Future sucks

Future sucks.

Discuss

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You’re 100% right no need for further discussion.

youtube.com/watch?v=jOLfUwgYYaM

amazing artist imo

nothing to discuss.

EVOL didn’t have to hurt, but it did anyway. As I wrote in 2016’s year-end round-up, the project came from a place of supreme negative affect, a homo-glossic hymn for the heartless. But it was brilliant: both kissing and dissing Baudrillard’s perpetually pimped system — one foot in, one foot out, in the words of one Carlton Ridenhour — it glorified and elevated the democratizing electronic reproduction technologies (i.e., DAWs) that made the trap an object of ironic reverse-salvation: more than just a locus in situ, but rather a space that has come to extend beyond temporal-spatial peripheries. EVOL eschewed mimesis, aesthetic integration, and other methods of commentary or dissent, refusing new textual structures while embracing capital and media. And yet it was pervaded and charmed by a unique, cthonic dissonance, an unflappable verbal acuity, and a flair for dramatic dialogue that, among other things, lent the project a necessary anti-message, non alternative facts. EVOL currently maintains a 6/10 user score on Metacritic.

So if the medium makes the event, what claims the residual? The (pre-)produced, not the deconstructed. This crucial question-comment, an antiphonal lingerer, introduces both FUTURE and HNDRXX, twins separated at birth and equal parts of Nayvadius Wilburn’s latest project and eponymous annual feature. Both releases are less conservative, more consonant and conceptual than their year-old cousin, yet they are similarly anachronistic — without immediate precedent and avoiding emerging modalities — and, likewise, willfully ignorant of ethnic memory, along with any sincere corporal politics. The albums are rich with recuperative ideas and textures, but — unlike the heart of darkness that EVOL exposed or the heights scaled by the similarly expansive DS2 — both neglect to introduce new forms of subjectivity, instead sticking to the recognizable and shunning the reconfigured or re-encoded.

reminding myself when i used to come over
reminding myself when i used to get loaded
remiding myself that im still getting loaded
the coup fully loaded this clip fully loaded

As such, FUTURE and HNDRXX represent two fraternal, distinct channels of multiple identity and contradictory spirit. And while Wilburn has never been known for his consistency so much as his prolificacy, both releases, in their own ways, bathe in a lack of precision and concision, making them two of his most irregular releases yet.

Presenting a nonlinear narrative expressed within the bounds of Wilburn’s typical, peculiar brand of promethazine-laced, earnestly-apolitical guerrilla semiotics, FUTURE, this 17-track oral odyssey, is simultaneously expansive and atomized. It is a glorious mess, inchoate and incohesive in form and objective, though always regal in pretension. Exhaustive in premise, the sheer length of the thing is demanding and results in one of his most verbose standard releases yet. It is advertised with no frills and no features, though it is, ironically, maximalist in intention. It is host to only a relatively small number of core en-bando regulars — the predictable lot of collaborators, Metro Boomin, Zaytoven, et al. — and tracks jump from interaction to action in a jarring, forced manner, shifting participatory onus onto the willing participant, demanding, again and again, critical analyses and interpretations of sequencing, companion art, etc. Despite these troublesome functions, these typical auto-histories are almost entirely logocentric, their reproductive illustration hardly pushing the sound barrier nor bolstering the appeal or nature of Wilburn’s codeine-choked, vocoded vocabulary.

Fucking based
>I'm a addict and I can't even hide it

Lmfao