Posts Tagged ‘Three 6 Mafia’


Mista Thug Isolation’s first track begins with the white noise and ringing of a bad bout of tenitus, and quickly developes into extraterrestrial feedback behind a ghoulish piano loop – something like an alien abduction inside a haunted mansion.  There’s no denying the overt homage paid to mid and early nineties Three 6 Mafia and Hypnotized Minds affiliates here, and given that Lil’ Ugly Mane is not the long-lost cousin of DJ Paul, fresh off a 17 year bid, it’s reasonable to qualify Mista Thug Isolation as “nostalgia rap.”  While most of the members of today’s southern rap scene can trace their ancestry to artists like Three 6, Eightball & MJG, and UGK, very few make music that is as sonically reminiscent of the many underground tapes from ’91-’97 Memphis (with hints of Texas not to be ignored).  There are important factors to consider before outright dismissing Mista Thug Isolation as an unintriguingly derivative niche throwback album.  The most important factors being is the fidelity to the technique and the originality of the artist’s craft, as well as the overall quality of the music itself.  While Lil’ Ugly Mane sounds like he could’ve fit in with the Hypnotized Minds posse, his delivery is not consistent with anyone in that camp, and he maintains diversity in his vocal techniques while exhibiting his own perverse sense of humor.  As a producer Lil Ugly Mane also known as Shawn Kemp – his beat making alter ego – cooks up cuts that could’ve starred on records for likes of Hypnotized Minds affiliates or even UGK or Ball & G, but the subtleties and juxtapositions across this lo-fi opus generally belie direct comparison.

“Radiation (Lung Pollution)” is perhaps the most eclectic track on the album, with a beat that moves seamlessly from a smooth and jazzy trunk rattler to pure chopped and screwed devilishness as Lil’ Ugly Mane and Supa Sortahuman exchange braggadocio and marijuana honorariums.  On “Slick Rick,” Shawn Kemp brings a combination of definitively 80’s soundscapes with a few classic 90’s southern hints, as Lil’ Ugly Mane displays his reverence for the forefather of hip hop misogyny with details of a couple of humorously self-indulgent sexual encounters.  Perhaps the album’s defining cut, “B*tch, I’m Lugubrious,” mixes a few chopped up somber keys, flutes, and some trunk rattling bass as Lil’ Ugly Mane weaves his morose sense of humor into a double-time flow with lines like “uzi aimin’ low, shoot a playa in the prostrate.”

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