Let’s play Spot the Sample! …Oh.
[Video][Website]
[5.67]
Josh Langhoff: Sissy Nobby’s more abrasive than recent Kanye and just as exuberant. But comparing Sissy’s exuberance to Kanye’s seems off, because “Dusty Money” works different concerns in some avant terrain, the province of early minimalism and, what, people who scrape saws across anvils in warehouse performance spaces. Only exuberantly! Sexually! The sophisticated highlight comes halfway in, after the acapella voice-as-drum-as-phallus “Hitta wit the hooka” section, where voice and beat get all combinatory and layered and the needle goes past the red.
[7]
Anthony Easton: This would be excessive and abrasive if it was just his voice, dropping vocals like ammo out of an AK-47, but instead it’s over a bedrock of Dido. This has a whole bunch of political and social subtext. It’s also hysterical.
[9]
Jonathan Bogart: Normally I’m all in favor of playing with the digital artifacts of extreme compression, but the way this pushes all the energy of the track into a shimmery treble hiss, leaving no room for any kind of rhythm to establish itself, makes me want to die.
[3]
Crystal Leww: I have a headache. I can’t decide what’s the worst part of this: the vocal, the Kendrick Lamar and Dido samples that are there simply to exist, or the mixing.
[1]
Brad Shoup: I want to say so much about my favorite voice working: a man who successfully merged bounce with Antony Hegarty’s chamber music of horrors, an artist whose treatment of boyfriends veers between intense OKCupid bulletins and a siege mentality, a sentimentalist who’s constantly working soft R&B and pop into his ragged mixes. But I’ll leave it at my deep pleasure that Sissy Nobby’s doing his thing, all of us be damned.
[9]
Edward Okulicz: Bounce music or horrifying noise terrorism with weaponised Dido? The distinction seems unimportant.
[5]