As “spastic” or “hurried” as Baltimore Club can be, it still generally conforms to some kind of dance music structure (build-up, a breakdown, call and response, you know the deal) and it no doubt, does a whole lot within that structure (fart sounds, out of nowhere like sub-break beats, some Klaus Schulze-level of transcendent synth line) but Scottie B’s remix of Kanye West’s “I Wonder” from DJ Benzi, Kanye West, Plain Pat, George Bush, your mom, and Rue Mclanahan present The Sky High Mixtape does whatever it wants. Even someone with ears totally accustomed to Baltimore Club will have a hard time making sense of or predicting where this one’s headed.
A few moments in, that classic “Bmore club” breaks drops and proceeds to shuffle under the whole track, but those opening moments, it’s just a synth fart, clap, and Kanye’s vocals, slowed down, making room for a quick stab of drum or keyboards between Kanye’s already super-emphasized vocals. Scottie basically turns the track into Run DMC’s “It’s Like That” then gets bored, speeds up the Labi Siffre hook, slows it back down to normal speed, punctuates it with those “It’s Like That” stabs, and finally uses the “I wonder” part as a temporary typical club hook. The way he subtly shifts the Siffre sample makes it sound, if not for the deliberately slow piano of the original (“My Song”), barely even manipulated. But that piano dances all over the track–at least for the 40 seconds or so that it’s a part of the song–and Scottie’s speeding it up makes the track into some keyboard on “Piano”-setting Freestyle or pop House track production flourish.
And then, the energy halts for a clearly digitized, skipping loop of “you”–one can easily see that part of a second of the loop bouncing wavering back and forth in some sound editing program getting a little longer each time–and we’re out of the 80s of Run DMC and Freestyle signifiers and onto something newer, weirder, and crazier. The “you” sample’s smooshed into glitchy, CD skip modernism and stretched back out for one last affecting, sincere “for you…” before it finally like, truly drops.
The “you” fades into the background as a monster bridge builds up, falls out, and comes back to meet-up with Kanye’s goofball come-on of “How many ladies in the house?” lyric which here, turns into a typical DJ shout-out–Scottie makes Kanye the hype-man on his own song. The track ends with a super manipulated version of the Kanye vocal (or just some other dude saying “House”?), chanted like shouting-out the genre of music this really is, can be enough of a hook in and of itself.
Scottie probably didn’t sit down to give you a party music history lesson–and last time I over-speculated Scottie himself was nice enough to bring me back down to earth–but dude’s been doing it for a long time and it’s more like, all of these genres and sub-genres and signifiers and tricks of the trade rush around in his head when makes a track. And nonetheless, there’s a sense of time traveling here.
A mini-history itself’s contained within “It’s Like That” (which reemerged as an unfortunate but important remix by DJ Jason Nevins), those house pianos, that vocal looping, the jarring hyperspace warp into the 2000s through those obviously digital glitches, it’s everything that’s been going on since the 80s transferred through a Baltimore Club (a genre based in Miami Bass, Detroit Techno, and Chicago House) remix of a rapper that’s trying his own brand of party-rap retro-futurism lately. Time traveling too though, in the sense that Joseph mentions here (“distorting time”) which is something that electronic and especially dance music does particularly well, changing up, shifting, turning back on itself, until you don’t know if the song’s been playing for three minutes or three hours.
Are You A Serious Comic Book Reader?
Ее сын недавно пошел в школу.
«В этой коллекции я придумал кое-что для каждой невесты.
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WaideRamvenia
10 Apr 13 at 4:03 am