Why does his newly released first vocal album, 32 Levels, work so well, then? Because Casino has allowed each rapper-friends and past collaborators such as B, Rocky, and Vince Staples, whose Summertime ’06 was partially Clams-produced-onto his clouds. There was no filter between his dream and yours, no lyrical interpretation or hard, wordy flow to crash the billowy story. That’s why his hushed 2011 Instrumentals album and its immediate, winsome, wordless follow-ups worked so well. Based strictly on mood and vibe, Casino’s samples and sequencer-based blobs-the heavenly clouds that gather to make up his open-ended melodies-are mini-universes of their own, a concept that the writers of Doctor Who have either already made their own or should very shortly.Ĭasino’s trembling tones are often so delicate that the voices that course through his woozy tracks occasionally seem like they’re violating them, as if they’re interrupting a pleasant dream. Pull up plush Lil B oddities such as the wonky “I’m God” and listen between the lines of “ Word around town that you livin’ with a halo ,” and you can feel Clams Casino’s hot breath, intergalactic atmospheres, and gooey, pliable rhythms on your neck. But try telling that to longtime fans of electro-cloud hip hop and rappers such as Mac Miller, A$AP Rocky, and, most pertinently, Lil B, all of whom have benefited from the spacious, starry-sky sounds of Nutley’s production alter ego, Clams Casino. Nutley, NJ, is not a ring of Saturn and native Jerseyan Michael Volpe is not an astronaut.
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