Shady Nate – Gimmie Da Loot video


While Young L gets a lot of attention for making more traditionally abrasive ‘banging’ tracks, DJ Fresh has flooded the market with music that has much more replay value for me; it still hits hard, but aims for lush & melodic. I’ve pushed this theory before but the “banger” era — a future-shock sparse blockbuster attempt to knock you out of your seat with crazy sonic tricks — is over. “On To The Next One” was like a Barbara Streisand disco record — just as dance tracks in the 80s reacted to disco excess, as a generalization, by becoming more stripped-down, rap ‘bangers’ are moving in the opposite direction.

when was the last time you heard some shit (rap only) intended to really fuck your shit up, with crazy screaming synthesizers or mainstream-oriented, stratosphere-rending production, that hits as hard as “FILA”? or “Grimey”? To attempt to top each other in that way, producers just building up the ‘adrenaline’ more & more, has topped itself the fuck out; first noticeable, maybe, in post-hyphy burnout, or Usher’s overcooked “Dat Girl Right There.” Great rap producers — talking Drumma Boy, Zaytoven, Dame Grease — slipped to the left, backed up a lil bit, counterintuitive steps.

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5 responses to “Shady Nate – Gimmie Da Loot video

  1. i agree with you that “futuristic” is not very accurate. that’s some 80s sci fi shit. i feel many rap fans work hard to distance themselves from dubstep, but it is clear that the dubstep craze has affected hip hop beats in the last year (definitely young l’s stuff, in a good way, don’t get me wrong). it would be futuristic if it didn’t sound like other stuff, but many people are still stuck on either current imitation or old school nostalgia. i really love dj fresh’s production, but sometimes he is kinda lazy with his sample choices. j stalin’s real world 3 was great, but the samples i’ve already heard (even ones j stalin has rapped on already) make that album less than a great album. but it does slap.

  2. ” a future-shock sparse blockbuster attempt to knock you out of your seat with crazy sonic tricks”

    Hmmmm. Flip “future-shock” for “state-of-the-art” and you’ve got a fair portion of Droop’s tracks on the 4 E-40 albums, though, no? I don’t see any reason why teh banger and the more warm and melodic joint can’t live hand in hand providing the banger isn’t some ridiculous Disney Centre sounding Swizz Beats type shit.

  3. yeah i mean im working in generalizations here to a degree — there are some late-period lush, string-laden disco joints that still sounded dope I’m sure — but even then, droop-e’s stuff feels like a really personalized/reinvented-on-a-smaller-scale version of hyphy tricks from five years ago. i mean ‘lightweight jammin’ is basically ‘tell me when to go’ fucked with slightly & released with more modest, functional intentions — its this functionality + the raps & concept that make ‘lightweight jammin’ feel novel, rather than some distinctive droop-e calling card sound or some next-level beat science. those e-40 records in general feel like variations on a historical, stripped-down ‘banger’ theme like that (which works well for them). i dont think rap songs w/ banging beats in the most literal sense are going away — just the idea of The Banger as a thing that is part of an auteur’s signature style, is Sonically Progressive in an obvious way, for non-functional reasons (‘this beat is so weird!’) … that seems to be a bit tired.

    I think Young L just reminds people of when rap as a genre was dominated by producers who made Bangers(c) that were both ‘progressive’ (this needs to be unpacked but i see it as some kind of blend of self-conscious futurism & a sense of ‘look what i can get away with’ daring, maybe?) & closely linked to the producer’s personal vision.

  4. momentarily forgot ‘LWJ’ wasnt droop-e but the point more or less stands I think

    & yeah i absolutely am in favor of balance — im arguing more that there’s a tendency to overhype the ‘bangers’ side when that feels like a diminishing returns vibe to me when isolated — and as rap moves further from the pop charts, the kind of musicality that came with pop-rap starts to feel undervalued

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