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 pursuing the tragic loss of his right-hand producer, Lil Peep in 2017. Twice, in 1888, he’s strayed toward a more contemporary music career — 2020’s Designer Talk 2 starred the prefers of Pi ‘erre Bourne, Chief Keef, and the long Lil Keed, and 2018’s country-tinged “Like a Farmer” had retrovirus variety opportunities a few months before “Old Town Road” it’s completely over. But whenever the road seems straightforward and recorded, Lil Tracy slid suddenly turns. 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 could mix with the more simple catcher’s 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 might be the nearest an American musician has arrived to mimicking the grumble dreams and ecstasy of the Drain Gang.
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 interpreted through his people in the organisation, the fact that Saturn Child has no included shows a 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 sing-song stream and it begins to feel flawless, yet relaxing. At twice his tone pivots toward the campy, but his distribution seems to be based by 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 draws the soft beauty of zodiacs and galactic visuals into his stories of fabric profit and emotional loss: “I feel like Saturn/I got rings!” he croons on “Touche.”
Recurring people of the Gothiclique world like Smokeasac, Bighead, and BetterOffDead make 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 Location!” and “Roadrage” proof of a composer with his sound to the underwater. On Saturn Child, Tracy’s alt-influenced noise is reworked and rebuilt, creating a noise that’s on a more astronomical wavelength. Songs like It Is What It Is “have the strongly produced, sci-fi tastes of Pierre Bourne and Working on Dying. On” Heavenly “Tracy abandons the clear sandstone icons but retains the pop-punk stream, getting into a glitchy music rhythm.” Roadrage “enhances the Gothic noise, marrying an emo-tinged instrument page to a midbass Brooklyn mine rhythm.” Knight in Shining Armor “and” Heavenly Heaven! “apiece, temporarily cut into a big stomping rhythm, divides the variation between synth-pop and demanding grumble.
Music Within a 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 tortuosity beyond his regulation. An early overtopping of synthesizers gives way to music tenor, which is quickly surpassed by a thumping grumble four-on-the-floor, and all the while, Tracy’s adorable distribution keeps on directing. 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.