Post albums that will be considered classics 15 years from now
this guy sucks birdmans chode every night lmao
>>61211536
go back to reddit you LUM and earl sweatshirt faggot fan
>>61211536
le epic homophobia meme
>>61211551
i will if you go back to KTT
>>61211498
Someone needs to stop propagating this meme it's a 5/10 at the very most
>>61211615
Hello, Fantanodrone
>>61211498
go to sleep thugger
>>61211498
Ok you start OP.
If we're being serious;
True, Thugger is truly the most avant-garde musician of our generation.
>>61214239
i can't even tell what is bait anymore. knowing the current quality of this board, this guy might be 100% serious
>>61214296
He's completely right, though. Near the pinnacle of modern music, Thug's repertoire is so unfairly glazed over in the overly white sophisticate as to make me sick, but to make such beautiful, inspiring works into mere trap anthems (though that they are, in part) would be to reduce one of the most amazing careers in music ever to nothing more than that of a typical "Lean sippin' nigga", and that treatment may be a fate even worse than public ignorance.
The works on display here are titanic. "Constantly Hating" opens the set, and immediately, it is revealed that there is such a thing as a populist minimalist. But that is the name of the game for Thug - a shatterer of preconceived notions, and one of the very few in the avant-garde to make John fucking Cage seem conservative by comparison. I could go on for days about how "With That" though the worst of the set, far outstrips the careers of most modern composers entirely; how "Check" is a more "classical" approach for Thug, and it succeeds endlessly; how his highly political "OD" could easily be called the greatest triptych ever conceived in music; and how the "Just Might Be" separates the most impactful bars of music I've yet heard.
But I won't.
>>61214296
I'm dead serious. Young Thug just might be the most important musician of his generation. Barter 6's barely there production doesn’t so much frame his rapping as it does provide a surface for his words to dance upon, to explore the art of rapping in multiple dimensions: melodically, rhythmically, lyrically, and in terms of composition. His voice glides through the thick absence of sound. He’s responsible for a lot of the songwriting; he knocks out his own hooks, and his writing speaks to his use of phrasing, his backgrounds, the flows he uses, and the way he plays with each song’s internal architecture. On “Halftime,” his car-screech adlibs are elongated—it’s as if a camera panned suddenly from a pinprick of light, causing it to blur—so he can change tones, harmonizing this background yelp with his own main vocals.
His lyrical style stands out in a number of ways; the most obvious is his ear for figurative language. Thug’s similes often build upon familiar imagery, but move in unexpected directions. On “Check,” he opens rapping about a “Mink coat with the rolls like a Shar Pei”; later on, he raps, “All my niggas, they hard, call them beetles.” These aren’t punchlines intended to get rap fans doubling over laughing (although they can be funny in their unpredictability). Thug seems more interested in an original and idiosyncratic approach to imagery, in discovering pathways in language that haven’t already been heavily traveled.
In this, his lyrical approach is closer to a rapper like Raekwon than it is Lil Wayne, with whom Thug is frequently compared through some fault of his own. But any close reading of his lyrics suggest comparisons between The Barter 6 and Wayne’s Carter series, for which it is named, are a total misdirection. Where Wayne shredded his vocals against hip-hop’s formal constraints, Thug is a synthesist, a rapper of control, an artist in the process of reassembly.
