En­ter the genre ben­der

Sunday Tasmanian - Tassie Living - - 22 Eguide Music -

MELBOURNE rapper 360 takes a bite out of the hip- hop cake and then throws the rest in the trash.

His sound and style is far broader than many in this genre. And in many ways, this is a rap al­bum that isn’t one at all.

Sixty’s grow­ing pop mu­sic in­flu­ence may have turned a few rap mu­sic nerds against him but for ev­ery one he lost, he seems to have picked up 100 new fans to re­place them.

High ro­ta­tion on Triple J and win­ning Chan­nel V’s 2011 Oz Artist of the Year over acts such as Bliss n’ Eso or Drapht shows how high his star has risen.

On Fall­ing & Fly­ing ’ s first three songs, Sixty shows off his skills over a bunch of dif­fer­ent mu­si­cal styles.

Open­ing num­ber The Take Off be­gins with a mono­logue over gen­tly teas­ing strings. When the beat even­tu­ally drops, it isn’t a typ­i­cal rap rhythm. In­stead it sounds more like two- step with­out the grunt­ing sub- bass.

Sixty rhymes about step­ping back, as­sess­ing his life, cool­ing off on the brag­ging themes in favour of some­thing with more sub­stance.

It’s only one four- minute song but it feels like a shot over the bow of his com­pe­ti­tion.

I’m OK takes a mu­si­cal nod or two from elec­tro- pop. Singing in rap mu­sic? It’s ev­ery­where these days and here it works ef­fec­tively, com­ple­ment­ing Sixty’s lyrics about not chang­ing his ways to makes his haters happy.

Just Got Started is wildly funky with its slap bass and snappy drums. Pez lends a hand on the mic with great re­sults.

Next up is Throw It All Away, the first song with a tra­di­tional hip- hop beat and melodies, but Sixty couldn’t help but throw a curve ball into the mix. En­ter in­die crooner Josh Pyke to sing the hook. It’s a crack­ing tune, a sure- fire hit. Jump­ing from genre to genre is part of this al­bum’s iden­tity, so why not add a ska in­flu­ence to the set? Boys Like You has a reg­gae swag­ger in the verses and then, in the cho­rus, in­die- pop singer Gossling de­liv­ers a ten­der vo­cal hook over hand­claps and a whis­tle melody.

The di­ver­sity on show here is baf­fling. And im­pres­sive.

Half­way through the record comes Killer, with its elec­tric gui­tar lines and sur­pris­ing, heavy, elec­tro- tinged

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