RL Grime’s “Stay For It” Single

If for the past few months there was some game show host running around offering $5 million to whoever could name the best EDM song of 2017, I would’ve been shit out of luck had he happened upon me. That was, until this past Friday. If that hypothetical guy came up to me on the street and stuck a camera in my face on Friday or any day since then, ya boy would have somewhere around $2,483,124 of after-tax money sitting in a few well-diversified Vanguard index funds. And maybe a Ferrari or two.

What I’m trying to say here is, this new track from Trap powerhouse RL Grime is fucking awesome.

As I talked about here, Mr. Grime’s “Aurora” single was one of my favorite party songs of 2016…for reasons not too distant from why I love this brand new single “Stay for It”, which features a collaboration with big-time R & B crooner Miguel.

Like “Aurora”, “Stay for It” is structured around two enormous, scintillating drops. I can’t even begin to imagine the hard-hitting, dramatic impact they’re gonna have in the live setting. Jesus fucking Christ.

Unlike “Aurora”, “Stay for It” has one of the biggest singers in the world lending his pipes for the occasion. Miguel’s appearance adds a completely new dimension to what’s already a massive sound. This song, simply put, would NOT be the same without the LA native’s belting high notes right before the drop. It’s kinda like when a rollercoaster stops at the top of a big plunge and everyone screams.

Miguel’s reverbed-out vocals elevate the song through its brief verses and its spellbinding bridge too, the latter of which features this rapid-fire synth line that sounds like it’s headed to outer space and back. This section kicks off a magnificent 50-second build to the final drop – a build that’s executed at a perfect acceleration, with enough frenzied momentum to make the final destination climactic, but avoiding any excessive delay that would make it tantalizing or frustrating.

Interestingly enough, “Stay for It” would’ve been a big deal even if it wasn’t as great as it is. ‘Cause other than Pop-House institutions like David Guetta or Calvin Harris, EDM guest vocals rarely utilize the star power of someone like Miguel. In fact, EDM vocal appearances are often anonymous and uncredited. So to have Miguel singing over a Melodic Trap banger like this one is huge for the genre – hopefully it’ll help bring this style greater exposure and inspire similar partnerships in the future.

According to RL Grime’s YouTube description for this track, him and Miguel started working on it in the back of a tour bus two years ago. Well, I’m glad they took their time, because the payoff was worth it ten fucking times over. PLEASE, do yourself a favor and check this out.

And if you’ve already heard it, go listen to it again.

 

 

 

 

 

 

Mac Miller – GO:OD AM Review

Quick context: the following review was written for a publication that required a 600-700 word count range. The edited version can be read here

“Ain’t saying that I’m sober, I’m just in a better place”, croons Mac Miller over the Tyler the Creator-produced intro to his new album GO:OD AM. The Pittsburgh native’s third full-length LP follows a ten million dollar deal with Warner Bros. Records, a very public battle with substances, and a tireless creative process that resulted in Miller making over nine albums of material before arriving at his third album. No longer an independent artist, his drug use under control, and now approaching his mid-twenties, the word “reinvention” isn’t too farfetched in the Mac Miller conversation.

Perhaps most significantly, in 2015 Miller finds himself free of the “frat-rap” tag that once tortured him early in his career, framing him as a contemporary of the likes of Asher Roth, Sammy Adams, and Chris Webby, rather than the ten other emcees that Kendrick Lamar named in addition to Mac in his scathing 2013 verse on Big Sean’s “Control”. In the four years since Blue Slide Park, his critically-lampooned yet wildly successful debut album, the rapper who was once “Easy Mac with the cheesy raps” – as spit by battle rap extraordinaire Loaded Lux on Miller’s last album – has seemingly been on a never-ending campaign to shake his stigma and prove his worth to hip hop, with three projects that increasingly emphasized lyrical dexterity and artistic ambition, gaining more positive responses every step of the way. With GO:OD AM, Miller finally appears positioned for the true takeover that he has often alluded to.

GO:OD AM finds Mac Miller at his most confident and unapologetic, an aesthetic often absent from his previous work despite his undeniable talent. Lyrically, he continues to be wildly creative, dropping wordplay like “what’s a God without a little OD? /Just a G” on first single and album standout “100 Grandkids”. This time around, though, he raps like he has less to prove. On Miller’s last album Watching Movies with the Sound Off, his bars exuded an almost manic obsession with proving his technical ability, whereas on GO:OD AM he just appears to be having fun, though dense lyrical content certainly takes center stage at many points, such as in the first verse of album closer “The Festival”.

Longtime Mac Miller collaborators ID Labs handle the bulk of the production on GO:OD AM, alongside heavyweights like Flying Lotus, Sounwave, and even Sha Money XL on the first half of “100 Grandkids”. Sonically, the album maintains cohesion despite its diversity, from the trap-influenced, 808-ridden “When In Rome” to the piano and saxophone that close out “Brand Name”.

Though he has always had a flirtatious relationship with melody, Mac Miller’s most noticeable growth on GO:OD AM manifests itself in the songs’ melodic content. On tracks like “Break the Law” and the Miguel-assisted “Weekend” – not to mention the tender career highlight “ROS” – he effortlessly injects small doses of melody into what is still an undeniable hip-hop album. Brilliant future single “Jump”, which reunites Miller with “Donald Trump” hit-maker Sap, contains a hugely effective call-and-response section in the pre-chorus, a back-and-forth between swaggering bars and their melodic counterparts.

GO:OD AM does get occasionally bogged down by an oversaturation of misogyny and sexual innuendos. At times, allusions to sexual exploits become a crutch for Miller, in which he seemingly cannot finish a verse without wordplay about prostitutes, tongues, and vaginas – punchlines that fluctuate between entertaining and distracting. It is especially frustrating considering one the album’s shining moments: the aforementioned “ROS”, a touching, lovesick song that finds Miller as thoughtful and vulnerable as he has ever sounded on record. The introspective “God Speed” is another instance in which the rapper thrives in the absence of goofiness and braggadocio.

Likability has never been an issue for Mac Miller. In fact, it’s been his musical anchor at times, especially while weathering the “frat-rap” storm. On GO:OD AM, Miller loses none of the charisma or likability of his previous work, yet gains an abundance of vision and focus. Considering his second album, Watching Movies with The Sound Off, and last year’s Faces mixtape, GO:OD AM is by no means Mac Miller’s first great project. It is, however, his first work worthy of the tag “essential hip hop listening”.