6/11/2023 0 Comments Lil peep logoThese artists were actively working through their struggles, the trappings of fame, and love under the influence on songs like Future's “Codeine Crazy.” Simultaneously, sad boy icons like Drake were rapidly rising to prominence, and stars of more underground movements like Lil B, Raider Klan, and Yung Lean’s Sadboys were paving the way for an even darker and more fluid type of hip-hop. And rock is the avenue that gives you that freedom.” Eight years later, we’re seeing the natural evolution of the freedom of artistry Lil Wayne was advocating for, with artists forging more natural connections between the two genres.įollowing Rebirth, the rise of the melodic autotuned rapper began, with artists like Future (one of Lil Peep’s favorites) and Travis Scott belting pained vocals over dark trap beats. That’s what this album is: a freedom album. Of Rebirth, Lil Wayne explained, “I want to say what I want, how I want. But the album remains incredibly important because of the ways Wayne shifted the narrative around his own persona, and around rap music at large. Rebirth was panned at the time but was commercially successful, with Wayne forgoing much of what had made him a hip-hop legend in favor of poorly executed imitations of dominant rock tropes-heavy guitars and howling vocals most prominent among them. This relationship can be traced in three major movements: classic hip-hop artists of the ’80s sampling rock sounds (shout out to Rick Rubin) the rap/rock explosion of ’90s rock with bands like Limp Bizkit, Linkin Park, and Korn and the early 2010s through present, beginning with Lil Wayne’s 2010 album Rebirth. These artists are answering our call.ĭespite shared ideas at birth, rap and rock music have always had a bit of a strange history when mashed together. With the world figuratively and literally in flames, it seems only fitting that we’re turning our ears to not just muted expressions of angst and anxiety, but also full-throated screams of anguish. It’s a true synthesis: a natural marriage of sounds that were always cut from the same cloth of rebellion, black musical traditions, and life on the edges of society. There’s a distinct freedom of expression in the songs of Peep, but also Lil Tracy, Lil Uzi Vert, Rico Nasty, and others like them they playfully mix rap influences with passionate and pained pop-punk vocals, layer emo guitar loops over 808s, and lament lyrically about the inevitability of death, followed by boasts about Benz trucks. It’s music that pushes the boundaries of what both rock and rap can be, and historically have been. Among his friends and collaborators-not to mention the artists he influenced-there’s an exciting new wave of music termed, affectionately, Bop-Punk, coined by Peep's fellow GOTHBOICLIQUE member YAWNS. His first posthumous album, the new Come Over When You’re Sober Part 2, is the first of three projects that will carry Peep’s legacy onward. It’s been just over one year since the death of Lil Peep (born Gustav Åhr).
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