As if they were ever in doubt, recent Los Angeles transplant MORRI$ solidified both his club and R&B credentials via his standout production on Kelela’s Cut 4 Me and a prime slot on Night Slugs All Stars Volume 2. 2013 wasn’t a year of volume for the hotly tipped producer, but nearly everything that had his name on it was on constant replay from January through December. It’s a relief that producers like MORRI$ are being recruited for pop remixes like the following Katy B take, because in all honesty, the big room house sound is getting quite old. This halting, piano-led remix of “Crying For No Reason” balances Katy B’s well-apportioned vocals on top of emotional stilts, replacing the original’s staid house beat with a drum roll-esque grandiosity. The remix will appear on an upcoming single (out January 26) and the original will appear on Katy B’s upcoming album, which will also feature Jacques Greene, Joker and Sampha.
If you’re on the internets like we are, you’ve been following Kansas-based Goombawaver MORRI$ for quite some time. At this point, the man born Phil Canty is basically on the precipice of stardom and recently featured on Night Slugs’ latest all stars compilation. With “Ladyboy”, the first release on Bear Club Music Group (BCMG wut), MORRI$ mixes the world of frantic Southern drug programming and what basically amounts to lounge music. The results are angelic to say the least and mutate nicely from laidback drug music to a projectile more worthy of club play. “Ladyboy” is out on February 5, but until then, you can stream below.
The below quote in from David Foster Wallace and Mark Costello’s Signifying Rappers, a discussion on hip hop and race, as well as a thorough criticism of rapidly changing, turn of the century media forms. I felt it was probably more worthwhile than the brief commentary I was going to plaster here instead.
You may now be getting some hazy idea of the sorts of really quite scary possibilities with which the rap we like is replete. And, hazier, of how complicated this stuff of sampler-from-outside can be. What’s remained passing strange, for use, is the vague threat’s appeal. The unease and ambivalence with which the rare white at the window loves rap renders that love no less love. Whence the fear, though, is really no matter. For look at the world, at the masses we’re part of. At what you look at closest. The plain 80s data is that, whereas love, devotion, passion seem only to divide, it’s fear and strangeness that bind crowds, fill halls, unite Us, somehow, as audience, under the great tent.