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Cloud Rap/Cloud Instrumental
Lil B" helped spawn this genre of atmospheric, lucid, and lavish music that apparently goes quite well with euphoria inducing drugs. Produers, such as Clams Casino, XXYYXX, solidified popularity and influence and cloud rap is permeating the rap crowd and ambient music crowd. Post links and posts regarding new music or news!
What are some good plugins for a producer looking to make music similar to the genre of Bonobo, Clams Casino, Purity Ring, Emancipator, or XXYYXX?
I know this is a pretty general question, but I've been working on music that is of similar style to these artists and I'm looking for some plugins that are either better than the ones I use now or some that will add a new dimension to my music. I'm still relatively new and always learning.
Feiticeira (Clams Casino Remix) - Great remix, borderline too short but the sound is amazing and does the song great justice. Digital Bath (DJ Shadow Remix) - OK remix. I am a bit underwhelmed personally as I had very high expectations for this as I love DJ Shadow and Digital Bath is one of my favourite songs on White Pony. Elite (Blanck Mass Remix) - This is huge! Fast, noisy cinematic and epic at the same time. Do not know much about the artist but I will sure check more! Rx Queen (Salva Remix) - The intro is very similar to the original song but then it changes dramatically with the beats and the glitchy sounds. All in all good remix. Street Carp (Phantogram Remix) - Calming and different! Very M83-esque sound. I like it a lot personally. Teenager (Robert Smith Remix) - No comments as we all heard it already Knife Prty (Purity Ring Remix) - No comments as we all heard it already Korea (Trevor Jackson Remix) - Sounds apocalyptic! Feels like a completely different song, in a good way! I love this! My favourite so far. Passenger (Mike Shinoda Remix) - No comments as we all heard it already Change (In The House Of Flies) (Tourist Remix) - Very dreamlike and different than the original. I like it as well. Pink Maggit (Squarepusher Remix) - Retains some of the guitars of the original song with Squarepusher twist in the whole mix. Heavy, glitchy, noisy but very good! I tend to gravitate towards alternative rock/metal, industrial as my primary genres but I have eclectic music taste and like all sorts of music, including electronic music, trip-hop, big beat, 90s electronica and DNB. So I am used to sounds like this, although I did not know anything about most of the artists (except DJ Shadow, Robert Smith, Shinoda and Squarepusher). I will need to play it again but the first impressions are great. Edit: Those wondering, No Boy's Republic or Back to School on the original album or the remix either. I did not play White Pony but quick skimming left me with the impression that the album is untouched. I did not see a reaction megathread and if I missed it somehow the mods can move this there
What is your playlist making process like? What are some of your favorite playlists that you’ve made/found?
What is your playlist making process like? What’re some of your favorite playlists that you’ve made (or have found)? Let’s share music! I figured this could be a great way for people to share the music they enjoy while also exploring playlists others have made. Typically when I create a playlist I usually attempt to capture a particular feeling or try to set challenges by making songs that share one thing one common (like an instrument). Most of the time I try to create something cohesive enough so that it can be listenable time and time again without having too much randomness. A couple of playlists I’ve made that I enjoy include:
-Suffer With Me, by líue -I’m God, by Clams Casino & Imogen Heap Two songs, that possibly share the same outer world sounding genre, but that is why I am here. If anybody can find more similar music and/or tell me how to find more similar music I would be thankful.
Caption says it all. Don’t doubt your style. Make what you feel. Make what sounds good to you. Make what makes your head bob. Making beats that don’t sound like the popular artists of today doesn’t mean you’re a shitty producer. Being original is a good thing. I always find myself doubting myself because my tracks don’t sound like stuff you really hear at all. Sometimes I think to myself “this doesn’t sound like anything that could be popular today” Or “what genre would this beat even fall in?”. Fuck that mentality. Make the music that’s pouring out of you. Create that unique sound. Who cares if your in the beginning and your friends don’t like your sound. Those are the same people that hop on a bandwagon once a new sub genre becomes hot. For me, Clams Casino is a huge influence. And his beats are weird as fuck, but fire. He has a unique sound and when he mastered it. It’s what he’s known for. And you can recognize it in seconds. Sorry for the rant. I had to get this off my chest because I’m tired of mentality’s holding back the creative process. And I wanted to reach out in case any of you talented ppl feel the same way. Do it your way. Not their way.
New Music Friday is a new weekly thread dedicated to chronicling all the Album/EP releases that came out this week. This is also a great place to discuss these albums, or bring to our attention other albums released this week. Elephant Tree - Habits Label: Holy Roar Records Genre: Heavy Psych, Stoner Metal, Slowcore Elder - Omens Label: Stickman Records, Armageddon Label Genre: Heavy Psych, Progressive Rock, Stoner Rock Other Lives - For Their Love Label: ATO Records Genre: Chamber Pop, Indie Rock Diners - Leisure World Label: Lauren Records Genre: Indie Pop, Funk Rock Cassowary - Cassowary Label: Fat Possum Genre: Nu-Jazz, Jazz Rock Relevant Elephants (by TheRelevantElephants) - Major Plastic Sabotage Label: self-released Genre: Indie Rock, Pop Rock Renouncer (by torinn818) - Living With People Label: self-released Genre: Indie Rock, Lo-Fi Indie City Mouth - Coping Machine Label: Take This To Heart Genre: Indie Rock, Pop Rock Febueder - Tomalin Has Etched In Label: self-released Genre: Indie Pop, Art Pop Frank Turner - Live In Newcastle Label: Polydor Records Genre: Singesongwriter, Folk Rock Beach Comber (Rory Friers of And So I Watch You From Afar) - Parting Cuts Label: self-released Genre: Singesongwriter, Indie Folk White Poppy - Paradise Gardens Label: Not Not Fun Records Genre: Dream Pop, Hypnagogic Pop Naoise Roo - Sick Girlfriend (EP) Label: Sick Girlfriend Records Genre: Alternative Rock, Indie Rock altopalo - farawayfromeveryoneyouknow Label: Samedi Genre: Art Pop, Glitch Pop, Ambient Pop Klein - Frozen Label: self-released Genre: Sound Collage, Post-Industrial, Hypnagogic Pop Nick Leng - LEMONS Label: SOTA Records Genre: Indie Pop, Synthpop EQ Why - Gravitate Label: self-released Genre: Footwork, Juke, Glitch Clams Casino - Instrumental Relics Label: self-released Genre: Instrumental Hip Hop, Cloud Rap Lorenzo Senni - Scacco Matto Label: Warp Genre: Progressive Electronic, Trance Princess Thailand - And We Shine Label: Tant Rêver du Roi, Luik Records Genre: Post-Punk, No Wave Max Bloom (of Yuck) - Perfume Label: Anniversary Genre: Indie Pop, Indie Rock The Feather - ROOM Label: [PIAS] Recordings Belgium Genre: Indie Rock, Indie Pop Rabbit Island - Songs for Kids Label: bedroom suck records Genre: Neo-Psychedelic, Indie Folk NOVA ONE - lovable Label: Community Records Genre: Dream Pop, Psychedelic Pop Hotel Lux - Barstool Preaching (EP) Label: Nice Swan Records Genre: Post-Punk, Art Punk Junk Drawer - Ready For The House Label: Art For Blind Genre: Indie Rock, Noise Pop Wares - Survival Label: Mint Records Genre: Indie Rock, Alternative Rock Whitney Rose - We Still Go to Rodeos Label: MCG Recordings Genre: Country, Americana Alice Bag - Sister Dynamite Label: In the Red Records Genre: Punk Rock Sylvan Esso - WITH (Live) Label: Loma Vista Genre: Electropop, Indietronica Quelle Chris - Innocent Country 2 Label: Mello Music Group Genre: Jazz Rap, Abstract Hip Hop, Neo-Soul Altadore - Gardenia Label: self-released Genre: Indie Pop, Baroque Pop LAKE - Roundelay Label: Off Tempo Genre: Indie Pop, Twee Pop Dead Ghosts - Automatic Changer Label: Burger Records Genre: Garage Rock, Psychedelic Rock Zsela - Ache of Victory (EP) Label: self-released Genre: Art Pop, Singesongwriter Kali Uchis - TO FEEL ALIVE (EP) Label: Virgin EMI Records Genre: Contemporary R&B, Neo-Soul AWOLNATION - Angel Miners & The Lightning Riders Label: Better Noise Music Genre: Pop Rock, Alternative Rock Day Wave - Crush (EP) Label: [PIAS] Genre: Dream Pop, Jangle Pop BC Camplight - Shortly After Takeoff Label: Bella Union Genre: Psychedelic Pop, Art Rock Harkin (Katie Harkin of Sky Larkin) - Harkin Label: Hand Mirror Genre: Indie Pop, Indie Rock Marlin's Dreaming - Quotidian Label: Marlin's Dreaming Genre: Jangle Pop, Indie Rock, Neo-Psychedelia Brendan Benson - Dear Life Label: Third Man Records Genre: Power Pop, Pop Rock RVG - Feral Label: Fire Records Genre: Indie Rock, Jangle Pop Tom Misch & Yussef Dayes - What Kinda Music Label: Beyond The Groove / Blue Note Records Genre: Neo-Soul, Contemporary R&B Hazel English - Wake UP! Label: Polyvinyl Record Co. Genre: Indie Pop, Dream Pop King Gizzard & The Lizard Wizard - Chunky Shrapnel (Live) Label: Flightless Genre: Garage Rock, Krautrock, Space Rock, Thrash Metal Lucinda Williams - Good Souls Better Angels Label: Highway 20 Genre: Blues Rock, Alt-Country Pam Tillis - Looking For a Feeling Label: Stellar Cat Genre: Country Alina Baraz - It Was Divine Label: Mom + Pop Music Genre: Alternative R&B, Chillstep, Downtempo IC3PEAK – До Свидания (Goodbye) Label: self-released Genre: Art Pop, Wave, Witch House, Trap Metal, Alternative R&B Ulcerate - Stare Into Death and Be Still Label: Debemur Morti Productions Genre: Technical Death Metal, Atmospheric Sludge Metal Dance Gavin Dance - Afterburner Label: Rise Records Genre: Math Rock, Post-Hardcore Katatonia - City Burials Label: Peaceville Records Genre: Alternative Metal, Gothic Metal, Progressive Rock Trivium - What The Dead Men Say Label: Roadrunner Records Genre: Melodic Metalcore, Alternative Metal, Heavy Metal The Used - Heartwork Label: Hassle Records Genre: Alternative Rock, Pop Rock, Post-Hardcore Warbringer - Weapons of Tomorrow Label: Napalm Records Genre: Thrash Metal, Black Metal Danzig - Danzig Sings Elvis Label: Cleopatra Records Genre: Rockabilly, Blues Rock Black Curse - Endless Wound Label: Sepulchral Voice Genre: Death Metal, Black Metal
Hey guys, I'm going to try to keep this as brief as possible. Pretty much been making music seriously for 3 years and I use Logic Pro X, and I've always felt like my vocals could use more but I really suck at it when it comes to mixing and mastering. I've spent countless hours on YouTube looking at tutorials and such but I can't seem to find my niche of plugins to use when it comes to the specific genres that I make. My songs range from wave/cloud rap/alternative rock/clams casino esque styles. Does anybody have any good plugins they can recommend me that I can download and utilize for these particular sounds of music that I make? On a side note, I have most of the Waves plug-ins but don't know shit about which one to use, if anybody can help me out with this I would really appreciate it. Thanks guys.
Release Date: April 24th Label: Beyond The Groove / Blue Note Records Genre: Neo-Soul, Jazz-Funk, Contemporary R&B Singles:What Kinda Music, Lift Off Streams:Spotify, iTunes, Google Play Schedule
Date
Album
Tues.
Quelle Chris - Innocent Country 2 / Clams Casino - Instrumental Relics
Wed.
Tom Misch & Yussef Dayes - What Kinda Music/ Hazel English - Wake UP! / Other Lives - For Their Love
this is an unofficial discussion for reactions to the album or whatever your little heart desires. this is for the sake of preserving discussion on as many albums as possible. if there's any releases for the week (or in general) that may be of interest missing from the schedule either PM me or leave a comment somewhere and i'll add it.
For this chart issue, we tracked everyone's top 10 albums from April 1 12:00 AM GMT to April 30 11:59 PM GMT.
#
Artist - Album
Prev. Position
Peak
Months
Points
# of Listeners and #1
1
Dua Lipa - Future Nostalgia
#1 (=)
#1
2 months
9191.5
263 of 719 listeners had the album as their #1.
2
Rina Sawayama - Sawayama
NEW
#2
1 month
6158.5
153 of 483 listeners had the album as their #1.
3
Fiona Apple - Fetch The Bolt Cutters
NEW
#3
1 month
3509.0
71 of 283 listeners had the album as their #1.
4
The Weeknd - After Hours
#2 (-2)
#2
2 months
2843.5
35 of 262 listeners had the album as their #1.
5
Taylor Swift - Lover
#4 (-1)
#1
9 months
2271.0
35 of 202 listeners had the album as their #1.
6
Selena Gomez - Rare
#25 (+19)
#1
4 months
1779.0
16 of 165 listeners had the album as their #1.
7
Doja Cat - Hot Pink
#3 (-4)
#3
4 months
1227.5
10 of 123 listeners had the album as their #1.
8
Charli XCX - Charli
#10 (+2)
#1
8 months
1182.5
5 of 123 listeners had the album as their #1.
9
Lana Del Rey - Norman Fucking Rockwell!
#13 (+4)
#2
9 months
1005.5
6 of 99 listeners had the album as their #1.
10
Caroline Polachek - Pang
#8 (-2)
#2
7 months
916.5
8 of 90 listeners had the album as their #1.
If you want to see the points and number of listeners for each album, click here.
Highest Debut: #2. Rina Sawayama - Sawayama
Highest Re-Entry: #16. Lorde - Melodrama
Biggest Gain: #6. Selena Gomez - Rare (+19)
Biggest Decrease: #25. Grimes - Miss Anthropocene (-19)
Popheads Top 5 Bubbling Under Chart May 4, 2020
We’ve had a lot of charts where the entire top 50 is just full of albums by the main pop girls for popheads and blocks a lot of singles from lesser known artists. So, this section puts a spotlight on songs that are just under the top 50. However, this is not gonna be “chart” focused and instead is gonna try to encourage other people to listen to other songs and list some information so people can find some songs they like. The bubbling under is calculated by taking the highest songs underneath the top 50 that haven’t charted on the top 50 before.
Artist
Song
Genre
Kali Uchis
To Feel Alive
Production that sounds like the part in a nature docuseries where cute animals are just doing nothing in their homes and they play that cheery, plucky music.
James Blake
You're Too Precious
tiptooo oooo oooo ooooeee through the tulii ii ii ii iips
Clams Casino
I'm God
Electronic Art Pop
PVRIS
Gimme a Minute
Electro Rock
The Killers
Fire In Bone
Pop Rock
Here's the current list of people signed up for the charts! If you'd like to sign up, you can sign up here! The tracking dates for the next weekly chart is April 30, 11:00 PM GMT - May 7, 10:59 AM GMT and results come out the next Monday, May 11. As for the monthly album chart, the next tracking dates are April 1 12:00 AM GMT – April 30 11:59 PM GMT, and results come out on June 8.
How The Chart Works:
These charts are created based on how frequently each song appears in the top 10 songs/albums for all of the users signed up for the chart. If the song or album occupies that user's #1 spot in their individual chart, it receives 15 points, then 14 points for #2, so on and so forth until 6 points for #10. If there is a tie, which is a common occurrence, then the number of points is averaged across those positions, e.g. if two songs are tied for #1, both will receive 14.5 points. Oftentimes there will be multiple songs tied for the last place, in which case the number of points each song receives decreases until it bottoms out at 1 point each.
CORONATIME This period maybe weird for many of us. In my case I used to discover that alternative “weird” genre that was on me for a very long time, since I was a child and I am referring to electronic sounds always with some of pop deep on them. Try it I update it each week. On it : Arca, Free again..., Kenton Slash Demon, Clams Casino, Bicep, ....
/r/popheads Album Of The Decade #9: Lorde - Pure Heroine (preferably the Extended version!)
You guys know who this is, but I'm still gonna try some background.
BACKGROUND
There’s so many narratives one could pull out from the background of this record. The first one’s a bit vapid: Lorde as the up-and-comer, the alt-pop rebel, the Soundcloud breakout, all while she’s only 17! The Love Club EP dropped in 2012 on Soundcloud, and started gaining buzz across the blogosphere. An early Reddit post feels symbolic of the beginning of her rise: “Lorde, a 17yr girl from NZ has a new EP which is definitely bringing the next level future pop zef.” Never mind the flagrant misuse of “zef,” but it’s a perfect summary of who she was at one point: a budding artist with a keen ear for beats and some great capabilities with a pen. A comment on a different post hints at the narrative that’s more accurate, yet more exhausting in 2019: “It's too manufactured in a way, you can really tell they're going for a specific scene and vibe with her. Like Lana Del Rey but they're being more subtle about it.” This is true: Lorde grew up in a privileged NZ neighborhood, and she’s been signed since she was 14, cultivating an image for herself. Yet deriding her, Lana, or any one artist for being supposedly planted is blatant posturing - at the very least, it sure as hell has no place in judging the music on its own merits. “Royals” eventually blew up off the EP to ridiculous buzz, and months later it was officially released as the lead single to her debut. Its popularity consistently had the air of "teen genius" around it, which worked mostly to the detriment of Lorde who was inevitably shat upon by the holier-than-thou for writing songs that dare to be violently teenaged. Think-pieces recall how gestures like this could be mobilized as political statements – see NYT: “Lorde’s ‘Royals’ is Class-Conscious.” Nowadays, a song like this would receive more vocal pushback – see USA Today: “Taylor Swift has angered many people with her 'You Need To Calm Down' release.” Yet the post-“Price Tag” teen sanctimony of “Royals” was lauded, landing a spot at #2 on Pazz and Jop’s best singles of 2013. Following “Royals,” Pure Heroine dropped in September 2013, almost a year after its independent distribution and months after its official label-backed release. It was great. Note that poptimism wasn’t quite in full swing, and liking Lorde wasn’t really a hip move – after the tragic critical reception of Born to Die, it’s a miracle it was beloved by any publications at all. Nowadays, Lorde is seen as a pop artist, less a symbol of the cynical mainstream industry and more a songwriter in her own right. The disappointment comes with the narrative that surrounds her transition into crit-adoration, the idea of maturity over the trajectory of her career and that her first record was simply the boring teen pop she had to break out of. Often the narrative centers Jack Antonoff, and even haters tend to aim their disdain towards his efforts rather than Lorde. It’s never a good sign when people seem to treat pop music with the women songwriters as secondary to the apparent geniuses that are working in the soundbooth. Pure Heroine may owe a lot to Joel Little, but when many of his most recent works have failed to capture what Pure Heroine did, one realizes that the album itself was likely a great one because of Lorde herself.
THE ALBUM
You’re not going to learn anything new from this writeup. Yes, the “don’t you think that it’s boring how people talk” / “let em talk” bookends are very cool: a bit of neat conceptual aspiration that was fully realized later on Melodrama. Sure, “Ribs” is some sort of adolescent house party (both genre and location) anthem that totally gets the feelings of growing up down to a T. Hey, this did kickstart the airy boom-clap beats (Charli reference being intentional and purposeful - her only solo hit sounding nothing like the True Romance era nor anything that came after is indicative of something) that define much of the decade’s hits. There’s plenty of better, more educated writers who could tell you loads about Lorde’s influence and influences. If you’re reading this, you probably understand the streamline between Lorde’s mainstream reception and the sudden birth of young acts determined to reach out to the teens as an alternative, a symbol of authenticity among what’s deemed vapid chart music. Perhaps this was the one negative impact of Pure Heroine - the retreat back into tired tropes of singesongwriter supremacy that was witnessed with 21. 2015 brought the class of Alessia Cara, Troye Sivan, Halsey, and Melanie Martinez to the forefront: each carried the mantle of relatability (Melanie less so, but the surrounding narrative scope of Cry Baby and her presence on The Voice were helpful towards establishing her as a real artist), yet none can really be said to have matched the quality of Pure Heroine. What gives? That question’s best answered using a review of a song on Frozen. One of my favorite closers to a review is in Brad Shoup’s review of “Let It Go”: “to a four-year-old this must seem like the biggest music in the world.” Age that by about ten years, and you’ve got Pure Heroine. Its sonic palette has obvious and non-obvious influences. An initial comparison is Lana, whose debut seems to set up a downtempo, lyrically dense precedent for some of the songs on Pure Heroine. But further comparisons are necessary: Gotye and Kimbra have the geographical proximity, and their 2011 records Vows and Making Mirrors layer vocals over often minimal alt arrangements that contain echoes of Joel Little’s pristine aesthetic. Yet the most prominent influences were in the underground: Purity Ring’s Shrines has similarly electronic bombast, iamamiwhoami and Grimes can be heard in shades. That’s not even counting the works of rap and EDM producers that undoubtedly played a role here - think Flume or Clams Casino. One could argue Pure Heroine came into existence from the necessity for the mainstream to co-opt the underground’s sound eventually: Soundcloud’s finest transmuted into its marketable shapes. And it’s so brilliant. I haven’t been able to arrange my thoughts on this record in any elegant fashion. I was considering just a series of hot takes, but then I realized I would piss people off. Here’s some assorted bullet points that I couldn’t figure out where to go with:
“Tennis Court” doesn’t even wait to highlight what the main draw of the album is: Lorde’s voice. That pitch-shifted “yeah” was made to highlight EDM remixes, and guess what, it was! (see: Flume) That video is still iconic -- just her standing in a fucking room doing whatever. It’s probably the only video from this era I actually remember. I have more to say on the following song -- but make no mistake, those steel-pan-adjacent synths are lovely.
“400 Lux” is in the typical tracklisting space usually used to highlight the lead single. While it’s not a single at all, it also happens to be absolutely the best song on the album, so good work on part of Lorde! Production like a warm midnight foghorn and string sections underwater, lyrics that settle on “I like you” two years prior to CRJ really really liking you. Her best love song, one where she doesn’t speak for anybody except her and you. “You buy me orange juice” is the meme, but my favorite line is “you pick me up and take me home again” -- repeated for both emphasis and confirmation of how fucking great it is to be alone in a car with just somebody else.
“Royals” begins like Feist’s “Brandy Alexander,” with an elegant arrangement, yet instead of settling into light fare becomes akin to AWOLNATION’s “Sail” - an underrated bit of pop that undoubtedly had just as much impact - in its electronic buzzes. Perhaps Ryan Tedder plays a big role in the softening that pop experienced in the 2010s. Not her best, but not bad and definitely still amazing.
You’ve heard enough about “Ribs.” Conan Gray’s Corny Ass (one I adore very much, and yet another post-Lorde artist, though given his obvious parallels to Troye perhaps he’s more post-post-Lorde) mentioned it on Twitter to get dragged by the true Lorde stans. But hasn’t it always been a universal Gen Z sad song? Even for those outside of the target demographic it works its spell; see the Pitchfork review of Pure Heroine concluding with a commendation of “Ribs” as the mature work it is. People kind of forget that it’s literally a dance song, though -- easily the most danceable in her discography? Tell me there isn’t an analogue between this and Robyn’s “Honey.” And I think this might be the most explicit cultural reference on the album, to Broken Social Scene’s “Lover’s Spit,” a name-drop more intelligent than what songwriters influenced by Lorde would do in the future. (see: Arlo Parks’ invocation of Gerard Way and Courtney Love). The only other example I can think of is a subtle, perhaps unintentional one: the name-drop of “wicked games” on “Tennis Court.” Perhaps a use of a good cliche, yet the sonic palette would make intentional allusion probable.
“Buzzcut Season” precedes “Glory and Gore” in its dystopian YA novel film adaptation glitz, less trailer music and more the credits sequence. The almost-vibraphone melody is the prettiest sound on the album, and the postponing of the hook is a clever songwriting quirk. When you’re younger, you really do convince yourself of how hellish life is. In 2020, a line like “explosions on TV” is a different, more real kind of frightening. Some of the best harmonization on the record.
“Royals” was the big hit, but “Team” was the song I heard every day on the morning car ride to school. The intro is Lorde’s best: a mantra pitch-shifted until rendered mute. The production is some of Lorde’s best, akin to cuts on the lighter The Love Club EP - more on that later. Like “Royals,” there’s a worrying anti-pop sentiment, present in “I'm kind of over gettin' told to throw my hands up in the air,” but I enjoy the possibility in the phrase being a statement against giving up -- perhaps a stretch, yet one I enjoy as a lyric that contradicts ideas of Gen Z as humanity’s laziest.
“Glory and Gore” probably couldn’t exist without “High for This.” House of Balloons was murky and ugly, and “Glory and Gore” is the murkiest and ugliest Pure Heroine has to offer. Melodrama explored the uglier parts of Lorde’s vocal timbre, but “Glory and Gore” was an early example of her as sheer raw force -- just hear that “and the choir goes out!” No wonder Lorde was asked to curate the soundtrack to a Hunger Games film when she can so easily utilize violent metaphor, writing songs about teenage drama as if she’s been reading up on dystopian YA fiction. It worked then, works now.
Beginning with some excellent vocal panning and stereo effects (compare to alt-J’s “Bloodflood”), “Still Sane” is Lorde’s most underrated. “I’m not in the swing of things” serves as an excellent summation of adolescent lethargy; “not in the swing of things yet” is a lyric I never registered as positive until now. It feels like an acknowledgment of possible hypocrisy in “Team” and “Royals,” that she knows that as a popular artist she’s likely going to be corrupted by the system she indulges in.
Wait, fuck, I forgot about “White Teeth Teens.” Now that’s underrated. Marching band percussion (best rhythm section on the album!), wonky ‘50s radio vocal sampling in the back, that bridge where she just talks shit about herself over a trap beat, FUCK! The fact that the final section is that one vocal loop and the pre-chorus is great. Perhaps the most beautiful section on the album outside of “Ribs.”
Or outside of “A World Alone.” I was both wrong about “White Teeth Teens” and “Ribs” in that this is the most beautiful on the album and the most danceable. The xx guitar riff is the only bit of remotely acoustic instrumentation on the album. Had the album sounded entirely like this, a song like this wouldn’t stand out at all, and the album would’ve sucked. But given the journey Lorde takes through the darkest, dirtiest bits of synthesized squalls, “A World Alone” is a song that’s deserving of the title of shiniest, prettiest song on the album. A revelation.
Oh, damn it, I ended up writing on every song anyways. The only non-song bullet point I had was that it’s less likely that there’s any sort of “indie girl voice,” and more likely that most people don’t have the capacity to distinguish vocalists that are women. Well. The extended tracks are great, too, but I’m kind of running short on time here. Just remember that “The Love Club” is the best song Lorde has ever made, “Million Dollar Bills” is in her top five, and that her EP honestly has production like Grimes’s Visions, right? And don’t get me started on “Bravado” being an elegant dramatic piece and “Biting Down” being so underrated as her spookiest track and “No Better” being amazing the first time I heard it in my sister’s car and “Swingin Party” being the closest Lorde has sounded to St. Vincent’s “Champagne Year.”
CLOSING NOTES OR WHATEVER(?) (there's more on the legacy of this above)
Is Pure Heroine a classic? To the discerning critic, that title would probably go to Melodrama – more arcane structures, more conceptual, more of a statement. But I found Melodrama too fussy a record. Maybe it doesn’t matter if Pure Heroine is a classic. Now that I’m at the end of my high school career, too many records I loved growing up don’t even make me feel that much anymore. Blonde turned from a gorgeous comeback into a mushy songwriting mess. 99.9% is too summery for its own good, the sonics of Kaytranada now ubiquitous on the Pollen playlist. Telefone has “Yesterday” and “Bye Bye Baby,” but everything else rings a little twee now. Vampire Weekend went dad pop. Sufjan’s been cried into too much. I was honestly scared to listen to Pure Heroine for this. Would I hate it? I turned it on and immediately realized, haha, no. Still fun. It's been seven years. Pure Heroine soundtracked my entry into the year I discovered teens could be mean; it's now going to soundtrack the year I leave teenager-dom and have to make do with the real world. Still fun, still larger-than-life.
Now not to knock the 1980s synthesizer heavy sounds that a lot of people are clamoring for CP2077, but hear me out. The year is 2077, almost 100 years into the future from when Synthwave would become popular. It just doesn't make sense to me that people in 2K77 would be listening to music from almost a century ago. Of course it would still exist in the time period, but why would it be the defining sound of the era? It's like if we all only listened to 1920s Jazz today and that was the only popular form of music. This is the FUTURE. I want sounds that emulate that. If they strictly relied on Synthwave for the game, it would feel more like a parody of a Cyberpunk world and not a living, breathing environment with a society that actually listens and plays it's own musical style. I'm now going to divide this post up into 4 sections going into detail of how I'd like the soundtrack to be like in concept, and some specific artists I would have liked to seen CDPR work with. These will be 1. POP 2. PUNK 3. AMBIENT 4. OTHER.
POP
To me, Pop of the future would be fast, bubbly, and high-strung. Bubblegum Hyperpop, with blissful synths, ethereal singing, and a blistering BPM, each song will sound like you're manic on chems but you just don't care. Now Grimes was a great choice and 4AM is a perfect representation of what I'm talking about, but I would have loved to see some production or even an original song by Sophie herself. Just take a listen to her song Immaterial, It perfectly encapsulates the cyber-enhancement lifestyle.
"I could be anything I want, Anyhow, anywhere, any place, anyone that I want."
She also is on the cutting edge of Pop production, being a leading figure on PC Music. If she just ups her tempo she'd fit in perfectly with the hyper-spastic sounds of Pop Music in 2077. Kelela, with her spiritual voice and futuristic-leaning style would also make a great fit for Cyberpunk with the right backing instrumental. While a little slow for what I'm envisioning, Kelela would sound great on a faster track if produced right. Presenting an interesting duality in their music, Dorian Electra would be an excellent Popstar in Night City. In the future, gender is totally fluid when cybernetics are involved, and Dorian would embody that with some fascinating songs. Dorian Electra could make a larger-than-life androgynous figure tearing up the charts circa 2K77. As far as producers go, Iglooghost has to be the most futuristic I've ever heard. Mixing tons of genres into one tumbling, bouncing, whirlwind of a song after the other, Iglooghost is already living in 2077 as far as I'm concerned. He could turn any song into a top charting hit in Night City. Learning that A.G. Cook is the founder of PC Music becomes evident when you hear his stylistic production rinse over you in every song he's put out so far. So sweet they could burst your heart, Cook's songs border some realm between fairies and androids. Finally, we have Sinjin Hawke and Zora Jones, who's interesting uses of drums and synths could really bring some flavor to the world of Cyberpunk 2077. This production duo would bring the best sonic experiments to the dance floors of your local run-down warehouse rave. These two could turn a gunfight in a nightclub into a sweetly maddening experience easily. some other examples of chrome Popstars in the making include: SHYGIRL, ROSALÍA, and Sarah Bonito.
PUNK
Punk in the futuristic world of Cyberpunk 2077 should be an amalgamation of everything before it. My controversial hot take is that Rap is the new Punk. More and more rappers these days are embracing the Punk look and ethos, so who better to represent the rockerboys of 2K77 than some of the most popular heavy rappers today? The punk jams of tomorrow need more than just guitars and drums though, maybe include harsh synths and churning bass to really contemporize the barberous sounds of the underground. Coming in fast and heavy is Denzel Curry, with a furious cadence and a rage brewing underneath every song, Curry would be perfect for a local punk frontman. Already having covered two classics, both rock and punk, Denzel can certainly hold his own in the punk world. While recording for Cyberpunk 2077 doesn't exactly seem like something Death Grips would be interested in, their sound would slot so flawlessly into the grimy world of Night City. Abrasive and unrelenting, their recent experimentation with gabber is cyberpunk incarnate. The game comes across as a little too commercial for them sadly, but if they did write some original songs for the game, it would be a headspin for sure. Two figures in the underground punk rap scene today are the cruel boys in City Morgue. With songs featuring biting lyrics about violence in the streets, City Morgue's fierce voices mirror the rejection of society by the rockerboys in Cyberpunk. ZillaKami and SosMula are as close to cyberpsychosis as it gets when it comes to their music. I can only imagine large pits of writhing kids as City Morgue's characters take the stage to belt out the thrashing the crowd so desperately wants. When it comes to creating the instrumentals of the future rock rebellion, look no further than Clams Casino. A veteran in the underground scene, Clams can add a gritty electronic edge to the guitar riffs of the fictional bands in Night City. Clams Casino would provide an ominous undertone to the already heavy-hitting songs of 2K77. Having already tried his hand at layering guitars into his deep void-like melodies, Shlohmo is practically a given for production on songs from the rockerboys. I can already envision the dark textures he would weave through the songs he would work on. Shlohmo can even compliment the rocketing pace of Punk with his own take on drum and bass. Machine Girl is a wild synthesis of sound and frenzy. Assaulting your ears with a high BPM, Machine Girl is an attack of mish-mashed rough ideas and broken harmonies. MG would certainly amp up the viciousness of a band in the production department. And lastly, we have the one and only Arca. Too dark for Pop, but almost too bouncy for Punk, Arca would bring an interesting dynamic to the music scene in the city. Their own sounds are organic and evil, almost being a commentary on the "metal vs. meat" debate so prominent during this time period. Arca imposes their own brand of neo-futurism that resides wholly in the Cyberpunk time period. As far as actual punk bands are concerned, there are a plethora of great acts to choose from active today. Ideally I would choose something similar to the chaos of S.H.I.T., School Jerks, or VOID.
AMBIENT
Here is where my contentious opinion comes into play. I do not want Synthwave to be the ambient music in the game. I've already stated my argument for this above, so here I'd like to show you what I would prefer instead. The sonic world of the Cyberpunk genre as a whole to me, is that of the drone of industry, the hum of machines, the steady marching of technology, so steady in fact, that it marches right over humanity. The world of cyberpunk is an unkind one. It is cold, alien, mechanical. The music of the game should reflect that. I'm happy that Nina Kraviz has been brought on board to represent Techno, but I would have loved to see someone like Abdulla Rashim as well. AR is a master in the hypnotic sound of dimness. Rashim would make an excellent addition to the roster for his industrial trance-like feel. Vatican Shadow's techno is laser-focused on the political shortcomings behind war and imperialism, so I doubt he'd want to get involved with something as trivial as a video game, but he would make a damn good soundtrack if he did. Do androids dream of electric sheep? Acronym might have the answer. Their songs are dream-like, yet still feel like a huge machine on a factory floor. There is a massive stable of DJs CDPR could pick for this project, with a few examples being Luigi Tozzi, SHXCXCHCXSH, or UVB. I'm not too worried about actual ambient music in the game, I'm sure CD Projekt Red will whip something great up, but I'd love it if it could feel like these particular tracks: Diamondstein, Kuroi Ame, or Hvide Sejl I would however have liked to see one artist in particular make it onto the composer list. Oneohtrix Point Never has been killing it the last few years with his own brand of strange instrumental ambience. OPN has even worked on composing before, having just scored the latest Safdie brothers' film and working on their previous work Good Time. I'd be excited to hear his audio fingerprints all over the ambient side of the OST.
OTHER
This section revolves around one small aspect of the soundtrack that I think would be an amusing detail. Say you enter a corpo office building and ever so faintly, you hear none other than an original Vaporwave song playing. I know I stated earlier that it would be nonsensical for people of the future to be listening to music from a century ago, but hear me out. Vaporwave is a caricature of corporate commodified music. The music it's re-structuring is designed to be the least offensive, most generic music man can design. Vaporwave actually demolishes said music, and remolds it into something new and interesting. This is what propels my logic to include it into the game. Capitalism is Capitalism. They wouldn't innovate their music if it costs them nothing to keep the same colorless music in the background, but with Vaporwave, it feels like something new at the same time. Some songs that echo that desired feeling are: 豊平区民Toyohirakumin, Cosmic Cycler, and luxury elite. In closing, This took way longer than I thought it would, but I'm passionate about the genre and the music, so I hope whoever reads this maybe sees it from a different perspective. I made a playlist on Spotify featuring the artists I mentioned and much more that I'm still adding songs to. I also made this video featuring a small mix of said playlist along with some visuals, with a part 2 I'm working on currently. If you made it this far, thanks for coming to my TED Talk. Cheers.
I'm always asking strangers what they think about the local music scene and often meeting ones who don't really know what's going on in town, so here's a refresher for you. This is not a complete list by any means, so feel free to add anything that people oughta know about. Anamon - instaspotify"Purple, Green and Yellow is the sophomore record from Anamon, a 3 piece from upstate New York led by Ana Emily Monaco. The band tread in the direction of country tinged jagged pop with varying tempos and echo-y and vibrato-soaked guitar squalls. Monaco’s vocals carry a dusky twang that suits the approach and adds a richness and depth that lingers in the ear canals of the listener. Anamon express their influences in a cohesive manner that leads to a steady foundation for some charming songwriting." -post-trash.com Clibbus - instaspotify"Originally conceived as a solo-homemade art and music multimedia project in the backyard of D'Aurelio's bedroom many years ago, the band became a full fledged live buffet of sensory overload when the three began to write together in late 2018... What's the most Reba you've ever Mac-entired? Those who may be bored of thinking or those who think too much ponder this question. Clibbus likes horses and dogs. The dog says the feeling is mutual." -floatedmag.com Aweful Kanawful - instaspotify"I really like this album and appreciate the sense of weirdness and mystery it offers up. You wonder how the hell something like the mad chamber pop of “Man of Steal” came together, but the liner notes leave as much to the imagination as they explain. Honestly, I like to think that this was all recorded with the band sitting in a sandbox like Brian Wilson doing Pet Sounds. It certainly wouldn’t surprise me." -modern-vinyl.comon "Clam's Casino" Dangerbyrd - instaspotify"The Rochester-based quartet plays without a shred of phony grandeur or self-imposed elegance. Dangerbyrd is down and dirty and a clever musical synthesis of vintage and classic. Just dig the band's guitar-driven rock 'n' roll and astute lyrics howled over its garage rock rumble. It's old, it's new, and it's the unheard strain of something familiar." -rochestercitynewspaper.com Boy Jr. - instaspotify"If there’s anything I’ve learned about Boy Jr., it’s to expect the unexpected. Rochester native Erica Lubman has been experimenting with music since childhood, combining her love for garage rock and indie pop with a flair for dramatic fashion. She’s equally likely to turn up on stage in a retro matching tracksuit as a leather skirt and torn T-shirt. As with her wardrobe, she shows off a wide range of songs in her repertoire – from punk to grunge." -nysmusic.com Gary Lamaar - instabandcamp"The title of Lamaar’s new album is “Freedom Rap.” The opening track of the same name is bookended by the refrain “fleet footed, loose tongue in the street,” establishing the emotional immediacy and quasi-punk ethos apparent throughout the album. His cadence sounds resolute and sovereign, delivering rhymes with a grit similar to emcees like MF DOOM and Talib Kweli." -rochestercitynewspaper.com Fuzzrod - instaspotify"This isn’t an album that sticks in one lane, though, and while that fuzziness is a recurring theme, there is more than one influence thrown into the pot with it. ‘Dum’ tosses a bit of early 90s alt-rock in there, bringing a Riot Grrrl vibe before ‘Fuck Work’ bounces its way into teenage rebellion. No-one is going to pinpoint it as a masterpiece of subtle song-writing, but it’s a hell of a lot of fun and deserves to be a punky live favorite for years to come." -ramblingsaboutwrestling.com Tafai - instasoundcloud"need more.. so fire bruv" -soundcloud.com Cammy Enaharo - instaspotify"It was barely two minutes into the album “From the Garage,” by singer and songwriter Cammy Enaharo, before her distinctive voice and catchy groove were apparent. A harmonious marriage of songwriting, voice and melody conjure up a soothing euphoria when combined with the smoky rifts from her signature baritone ukulele." -democratandchronicle.com Madeleine McQueen - instaspotify"Madeleine McQueen, a 23-year-old songwriter from Rochester, NY, has something to say, and you should be listening. With musical influences ranging from Nirvana to Amy Winehouse and Joni Mitchell, McQueen’s voice cuts through her songs with conviction, soul, and grace—a rare cocktail for a young songwriter." Televisionaries - instaspotify"Perhaps on paper, the term "contemporary instrumental surf rock" does not sound very appealing, but the Televisionaries of Rochester have managed to make a masterpiece of the genre. There's a lot to digest with this record, but it's more than worth it. Highly recommended." -materialworldrecords.com Overhand Sam - instaspotify"OHS (Overhand Sam, referencing his approach to the neck on the guitar), just put out his latest LP ‘Longer Legs’ and it’s one of the years more ambitious releases. On the surface it seems like a traditional 60’s Psych Rock genre exercise, but he’s offering up a lot more to the listener here. 11 songs tightly arranged and packed with enough ideas to reward repeated spins. Singable hooks, danceable rhythms, experimental zone outs, and oh yea…guitars. Guitars on guitars on guitars." -withguitars.com Full Body - instaspotify"Once "Always There" hit our inbox, we did our homework. We have to admit that we weren’t too impressed with Full Body’s first tracks... How times have changed! Don’t be scared by the rushed “noise rock” categorization, Full Body delivers here a palatable and digestive experience. Entrée, plat, dessert. With Always There, Full Body succeeded in crafting tasty and relevant compositions for both newbies on the scene and seasoned musicians (and even technicians). The Rochester quartet only left us with one luxurious anxiety: the fear of musical abandonment in the future." -slowculture.eu Moses Rockwell - instaspotifyRockwell spits rhymes with intelligent flow and charismatic swagger, throwing out poetic references like a well-versed librarian. "The Unfortunate Case of Mortis Rocksalt" is a candid reaction to societal issues through humorous observations of everyday life. You can hear the grin in his voice as Rockwell recites his inner thoughts on "An Old Yarn" and "Beak Down," while his crisp articulation is complemented by atmospheric electronic textures on "Mostly Harmless." -rochestercitynewspaper.com Harmonica Lewinksi - instaspotify"In a tight 28 minutes, Head Honcho spans the dial from weirdo surf to greasy garage to dirty disco to party punk. Recorded in Rochester NY by analog wizard Alex Patrick on ½ inch reel to reel. This full length tape from Harmonica Lewinski twists and turns its way through 12 cuts of swampy rock n roll, with booty shaker instros mixed in. Turn it over and start again." -imposemagazine.com Brendan Lake - instaspotify"In this, his first solo offering, Lake has achieved something self-evident. At its very core, beyond musical adornment or recycled melody, here is something of the utmost importance that many have forgotten. Childish Ways is about the first time you woke up and saw the world a bit differently. The first time you let something go and realized it was lost forever. The first time you found something else, both better and worse, but true nonetheless." - Reel Time Records The Fox Sisters - instaspotify"Have you ever danced so hard your body couldn’t keep up? Heart thumping, sweat beading off of the back of your neck, the onset ache in your glutes setting in? The Fox Sisters will make you dance ‘til you drop." -meltedmagazine.com Hallucination Realized - instaspotify The Low Spirits - instabandcamp There's just some for ya! It's easy for you to support your local musicians! Follow them online, tell your friends about it, maybe show up to Bug Jar when they're playing and most of all enjoy their music!!
Quelle Chris - Innocent Country 2 / Clams Casino - Instrumental Relics
Wed.
Tom Misch & Yussef Dayes - What Kinda Music /Hazel English - Wake UP!/ Other Lives - For Their Love
this is an unofficial discussion for reactions to the album or whatever your little heart desires. this is for the sake of preserving discussion on as many albums as possible. if there's any releases for the week (or in general) that may be of interest missing from the schedule either PM me or leave a comment somewhere and i'll add it.
Release Date: April 24th Label: PIAS Group Genre: Chamber Pop, Indie Pop, Indie Rock Singles:Lost Day, We Wait Streams:Spotify, iTunes, Google Play Schedule
Date
Album
Tues.
Quelle Chris - Innocent Country 2 / Clams Casino - Instrumental Relics
Wed.
Tom Misch & Yussef Dayes - What Kinda Music / Hazel English - Wake UP! /Other Lives - For Their Love
this is an unofficial discussion for reactions to the album or whatever your little heart desires. this is for the sake of preserving discussion on as many albums as possible. if there's any releases for the week (or in general) that may be of interest missing from the schedule either PM me or leave a comment somewhere and i'll add it.
I'm currently learning Spanish and planning to move to Spain in future to teach English. I love music and listen to a lot of different genres, I'm trying to listen to more Spanish artists to help with the language and pick up some of the culture. I'm gonna list off some of the stuff I'm into and ask if anyone has good recommendations for me for music coming out of Spain. I'd prefer it if it were Spanish language but it's not 100% necessary if you think they're worth checking out. Punk/Rock/Metal: Black Sabbath Iron Maiden Mastodon Gojira Bad Brains Misfits The Black Dahlia Murder Type O Negative Killswitch Engage TRC Malevolence Ramones System of a Down Title Fight Turnstile Pixies Sepultura Ghost The Animals Fugazi Deftones Gogol Bordello Think I've covered enough bases there Rap: I pretty much only listen to UK grime or 90s US hip-hop Dance music: Drum n bass Jungle Dub Reggae The Prodigy Aphex Twin Justice The xx Clams Casino Spanish bands I'm already listening to: Hamlet Extremoduro Narcos Def Con Dos Kamikazes Desakato And I LOVE Nacha Pop, listened to all their albums, anything similar would be great. I'll be in Spain for two weeks in September (fingers crossed), I'll be staying in Madrid, Valencia, Bilbao and Salamanca. If you have any recommendations for music venues, bars, clubs in those areas that would be amazing too. Thanks for taking the time to read this long old post, I have a bad habit of rambling. Hopefully this can turn into a good discussion/music swapping post.
Quelle Chris - Innocent Country 2/ Clams Casino - Instrumental Relics
Wed.
TBA
this is an unofficial discussion for reactions to the album or whatever your little heart desires. this is for the sake of preserving discussion on as many albums as possible. if there's any releases for the week (or in general) that may be of interest missing from the schedule either PM me or leave a comment somewhere and i'll add it.
Release Date: April 24th Label: self-released Genre: Cloud Rap, Instrumental Hip Hop Singles: n/a Streams:Spotify, iTunes, Google Play Schedule
Date
Album
Tues.
Quelle Chris - Innocent Country 2 /Clams Casino - Instrumental Relics
Wed.
TBA
this is an unofficial discussion for reactions to the album or whatever your little heart desires. this is for the sake of preserving discussion on as many albums as possible. if there's any releases for the week (or in general) that may be of interest missing from the schedule either PM me or leave a comment somewhere and i'll add it.
I'm not the type to need to pigeonhole music into genres, but I am making this post moreso so I can find more music with a specific sound; a sound that I can't quite label in one word, but it's made by people like Clams Casino, Lapalux, xxyyxx, and Nicholas Jaar (in some albums). The specific production techniques I'm looking for are: -Hypnotic/shamanic percussion and bass -Incoherent/fragmented vocals samples that are looped and distorted into sounding ethereal/disembodied/detached/ghostly -Hazy, dark, experimental, and eerie production that makes you feel simultaneously uncomfortable and hypnotized/tranced out I could list other things but those are the main elements I like. Could you recommend me some genres or artists with these elements?
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