Thursday, August 8th, 2013

Migos – Versace

What’s the word of the day?…


Brad Shoup: “Versace”? “Versace.” Versace (Versace [Versace Versace {Versace?} Versace] Versace Versace VERSACEVERSACEVERSACEVERSACE) Versace: Versace. Versace!

Crystal Leww: We can debate all we want about who has the best version of “Versace” (personally, I am partial to Drake and Tink), but it always ends up coming back to the repetition of “Versace”. That repetition is all Migos, and that repetition is what makes “Versace” the song that kids want to hear in clubs, that people want to do their lil rap hands in their cars to, that inspires Keef-esque bedroom fist pumping. The draw to the hook makes sense; Migos have talked about how they don’t really listen to albums but just like songs. “Versace” is definitely the monster of a track they aspire to, and good for them for creating the rap hit of the summer.

Patrick St. Michel: This is such a celebration of syllables, Migos dancing around words and having so much fun with language. The Drake remix doesn’t detract from the joyful atmosphere — he’s perfectly fine on his added verse — but he also sounds a touch reserved, more concerned about letting you know when his label’s album drops rather than getting caught up in how things sound. Migos are having a blast, wringing out every drop of enjoyment out of an Italian fashion company. I don’t really care about what’s going on lyrically, because I’m too caught up just hearing these guys.

Mallory O’Donnell: Ridiculous, frenetic and genuinely weird with a one-word chorus as insistent as genital itch. The antidote to some of the more ponderous trap sides lately, but safely materialistic enough to not rattle the hipsters overmuch. Recommended.

Anthony Easton: I thought Versace was (with the possible exception of Minaj) more for Eurotrash and less for ironic reclamation by hip hop heads?

Daniel Montesinos-Donaghy: Last year, Soulja Boy released a clip for the loosie “OMG Part 2”. The video is unassuming, showing Soulja as he goofily dances and plays the XBox. Over Zaytoven’s chiming beat, Soulja raps with his voice sloppily draped in Auto-Tune. The mood is relaxed. Fun, even. This was little more than another song in the age of many, to be loaded, enjoyed, and hopefully not discarded amongst a staggering amount of output. Now, that same beat returns under the command of a group of young Atlantans with a better idea of how to get into the pocket of a beat than Soulja, playing with choppy and fast flows throughout. They accommodate their verses nicely, but the hook is what truly matters. They turn it into a loose-lipped blur, the member Quavo picking up steam as he travels from “Versace” to “Versaceversace… [slight pause] Versaceversace“. The word is yelled back as an insistent echo. It’s dizzying listening to a group play with one word until it becomes a tic — hell, even a mantra. Zaytoven recognises that he’s dealing with rangy energy, tinkering with his neon-gangster instrumental as to suit his clients. Where “OMG Part 2” was relaxed, throwaway, and straightforward, “Versace” folds, wavers, ducks and dives on Migos’ whim. Soulja tried to reclaim the beat as his own with a recent freestyle, but it appears to have left for greener pastures. “Versace” isn’t only a great song, it’s a fascinating example of how songs can evolve.

John Seroff: Zaytoven production is very much hit-and-miss for me, but the “Versace” riddim is pretty much a perfect bossfight. I’m not gonna cop to pretending I’ve heard all the remixes of this summer behemoth (though I did struggle through Drake’s take once, and once was enough), but I can’t imagine anyone upstaging that knife-slice VASACHY VASACHY VASACHY onomatopoeia. I particularly appreciate the darker suggestion that a fashion brand is a mark of the beast that can take out your soul. Skating a bit close to deeper truths there.

Jonathan Bradley: This is a song of glut: Zaytoven’s bleeps trip over one another as the stabs hustle them along. Impressively, the hook creates the same verbal effect, piling sibilance upon sibilance in a cascade of soft consonants until the load become too much to bear and the track needs to start the whole process again. Migos take advantage of the staccato quality of Italian words, spraying the composition with not just the titular designer’s name but references to “Gotti,” “Masi,” “Ferragamo,” and “Illuminati” (as well as sneaking in the not actually Italian “Medusa” and “Audi”). This isn’t high fashion as a symbol of wealth so much as it is a display of abundance; Versace, Versace, Versace cascading in a soft rich heap as if being thrown by a trio of rap Gatsbys: not beautiful or expensive, just plentiful.

Reader average: [7.61] (13 votes)

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2 Responses to “Migos – Versace”

  1. the funny thing is that drake really IS in the illuminati

  2. Hate these kinds of chintzy beats, part of the reason could never get into Gucci Mane’s music

    Drake is lolawkward on the remix