The lyrical content ranges from pimping, ho’s revolting, killing for money, and a robbery Johnny Clay couldn’t pull off. However, these parts all come together to form a groove so smooth it would soon become the trademark sound of the dirty South.
Anger, and the occaisional vocal sample from a 60s soul track now long forgotten. The production is remarkably minimalist with most songs featuring a bassline that sounds like it was put together in some prehistoric ancestor of MIDI, a drum loop tinnier than anything on St. Now we finally arrive at 8Ball & MJG’s 1993 debut Comin’ Out Hard. I truly doubt that over 90% of hip-hop enthusiasts can relate to lyrics of killing niggaz, squashing beefs, pushing coke, and pimping, but it sells, or rather is listened to much in the same way black metal has become popular despite the fact that 99.9% of black metal enthusiasts have never feasted at Valhalla or been to jail for murdering Euronymous. Hip-Hop groups like Wu-Tang Clan have thrived among white audiences since their inception thanks to RZA’s ridiculously minimalist beats and the rest of the clans graphically violent lyrics. So why am I talking about black metal in a review for a pioneering southern hip-hop album? Well I think the very same asthetic that draws listeners to black metal is the same that draws them to hip-hop. Given hipsters keen sense of irony, black metal’s lyrical content which usually consists of paganism and JRR Tolkien worship, is also rather attractive to those in love with making a statement that doesn’t actually say anything.
Moore says the minimalism of black metal is what draws him in, referring to it as almost anti-music in its approach: it’s so cold and distant from the rest of the metal scene, it’s somewhat endearing. In a recent interview conducted by Luck in Odd Number’s dear friend Christian Baer, Thurston Moore postulated on why he thinks black metal appeals to so many indie rock fans (see: hipsters).
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