Antwon – Dying In The Pussy


Like Kendrick Lamar and A$AP Rocky, San Jose rapper Antwon has heaps of cross-over appeal, already proven on this years’ intriguing but grainy In Dark Denim. That record broke considerably from his hardcore past, paving way for a broader audience with a muffled lo-fi production aesthetic sampling classic 80’s R&B (think B:I.G’s Juicy) while flirting with everything from acid house to contemporary trends in synth-pop.

This is a rapper decidedly more comfortable of rapping over shoegaze or punk than jazzy drumbreaks or funk samples. Not that surprisingly then that indie label Suicide Squeeze is behind his latest release and Lars Stalfors, the producer and engineer behind Mars Volta, is the man behind the mix-table. On “Dying In The Pussy” Antwon turns darker; chockfull of cinematic Carpenter-esq textures, suggestive of a codeine-dazed Kavinsky creation. It speaks to his strength, marrying a fascinating drugged-up ambiance with  Antwon’s hardcore sexist lyrical content. Stylistically, “Dying In The Pussy” is a natural continuation of In Dark Denim and is on-par or even surpasses “Dark Denim” and “Werk 4 Me”, his two previous career highlights.

Highlights of In Dark Denim:

Make Up And Vanity Set – 88:88


c_vinyl_white_01Nashville’s Matthew Pusti a.k.a Make Up And Vanity Set has always drawn inspiration from archetypal 80’s soundtracks. His Charles Park trilogy is every bit as John Carpenter-inspired than anything we heard on 2011’s Drive Soundtrack. His other 5 or so releases, all gives homage to old VHS-slashers or primitive computer games.  So, it’s quite fitting that MAVS with 88:88, finally got a chance to score an actual movie – a short metaphysical sci-fi film that bares the same title. The music in the film essentially only shares one song with the album, so it might not be your archetypical soundtrack, but the cinematic quality of the music is truly impressive. About half of the songs are composed of beatless ambience, and a couple of them tend to stretch on a bit too long. Other songs however, like the album opener, “A Glowing Light, a Promise”, central piece “Homecoming” (the only song with proper vocals) and “The Cross”, are a lot more upbeat, and here is where MAVS’s music really shines. 88:88 is noticeably more distinctive than anything Pusti produced before and possesses the quality of simultaneously feel as dated as a VHS and fresh as a Blu-ray.

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