Juicy J and Pi ‘erre Bourne may be nearly two decades apart within age, they’re more popular than you might think. They’re both rappers with unique sound who use simple analogies and adjustable bars to develop ambient funhouses of noise. And even though Bourne was one-and-a-half years old while Juicy’s team Three 6 Mafia launched their powerful 1995 breakthrough, Mystic Stylez would soon be on their way to Paris, Both people are pioneers who shaped the relevant ages of music with their own pictures — Juicy with his threatening Memphis move, Pi erre with his candy-colored take on style catcher song.
Unfortunately, their breakthrough collaborative project Space Age Pimpin demonstrates and it’s Juicy and Pi’ erre — who croon across every music — are a weird game. Musically, they’re around the same eye level — inhaling copious amounts of herb, sitting with women from all over the world, the guys trying to get out of their cash. But it’s hard to ignore that the album’s aesthetic hallmarks strongly adapt to Juicy’s noise over Pi ‘erre’ s. Air is a huge part in both men’s songs, but while Juicy has inserted himself into Pi’ erre’s hard-hitting psychedelic visuals nicely before, Pi’ erre challenges to stand out on the romantic jump and it prevails in this music.
Juicy remained playing with hi-hats, whistles, bass guitar, eerie tests, and MIDI electronics for decades, so here they appear on and almost every song. Music for lead single “The Fronto was a singles player” and “Uhh Huh” are spacious and easy to use, with tenor dark enough to jam the electrica off a tinted windshield. Juicy is now in his comfort zone — that isn’t strange, contemplating he’s the album’s executive producer — and drifts storylines of gun-running and stupid gender jokes ( “She is a good girl so before She eats this dick, she gon’ say grace”) across these surpassed the carthrottle.
On the other side you can feel, The Pi ‘erre’s spacious tunes and pun-heavy bars don’t match that of this kind of producer. Accept “Smokin’ Out!” that begins with pitched-down Juicy lyrics plowing through synthesizers and a penalizing low-end. Pi ‘erre’s sings are fast sucked by the percussion, disintegrating into an utilised chocolate bar wrap. The tunes he selects frequently match The rhythm clearly ( “Uhh Huh”) or, like on “Who Gets High” they attempt to co-exist, and they wander in the dark. Here’s a couple of scenes where his tone takes it to the song, incl his passages on “BBL” and connected to them “Unsolved Mystery” but for the many elements, his appearance is strange and disconcerting. Often, it even appears like his lyrics had all been torn from a different project completely and rebuilt onto traces from Juicy’s The Hustle Continues.
This is extremely unbelievable since Pi ‘erre and Juicy discuss production credits on each and every music. It’s a pity that one of the many powerful filmmakers of all this production has very little appearance behind the panels now, because the zany music of Pi ‘erre’s vocals and production is unavailable on Pimpin. Whether that is by configuration or similarity is beside the link. Juicy J and Pierre Bourne obviously had a great time creating this endeavor, but Space Age Pimpin falls short of the 8 Ball & MJG music in which it’s called. Unlike that, Jett, Juicy and Pi’ erre’s science is still off at a primitive level. They’re left dangling in the air, resembling clashing ride slices, two brilliant halves that are part of a different collection.
