheaval, and political views delivered with a sneer and sarcastic lyrical delivery. Then imagine the Misfits, who wore makeup to look like Ghouls in their devil locked hair, singing about B-movie horror movies, and Jaqueline Kennedy giving blow jobs. While the punk groups seem like outsiders with outsider opinions, who are abrasive, edgy, and do controversial shit to do controversial shit. The Misfits seem more like the class clown, and let’s be honest a class clown is always more preferable than an edgelord.

So Ryan Deranged has an incredibly “fun” kind of approach to what other bands have doing. As mentioned before the Navi sample, combined with the dirty synths that aren’t abrasive, the sword slice samples, and the distorted laugh sample. All of these individual elements builds up a track that is just sounds fun.

Now that I’ve kind of set the stage, let’s dive into the rest of the album. Chaos, has some amazing bars. The flow is absolutely on point–in fact let’s say that the sound isn’t your cup of tea. Anybody can admire a virtuoso even if they have no idea what is going on. I know nothing about soccer. I just know that you gotta get the ball in the goal. Yet if you were to show me a compilation of the greatest soccer plays ever made, I would be impressed. The same I would say for Ryan Deranged, even though he goes out on a limb with a unique sound, he at least has some virtuosity that even a casual listener of hip hop can respect. So with the imagery, as I described in his track on Hamartia, this track really embraces the fun of this kind of hip hop. With violins that sound like something that would be played on an early N64 horror game, distorted heavy synths, HEAVY 808’s, and glitchiness of some aspects of the track; it’s so over the top that it becomes enjoyable.

The next track If you don’t know now you know, sounds more like a cheesy video game boss kind of music, and I mean that in the best way. With the looped distorted laughter, brevity of the track, and that same signature distortion. It’s over before you know it, and the same applies for Opus Dei. Which again calls back to punk, where the Ramones would play 20 songs in 30 minutes or 30 songs in 20 minutes. With this whole album being under 10 minutes it’s really a breeze to listen through. Not just because of it’s length, but also due to the fact that the sound always manages to surprise you, while still sticking within Ryan Deranged’s sound. It’s such a unique sound that every synth, every 808, and every sample seems novel. In having this fully fleshed out style, played out in such a short amount of time, that it’s incredibly rewarding to listen to. After all Shakespeare said, “Brevity is the soul of wit.” The songs by being shorter, keep all the bullshit out, and just focus on what matters–the music.

So with the last track, Babylon–which opens up with same amazing samples that call back some Sci-Fi Horror movie–it’s the best summary of what this whole album is. While most of soundcloud rap that’s experimental try to be abrasive, shocking, emo, and political; Ryan Deranged goes a different approach, and one that should be further explored in this genre of hip hop. Because if you try to be abrasive, shocking, emo, political, etc. all it needs is somebody to take the piss out of you, for everybody to see your music as schlocky. So when this album, that sounds like a video game Boss’ EP, embraces this campy sound–it adds something that is needed for this type of experimental Hip Hop to survive. Fun.

So I can’t give this album enough reccs. You gotta check it out for yourself. It’s the kind of album that everybody didn’t know they needed to hear, until they’ve heard it. With that I give this album my full recc.