Torii MacAdams is going to be a cat for halloween,
and no, you don’t need to know which kind you intrusive bastard
Perfecto – “Giorgio”
Perfecto is Anders Holm (of Workaholics fame) in character as a struggling actor and childhood friend of Kenny Dennis, rapper/mustachioed Brian Dennehy superfan. On Kenny Dennis’ sublime KDIII, ‘Ders and Kenny tour the malls of the Midwest as Perfecto, a dance-rap duo clad in neon lycra. Though the tour ends in acrimony, ‘Ders gives listeners hope when he says that, while he’s in Los Angeles, working on his parkour, all he can listen to is the 90’s-inspired dance-rap he once maligned.
Perfecto’s recent EP, You Can’t Run From The Rhythm, is another chapter in the Kenny Dennis hagiography, which already includes ample Kenny Dennis solo material and an album by his “90’s” rap group, The Grimm Teachaz. Perfecto only makes sense if you buy into the Kenny Dennis mythology–it’s 1990’s dance rap made in 2015 by a fictional(-ish) rapper and an actor in character, which is an Escherian level of infinite regression. “Giorgio” has all the hallmarks of hip-house; a looped, straining diva house vocal sample, flat drum breakbeats, and rhymes about getting the party “pumping.” If only they’d promised to house us.
Freddie Gibbs – “Fuckin’ Up The Count”
“Fuckin’ Up The Count” is a contribution to the already strong oeuvre of rap music that samples The Wire. It’s also a contribution to the not-so-strong oeuvre of rap song titles which double as threats to Sesame Street’s resident numerologist.
Adele – “Hello (Rick Ross Remix)”
Rick Ross and Adele are logical bedfellows (Musically, of course. I can’t speak to their sexual fancies). Adele’s music is grandiose and theatrical, like a cascade of purple and gold filigreed curtains. Rick Ross, even in his most humble moments, can’t help but juxtapose poverty with extreme wealth; any deprivation Ross has experienced is usually counterbalanced by the consumption of the finest sea creatures. I’m not a great appreciator of either musician, though I can appreciate the operatic, all-or-nothing quality inherent to their work.
Young Thug – “Phoenix”
It’s difficult to forecast the Phoenix Suns’ season; Markieff Morris, separated from identical twin Marcus, is a volatile figure in the locker room, Brandon Knight and Eric Bledsoe are largely untested as a duo, and Alex Len’s role is something of a mystery after the signing of Tyson Chandler. But, they have one of the league’s best head coaches in Jeff Hornacek, outstanding depth, and Young Thug telling an unnamed woman that she can have his son– “no Phoenix.” A punchline (and song title) from Thugger is surely worth an extra four wins.
Fall Out Boy ft. Migos – “Irresistible (Remix)”
This easily could have been worse. Someone along the major label decision chain made the correct decision that, for an album’s worth of rap-rock remixes, they should simply hand rap producers Pete Wentz’ vocals instead of trying to forcibly enmesh the two genres. We all barely survived Jay-Z and Linkin Park’s Collision Course, and I’m not sure my constitution could handle another such assault.
The “Irresistible” remix is essentially a Zaytoven-produced Migos song, with strained, vanilla vocals abutting Takeoff and Quavo’s verses. That underwhelming description shouldn’t sell you on the song–Zaytoven and two out of three Migos can only do so much to redeem Pete Wentz. What should sell you on at least (perhaps at most) a single listen to the “Irresistible” remix is a Street Pulitzer-worthy rhyme contained within: Takeoff rhymes “cameltoe” with “Satchmo.”
Young Juve ft. Mannie Fresh & Lil Wayne – “Do Ya Thang (Remix)”
Mannie Fresh once described Baby as being “not big on rhymes.” The truth is that neither half of the Big Tymers was an adroit wordsmith. Baby is, and was, a sub-Machiavellian crook primarily concerned with Rococo interior decoration. Mannie Fresh is, and was, a Winnie The Pooh-type bon vivant, a smiling, pot-bellied producer far superior behind the boards than in front of a microphone. While Baby is trying in vain to sink his manicured claws into Young Thug, Mannie Fresh is doing something (probably) more altruistic: making a guest appearances on a Young Juve song. Rap is largely a cynical, unsentimental business, but there’s something heartwarming about Mannie Fresh and Lil Wayne collaborating with Juvenile’s son.
Robb Bank$ – “Back Up”
I must admit: I’m late on Robb Bank$. I incorrectly adjudged him to be a second-rate Raider Klan affiliate, and never bothered to explore his catalog despite a strong appearance on Denzel Curry’s “Threatz.” For that, I apologize. I think my lassitude (unfortunately) reflects a greater indifference toward Miami rap in the media, for which I don’t have a meaningful, complete explanation. A major issue is that the city’s biggest stars–Rick Ross, DJ Khaled, and Gunplay–are completely disconnected from the younger generation of rappers, who suffer for a lack of co-signs. Were Denzel Curry or Robb Bank$ from Atlanta, they’d likely have done songs with any number of luminaries, or received more extensive coverage from one of the dwindling rap outlets.
