Sir E.U can’t stop, won’t stop taking rap music to new places

I once saw Sir You rapping with a Helly Hansen jacket over his face. I saw him rapping on his back on the pavement. I saw him rapping with three microphones in his hand. I saw you rapping in a state of blinking delirium during the final moments of a 25-hour concert that stopped rhyming because of. At , the DC rapper can’t seem to stop expanding on critic Kodwo Eshun’s beautiful idea of ​​hip-hop as an “omni genre.”

Eshun believed that through the use of sampling, no sound in this wider world could be off-limits to rap artists, imbuing the music with all its aura. A peek at the nearest dictionary increases its totality. ‘Omni’ means ‘in every way or place’ and feels big enough to include the EU’s most stylish wild styles. Like any rapper, Sir EU can say what he likes more than the sound he chooses, but unlike nearly all rappers, he paves the way and puts his priorities first.

On his latest album, I Will Never Let You Go, he walked through the lobby of Adams Morgan’s boutique hotel near the front desk where producer Jack Inslee invited him to improvise various songs. We went to a small podcast recording studio. of moody beats the rapper has never heard before. Start playing and rhyme. The parameters generate something spontaneous, something bizarre, something that echoes the vim of his circa-1983 hip-hop visionary Rammelzee, and something that hints at the mystery of eternal existence.

Throughout, EU narrates ambiguous thoughts in real time, patrolling the boundaries of his psyche, collecting memories and ideas, and trying to shape them through fragmented rhymes. Underground’s final verse, when he explains his identity crisis through Disney tropes (“I lost my voice. I think I’m Ariel”) and then tries to elevate his perspective. , you can hear it best (“had”). ”), which provides him with a hit of self-awareness (“I’ve been milking, I’m against grain like grain”) and finally lands in a place of grief via crooked homophones. (“I’m a hollow person and I’m crying.”)

My challenge to the world still burns to the core of the EU’s loudest music and continues to have a deep psychological feel. Through “I Will Never Let You Go,” his interior his drama unfolds in various local nightclubs, along with lyrical shout-outs to Rhizome and Madam’s Organ that nightlife pals really step in. It is a place where you can

The album ends in a similar space, with EU pondering tainted memories over solemn piano chords. Suddenly a familiar face walks through the front door of the hotel. “Here it is!” EU shouts, trying to inform her friend. “Look through the glass!” The door opened and I heard my friend’s voice. The climax and anti-climax play a cryptic tango. “Yeah,” EU replies as the music fades into silence. “Honestly, I wasn’t doing my best. It should be taken from above.”

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