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3500, his soon-to-be-released debut album, came from a move to Atlanta. It’s his most focused and reverent project to date. Most of it was written and recorded in isolation with a handful of producers — Hanzo, Fedorian, and WorkForHire, among others — and was built around two specific goals: for Perks to give more of himself on record, and to show his deepening appreciation for the intersection of rap, rock, and everything in between. On “Minutia,” talk of getting paper is drowned out by downtempo guitars, muffled synths, and the hook “Shorty, I pour lean in my Sprite / I see demons at night.” Samples from artists like Ghost Orchard, Vegyn, and Alex G become playgrounds for flexes and intense reflection. One song is built around a sample by rising goth-pop star Ethel Cain, who personally cleared it after she met Perks at a show. “She was already aware of who I was because her sister loves my music,” he says. Like hip-hop itself, PUMA Classics are a sort of shared language for fashion experts and novices, b-boys and ballplayers, people old and young all the same.
Perks and his team take sampling very seriously. Genre-blending is common in the world of modern pop music, but Perks inhabits the same lane as artists like Kenny Mason and Jim Legxacy, whose hybrid songs feel organic and lived-in, tailor-made for kids who listened to as much Nirvana as they did Outkast or Wu-Tang. In fact, Perks’ relationship with the two goes deeper than just complementary sounds. “It’s not many people who get how equal each one is. For one, it’s all Black music,” he says bluntly. “For two, at one point, both were getting shunned and rejected the same way, not being understood and not getting the platforms the same way. Literally. It wasn’t like doo-wop music or whatever.”
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Courtesy : https://www.thefader.com/2023/05/12/foreverclassic-polo-perks-is-blurring-the-spaces-between-wormholes