As if you needed another reason to love the weird artsy cousins of nu-metal, Deftones are out here putting Future, Linkin Park’s Mike Shinoda, and Rocket From The Crypt on the same music festival lineup. Respect is due on the basis of epiphany-level strangeness alone. More »
We’re in the middle of a savage heat wave here in Los Angeles, so TMT contributor Sam Goldner and I decided to hit the beach on Saturday. I got to Sam’s house at 10:30 in the morning (way too late to beat the weekend leisure traffic, as we were about to find out), just to find him stretched out blissfully on his couch listening to what sounded like a Future album I wasn’t familiar with. No wonder: the said album was released just hours before, and it turned out to be the rapper’s long-awaited follow-up to his collaboration with Zaytoven, BEASTMODE.
Released in 2015 as part of a trilogy of mixtapes that included Monster and 56 Nights, the original BEASTMODE was recorded during a time when Future’s business partner DJ Esco was arrested in Dubai, along with hard drives that contained a bulk of Future’s to-be-released material. After the collection met with critical acclaim, its part deux was announced almost right away. Eventually, however, it took more than two years of sessions, during which over 100 tracks were recorded, for this perfect collection of nine to finally see the light of the day.
BEASTMODE 2 is available now on all streaming platforms and features one guest appearance by fellow Atlantan Young Scooter. Check it out through Soundcloud below:
BEASTMODE 2 tracklisting:
01. Wifi Lit
02. Cuddle My Wrist
03. Racks Blue
04. 31 Days
05. Red Light
06. Doh Doh (Feat. Young Scooter)
07. When I Think About It
08. Some More
09. Hate The Real Me
Imagine the slew of unreleased material Future and his choice producer, Zaytoven, have in the pipeline. In a recent interview with The FADER, Zaytoven actually did divulge on the workaholic’s ammo, revealing they’ve recorded roughly 100 songs over the past three years. A lot of those tracks were then sat on for their new offering, BEASTMODE 2, and after much deliberation, they decided to keep it “short and sweet,” releasing an album with just nine tracks.
It’s easy to understand the significance of conciseness in hip-hop by comparing Future’s effort to Drake‘s recent undertaking — admittedly a notable achievement from the Toronto-based talent, but a padded, deeply-advertised 24-track double-album nonetheless. It’s a bit humbling then to have a rapper release an album with just nine songs. Future and Zaytoven’s effort is simply their own approach to artistic integrity.
When the pair linked in 2015 for their original collaborative project, Beast Mode, the Atlanta-based rapper was on a hot streak. Fast forward two years, and that same steam has still yet to wear off. Beast Mode came right in the middle of what is now a historic string of releases for Future. He followed up with his self-titled, HNDRXX and Super Slimey, just to name a few, and now BEASTMODE 2 comes on the heels of Future’s work on the soundtrack for the movie Superfly. Considering the rapper’s timeline and trajectory, it’s no small wonder that beast mode was the title of these works — he certainly is on his game.
Future’s been busy this year, producing the Superfly soundtrack. Tonight, the Atlanta rapper shares his surprise mixtape Beast Mode II. The mixtape is a sequel to 2015’s Beast Mode and was produced by Zaytoven and the late Seth Firkins. Before his death last September, Firkins was Future’s in-house sound engineer. Listen to the … More »
The line usually drawn between rap and soul music is perhaps a little too thick. The relative heydays of the two genres offer no overlap for direct comparison or opposition; the imagined conflict between the two is more so an extension of the tired polarization of the current and the canonized. Rap’s forebears, both musical and thematic, abound in the soul oeuvre. Functionally and aesthetically, rap is very much a modern analog of Curtis Mayfield’s 1970s. It makes sense, then, as we reach a crescendo of critical and popular obsession with the concept-driven rap album, that some executive at Columbia Pictures would decide that we were due for a remake of Superfly.
The idea of the original cinematic soundtrack (as opposed to a score) as a commercial vehicle is hardly new, although the Kendrick Lamar-helmed Black Panther seems to have ushered in a new era of “curatorial” work from a single star rather than broad-based, systematic courtship of each individual subset of a film’s target demographic. Like everything else, however, the function of the soundtrack has been disrupted by the streaming era. The Superfly soundtrack, curated and executive produced by Future, was initially released on June 8, comprising 13 tracks of which the vast majority featured the Atlanta rapper as a primary performer. A week later, following the release of the film itself, a further 10 tracks were added essentially without notice, including everything from inexplicable updates of decade-old songs (Freeway and Lil Jon’s 2006 “Rep Yo Click” with an added verse from Cyhi the Prynce), previously-unreleased tracks from artists absent from the original soundtrack (HoodCelebrityy’s “Find My Way Out”), and a pair of additional Future tracks that hang with anything on the initial release (“Struggles,” with Dungeon Family legend Sleepy Brown, and “Georgia” with Young Thug).
The obsolescence of a tracklist as a system of record is hardly unique to Superfly; every album could now be more accurately categorized as a playlist, and release dates often indicate a draft rather than a final product. I haven’t seen the movie, but the imagined Superfly that the soundtrack conjures is all over the place. Besides Sleepy Brown’s scene-setting opener “If You Want It,” the first half of the album could pass for a standard-issue Future record, something that could’ve been quietly released in the Purple Reign/EVOL era without drawing much attention. The second, tacked-on half is loaded with the sort of one-note tunes that might accompany a film’s rough cut before the actual soundtrack has been composed, bluntly indicating what the audience should be made to feel at a given moment. Even without reading a plot synopsis, the mere presence of A.CHAL’s “La Dueña” is a clear sign that Superfly contains a scene — probably just the one, and likely no longer than the song itself — set in Mexico or elsewhere in Latin America. Similarly, for what reason could the aforementioned “Rep Yo Click” possibly be revived but to accompany a hallucinogenic club scene?
If this bricolage is the necessary overhead that accompanies a new Future album in 2018, well, we have tolerated worse (consider, for example, What a Time to Be Alive). Even amidst the necessary overtures to every possible listener, there is treasure buried here. “No Shame,” with PARTYNEXTDOOR, is one of the only tracks that even gestures at the film’s promise of a classic re-imagined for the present; the inclusion of a guitar solo doesn’t itself make the song, but the willingness to indulge what it signifies does. Merely by uniting Future and Zaytoven, “Walk on Minks” is a guaranteed success, and the Yung Bans collaboration “Bag” is the rare cross-promotional effort that yields more than the sum of its parts, both rappers at home over a subdued vibraphone loop that recalls Shaft’s “Ellie’s Love Theme.” As a whole, the soundtrack is among the best of the project’s possible outcomes; redemptive value is by no means a guarantee of the increasingly bizarre branding experiments of the Spotify era, and the line between a quality album composed of a set of songs rather than a quality album contained within a set of songs continues to blur. There is, ultimately, much to be gained in pressing play on the Superfly soundtrack — in particular, tracks unavailable elsewhere that will provide Future fans with the novelty they crave. The monetary value of music having evaporated, the only cost is the time spent prospecting; rap recalls soul once again, its richest prizes withheld from mere surveyors of the genre to reward those deep in the (digital) crates.
Maybach Music founder Rick Ross has linked up with longtime friend and collaborator Future on a new track, “Green Gucci Suit.” The two internationally revered rappers have appeared on a multitude of singles together, whether featured on tracks like those on DJ Khaled‘s albums Grateful and Major Key, on tracks like Ace Hood’s “Bugatti,” or supporting one another on albums, like Future’s appearances on Rick Ross’ 2017 Rather You Than Me.
“Green Gucci Suit” opens with an ’80s, Miami Vice feel, a potential nod at its upcoming feature on Ross’ Port of Miami II. The album, announced in March, will be the follow up to Ross’ debut 2006 album Port of Miami, with a release date to be announced.
Acclaimed electronic dance music producer, 3LAU, groundbreaking blockchain entertainment studio SingularDTV, and the largest independent festival promoter in the US, Prime Social Group, have joined forces to change the way fans experience live music forever. Uniting the worlds of entertainment and technology the partners will launch the first-ever “blockchain-powered festival network,” appropriately titled OUR Music
The post First Ever Blockchain-Powered Festival ‘OUR Music Festival’ Announced appeared first on EDM Sauce.
Rick Ross just contributed a bonus track to Future’s Superfly soundtrack , and now Future is returning the favor by hopping on Ricky’s new track “Green Gucci Suit.” The song is presumably a single from Ross’s upcoming album Port Of Miami 2: Born to Kill, a sequel to his 2006 debut LP Port Of … More »
The movie isn’t out yet, but this past week, the Future-produced soundtrack to the new Superfly remake hit our phones. Whereas the original 1972 blaxploitation opus had a classic soundtrack from Curtis Mayfield, music-video auteur Director X got his collaborator Future to produce and assemble the soundtrack for the new remake. (Try not to … More »