![]() When Tim's shit goes wrong, though, it's harder to get to the root of the problem. The other main factor in his genius, as anyone who's had a radio on at any point in the last decade knows, is his ability to integrate unexpected niche-genre sonics most hip hop and R&B producers wouldn't steer towards- bhangra, jungle, trance- and use them for a kind of universal club futurism that, since it fits well in damn near every place people dance, makes for an easy route to chart and cultural dominance. ![]() This might be one of the reasons he's considered by most trainspotter pop fiends to be more of a genius than those other two even when Tim runs his mouth, it's typically been innocuously catchy- even complementary- enough to keep the production's strengths at the forefront. He hasn't spent more time being a pop icon than a musician, hasn't suffered from any major dry spells of creative entropy and, most importantly, has known enough to let his beats do most of the heavy lifting. ![]() When it comes down to the big three producer-MCs who have defined club-friendly rap over the past decade- Diddy, Pharrell and Timbaland- Tim's the one who's been best able to rein in his self-indulgent tendencies. ![]()
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