His music is greatly inspired by Memphis legends like 8Ball & MJG and cult favorites Wiz Khalifa & Curren$y at the core.
native is a pain-inspired emcee with a true gutter, space-age pimpin’ style of music, giving listeners a true feel for what Memphis really is. From the moment you hit play, expect the unexpected from Goldie, featuring an unforgettable intro and standout tracks “Roll Bounce” and “Blueberry Blues”’ feat. As you hear the trap sounds from Duke Deuce, Moneybagg Yo and more, Goldie is more of the opposite but provides a true space-age pimpin’ sound. When you hear Goldie, you will get a true rebel in the midst of a Memphis renaissance – a new sound that hasn’t come out of the city, yet sounds more Memphis than anything. This year, you will get to find out who Goldie is with his flowing lyrics and sound elements over hard-hitting, sample-based records. #WhoTFisGoldieRebel provides a gutter, grungy hip-hop sound mixed with soul that makes each listener feel the pain but is inspired to push through it. He may have proved his rapping is worthy of attention, but to get there, he had to hold back his singular vision as a producer.By Malcolm “A.S.T.A.T.E” Worsham 0 Goldie Rebel Releases His New EP #WhoIsGoldieRebelĮmerging Memphis emcee Goldie Rebel just released his latest EP, #WhoTFisGoldieRebel. The twinkling keys and woozy synths of “Ex Factor” tell a better love-drunk story than the lyrics do. The fluttering layers of “Hop in the Bed” push his croons to the background, but the mood doesn’t suffer. The saccharine melody on “System” is overpowering, but his opening lyrics about nostalgically scrolling through an ex’s Instagram are strong enough to stand on their own.
Pi’erre’s hook on “Kingdom Hall” is so bad it’s good: “She pop up at my place, Jehovah’s Witness,” he coos, his voice drenched in waves of reverb, resembling K-Ci and JoJo’s “Crazy.” On “Kevin Heart,” romantic troubles lead to some of his catchiest and most heart-wrenching riffing.īut Pi’erre has proven he can do so much more on the production side, an ambition that he just doesn’t demonstrate as often here. There might be more vocal high points than production ones on Good Movie. When the production is dry and there are too many lulls, the album struggles to sustain the energy, especially since the beats bleed into one another, as if the whole project were a single, never-ending song.
#Space age pimpin sample full#
The flattened drum’n’bass rhythm on “DJ in the Car” is only saved by his lovelorn Auto-Tune croons going full Zapp and Roger on “Computer Love” at the song’s end. “Shorty Diary” is begging for some glitchiness the dance cut “What You Gotta Do” is too elementary. The jam-packed beats of the deluxe edition of TLOP4 too often buried his raps, but that organized chaos is missing here. Brash and busy yet sweet production is his thing.
#Space age pimpin sample movie#
What is a Pi’erre Bourne album with tempered production? It’s like a Spike Lee movie that’s only mildly angry, or a Kevin Durant game where he passes on pull ups. Meanwhile, the beats are solid: They are soothing, sweet, and build slowly to their climaxes, even if they are too clean at times. Over a downtempo, spaced-out groove on “Love Drills,” the writing is simple but effective: “All the love we had, now we need our space.” Unlike the vast majority of post- Future melodic heartbreak rap ballads, there’s hardly any straightforward wails here-you know, complaints along the lines of, “Oh, I’m in so much pain” or “Fuck my ex.” Refreshingly, Pi’erre’s melancholy is a bit more subtle and muddled. Instead, he lilts about the slow deterioration of his connection with a past fling. “Where You Going” is a formal breakup song, but there’s no melodrama. It’s music that is less interested in big arguments between partners, and more in the moments that come before and after them. Throughout the album, he bounces between wistfulness and bitterness, reflecting on minute details and fond memories of a relationship, like when his girlfriend got her hair and nails done. But on Good Movie, there’s a point when he outdoes himself some lines are astonishingly inane. Before this record, his lyrics felt strung-together and goofy.
This is a breakup album, or maybe an album about wanting to fall in love after a breakup. But he makes up for that deficit by giving the project a strong narrative pulse. It’s not that Pi’erre is masterfully technical all of a sudden there’s no flow that will blow you away, and if you single out a punchline or two, you’ll probably burst out laughing.
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