May 23, 2025 • 26 mins
Def Goldblum's Channel: https://www.youtube.com/@DefGoldbloom
Support on CashApp: $Vegasworldinc77
Merch SALE! Shirts, Hoodies, Phone Cases, and more! Visit http://www.teepublic.com/t-shirt/1119...
BlueSky/Instagram/Tik Tok/Threads/Spill: @Vegasworldinc
Facebook: http://Facebook.com/HipHopRightNow
Hip-Hop NOW Podcast's Theme music is produced by McLovin Beatz (@mclovin-beatz)
Become a YouTube Member today!
HHNP Memberships
Support on CashApp: $Vegasworldinc77
Merch SALE! Shirts, Hoodies, Phone Cases, and more! Visit http://www.teepublic.com/t-shirt/1119...
BlueSky/Instagram/Tik Tok/Threads/Spill: @Vegasworldinc
Facebook: http://Facebook.com/HipHopRightNow
Hip-Hop NOW Podcast's Theme music is produced by McLovin Beatz (@mclovin-beatz)
Become a YouTube Member today!
HHNP Memberships
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Welcome to hip Hop Now pot fat as if become
the future, you know what to do? Show as out
of my past life, so disrespectful leg hip hop can
say this today, Let's get right into the business. What up, y'all?
(00:23):
I am your host Vegas and this hip Hop Now
podcast say podcast specifically designed to keep you caught up
on all things hip hop, music and culture that happened
throughout the week. Welcome to another bonus episode of hip
Hop Now Podcasts Say Reaction if you will. This is
be the second one I've done so far, so I'll
(00:46):
keep them going as long as people enjoy them, you know,
as long as I have time to do them. Feel
me okay a pause? Whatever? Uh? Big shout out to
those who have supported this podcast, whether you subscribe via
audio where the podcast is available on Apple Podcasts, Spotify,
(01:07):
wherever you get your podcast listening, trust me wherever I've
been working at for a minute, an audio form in
YouTube form. We started. This channel started as kind of
like an everything channel, right, like a content dump. Right.
I put some of my music on here, I played
video games. I streamed video games on this channel. You know,
(01:31):
I put other hip hop content up here. But at
one point during the fiftieth year of hip hop, I decided, Okay,
let's just take the audio podcast and make it a
video podcast and go from there. And so we are
knocking on the door of ten thousand subscribers right here
(01:51):
on YouTube. The goal of the year was ten thousand subscribers.
We're not even at the halfway point, and we're about
to hit ten thousand subscribers. So if you found this content, however,
you found it through searches, maybe you like the shortsop post,
subscribe to the channel, like the videos, and more importantly,
(02:14):
shared with people you know enjoy this kind of content.
Now with a reaction from me kind of doing two things.
Supporting the channels that I subscribe to that I think
post interesting content all the time, but just making sure
it relates. So the first reaction video I did was
about Spotify and whether Spotify's algorithm was ruining the music industry.
(02:41):
You can check that out on the channel. There'll be
links at the end of this video and a link
up the top. But this one is a channel I
subscribe to, and I think I follow him on social media.
Death Gold Bloom, not Jeff Go Bloom, Death Go Boom,
and as a series of videos almost like essays about
(03:04):
different things in hip hop, like most hip hop channels do,
but he puts a lot of production and effort into it,
and I kind of enjoy it, and this particular video
was interesting. Let me bring it up on. First of all,
let me do a couple of things. Boom, that's the logo, y'all. Okay,
Now let me bring it up. A guy to hip
(03:24):
hop's most exciting movement. And if you're looking at the
video and you look down at the bottom, says Mike,
Pink Seafood and hip hop's post modern expressionist movement a
video essay. Now, I know it says that I'm not
subscribed there, but that's because this is not the login
(03:48):
I use when I watch videos. This is the logging
for this channel. I don't watch videos to it, so
what I subscribe to doesn't even matter on this channels
in the league, I did no care, okay, But I
thought this video was interesting because I discovered most of
these dudes who make this brand of hip hop through
(04:14):
other reviews online right or top ten lists from hip
hop sites where I would see pink Seafood and I
was like, who's that? And you know why is he
in hip Hop DX Best of the Year. Maybe I
need to check it out, And at one point it
took me down a rabbit hole of rappers who have
just different status, right, different styles of approaching hip hop,
(04:36):
whether it's the beats, whether it's the ron patterns, whether
it's something specific they talk about, and death gold Boom's
gonna break it down and we're gon't react to it.
So let's get to it and let's stop yapping. Okay,
let's stop that rot.
Speaker 2 (05:04):
In the shifting landscape of contemporary rap, a new wave
of artists has emerged, blending abstraction, personal introspection, and avant
garde soundscapes. This movement has been a renaissance of artistic expression,
bringing in waves of postmodern hip hop. The two strongest
voices of this movement are Mike and Pink Seafood, whose
(05:24):
music challenges the traditional structures of rap, embracing free form lyricism,
low fi production, and an ethos that prioritizes raw emotion
over conformity. They pull from not only fifty years of
hip hop, but centuries of black music, bringing in an
age of artistic freedom that pulls from everything before it
to make something new.
Speaker 1 (05:47):
Really quick. This is a reaction video. You know, we
have to stop every now and again to give our thoughts.
Link with the logo backup. I don't know what I
was doing, kind of wild. What I will say is
and it could be the majority that watched my channel.
This may not be the brand of hip hop you want. Now.
(06:08):
This isn't mumble rap, right, This isn't a lack of skill,
This isn't a lack of creativity like we see in
hip hop today. But these two rappers that he's focusing
on and the rappers who do what they do. It
is a movement in hip hop, but it's also based
(06:29):
in hip hop, right, meaning being different, being unconventional. Right.
Some people may think artists can be unconventional to a
point where it is whack, but that's an opinion, right.
Some people can get into it because it's different from
everything else, including the boombat that some people like, oh,
(06:53):
the traditional sounds of hip hop. So some people think
was whack off that, but some people are that because
they just want something different. So I just wanted to
say that real quick because I think after this essay,
after hearing these names, when you go press play on name, music.
(07:13):
Your expectations should be set, all right, Let's get back
on the video.
Speaker 2 (07:18):
By rejecting the mainstream's rigid expectations, they have cultivated a
space where vulnerability, experimentation, and historical awareness collide, giving birth
to one of the most compelling movements in modern hip hop.
The postmodern qualities of this wave of music is a
reaction to the modernization of rap over the past several years.
(07:38):
If hip hop of the eighties and nineties would be
considered classic rap, the new millennium brought the modern form
of what rap is in all of its forms. Artists
linked with labels such as Stone's Throw or Deaf Jokes
developed a distinctive aesthetic rooted in complex lyricism, intricate sampling,
and high concept production. This era refined underground wraps rawl
(08:00):
experimental essence into something more recognizable, setting new creative standards
that blurred the lines between the avant garde and what
would be considered commercially viable on the underground level. On
the mainstream side of things. Trap has undergone a similar
process of refinement since its early days in the Atlanta
rap scene. As this genre regained mainstream dominance in the
(08:21):
twenty tens. It became the new ideal of what modern
hip hop was on a mass scale. Rather than continuing
to refine these elements, artists like Mike and Pink CIFU
deconstruct them, pushing all forms of rap into a space
of unpredictability and rough edges. They embraced the foundational techniques
of the two thousands, underground lo fi sampling, dense wordplay,
(08:44):
and abstract imagery, while being inspired by the more emotive,
less lyrically dense mainstream acts of their time, fragmenting both
of these styles even further, allowing their music to sound
like an unfinished thought, an emotional outpouring, rather than a
fully formed state.
Speaker 1 (09:00):
It okay, that is key. I'll shout out to death
gold Bloom for that. That is key, Right, unfinished thought.
That was the hurdle for me as a traditional hip
hop head. Right, feeling like you're getting to the punch,
(09:22):
but the punch never really happens. That's kind of the
art in which they exists. But I digress.
Speaker 2 (09:33):
Their work plays with nostalgia, not by imitating the past,
but by distorting it, chopping up the smoothness of past
movements into something that's deliberately jagged and incomplete. The result
is a form of postmodern hip hop that does not
merely reference its influences, but reinterprets them in a way
that challenges the listener's expectations. Pink Seafu has albums that
(09:54):
are directly influenced by rock, soul, trap, and many other genres,
all playing on its foundational layer of hip hop of
the modern era.
Speaker 1 (10:03):
Mike does something similar.
Speaker 2 (10:05):
As he's gotten older in his young career, his past
few albums have gotten longer and longer, taking the listener
on a journey of hip hop that plays on his
influences and dissects them through a kaleidoscope of his raw emotion.
Expressionism is an artistic movement that prioritizes raw emotion and
subjective experience over realism. In this way, Mike and Pink
(10:26):
Seafu's music aligns with the principles of the movement by
presenting their personal narratives in ways that evoke feeling rather
than prioritizing linear coherence. Instead of delivering clear cut stories,
their lyrics often act as poetic sketches, dense with meaning
but elusive and structure. Mike, in particular, crafts music that
feels like an internal dialogue drenched in nostalgia and grief.
(10:50):
His delivery is subdued yet deeply expressive, allowing his voice
to become another instrument within the composition rather than the
dominant focus. The murky production mirrors the hazy, dreamlike quality
of memory, reinforcing an expressive approach to storytelling. Pink Seafou,
on the other hand, uses a regular, shape shifting vocal
(11:10):
delivery that can shift from whispered vulnerability to outright chaos.
His twenty twenty album was a prime example of expressionist intensity,
as he moves between punk inspired screams and spoken word
reflections of trauma. The erratic, visceral nature of his music
makes it feel like an emotional outburst, unfiltered and deeply felt,
(11:32):
while his work with Ali and Bi kool Aid takes
a much more internal, sensual approach, still, with his tonations
whispered in a haze of feeling rather than articulated to
a tea, letting the feeling of expression reign supreme. Mike
emerged in the Game a decade ago as a teenager
and is often credited with pioneering the Slums sound. He
(11:55):
is crafted a deeply personal and emotionally charged body of work.
His music is defined by murky, low fi beats that
feel submerged in nostalgia. His lyrics depict his emotional memories,
and his low energy, stream of conscious flow works perfectly
for making each song feel like it's pouring out of
him even.
Speaker 1 (12:13):
If Okay, really quick, So leave your comments in a
comments section below. Based off of what you heard so far,
I think this video is doing an excellent job of
explaining who these artists are, what the genre of or
(12:35):
the subgenre of hip hop it is, what the approach
to the flows are. It is not for everybody. I'll
say that because it's almost as if you have to
put yourself in a similar state. Like if you if
you're new to hip hop and this is how you
discovered hip hop, this is this is straight up normal
(12:55):
to you like the approaches. It's easy to digest because
it's how you was introduced to it. But if you
have spent like myself decades listening to hip hop from
every region and you hear this, and I like to
make a joke about about Bodie James and artists like
(13:18):
him making that disinterested rap with them disinterested flows right
the way they approach it. This is a great explanation
of what it actually is. It's they're being expressive in
a way that's not gonna spoon feed you what they
have to say in a traditional way. Boss. So I
(13:43):
think with that in mind, a stubborn you know, boom
back beings or whatever you want to call us, a
shout out, shut shout out to the omish. But nevertheless,
it provides a gateway into the music of these artists
(14:06):
and artists like them. So let's go back real quick
to that explanation about a h or breakdown. So Mike.
Speaker 2 (14:17):
Urged in the game a decade ago as a teenager
and is often credited with pioneering the Slums sound. He
has crafted a deeply personal and emotionally charged body of work.
His music is defined by murky lo fi beats that
feels submerged in nostalgia.
Speaker 1 (14:33):
His lyrics depict his memory.
Speaker 2 (14:35):
His low energy stream of conscious flow works perfectly for
making each song feel like it's pouring out of him,
even if the intentionality behind it is always on a
level rivaled by few. What makes Mike's music so compelling
is his ability to channel grief, existential dread and self
reflection into his art without sacrificing his musicality. His beats,
(14:57):
often self produced under the monik or DJ black Power,
create an immersive atmosphere full of vinyl crackles and chopped
up soul samples that feel both warm and distant. His
music is not about direct storytelling, but about evoking emotion,
painting an abstract picture of his inner world. If Mike
represents introversion, Pink Seafoo embodies chaos and revolution. His work
(15:20):
is wildly experimental, often shifting between styles and genres without warning.
Seafoo's ability to shape shift across sonic landscapes makes him
one of the most unpredictable and exciting artists in this movement.
It refuses to be boxed into any singular identity, using
his music as both a political statement and a deeply
(15:41):
personal exploration of his own existence. One of the defining
characteristics of Rapp's postmodern expressionist movement is its rejection of polish.
These artists deliberately embrace rawness, imperfections and do it yourself mentality.
The production often sounds unfinished or rough around the edges,
(16:01):
mirroring the unfiltered nature of their lyricism and artistry. Thematically,
their music explores grief, identity, systemic oppression, and the mundane
struggles of everyday life, but in a way that prioritizes
feeling over narrative clarity visual.
Speaker 1 (16:18):
Now this video is about two more minutes left, but
I think something was key there when it comes to
rap and the difference between what you may be accustomed
to versus what these guys do. That description right there,
rappers are typically the opposite, right, They're typically way more confident.
(16:39):
Nothing bothers them right sore. If it's grief, it's the
dead Homie song, which is coming from a true place,
don't get me twisted. But but also it's gotten to
a point where it's become, you know, par for the court.
(17:01):
You know, everybody's lost somebody. So when you have a
new artist sometimes you almost anticipate there being someone who
passed who knew them before they was on and now
they're on. But the music in general on their albums
tend to be more confident, whereas these guys tend to
be more in a emo state with it. And I
(17:25):
really like the description about instead of telling you a
story and what happened, it's almost as if they're giving
you their reaction and you have to figure out what
the story was based off of their reaction, if that
makes sense, which is kind of dope if you're a
(17:49):
hip hop head. But let's continue in struggles of.
Speaker 2 (17:56):
Everyday life, but in a way that prioritizes feeling over
narrow clarity. Visually, the esthetic mirrors the sound. Their music
videos are often rainy, rejecting the ultra HD style of media.
In recent years, their videos often feature heavy distortion and
color grading that captures dreamlike surrealism. The artwork on the
cover of their albums often lean towards minimalism, collage style artwork,
(18:20):
snapshots of emotional memories, or abstract imagery, reinforcing the themes
of the movement and the music that they make. As
this movement continues to gain traction, it continues to evolve.
When these artists came out, they were working mostly with
dusty soul samples and more traditional styles, but with each
year they get more bold and creative in their visions,
(18:41):
pushing the movement forward into something amazing and unique regardless
of where it goes. Mike, Pink, Seafu and their peers
are pushing the boundaries of what rap can be in
this postmodern age. They are not just making music, they
are crafting sonic experiences that challenges listeners to engage in
hip hop and new and exciting ways. And doing so,
(19:03):
they're ensuring that rapp remains a space for wrang, unfiltered expression,
and they are building legendary careers while leading the genre
into new and engaging directions. Thank you for watching, everybody.
Let me know down in the comments, who are some
other artists you feel fit into this postmodern expressionistic movement.
Speaker 1 (19:24):
I hope that was pretty dope. Shout out to death,
go Gloom. Hold up, let me fix my John Shout
out to death gold Bloom again. Subscribe to his channel.
He has way more videos than that. If you like
the essays, hold up, stop sharing. I guess I gotta
(19:48):
delete it. Man, there we go. But he has a
ton of videos where he does different essays. I thought
this was excellent for all the things that I mentioned before.
I feel like, if you're a fan of music, and
when I say that, I mean like maybe a fan
of rock also, a jazz expression is a big part
(20:15):
of music in general, right, you know, for the casuals
of course, but when you're talking. When I like mentioned
in jazz and like improv in jazz, that sort of
expression it does. The directions aren't like walk ten steps
(20:35):
and then make a right, it's everything. It's we don't
know where we're going to go. Right. But when I
look at these artists like Pink Seafood in this description
of artists like that, it really feels like true hip hop,
Like what they're doing is a true hip hop thing,
(20:56):
not versus your favorite or the legends in the game,
but the spirit of hip hop, the expression. Right how
the breakdancing was an expression, you know, when breakdancing wasn't around.
It wasn't like here's a list of moves, do these
moves only and your breakdancing. No, when you were in
(21:17):
a battle, it was about trying to do something new
or do the things you know in a fly away
or a different way. Same thing as mcs. You had
different flows, right, Like back in the days, you couldn't
sound like one another, right you had to approach it
in a very different way, and it was the fact
(21:37):
that you were different than your peers that typically made
you popular, especially if you was good at it. This
is very interesting, this postmodern hip hop so to speak,
is very interesting because of a simple fact that it's
not going to be for everybody. Because for a casual
(21:58):
this is way too deep, way too deep for them,
way too much thinking I have to do too much
to listen to this album. For a traditionalist, it's almost
the same feeling. Right, Typically you can just listen to
bars get them and be like, oh, that was hot.
(22:20):
But like I said earlier, having the ability to at
least lyrically and flow wise, to not tell you the
story of what happened, but to give you their reactions
and clues to what happened. So it forces you to
(22:43):
figure out what they're talking about in a lot of ways,
because you're like, oh, he shouldn't have went to the store.
You know, he forgot his while it should have had
his gun on him, Like not saying the music is
like that, but you know what I mean, Like you're
it's like a mystery. Some of us don't want to
do that, let alone for a whole album, No way,
(23:05):
no how. I'm probably one of those people, right, you
probably have to release an EP where I can get
each song and then I viother them. Now, the other
part to that, before we dismiss class is the production.
There are a lot of hip hop heads who will
not like the production. They already don't like Low five,
(23:29):
they already don't like beats that sound like they're unfinished.
It's the same thing like I said with the MC's.
These artists create versus where each line can sound like
an unfinished thought. Then they feel like, how was that dope? Right?
(23:49):
How was that clever? How's that art? But art continues
to evolve. Now do I feel like this becomes what
hip hop is today? I think there's a strong argument
to be made based off of what he said in
this video about eighties and nineties being considered classic rap
(24:14):
and modern rap like your Drake's and Kendricks and all
that being what rap is today Postmardern kind of being
like a subgenre or the underground to the modern hip hop.
Just like when you had Biggie, you had death jokes, right,
(24:36):
stuff like that. So in a lot of ways, I
think if you're interested, like I think he did an
excellent job with the breakdown of what this music is,
and if that makes sense to you, go check it out,
Go check out the artists that fit that category. Right,
I kind of feel that way. Sometimes when I listen
to Billy Woods right where I could be straight up
(25:00):
loss and sometimes I need the beats to have some
form of rhythm or direction tune, And the more they don't,
the less engaged I am. But that is me. What
do you feel about postmodern hip hop? Does that sound
(25:23):
like something you would like to hear or does it
sound like travish to you? Like Yo, they can't rap,
they can't make beats. It's whack. That's what we used
to call that stuff. Leave your comments in a comments
section below. Follow me on social media at bigas world
I Inc. Subscribe to the podcast and audio form wherever
you get your audio podcasts. Subscribe right here on YouTube
(25:44):
to help us get to ten thousand subscribers by the
end of twenty twenty five. Until next time, y'all. I
am not a critic, I'm a fan piece.
Welcome to hip Hop Now pot fat as if become
the future, you know what to do? Show as out
of my past life, so disrespectful leg hip hop can
say this today, Let's get right into the business. What up, y'all?
(00:23):
I am your host Vegas and this hip Hop Now
podcast say podcast specifically designed to keep you caught up
on all things hip hop, music and culture that happened
throughout the week. Welcome to another bonus episode of hip
Hop Now Podcasts Say Reaction if you will. This is
be the second one I've done so far, so I'll
(00:46):
keep them going as long as people enjoy them, you know,
as long as I have time to do them. Feel
me okay a pause? Whatever? Uh? Big shout out to
those who have supported this podcast, whether you subscribe via
audio where the podcast is available on Apple Podcasts, Spotify,
(01:07):
wherever you get your podcast listening, trust me wherever I've
been working at for a minute, an audio form in
YouTube form. We started. This channel started as kind of
like an everything channel, right, like a content dump. Right.
I put some of my music on here, I played
video games. I streamed video games on this channel. You know,
(01:31):
I put other hip hop content up here. But at
one point during the fiftieth year of hip hop, I decided, Okay,
let's just take the audio podcast and make it a
video podcast and go from there. And so we are
knocking on the door of ten thousand subscribers right here
(01:51):
on YouTube. The goal of the year was ten thousand subscribers.
We're not even at the halfway point, and we're about
to hit ten thousand subscribers. So if you found this content, however,
you found it through searches, maybe you like the shortsop post,
subscribe to the channel, like the videos, and more importantly,
(02:14):
shared with people you know enjoy this kind of content.
Now with a reaction from me kind of doing two things.
Supporting the channels that I subscribe to that I think
post interesting content all the time, but just making sure
it relates. So the first reaction video I did was
about Spotify and whether Spotify's algorithm was ruining the music industry.
(02:41):
You can check that out on the channel. There'll be
links at the end of this video and a link
up the top. But this one is a channel I
subscribe to, and I think I follow him on social media.
Death Gold Bloom, not Jeff Go Bloom, Death Go Boom,
and as a series of videos almost like essays about
(03:04):
different things in hip hop, like most hip hop channels do,
but he puts a lot of production and effort into it,
and I kind of enjoy it, and this particular video
was interesting. Let me bring it up on. First of all,
let me do a couple of things. Boom, that's the logo, y'all. Okay,
Now let me bring it up. A guy to hip
(03:24):
hop's most exciting movement. And if you're looking at the
video and you look down at the bottom, says Mike,
Pink Seafood and hip hop's post modern expressionist movement a
video essay. Now, I know it says that I'm not
subscribed there, but that's because this is not the login
(03:48):
I use when I watch videos. This is the logging
for this channel. I don't watch videos to it, so
what I subscribe to doesn't even matter on this channels
in the league, I did no care, okay, But I
thought this video was interesting because I discovered most of
these dudes who make this brand of hip hop through
(04:14):
other reviews online right or top ten lists from hip
hop sites where I would see pink Seafood and I
was like, who's that? And you know why is he
in hip Hop DX Best of the Year. Maybe I
need to check it out, And at one point it
took me down a rabbit hole of rappers who have
just different status, right, different styles of approaching hip hop,
(04:36):
whether it's the beats, whether it's the ron patterns, whether
it's something specific they talk about, and death gold Boom's
gonna break it down and we're gon't react to it.
So let's get to it and let's stop yapping. Okay,
let's stop that rot.
Speaker 2 (05:04):
In the shifting landscape of contemporary rap, a new wave
of artists has emerged, blending abstraction, personal introspection, and avant
garde soundscapes. This movement has been a renaissance of artistic expression,
bringing in waves of postmodern hip hop. The two strongest
voices of this movement are Mike and Pink Seafood, whose
(05:24):
music challenges the traditional structures of rap, embracing free form lyricism,
low fi production, and an ethos that prioritizes raw emotion
over conformity. They pull from not only fifty years of
hip hop, but centuries of black music, bringing in an
age of artistic freedom that pulls from everything before it
to make something new.
Speaker 1 (05:47):
Really quick. This is a reaction video. You know, we
have to stop every now and again to give our thoughts.
Link with the logo backup. I don't know what I
was doing, kind of wild. What I will say is
and it could be the majority that watched my channel.
This may not be the brand of hip hop you want. Now.
(06:08):
This isn't mumble rap, right, This isn't a lack of skill,
This isn't a lack of creativity like we see in
hip hop today. But these two rappers that he's focusing
on and the rappers who do what they do. It
is a movement in hip hop, but it's also based
(06:29):
in hip hop, right, meaning being different, being unconventional. Right.
Some people may think artists can be unconventional to a
point where it is whack, but that's an opinion, right.
Some people can get into it because it's different from
everything else, including the boombat that some people like, oh,
(06:53):
the traditional sounds of hip hop. So some people think
was whack off that, but some people are that because
they just want something different. So I just wanted to
say that real quick because I think after this essay,
after hearing these names, when you go press play on name, music.
(07:13):
Your expectations should be set, all right, Let's get back
on the video.
Speaker 2 (07:18):
By rejecting the mainstream's rigid expectations, they have cultivated a
space where vulnerability, experimentation, and historical awareness collide, giving birth
to one of the most compelling movements in modern hip hop.
The postmodern qualities of this wave of music is a
reaction to the modernization of rap over the past several years.
(07:38):
If hip hop of the eighties and nineties would be
considered classic rap, the new millennium brought the modern form
of what rap is in all of its forms. Artists
linked with labels such as Stone's Throw or Deaf Jokes
developed a distinctive aesthetic rooted in complex lyricism, intricate sampling,
and high concept production. This era refined underground wraps rawl
(08:00):
experimental essence into something more recognizable, setting new creative standards
that blurred the lines between the avant garde and what
would be considered commercially viable on the underground level. On
the mainstream side of things. Trap has undergone a similar
process of refinement since its early days in the Atlanta
rap scene. As this genre regained mainstream dominance in the
(08:21):
twenty tens. It became the new ideal of what modern
hip hop was on a mass scale. Rather than continuing
to refine these elements, artists like Mike and Pink CIFU
deconstruct them, pushing all forms of rap into a space
of unpredictability and rough edges. They embraced the foundational techniques
of the two thousands, underground lo fi sampling, dense wordplay,
(08:44):
and abstract imagery, while being inspired by the more emotive,
less lyrically dense mainstream acts of their time, fragmenting both
of these styles even further, allowing their music to sound
like an unfinished thought, an emotional outpouring, rather than a
fully formed state.
Speaker 1 (09:00):
It okay, that is key. I'll shout out to death
gold Bloom for that. That is key, Right, unfinished thought.
That was the hurdle for me as a traditional hip
hop head. Right, feeling like you're getting to the punch,
(09:22):
but the punch never really happens. That's kind of the
art in which they exists. But I digress.
Speaker 2 (09:33):
Their work plays with nostalgia, not by imitating the past,
but by distorting it, chopping up the smoothness of past
movements into something that's deliberately jagged and incomplete. The result
is a form of postmodern hip hop that does not
merely reference its influences, but reinterprets them in a way
that challenges the listener's expectations. Pink Seafu has albums that
(09:54):
are directly influenced by rock, soul, trap, and many other genres,
all playing on its foundational layer of hip hop of
the modern era.
Speaker 1 (10:03):
Mike does something similar.
Speaker 2 (10:05):
As he's gotten older in his young career, his past
few albums have gotten longer and longer, taking the listener
on a journey of hip hop that plays on his
influences and dissects them through a kaleidoscope of his raw emotion.
Expressionism is an artistic movement that prioritizes raw emotion and
subjective experience over realism. In this way, Mike and Pink
(10:26):
Seafu's music aligns with the principles of the movement by
presenting their personal narratives in ways that evoke feeling rather
than prioritizing linear coherence. Instead of delivering clear cut stories,
their lyrics often act as poetic sketches, dense with meaning
but elusive and structure. Mike, in particular, crafts music that
feels like an internal dialogue drenched in nostalgia and grief.
(10:50):
His delivery is subdued yet deeply expressive, allowing his voice
to become another instrument within the composition rather than the
dominant focus. The murky production mirrors the hazy, dreamlike quality
of memory, reinforcing an expressive approach to storytelling. Pink Seafou,
on the other hand, uses a regular, shape shifting vocal
(11:10):
delivery that can shift from whispered vulnerability to outright chaos.
His twenty twenty album was a prime example of expressionist intensity,
as he moves between punk inspired screams and spoken word
reflections of trauma. The erratic, visceral nature of his music
makes it feel like an emotional outburst, unfiltered and deeply felt,
(11:32):
while his work with Ali and Bi kool Aid takes
a much more internal, sensual approach, still, with his tonations
whispered in a haze of feeling rather than articulated to
a tea, letting the feeling of expression reign supreme. Mike
emerged in the Game a decade ago as a teenager
and is often credited with pioneering the Slums sound. He
(11:55):
is crafted a deeply personal and emotionally charged body of work.
His music is defined by murky, low fi beats that
feel submerged in nostalgia. His lyrics depict his emotional memories,
and his low energy, stream of conscious flow works perfectly
for making each song feel like it's pouring out of
him even.
Speaker 1 (12:13):
If Okay, really quick, So leave your comments in a
comments section below. Based off of what you heard so far,
I think this video is doing an excellent job of
explaining who these artists are, what the genre of or
(12:35):
the subgenre of hip hop it is, what the approach
to the flows are. It is not for everybody. I'll
say that because it's almost as if you have to
put yourself in a similar state. Like if you if
you're new to hip hop and this is how you
discovered hip hop, this is this is straight up normal
(12:55):
to you like the approaches. It's easy to digest because
it's how you was introduced to it. But if you
have spent like myself decades listening to hip hop from
every region and you hear this, and I like to
make a joke about about Bodie James and artists like
(13:18):
him making that disinterested rap with them disinterested flows right
the way they approach it. This is a great explanation
of what it actually is. It's they're being expressive in
a way that's not gonna spoon feed you what they
have to say in a traditional way. Boss. So I
(13:43):
think with that in mind, a stubborn you know, boom
back beings or whatever you want to call us, a
shout out, shut shout out to the omish. But nevertheless,
it provides a gateway into the music of these artists
(14:06):
and artists like them. So let's go back real quick
to that explanation about a h or breakdown. So Mike.
Speaker 2 (14:17):
Urged in the game a decade ago as a teenager
and is often credited with pioneering the Slums sound. He
has crafted a deeply personal and emotionally charged body of work.
His music is defined by murky lo fi beats that
feels submerged in nostalgia.
Speaker 1 (14:33):
His lyrics depict his memory.
Speaker 2 (14:35):
His low energy stream of conscious flow works perfectly for
making each song feel like it's pouring out of him,
even if the intentionality behind it is always on a
level rivaled by few. What makes Mike's music so compelling
is his ability to channel grief, existential dread and self
reflection into his art without sacrificing his musicality. His beats,
(14:57):
often self produced under the monik or DJ black Power,
create an immersive atmosphere full of vinyl crackles and chopped
up soul samples that feel both warm and distant. His
music is not about direct storytelling, but about evoking emotion,
painting an abstract picture of his inner world. If Mike
represents introversion, Pink Seafoo embodies chaos and revolution. His work
(15:20):
is wildly experimental, often shifting between styles and genres without warning.
Seafoo's ability to shape shift across sonic landscapes makes him
one of the most unpredictable and exciting artists in this movement.
It refuses to be boxed into any singular identity, using
his music as both a political statement and a deeply
(15:41):
personal exploration of his own existence. One of the defining
characteristics of Rapp's postmodern expressionist movement is its rejection of polish.
These artists deliberately embrace rawness, imperfections and do it yourself mentality.
The production often sounds unfinished or rough around the edges,
(16:01):
mirroring the unfiltered nature of their lyricism and artistry. Thematically,
their music explores grief, identity, systemic oppression, and the mundane
struggles of everyday life, but in a way that prioritizes
feeling over narrative clarity visual.
Speaker 1 (16:18):
Now this video is about two more minutes left, but
I think something was key there when it comes to
rap and the difference between what you may be accustomed
to versus what these guys do. That description right there,
rappers are typically the opposite, right, They're typically way more confident.
(16:39):
Nothing bothers them right sore. If it's grief, it's the
dead Homie song, which is coming from a true place,
don't get me twisted. But but also it's gotten to
a point where it's become, you know, par for the court.
(17:01):
You know, everybody's lost somebody. So when you have a
new artist sometimes you almost anticipate there being someone who
passed who knew them before they was on and now
they're on. But the music in general on their albums
tend to be more confident, whereas these guys tend to
be more in a emo state with it. And I
(17:25):
really like the description about instead of telling you a
story and what happened, it's almost as if they're giving
you their reaction and you have to figure out what
the story was based off of their reaction, if that
makes sense, which is kind of dope if you're a
(17:49):
hip hop head. But let's continue in struggles of.
Speaker 2 (17:56):
Everyday life, but in a way that prioritizes feeling over
narrow clarity. Visually, the esthetic mirrors the sound. Their music
videos are often rainy, rejecting the ultra HD style of media.
In recent years, their videos often feature heavy distortion and
color grading that captures dreamlike surrealism. The artwork on the
cover of their albums often lean towards minimalism, collage style artwork,
(18:20):
snapshots of emotional memories, or abstract imagery, reinforcing the themes
of the movement and the music that they make. As
this movement continues to gain traction, it continues to evolve.
When these artists came out, they were working mostly with
dusty soul samples and more traditional styles, but with each
year they get more bold and creative in their visions,
(18:41):
pushing the movement forward into something amazing and unique regardless
of where it goes. Mike, Pink, Seafu and their peers
are pushing the boundaries of what rap can be in
this postmodern age. They are not just making music, they
are crafting sonic experiences that challenges listeners to engage in
hip hop and new and exciting ways. And doing so,
(19:03):
they're ensuring that rapp remains a space for wrang, unfiltered expression,
and they are building legendary careers while leading the genre
into new and engaging directions. Thank you for watching, everybody.
Let me know down in the comments, who are some
other artists you feel fit into this postmodern expressionistic movement.
Speaker 1 (19:24):
I hope that was pretty dope. Shout out to death,
go Gloom. Hold up, let me fix my John Shout
out to death gold Bloom again. Subscribe to his channel.
He has way more videos than that. If you like
the essays, hold up, stop sharing. I guess I gotta
(19:48):
delete it. Man, there we go. But he has a
ton of videos where he does different essays. I thought
this was excellent for all the things that I mentioned before.
I feel like, if you're a fan of music, and
when I say that, I mean like maybe a fan
of rock also, a jazz expression is a big part
(20:15):
of music in general, right, you know, for the casuals
of course, but when you're talking. When I like mentioned
in jazz and like improv in jazz, that sort of
expression it does. The directions aren't like walk ten steps
(20:35):
and then make a right, it's everything. It's we don't
know where we're going to go. Right. But when I
look at these artists like Pink Seafood in this description
of artists like that, it really feels like true hip hop,
Like what they're doing is a true hip hop thing,
(20:56):
not versus your favorite or the legends in the game,
but the spirit of hip hop, the expression. Right how
the breakdancing was an expression, you know, when breakdancing wasn't around.
It wasn't like here's a list of moves, do these
moves only and your breakdancing. No, when you were in
(21:17):
a battle, it was about trying to do something new
or do the things you know in a fly away
or a different way. Same thing as mcs. You had
different flows, right, Like back in the days, you couldn't
sound like one another, right you had to approach it
in a very different way, and it was the fact
(21:37):
that you were different than your peers that typically made
you popular, especially if you was good at it. This
is very interesting, this postmodern hip hop so to speak,
is very interesting because of a simple fact that it's
not going to be for everybody. Because for a casual
(21:58):
this is way too deep, way too deep for them,
way too much thinking I have to do too much
to listen to this album. For a traditionalist, it's almost
the same feeling. Right, Typically you can just listen to
bars get them and be like, oh, that was hot.
(22:20):
But like I said earlier, having the ability to at
least lyrically and flow wise, to not tell you the
story of what happened, but to give you their reactions
and clues to what happened. So it forces you to
(22:43):
figure out what they're talking about in a lot of ways,
because you're like, oh, he shouldn't have went to the store.
You know, he forgot his while it should have had
his gun on him, Like not saying the music is
like that, but you know what I mean, Like you're
it's like a mystery. Some of us don't want to
do that, let alone for a whole album, No way,
(23:05):
no how. I'm probably one of those people, right, you
probably have to release an EP where I can get
each song and then I viother them. Now, the other
part to that, before we dismiss class is the production.
There are a lot of hip hop heads who will
not like the production. They already don't like Low five,
(23:29):
they already don't like beats that sound like they're unfinished.
It's the same thing like I said with the MC's.
These artists create versus where each line can sound like
an unfinished thought. Then they feel like, how was that dope? Right?
(23:49):
How was that clever? How's that art? But art continues
to evolve. Now do I feel like this becomes what
hip hop is today? I think there's a strong argument
to be made based off of what he said in
this video about eighties and nineties being considered classic rap
(24:14):
and modern rap like your Drake's and Kendricks and all
that being what rap is today Postmardern kind of being
like a subgenre or the underground to the modern hip hop.
Just like when you had Biggie, you had death jokes, right,
(24:36):
stuff like that. So in a lot of ways, I
think if you're interested, like I think he did an
excellent job with the breakdown of what this music is,
and if that makes sense to you, go check it out,
Go check out the artists that fit that category. Right,
I kind of feel that way. Sometimes when I listen
to Billy Woods right where I could be straight up
(25:00):
loss and sometimes I need the beats to have some
form of rhythm or direction tune, And the more they don't,
the less engaged I am. But that is me. What
do you feel about postmodern hip hop? Does that sound
(25:23):
like something you would like to hear or does it
sound like travish to you? Like Yo, they can't rap,
they can't make beats. It's whack. That's what we used
to call that stuff. Leave your comments in a comments
section below. Follow me on social media at bigas world
I Inc. Subscribe to the podcast and audio form wherever
you get your audio podcasts. Subscribe right here on YouTube
(25:44):
to help us get to ten thousand subscribers by the
end of twenty twenty five. Until next time, y'all. I
am not a critic, I'm a fan piece.
Popular Podcasts
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Clay Travis and Buck Sexton Show
The Clay Travis and Buck Sexton Show. Clay Travis and Buck Sexton tackle the biggest stories in news, politics and current events with intelligence and humor. From the border crisis, to the madness of cancel culture and far-left missteps, Clay and Buck guide listeners through the latest headlines and hot topics with fun and entertaining conversations and opinions.