Future Brown — Room 302
Future Brown is a project founded by producer/composer Fatima Al Qadiri, Lit City Trax founder J-Cush, and Asthma Maroof and Daniel Pineda of production/DJ due Nguzunguzu. Their sound has a reputation to be omnivorous, boundary-refuting, and progressive for a club niche. Under Warp Records, their self-titled debut album showcases their beats for a rotating cast of featured guests ranging from the disparate styles of bop, grime, dancehall, drill, and rap. In this album, vocalists are pushed out of their comfort zone and under appreciated street artists get some well-deserved shine.
In Room 302 is the group’s second collaboration with Tink and the Chicago rapper capitalizes as she oscillates from rapping to singing throughout the arrangement and even many times within the verse itself line by line. They probably recorded the singing and rapping in different instances, which would make executing this at a live show more than difficult. It would be incredible to see Tink pull that off. The best part at the end of her first verse was when she switched from mostly 16th notes to a controlled triplet when she spits “All-of-my-body” as the chorus then took over.
If you expect deep, meaningful, though-provoking, transcendent poetry in 2015 hiphop/rap you are bound to be disappointed. In 2015 rap, creativity, cleverness, and ingenuity in highly cliche and ordinary pop culture subject matter is what hits home. In fact, it is preferred that way. Anyone can select highly obscure, hyper abstract ideas and toss in a collection of pretentious long words that will probably make you run for a dictionary more than actually connect with you. Tina’s lyrical content in consists of lust, love, and infidelity as she creates a temptation-filled premise for a possible male (or female?) suitor to rendezvous with her at a hotel room as she alludes to Room number 302 in the chorus.
“You pull up in that whip all black, with a bitch in the back/but she wanna come through? Fuck that/Know you wanna touch that/I be waiting up in the room number 302.”
Being a percussionist, I appreciate the start and stop nature of the break beat throughout the pre-chorus and chorus rather than monotonous continuity. The restraint of kicks is also refreshing during the verse. The melody was mostly chimes throughout the entire song, which made the beginning super attention-grabbing, but eventually became over used and too predictable.