For the longest time, vaporwave was something of an internet fad, growing primarily in corners of the internet reserved for nostalgic glances at history gone. To say it belongs in these corners is a disservice to the genre and would tarnish the roots in which George Clanton found his footing. Initially part of the vaporwave movement of the early to mid-2010s, Clanton’s new project feels like the natural progression of that genre, a piece that is willed along by an inherent desire for sentimentality and youth. With the help of Howie Weinberg’s mastering, notable for his work on Beastie Boys Licensed to III and much of Sonic Youth’s 1990s output, Ooh Rap I Ya retains an edge not found within most of his contemporaries in the genre. It is through this backdrop that Clanton dives deeper into the psych trip-hop of his previous album, Slide, while still grounding the project in the laidback ambience of the former digital craze.

Expanding on the sound of his prior project, his latest foray into sonic experimentation provides the perfect evolution of vaporwave and Clanton’s own musical style. Found within this style is an homage to the ‘90s era of murky trip-hop and positive pop hyperbeats that supplement his current approach to songwriting and his usage of vaporwave. Where the vaporwave that is present in Slide somewhat squishes the tracks together in an unhelpful way, Ooh Rap I Ya provides an elevation of the sound. The first single from the album, ‘I Been Young’, highlighted what was to come. The interlocking grooves and mesmerising synth beats provide a strong nostalgic feeling while focusing heavily on providing a soundtrack for the downed youth. Opening the album, however, comes the rich and euphoric ‘Everything I Want’. The explosive multicoloured synths and retrospective lyrics set the standard for the rest of the album, clinging to an essence of ‘what could have been’. The pinnacle of the album in terms of demonstrating a baggy, psychedelia-infused vaporwave comes from ‘Punching Down’. The effortlessly cool flow and swirling melodies are truly what this album is, with the singing simply being the cherry on top. While the lyrics are not the most compelling, texture is what drives this release forward. It is this first half of the album, one that focuses on hits and
catchiness that holds the record to such a high standard.

While heavy praise is warranted for an album of this class, the first signs of stress appear in the latter half of the tracklisting. Tracks such as the titular Ooh Rap I Ya rely heavily on their use of repetition, leaving a dry taste in the mouth upon later relistens. Much of the second half feels claustrophobic as compared to the space that Clanton lets loose in the first half. That is not to say that the individual songs are particularly lacking. ‘F.U.M.L’ while falling into the repetitive trap still provides an enjoyable listen and an excitable anthem for those still searching for meaning in their life. Though writing a review for an album dubbed ‘the quintessential summer listen’ may seem inopportune given the time of year, this album still holds up incredibly well despite the darker nights and colder days. What can be said about this project, however, is that the highs outweigh the lows. The pulsating strength of fun and mind-numbing beats carried along by Clanton’s easy-going vocal and lyrical delivery provide endless enjoyment all packed into 38 minutes of pure ecstasy. The recesses of internet subculture have never quite sounded this good.

Rating: 8/10

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