![]() Space is an hostile place dangerous and mysterious adventures will mark each step of your travel. In Out There, you will have to survive, tinkering your ship with what you can gather drifting in the void, and spot garden planets to refill your oxygen supply. in a far and unknown place of the galaxy. You are an astronaut awaking from cryonics not in the solar system, but. ![]() Out There is an award-winning space exploration game blending roguelike, resource management and interactive fiction. “For those looking to explore the vast reaches of space in a narrative based storyline.” “This is Gravity in which everything usually goes as wrong as it supposed to, yet somehow the astronaut remains calm, even lyrical, throughout” Hopping from one system to the next not knowing what will be discovered was a constant thrill.” “I’m weed whack, I’m a stand up,” he says on Burfict!, as though the latter is an endeavour requiring considerable effort.“I thoroughly enjoyed Out There: Omega Edition. The lyrics, when you can make them out, feel similarly frantic: hyperactive splurges of bragging, sex rhymes, references to online culture (cryptocurrency, cancellation, fitness influencers) and druggy overindulgence of the kind familiar from Brown’s back catalogue, in which intoxicants are seldom an aid to partying, more a means of nihilistic obliteration. The second half of the album calms down a little, but such things are relative: Kingdom Hearts Key somehow contrives to make a sample of some recumbent, acoustic guitar-driven indie sound oddly overwhelming God Loves You does something similar to a euphoric gospel disco chorus, while on Jack Harlow Combo Meal, you’re lured in by the sound of mellow jazzy piano only for it to be suddenly marooned over beats that don’t quite fit rhythmically, adding a sickly lurch. The rhythms – among them a fierce drum’n’bass break on Fentanyl Tester – don’t so much punch through the mix as obliterate everything else. Jpegmafia x Danny Brown: Scaring the Hoes – video The closest comparisons for their sound aren’t the tracks the duo recorded for Brown’s 2019 album uknowhatimsayin but the more out-there moments of Jpegmafia’s recent oeuvre (2020’s Covered in Money! or the previous year’s Jpegmafia Type Beat) or, indeed, what might happen if someone decided Jpegmafia’s more out-there moments could do with amping up a little.īoth rappers are blessed with distinctive styles – Brown’s voice is a nasal yowl that probably precludes him ever entering the mainstream – but it’s often hard to work out what they’re actually saying, their rhymes fighting to be heard above a hyperactive, distortion-caked maelstrom that leaves even the briefest track feeling like it’s teeming with sound: vocals sped up to helium chatter (including at one juncture, the chorus of Kelis’s Milkshake) video game synthesisers, trebly and piercing Japanese chants and female voices screaming “shut the fuck up” vast brass fanfares that sound as if they were ripped from the soundtrack of an old Hollywood epic skronky free-blowing sax the sound of DJs scratching and spinning back records rudimentary guitar riffs warped to sludge. But it’s hard to get around the fact that it sounds like music made by minds at the end of their tether. There are plenty of exceptionally funny lyrics (the opening line, delivered by Jpegmafia, is impossibly winning: “First, fuck off, Elon Musk”). But it didn’t sound like one – Brown also said something similar on his podcast – and it certainly makes sense when you listen to the album itself. You could have taken this as a joke: just scan Scaring the Hoes’ tracklisting, where you’ll find songs called Steppa Pig and Jack Harlow Combo Meal.
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