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Instead, each one is wide awake in slimy, synth-y textures and bloody with analog shrapnel of pianos (“Just How It Is,” “Bad Bad Bad,” “Jumped Out the Window”), guitars (“Circle of Bosses,” “Boy Back”), organs (“Ecstasy”) and bells (“Cartier Gucci Scarf”). There’s not an instrumental on any of the 19 songs here that seems sleepy.
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We witness this in the late addition of a Machine Gun Kelly verse to “Ecstasy” and the last-minute expansion of the aforementioned buddy list, both of which occurred after the LP’s initial release.Īnother piece of the overall levity comes from the biohazard-level viscous beats provided by a coterie of reliable producers. He’s also still the king of ad-libs, as the expressionist chorus on “Surf” and the list of his buddies on “Lil Baby” demonstrate. (For the latter, check out his verse on “Cartier Gucci Scarf.”) He can squeeze a colony of words into a tiny bit of space (it takes about three seconds for him to rap, “ Ridin’ Kawasaki, and I could cop you a new ‘rari/ Let you ride it, know your route and you’re bad bad bad”) or expand one word to take up a whole ward (refer to how he stretches out “bed” on “Circle of Bosses”). He raps, he sings, he speaks, he channels Tom Waits. As others have noted before, we can take great pleasure in Thugger’s vocal acrobatics. A major component of this merriment is his Gumby-like malleability. Instead, So Much Fun represents what we might expect a self-titled album to represent: a distillation of Young Thug’s artistry up to this point in time.Īnd the best way to describe Young Thug’s creative presence is, it turns out, so much fun. Then again, it’s really not supposed to signify an ambitious masterwork or exist in the same kind of grand hip-hop symbolic zone that Jay, Kanye and Drake all pushed towards from the very beginning of their careers. It isn’t what Reasonable Doubt was for Jay-Z, what The College Dropout was for Kanye or what Thank Me Later was for Drake. The LP doesn’t constitute some great leap forward in Thugger’s art. But only now is he dropping his debut solo studio album, So Much Fun. He’s also become one of hip-hop’s biggest fashion icons and appeared in campaigns for Adidas and Calvin Klein. He’s had four platinum singles as a lead artist, and, like Chance, had a guest spot on a chart-topping single. He’s been steadily dropping mixtapes, many of them critically acclaimed, since 2011.
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Young Thug’s career has followed a similar trajectory, but in more extreme form. Chance had released two major full-length works, earned a number one single as a featured artist, appeared in commercials for Kit Kat and Doritos and become an important, even unifying, figure in American music before he released what was technically his studio debut (this year’s The Big Day). The concept of a debut album has become increasingly muddled in contemporary hip-hop.