It’s weird that people feel the need to break out of confined spaces rather than living, adapting, and progressing their already provided shape and dynamic on this earth. Imagine now, being trapped in the black/white (grey?) cloud confined to three attached boxes dawning the cover of AyGeeTee’s newest club-husher, The Lightning Speed of the Past: there’s always room to fill and a unique way of billowing it out, so what’s the hold up, here? Or, was the cover-art cropped INTO these attached boxes FROM a larger drawing of smokey-scribbled swirls? Either way, the latter description is how I perceive The Lightning Speed of the Past.
I don’t believe AyGeeTee uses samples. At least, it’s very well hidden, if so. Otherwise, I imagine his process is more like my second analysis of how the cover art was made. As I picture it, The Lightning Speed of the Past was compiled via a variety of sounds and melodies he created almost entirely separate from the album. As if AyGeeTee scoured his databank of genius, picking what works fluidly, and doesn’t stop until he’s nodding as much as you are right now listening. Not haphazardly, but as a human confined to a space that’s trying to make it smaller and more controllable.
There’s beats and bass and pleasantries. There’s also PLENTY of crackling and clicking, scratched surfaces, tingles, and pretty much EVERY mingle you can imagine. So, at The Lightning Speed of the Past, AyGeeTee is able to extract, reappropriate, and self evaluated his own creativity, release it on Bandcamp, and openly invite you to stream it below:
• AyGeeTee: https://aygeetee.bandcamp.com
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