Monday, September 24th, 2012

Trouble – Molly World

Do you think this is about…?


Jonathan Bradley: Mollies are ecstasy, but this is more melancholy than most tunes inspired by that drug. “My whole team, they puttin’ molly in the lean lately,” Trouble sighs, while the track beneath him yawns long and empty, as if he were describing an arms race of self-destruction. I’m not sure the straight edge undercurrents are intended or whether the point is the dazed prettiness in the way the treated vocal soaks into the synths before separating itself back out into coherence again. There’s something delicious in the syllables, too: the creamy softness of the rs and ms and ls and ws, so suited to the smearing effect of Auto-Tune.

Jonathan Bogart: So I guess Future (which is to say, ca. 2008 Lil Wayne with the ADD stripped out) is one of the major influences on hip-hop now. I could wish for more bottom end here, but then I’ve never been on E — does it make everything overly trebly?

Michelle Myers: Plenty of rappers talk big talk about poppin’ Mollys, but this song actually manages to evoke some of what the drug feels like. The fluttering percussion and heavy cello synths create an vaguely recall that ecstatic sensation that everything is beautiful, meaningful and slightly terrifying. “Molly World” borrows liberally from the autotuned dramatics of Pluto, and although Trouble isn’t as charismatic or unusual as Future, it is a strong effort at one of 2012 rap’s most compelling aesthetics.

Patrick St. Michel: I take it that it’s OK to say “Molly World” sounds like it is on drugs because Trouble told us this from the get-go? Because this song sounds like it is on drugs and won’t shut up about how high they are. The most boring of trips.

Brad Shoup: Cool story, bro!

Anthony Easton: ’90s nostalgia has returned, and we are working through the drug references, sort of like how in the ’90s, we were trying to argue between ’70s cocaine and’60s Acid. That said, post-Madonna, one would figure this would be slightly out of fashion.

Alfred Soto: He could have called it “Molly’s Lips” and no one in the target audience would have been the wiser, which is more than I can say for the stress on the penultimate syllable and long melodic lines he jacked from early 2000’s R. Kelly.

Iain Mew: Between everything rolling and “let her take me to the bar” – where Trouble’s attempts to protest barely get started – the song gives a good account of a night out getting out of control and just going along with whatever happens. The beat isn’t quite intoxicating enough to fit, but it’s close, especially when it goes slo-mo drowsy.

Andy Hutchins: Trouble doing a Future impression with Future in the intro on the mixtape version is good, and him doing it over the sort of beat Young Thug’s been picking is even better, but this really just makes me want to listen to Pluto again.

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