I fucking love Trevor Powers
The judge tilted his great head. The man who believes that the secrets of the world are forever hidden lives in mystery and fear. Superstition will drag him down. The rain will erode the deeds of his life. But that man who sets himself the task of singling out the thread of order from the tapestry will by the decision alone have taken charge of the world and it is only by such taking charge that he will effect a way to dictate the terms of his own fate.
I don’t see what that has to do with catchin birds.
The freedom of birds is an insult to me. I’d have them all in zoos.
That would be a hell of a zoo.
The judge smiled. Yes, he said. Even so.
We get a video for “Big Tookie” (carrying the monicker of Stanley Tookie Williams III) off of Deniro Farrar’s The Patiarch, shot by (you guessed it) Anthony Supreme. The #KOBK general, leader of #CULTRAP, gets the instrumental treatment from Ryan Hemsworth. With lyrics that focus on the consequences of being enthralled by superficiality, it follows that the instrumental would strain to resonate with listeners.
Hemsworth pushes a beat that focuses every instrument towards the ground. Every sound hits the floor beneath the track with great consequence. Whether we’re considering the synth organ blaring, the slowly-plucked strings, or the Miami-basslike chimes that pop, Hemsworth orients all sounds downward. He shakes the foundation of this instrumental with clever diversity of sounds that behave in a similar way, at different intensities. Deniro’s consequence, though, resides in his content, not delivery.
“An animal has has no sense of its impending death.” That’s the difference between man and animal, for Deniro. We all fight for our own survival, in different ways. Deniro consistently works with the subtleties in the instrumental. By finding a happy medium between the subtle variations Deniro is able to hold a hard line throughout the track. This is one of Deniro’s most overtly unemotional tracks. But his (only apparent) apathy carries a depth that many artists are incapable of capturing. You hear him talk about not caring about hoe$, his potential return to the trap, and how you’re getting laid down if you step too close. But these vapid topics are explored in an artful way, exposing the nihilist response born in those who’ve had to fight for every inch. Deniro gives that person a voice. Deniro is that person.
Anthony Supreme gives that voice a face. He uses his visuals to punctuate certain words, adding to the surface-level apathy captured in Deniro’s bars. Taking hints from Hemsworth’s subtle variations, Supreme follows suit with a dynamic camera, bled colors, sliced shots, and varying distances from his protagonist(s). By following the cues from the instrumental, Supreme is able to highlight Deniro in ways that may have been passed over by the music alone. The entirety of this endeavor is phenomenally controlled, from concept, to instrumental, to lyrics, to visuals.
GET THE WHOLE TAPE :
-CUTT CZAR (HERONALD REAGAN)
FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE
“Everything’s Fine” by MINKS // Tides End (Out 08.06.13 via Captured Tracks)