Part of the unique power of Michigan music is not really the pace or frequency, but the lighthearted — from Rio Da Yung OG’s gross-out quips to Bfb Da Packman’s absolute humor music. But there’s probably no one in the Detroit metro area as consistently funny or as joyfully wonderful as ShittyBoyz, The pairing composed of half-court magicians BabyTron, StanWilliams, and TrDee. They can go featherweight and bar for bar with the preference of Icewear Vezzo and Band Gang Lonnie Bands, But the self-described fraud artists are more honest and corny than some of their colleagues, as the name suggests.
Their new album , Trifecta 2, comes in the middle of a winning year for the team, which has included the first Trifecta album and BabyTron solo project MegaTron. BabyTron has felt the most vocal victory so far though, including an opening inside this year’s XXL Freshman Class, but ShittyBoyz is a tight-knit unit with flawless science. Twice, their moves can be difficult to distinguish, but not since they’re the same; apiece, being in alignment with those other that the back and forth part of the synergy Voltron. And notwithstanding the pounds of sweat And constraints, they talk about breathing, ShittyBoyz has never ever moved out of breath.
Heavy synthesizers and thumping 808s “Win or Lose” Detroit is true, but hearing a complete ShittyBoyz album front to background makes for a high-energy DJ collection, a different splinter that was almost identical. On “Zeke & Luther” ShittyBoyz holds their ground over an erratic music page, whereas “Cheers. B.!! Tch” strategies acid house. Combined in with the hi-hats and beating tenor of Drakeo, the Ruler category surpassed for the title “I’m Going Hyphy” are the simple raining songs that this sounds like “Getaway” and the coral instrument “Most Wanted.” ShittyBoyz does not create electronica per puede, but regularly sketch from it, with recorded excerpts from the 80s R & B, Miami tenor, and medley with deep cuts, like the linearization of Cynthia’s “If I Had the Chance” The song that ends “GGG.” You could make a dangerous drinking game out of every time the 808 cowbell hits.
No matter what the beat is thrown their way, the ShittyBoyz still maintains an impressive number of words per minute — less that ShittyBoyz dabble in different styles, and more as they contort different styles to fit into their own distinctive universe. “Video Games” is the album’s most adventurous piece of plunderphonics, an epic mega-mix that veers through multiple game soundtracks, like a restless kid who can’t settle on which one he wants to play. The Boyz spit relentless bars, the beat behind them switches from the familiar music of the loading screen for Grand Theft Auto: San Andreas to the scores from Donkey Kong Country, Luigi’s Mansion, Ratchet and Clank, and “Def Jam”: Vendetta. The choice of GTA is especially fitting, as listening to ShittyBoyz’ sped-up throwback samples often evokes flipping through radio stations in Vice City.
Even when the ShittyBoyz aren’t pilfering pop culture for potential beats, they’re referring to it, especially pro wrestling; in fact, the depth and breadth of their wrestling fandom is probably only rivaled in today’s rap game by Westside Gunn. On “WWE” ShittyBoyz runs through an encyclopedia of wrestling superstars, from Rick Rude and the Sandman to Mick Foley and John Morrison — at the end of the song, every line with a wrestler name-drop is repeated and highlighted, just in case you didn’t see it first time.
In many ways, ShittyBoyz shares something with wrestlers they idolize, as expertly skilled craftsmen who achieve maximum entertainment value. Like the best sports entertainers, ShittyBoyz are master technicians who don’t show the seams. Their flows are so effortless you can’t even tell they’re working, The delivery is so precise that it never feels to be practiced or rehearsed.