![]() Hell, when Gibbs releases a comparatively meat-and-potatoes but still solid crime-rap record (2015’s Shadow of a Doubt), that feels like a left turn. Again, this is hardly unprecedented: The Madlib albums ( Piñataand Bandana) are full of beats too unconventional and minimally percussive for most rappers to follow, but Gibbs and Madlib are hyper-confident in their experiment the on-paper “mismatch” sounds like a natural pairing in execution. ![]() It detours into production styles you wouldn’t expect from him but that still work. Even an album like $oul $old $eparately, about as “mainstream” a project as you could expect from someone who’s cut two albums collaborating with Madlib, is full of structural and tonal curveballs. Freddie Gibbs is one of the most consistent artists in modern rap, in that you can always expect him to surprise you.
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