The surprise album drop has been a popular trend for the past couple of years. I think the concept is a boatload — maybe ever many boatloads — of fun. The problem is it often keeps music media in the dark, and music media doesn’t like being in the dark. This forces them to speculate a lot. As a result music media has been flat out wrong more this year than any other year in its history.
How many times recently have you seen Pitchfork or Fader report false information and then apologize for it? The answer is way too many times, but the media is a reflection of the people. We are the worst speculators of all. We are constantly speculating on Twitter — like 24/7. It’s all we do. Bro, one of Drake’s… friends… instagrammed… fake artwork of a Drake-Future collab, and people lost their shit. Now, that rumor happened to be true, but as this constant speculation transforms into obsession, it becomes a totally unhealthy behavior.
Speculators is a 21-track tape. The original idea for the tape came from 19th century oil speculation à la There Will Be Blood. Somewhere along the way it morphed into the rant above. With this tape I made an effort to include more indie rock songs, like the older Tape Tuesdays.
There are so many discoveries on this one. I hope you take the time to listen.
Now I could die today and the world won’t change, so I’m not ready
The hook on this Ashton McCreight-produced banger will take up a permanent, Las Vegas-style residency in your cranium. You will be doing the most inane activity and suddenly start singing “I’d rather have youuuu” in your mind and maybe even out loud in front of your family. It might honestly embarrass you. Consider this a warning. Perhaps don’t even listen to the song if you are afraid you might not be able to control your vocals and your natural showmanship. The risk is your own.
Based on probability alone, most people are bad for you. The problem is my generation is so antisocial that they cling to any semblance of familiarity. Familiarity, oftentimes, is also bad for you. This mixtape documents that internal struggle between the comfort of familiarity and the drab of routine. I miss new feelings. In order to experience newness, you first have to acknowledge how damn easy it is to be sucked into unhealthy but familiar tendencies, and then you have to fight those urges. Progress comes from the fight for novelty.
On a different note, “Vic Mensa sang beautifully on a Kanye West song” is not a thought I ever imagined I’d have. But on “Wolves” Vic croons, “I’m just bad (bad, bad) for you,” and it’s the most affecting part of the song (along with the haunting sounds that follow his verse). This mixtape is in part an ode to the perfection of that song. It’s my attempt to channel the same energy of “Wolves” into an entire mixtape that doesn’t include the song itself.
And I was only trying to make it
*SoundCloud mix missing track 7 (“Home” by Heems), track 8 (“The Death, The Funeral” by Sean Leon), and track 19 (“Stay Down” by Big Sean) — so basically, download the entire thing below.
The story of Lais began on Reddit where he posted his debut project Session One and instantly garnered a small, loyal fan base. From there, SITR favorite Skizzy Mars discovered him and convinced him to join the Penthouse Music roster. Together, they remixed Session One standout “For You,” which now has nearly a million plays on SoundCloud. That collaboration closed the Session One chapter of Lais’s short career, and began the Place in Time, which is the name of his upcoming EP, segment of his career. As Lais tweeted last night, it’s only fitting to start the new EP where he finished the last.
Here’s what Lais told Noisey about the song:
“The idea behind the song came from this one night where I was faded out of my mind partying in Montreal. Then after the party me and this girl went back to the hotel room and she wanted to hook up but she was trying to figure out if I was even conscious. So the whole time she kept asking me shit and all I could say was, “baby don’t worry, I’m still here” because the only thing I could understand her saying was my name. It was still a fun time but the song was just to let her know sometimes I’m gone but I’m still not that far away.”
If Drake ever slid into my DMs–I don’t know why Drake is sliding into my DMs but he’s Drake, and he’ll do whatever the fuck he wants–and was like, “Arjun, Toronto rapper Drake here, what artists should I pay attention to from Toronto?” The first artist that would come to mind would be Lais. The second would be Sean Leon, but that’s besides the point.
Lais is the newest addition to Skizzy Mars‘s Penthouse Music roster. To stick with the
lazy comparisons, he is a lot like the PND or The Weeknd to Skizzy’s Drake. His brand of music is filtered through a lens of intoxication and faded beauty. On “Dirty Martinis,” he croons about the hazy decadence of his (and her) lifestyle of choice. And through all the haze, you might just relate super heavy to these experiences and find your new favorite artist.
Man, Skizzy Mars and Michael Keenan blacked out on this. The duo took Baby Boy Da Prince’s 2007 hit and gave it a futuristic facelift. The result is a very positive song with a killer hook and a few slick verses from Mars. Shout out to whoever came up with the idea to draw out the final chorus.
Check out Skizzy’s collab with the new Penthouse Music artist Lais.