Within the fall of 2013, the Treasury Division issued the primary new $100 invoice design in almost 20 years. The Sequence 2009A was a radical change largely as a result of it was, effectively, blue. These payments current one thing of an issue for TisaKorean, the Houston-bred dancer and rapper. On “StEvIe wOnDeR (yCg).mp3,” from his new tape Let Me Replace My Standing, he laments that thumbing by way of the brand new foreign money is leaving dyed residue on his fingers. Like a growth mic sagging into body, the stains puncture the virtually good phantasm of an LP—or, extra seemingly, a .zip file unearthed from the late W. Bush years.
The file in query would possibly scan as barely corrupted: Most of Replace’s antecedent kinds—crunk and snap primarily—coexisted, however seldom fought for area in the identical combine. Tune titles are styled as if ripped straight from LimeWire, or as if a clip of a Invoice Clinton speech is nestled subsequent to TisaKorean bragging about altering a woman’s pH stability. On “cRaNk iT Up (BoNuS).mp3,” snap’s incremental creep appears perpetually on the verge of exploding right into a totalizing roar. “StUnNa sHaDeS.mp3” has much more adverse area, however the digital pings approximate a metal drum and a dial-up modem trying to find connection, instilling the identical menace as essentially the most elbow-animating crunk beats.
A handful of track titles, a number of appearances of fossilized “YOU!” ad-libs, and different assorted hallmarks body Let Me Replace My Standing as an album-length Soulja Boy tribute. However his view of the interval is extra expansive—a lot in order that it could actually accommodate the twilight fugue that rappers like SahBabii explored within the early 2010s (“SiLlY MoAn.mp3,” the chic “StOp tExTiNg.mp3”), or the kind of serrated synths the Neptunes might need handed Fam-Lay in 2005 (“uHhH HuH.mp3”). Nonetheless, every of those songs sounds prefer it may have been haphazardly coded onto a MySpace web page. TisaKorean can also be a essentially totally different author than Soulja Boy was on this interval; as free because the latter’s songs may appear, they had been usually constructed round phrases that had been sanded right down to their important components. In the meantime, TisaKorean’s verses have a first-thought unpredictability that enhances the often self-produced beats. On “hYpNoTiZ4.mp3,” that unpredictability even survives the moment vocal screwing: So far as I can bear in mind, Pimp C by no means rhymed “certified” with “circumcised,” even when it feels spiritually appropriate.
Scattered moments all through Replace recall TisaKorean’s earlier work, which was generally so formless it was nearly avant-garde. “mOtOrCyClE.mp3” feels like one lengthy, intoxicating mistake, a collection of clipped phrases rapped to a beat that’s largely simply distortion. However on the entire, the album lingers on the fringes of pop, almost each track a possible viral hit that may nonetheless stand out because the oddest factor on any YouTube playlist it burrowed into. They’re not precisely relics and never precisely new—they’re code being mulched and conflated and spit again out endlessly.