Rap­per’s go­ing back to the fu­ture 360


Herald Sun - Hit - - MUSIC - with CAMERON ADAMS

THERE is a for­mula for Aus­tralian artists to get on lo­cal ra­dio. The secret is sim­ple — imi­tate what’s on ra­dio now. If you’re a rap­per that’s mod­ern beats and guest singers.

Mel­bourne rap­per 360’s fourth al­bum opts for cre­ative risks over for­mula — the same way he broke out with 2011’s hit Fly­ing and Fall­ing.

Vin­tage Mod­ern Mk1 was all trap beats and trop house. Bored, he started from scratch, recre­at­ing all the songs with real in­stru­ments. And rather than guests singing all of the hooks, he sings them him­self.

It adds a new level of per­sonal emo­tion — es­pe­cially the cho­rus of Drugs where he sings “no one loves me like the drugs used to” af­ter a few verses rap­ping about his in­ter­nal chem­i­cal war­fare. Or singing (and rap­ping) about his demons on the cathar­tic Wit­ness (“haters read the head­lines, fans read the en­tire page”).

There’s still on-point beats in there (cour­tesy of hit man Styalz Fuego) but mixed in with live mu­sic full of hooks — see jaunty White Lies or the haunt­ing and haunted Way Out (fea­tur­ing Teis­cha)

Money is an­other post­suc­cess post-mortem, Let­ters an over­due awak­en­ing about not call­ing women bitches in verse.

Yes­ter­day’s camp­fire feel of acous­tic gui­tar and whis­tles puts a pos­i­tive spin on neg­a­tiv­ity, the strings on

Ad­mis­sion al­most hit the un­ex­pected vo­cal heights of the rap­per-turned-singer.

Tiny An­gel is al­ready a vi­ral hit, a true story about a still­born child in the same dra­matic vein as Eminem’s Stan.

Trou­ble sees ’60 aim to cull racists from his fan­base, ques­tion­ing the fear around Mus­lims — the con­tro­ver­sial line “the trou­ble with God is man” tellingly comes wrapped in the al­bum’s catchi­est cho­rus.

VER­DICT Chang­ing a gear to lengthen a ca­reer

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