I went back to my middle school days listening to Dipset and D-Block, the way they’d take horror films or whatever and reverse them, flip them, or change the pitch. I’ve never really worked with anybody musically intelligent like that, as far as classical music and orchestras go, shit like that. “Mike’s a one man band in real life, and all I had to do was the drums, basically. “When I first heard the samples, I initially thought this guy was amazing, period,” says Luger. The songwriting process started with samples of Waller’s own work-tracks from previous albums, videos of live recordings, new compositions-which were sent over to Luger, who picked his favorite snippets, chopped them up, and added drums. But there’s some other more classical stuff I worked in there, like decrescendos and other stuff you normally wouldn’t hear in a trap song. “You’re not just mixing layers of drums and vocals, you’re adding delays, colors, effects. “I did a lot of what I’d call compositionally mixing things,” says Waller. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to track Waller assumed the role of both composer and arranger on CLASSIC$, commissioning artists like Young Thug protege Lil Gotit, Equiknoxx vocalist Shanique Marie, and influential producer Lex Luger to help re-invent his airy and contemplative sound. At the same time, Waller rekindled his longtime passion for hip-hop, finding inspiration in the organic timbre of the ’90s boom bap production he grew up with as well as the melodic, improvisational songwriting of trap’s current wave.
It’s a love letter to two disparate genres that explores the surprising similarities in their production, steering clear of mere gimmickry.Ĭonceived during the outset of the COVID-19 pandemic, which postponed plans to tour in promotion of his 2019 record Moments, CLASSIC$ served as a means of pursuing new creative avenues while the world of ensemble performance remained largely disrupted. Instead, the title of his latest LP, CLASSIC$, winks at its own peculiar alchemy: a fusion of modern classical composition and the decidedly more accessible sound of contemporary trap music.
It might seem like an act of hubris to deem your own album a classic, but in post-minimalist composer Michael Vincent Waller’s case, it’s not an attempt at self-efficacy.
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