Over the years, Jazz Butler has done his job many times: In 2016, when he changed his expert name from Yung Bruh to Lil Tracy, but much more existentially as he pursued the tragic loss of his right-hand producer Lil Peep in 2017. The two met twice, He’s strayed toward a more contemporary music job — 2020’s Designer Talk 2 stars the likes of Pierre Bourne, Chief Keef, and the long Lil Keed, and 2018’s country-tinged “Like a Farmer” had retroviruses variety opportunities a few months before “Old Town Road” it’s completely over. But whenever the road seems straightforward and recorded, Tracy Lil Tracy turns suddenly on her feet. Anarchy was a pop-punk parody on the nose that might have been ghost-produced by Travis Barker in 2019; Designer Talk 2 revealed how well Tracy’s delicate mellifluous combination could mix with the more simple catcher noise. His new album “Saturn Child” is relatively tougher to classify, and even more unique — a celestial biosynthetic of EDM, grunge music, and whimsical music catchphrases that maybe the nearer an American musician has arrived at mimicking the grumble dreams and ecstasy of Drain Gangs.
Regardless of his sound progressions, Tracy’s heart is still the same: painful love with constant heartbreak and a fondness for hurtful flings. He’s mainly remained described by his companionship; it’s nearly impossible to obtain an analysis or persona and it doesn’t note his similar creative lineage with Lil Peep, or his remarkable family, Ishmael Butler of Shabazz Palaces and Digable Planets and Cheryl Gamble of SWV. Tracy is often perceived through his people in the organisation, the fact that Saturn Child has no include shows an composer stating his tone under its own words. Tracy’s delivery was mostly aggressive and hidden in Auto-Tune but he’s become a more comfortable singer, with a saxophone and it begins to feel flawless, yet relaxing. At two his tone pivots toward the campy, but his distribution seems to be based on the listenability of his singing — he provokes the nose kvetch of Blink-182, The soulful mellifluous of The Weeknd, and the cartoonishness of iLoveMakonnen. Though not really on the full-blown Jaden Smith blue child finger, Tracy blends the soft beauty of zodiac and galactic visuals into his stories of fabric profit and emotional loss: “I feel like Saturn/I got a little too late” he croons on “touch.”
Recurring people of the Gothic world like Smokeasac, Bighead, and BetterOffDead will most move in production work, but Tracy and a couple of younger and lesser-known beatmakers join him, especially for drill-flavored songs like “Location” and “Roadrage” proof of an ensemble with its sound to the underwater. Saturn Child, Tracy’s alt-influenced noise is reworked and rebuilt, creating a noise that is on a more astronomical wavelength. Songs like “It Is What It Is” are strongly produced, sci-fi taste of Pierre Bourne and Working on Dying. On “Heavenly” Tracy abandons the clear sandstone icons but retains the pop-punk stream, resuming a glitchy music rhythm. “Roadrage” upgrades the Gothiclique noise, marrying an emo-tinged instrument page to a midbass Brooklyn mine rhythm. “Knight in Shining Armor” and “Heavenly” apiece temporarily cut into a big stomping rhythm and it divides the variation between synth-pop and demanding grumbles.
Within music, music, Lil Tracy changes his neck and changes into unexpected patterns. On “Knight in Shining Armor” as Tracy sings about heartbreaks and pretend companions, the rhythm and tortuosity beyond his regulation. An initial overtopping of synthesizers gives way to music tenor, which is quickly surpassed by a thumping grumble four-on-the-floor, and all the whereas, Tracy’s adorable distribution stays a direct part of the film. It’s unfathomable to contact Saturn Child Lil Tracy’s final form, provided his numerous spinoffs, but it’s a version that feels more effective than ever.