Big Sad 1900: I Don’t Tap In or Tap Out Album Release


Big Sad 1900 sings about area conflicts and daily hijinks with the past of a hero getting a scene original of a film. His stories take place in or around West Lino. A. La Cienega Heights, but if you listen to him so you can location out snippets of the space without ever happening there. On his superstar tracks (2019 “Therapy” and 2020’s “La Cienega Heights”), he represented on scuffles from outside Joe’s Market where he used to gangster out in front of, nervous journeys to East L. A, lost loved ones, and repeated prison appearances. But the point of his writer’s writing becomes less about the initiative of such observations and more on the hard lessons he has discovered from them. It provides his song a dreamy voice which has created him holding out from a packed L. A. Music Episode.

For a while now, Big Sad has laid stories of vivacious moments on heavy alliances with a music maker. In the last one year, he had works completely created by G-funk influenced beatmakers like Uce Lee, Cypress Moreno, 420 Teesto, and Steelz. They constantly offer his recording a compact and cheap bet vibe, and he efforts to rattle this noise up on his latest album I Don’t Tap In or Tap Out. It’s extra deliberate, for best and for worse.

I Don’t Tap In or Tap Out isn’t a major brand music breakthrough, but it also has the shape of just one. Spaced throughout the 13 songs are efforts to expand his noise. It could be reviewed as optimistic but I imagine it’s way up. On “Chapter 16” We get the mandatory R & B sessions by host singer Yvbaby, its poor songs are caused by AutoTune. On “Ghetto Barbie” Big Sad takes a swing at a lyric, which seems useless; he’s always been capable of putting real-sounding Baby boy-like connection information into his songs. (I’m Here, He informs basic stories about Netflix and eerie and Dr. Christopher. City tours.) However, this compact building in history, these mistakes feel more like one-offs.

Despite the shadows of Big Sad’s storylines, here, the filmmakers talk about a chill-sounding West Coast vibe that gives the video an airy atmosphere. Each of the better is the Uce Lee-produced “Let’s Get It Poppin ‘” Where Big Sad raps about finding music with a sigh of relief ( “Niggas crazy I upstaged up and got it poppin’ /I’m happy I could rappin’ about my life And make some money”) over an old-school groove. 420Tiesto chops up a vocal sample at a low tempo “Big Dogs” and it’s the perfect backdrop for Big Sad and P4k, the star of L. A. The red-hot Baby Stone Gorillas crew, and talk tougher. On the bounce “So What” Big Sad is a little more upbeat, recounting melancholy club nights over bright percussion.

Big Sad still has plenty of room to grow. “Therapy 2” He has all the qualities he needs (the ultra-specific details and deep introspection) with his worst fears (the song could use a switch up in flow and lyrics that go beyond his clear-eyed monologue). Once he figures out his strengths, it’s going to be more than a great storyteller, he’ll be a good rapper, too.