Outside of the production, Amin é tackles a wide swath of topics within his lyrical offerings. What better way to represent the uncertainty of that time than by diversifying the sounds and sensations associated with each song? From Parker Corey’s industrial backings in Fetus to the rehashing of Ol’ Dirty Bastard’s Shimmy Shimmy Ya on Shimmy, Amin é brings unique character to the production of each track to embody the turbulence that can define one’s mid-twenties. The inconsistent stylings throughout Limbo play right into its concept: life isn’t one mood fits all, especially when you’re in your mid-twenties trying to figure out what the fuck life is. Limbo takes the successes from both of these albums and expands upon them, creating a consistently candid atmosphere littered with different flavors and brutally honest bars. On the flip side is ONEPOINTFIVE, the between-LPs mixtape released in 2018, whose trap-heavy tracks blew out speakers and provided some of Amin é’s most ambrosial hooks and melodies to date, but at times lacked a genuine feel in favor of playing to the mainstream sound of the time. His 2017 debut album Good For You, while introspective at times with songs like Money and Turf, gives the overall feeling of a free-flowing and carefree summertime album to bump while sunbathing and pool partying. Limbo represents a shift in the way Amin é approaches his craft, as well as the emotions and vulnerabilities he expresses within his music. The candid nature of that journey lays heavy within the album, giving it an aura of genuineness and relatability that touches just as deeply today as it did upon its release. Amin é was twenty-six at the time of the release, experiencing what he refers to in an interview with Oregon Public Broadcasting as a “quarter-life crisis” while trying to navigate adulthood. He covers this range of topics all while experimenting with different sounds and production to feel out where he fits sonically. He raps about the death of Kobe Bryant, the racial tension of his upbringing in Portland, Oregon, his determination to succeed, and the aches and pains of growing up and seeing those around you grow up. Limbo represents a crossroads in Amin é’s life: a state of uncertainty and experimentation he experiences while attempting to find his place in life and in music. One year after the release of his sophomore album Limbo, the Portland rapper’s adamant self-determinations - as well as his aptitude for blending flippant arrogance with visceral vulnerability -s till captivate and shine as some of his best work to date. slowthai and Vince Staples) is a statement of brash mockery and tenacious self-confidence so audacious that you can hear the whiskey bottle sloshing and black leather squeaking from that fateful MTV Video Music Awards night in 2009. In the middle of Aminé’s Pressure In My Palms (feat. I do yo ass the same way that Ye did Taylor” I'm 26.“You Bisquick, scallywag, silly muthafuckas I felt like a piece of my childhood go with him. Let me figure out how to buy a house and how to move and. And now with him being gone, I'm like, 'let me figure out how money works. It weirdly was like one of those things where he died and I felt like a lot of my innocence - and being a young person - died with Kobe. Over a gospel-esque meander with added warped effects, the rapper notes, "It, weirdly, fast-forwarded my maturity. The third track 'Kobe' pays homage to the late basketball star Kobe Bryant who died in January while 'Limbo' was still in the works. With Aminé's vocals, the result sounds like a beautiful mesh of trap, blues, R&B, and reggaeton.Īlong with its experimental or psychedelic temperament and several songs that would fit perfectly on a stoner's playlist, 'Limbo' also musters soulful and meaningful energies. 'Can't Decide' opens with a buttery blues guitar riff on repeat then mixes intertwined trap and padded hip-hop beats with subtle layers of added guitar. Further in the album, it is evident Aminé has become settled in his own niche of music-making.
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