On the other hand, T-Pain does not blanche at being candid: with the abandon of a 20-year-old literalist, all it takes is one listen to the otherworldly brilliant "I'm N Luv (Wit a Stripper)" to realize dude doesn't even feel the need for metaphor, much less protection (though if there's a lesson to be learned from R. You might view the vocoder as a protective barrier between T-Pain and listener, a text-message-like vessel to convey his emotional nakedness without risk. And through it, he lamented that his woman's love "got me doin the dishes" she was "cuttin' off my homies/ Even all my other 'ronis/ She ain't even my main lady!" Instead, on T-Pain's tracks about love'n'sex, he reinvents the vocoder in the image of Johnny Gill and Roger Troutman collabos, or the Timbaland rhythm-hook on Ginuwine's "Pony": a far-out and freaky underscore to his sensual confessionals, all space-launched with robotic sweet-talk.
So when he came on strong nationally with "I'm Sprung"'s vocoder'd hook, basically singing "Do you believe in LIFE AFTER LOVE?" he effectively reclaimed that digitally-voice device from bad superstore house, bargain-bin Europop, Cher remixes, late-era Yes and 1980s nostalgists. The prodigy-ish Floridian is referring to his past membership as a rapper in the group Nappy Heads, who gave it all up to sing after he decided contemporary r&b was wack, and that he should inject it with his own brand of not-wackness. T-Pain also calls himself, and his album, Rappa Ternt Sanga. Plus, the artist has crossover potential. Both T-Pain and Excepter use slick synthesizers and digital effects to create interplanetary sanctuaries for the starkest human emotion.Įven though he already constitutes his own genre, that of the previously mentioned "Hard & B," T-Pain is still allowed to be Baby Oil & B, because the only rules are there are no rules. Secondly, Excepter, the New York noise band whose wicked emotional Sunbomber EP sounds exactly like T-Pain, chopped and screwed by a DJ weathering the fourth hour of a K-hole. The first is T-Pain- T for Tallahassee- the Florida singer/producer who hit big last summer with his melancholy, coochie-whipped anthem "I'm Sprung". The first new genre I coined, I christened "BABY OIL & B." It is directly related to, and encompasses, my DSM IV-level obsession with two artists whose synth hooks flow and glisten like the powdered bums on gilded baby magi. Because of my lifelong hatred of ambiguity, my personal microgenres will be based on "personification," as in "music whose sound embodies physical objects," music that sounds or interprets a certain type of thing. This is why, for 2006, I decided to vanquish genre, and stop listening to "types of music." Inspired by mixtapes, Fluxus, and verlan (the French hip-hop slang that inverts words like Pig Latin), and spurred on by the ridiculosity of myopic web-chaos which ensued after Pitchfork put, like, one (really excellent) hip-hop album on the top 10 of 2005 (I can only imagine what would've happened if a female r&b singer such as Keyshia Cole or gasp Mariah Carey had been included), from now on, I'm so post-genre, I only listen to microgenres I invent my own cot damn self. They spanned from crack-hop, the 2005 zeitgeist of crack-and-coke-themed rap that included Clipse, Young Jeezy, and Juelz Santana "snap music," a type of ATL minimal, fingersnappy production, which included D4L's "Laffy Taffy" and Dem Franchize Boys' "I Think they Like Me" and "hard & b," a type of stark-realist r&b invented by T-Pain, and which consists of T-Pain exclusively. Last year, charts and clubs were dominated by microgenres.
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