On “Memo” he’s a maestro of bacchanalia and sedition. “Drippin’” ends the impeccable three-song stretch that starts SS3, begun by “With Them.” With its elastic bass and its streak of quotables (“I got some birds like I’m Julio”), the opener will be bodying clubs well into July. Belched threats and impromptu falsetto are wrapped in malice, non-sequitur one-liners slip in like common syntax (“Good shooter, I’m a good shooter/ And if I wanna see some titties I go eat at Hooters”), and it all coils upon transformative production that cements the hooks.

Consider “Drippin’,” an arresting three minutes in which everything builds on top of itself. While Young Thug’s chameleonic flow-hopping is undoubtedly a defining trait, what makes his songs glow is how you never see the seams. But two prime examples have been last year’s atmospheric Barter 6 and now Slime Season 3, the shortest of the series at a lean eight songs. A central conflict of creating a sum from his different modes is how to distill an artist as multitudinous as Young Thug into a project. But he’s been proving for a while that his mercurial presence ain’t confetti Slime Season 2 was notable in how some of its best moments were wrought with vulnerability. Wayne imitators are a dime a dozen how unfortunate it would’ve been if Young Thug didn’t evolve into the innovative quagmire that’s still one of music’s most compelling forces.Īlthough Thugger has been proving he’s a legitimate talent for at least three years, traditionalists have implied that giving in to his verbal pyrotechnics is a Faustian exchange, taking dazzle for substance.

His work as far back as 2011 originally cast him as a baby Lil Wayne: Thug’s voice was a dead ringer, and his songwriting took Wayne’s knack for laconic punchlines as the standard. Young Thug wasn’t always “indecipherable” - he was something lesser.

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