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Personally, I take issue with Rich the Kid’s title as honorary fourth Migo-he doesn’t offer up anything remotely interesting or unique as Quavo, Takeoff or Offset. Just know, that even though there’s heaps of crap coming out the A, the few gems you discover are setting the trends, and will probably be your new favorite rapper.
Slime season 3 livemixtapes free#
Just skim through LiveMixtapes’ overall statistics and you’ll be impressed to find the page littered with Atlanta rappers’ free mixtapes (I pulled it up for you: LiveMixtapes’ top ten all-time has seven Atlanta mixtapes). It doesn’t take much to realize that Atlanta’s furiously molting trends are setting the blueprint for contemporary rap, whether they like it or not. Just last month, as part of the first installment of this list series, Atlanta rapper Young Thug’s Barter 6 was named best mixtape. Perhaps the reason why five out of the ten mixtapes for May are from Atlanta is because these ATLiens are simply dominating the game at the moment, and have been for quite some time. Mind you, this wasn’t done deliberately by me, nor should it speak on any sort of far-fetched regional bias because that’s obviously untrue.
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Looking over these ten lucky tapes chosen for this month, I quickly noticed that half of them have the great distinction of being from Atlanta-including both the best and worst of the month.
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Good news, we have an all new lineup of mixtapes to cover for the month of May. The mixtapes featured monthly on Spin Cycle will also be organized below from worst to best of the month.
Slime season 3 livemixtapes full#
In addition, we are defining mixtapes here as a full length project that is either free, free-to-stream, or an exclusively digital release (see: Drake’s If You’re Reading This It’s Too Late or Young Thug’s Barter 6). With the focus of this column being primarily rap mixtapes, all of the tapes featured on Spin Cycle were scrounged from digital emporiums DatPiff and LiveMixtapes, and free audio streaming sites like Audiomack, SoundCloud and Bandcamp.
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After analysing the impact of streaming, information overload and audience participation (through social media hype and memes) on contemporary hip-hop, I survey the growth of melodic Auto-Tuned vocals and repetitive lyricism in the work of pioneering mumble rappers such as Future, before turning to an extended examination of Atlanta's Young Thug, whose controversially malleable vocal style, which prioritises experimentation with vocal textures while confounding the rules of hip-hop flow, is mirrored by his impulsive exploitation of social media and androgynous fashion sense, establishing him as the most revolutionary archetype of so-called mumble rap.Welcome to the second official installment of the Spin Cycle, a new column where yours truly personally aims to immerse himself even further into the world LL Cool J once called incredible, because it’s “straight from the brother’s heart”. In this article I argue that this myopic label undervalues the groundbreakingly post-verbal nature of the music being created by these rappers, and highlights the innovations of mumble rap, exploring the centrality of social media, memes and streaming to its existence while critically examining its protagonists’ unconventionally stylised vocals. These artists, who have flourished in tandem with the rise of streaming services, have been disparagingly dubbed ‘mumble rap’ by traditionalists owing to the apparent indecipherability of their vocals and a lack of emphasis on observational or poetic lyricism. While these have undoubtedly been valuable theoretical approaches, the prominence of social networking in the 2010s (with its vast implications for communication and identity politics) has sculpted a generation of rappers whose vocal style and self-representation disintegrate prior assumptions about hip-hop identity. Hip-hop studies have historically centred on issues of the ‘street’ or virtuosic lyricism and flow, foregrounded as evidence of the ‘seriousness’ of the genre.