In Monthly Bangers the UTM writers pick a handful of the most lit and intriguing tracks from the past 30(ish) days.
Antwon – Luv
It’s been a while since our boy ‘twon dropped a project, but February gave us his return in the form of ‘Luv’ and his signing to Anticon records.Amidst the sounds of repetitively throbbing bass, sinister adlibs and visceral rings, ‘Luv’ see’s Antwon searching for meaningful experience within the walls of a strip clubs (“Private dance/Imma get a hug”).The track’s mid-point reveals a more tender side to his sound, with lethargic, fuzzy synths washing the track as Antwon announces his self-doubts and loneliness. However, he soon returns to the booty club as the track’s finale reaches it’s fullest, and dirtiest, banger potential.
XXXTENTACION – #ImSippingTeaInYourHood
XXXTENTACION has been mad prolific this February, dropping tunes left and right, aswell as what would appear to be previews from an up and coming mixtape. Fucking off the now rather tired underground tradition of trying to be Three 6 Mafia, XXX, along with a bunch of other Miami cohorts, has developed a raw, almost grindcore-y as fuck sound. in 2016, releasing a bunch of PCP’d out 2 minute long smippets of hellish sounding hip hop. This months standout being the Arizona themed ‘#I’mSippingTeaInYour Hood’; a distorted, 2 minute slab of unadultered Miami fury, expect pure fucking hatred, ratchet fucking distortion and Spaceghost Queef (HARHAR) being parred into an early grave.
Morphology – Molecular Hydrogen
Unless you’re one of those people who has no soul and doesn’t like electronic music cos IT’S SOULLESS AND HAS NO TALENT HURFDURF (in which case I’ll pay you 100 dollars to fuck off), oddball Finnish production duo Morphology have brought it to a next level with latest release Mirror Compactor, released on binary loving label Central Processing Unit, standout track ‘Molecular Hydrogen’ is a dynamic piece of pristinely produced, upbeat and flawlessly movable Detroit-influenced electro.
Midnight Tyrannosaurus X EH!DE – Planetary Purge
On Paper, ‘Planetary Purge’ is everything that’s been wrong with dubstep since 2009, screechy wubs, not really any bass, built around an xD SO NERDY Rick and Morty sample and produced by a dude called Midnight Tyrannousaurus, if you like real dubstep, this is the kind of shit that pisses you off, because this is what plebs think you mean when you say you like dubstep.
In actuality, Planetary Purge is the hypest fucking dubstep track of 2016 so far. Screeching wubs and fat fucking waves of noise are the order of the day here, meditating on bassweight is always cool, but there’s definitely a time and place for a bit of mephedrone fuelled moshpit inducing fucking filth. The word filthy used to be a dirty word, but really, there’s no other way to describe this absolute fucking banger of a track.
Kanye West – Ultralight Beam
So, we all know Kanye openers are objectively brilliant, but the gospel heavy ‘Ultralight Beam’ is the most extraordinary way ‘Ye’s ever opened a record.
While the instrumental is Kanye in minimalist mode, as the track centres around a sleepy synth, hard-knocking beat and wobbly bass, it’s the vocal contribution that elevates the track to a higher plain. Here Kanye discusses his faith, despite talking considerably little himself, by employing a 4-year-old reaching out to the lord, The Dream’s smooth, soulful vocal, Kelly Price’s passionate acrobatics, Kirk Franklin’s prayer for those who feel irredeemable and a commanding choir.
The most notable vocal contribution here is Chance The Rapper, who delivers a verse that makes you truly believe in him as one of today’s most skilful rappers. He remarkably weaves puns (“My daughter look just like Sia, You can’t see her”), boast (“I made Sunday Candy, I’m never going to hell”) and declarations about his future into a fitting faith based narrative.
‘Ultralight Beam’ is the kinda combination that could convince even the staunchest atheist that a god exist, his name is Kanye West.
Tidal exclusive, go find it there you lil’ bitch.
Kanye West – FML
Damn Kanye, at it again with the obscure samples! This time he’s used the post-punk sounds of Section 25’s song ‘Hit’ on ‘FML’, which makes the outro sound like an episode of Salad Fingers. Speaking of creepy characters, elsewhere on the track The Weeknd reminds us that when he’s not singing about sex in graphic detail, he’s one of the most affecting performers around.
Both Hudson Mohawke and Metro Boomin get writing credits on ‘FML’, but it’s wholly different to what you’d expect from them both. It’s sad, nihilistic and Kanye reaches untouched depths in explaining his martyrdom for Kim. I’ve said it before and I’ll say it again: Sad Kanye is Best Kanye.
Tidal exclusive, go find it there you lil’ bitch.
Kano – Endz
Grime usually doesn’t co-operate with the heartfelt stories of life on road – it’s the downside to making beats at 140bpm and having a strong clashing culture. It mostly comes off lame when artists do the “I’m just trying to live my life” pop track followed by a chorus sung by some unknown white woman, who belts it out as though being louder will equate to being more famous.
Showing everyone how it should be done, as he has for years, Kano presents ‘Endz’ as a “fuck it, this is just how it is” track with no gimmicks, no wailing white girls and more importantly, bars: “Not 140 but it’s fuckin’ raw, innit?/Made in the manor so it’s fuckin’ authentic.”
Kano was made in the manor and he runs this house (but he’s hardly a Simmons).
Flume – Smoke And Retribution feat. Vince Staples & Kučka
Harley Streten aka Flume clearly has a good ear when it comes to collaborations with rappers. The Australian producer previously reworked some tracks from his self-titled debut to include verses from Ghostface Killah, Freddie Gibbs, Killer Mike, Stalley and M.O.P, and now with ‘Smoke and Retribution’, Flume continues to provide a happy marriage between his arena-sized production and the most relevant raps out there.
Fresh off his Summertime 06 buzz, Vince Staples delivers his verses in the blunt, no-fucks-given manner that began the murmurs of ‘about to blow up’. His death-proof bars plough through a glitched-out, clattering instrumental until Kučka takes over on the chorus, providing the soothing antiseptic to Vince’s stinging verses.
Flume’s knack for producing Coachella-friendly bangers is impressive, but where he really excels is in these astute collaborations. The great thing is that even if there’s not a multitude of rap collabs on upcoming album Skin, it’ll still be phenomenal.
Nathan Butler, Connor Cass, Richard Lowe & Joe Price