Wreck’d (feat. Miley Cyrus) – D€L0R3AN


In the nineties, guys like Daniel Johnston, John Darnielle, and Simon Joyner fostered a musical movement that boasted crudeness: lo-fi indie rock. And sure, Lou Reed, Bob Dylan, and Suicide tinkered with low-quality recorded music (the latter more so than the preceding), but the genre didn’t gain substantial/cultural momentum until the early nineties. Records like In the Aeroplane Over the Sea and Forgotten Foundation said, “fuck the studios, we’ve got our 4-tracks,” and the trend of musical naturalism spread its way throughout indie-rock. Today, its quite apparent that there’s a new movement of musicians shunning glossy, developed production—this time hearts are being poured out into a laptop instead of 4-track. MIDI controllers and DJ decks have replaced poorly stringed guitars and makeshift drum kits. When someone says, “I play guitar,” they’re usually met with haphazard, “that’s cool’s.” When someone says, “I’m a DJ,” most people inquire. There’s an enormous wave of DIY producers/rappers tearing through the underground music world—and the movement is churning out some hilarious, interesting, and unique artists. D€L0R3AN, a  New Zealand based producer/rapper spins odd remixes and cloud-rap beats with a purple drank-twist. On “Wreck’d” the chill oddball pitch shifts the trending half-naked Miley Cyrus track, “Wrecking Ball” and spits hilarious fire over a soft, comfortably predictable synth line. The production, though crude, is relaxing and compelling. Reverb drenched handclaps, rattling hi-hats, and watery synths back the rapper up. D€L0R3AN’s flow feels appropriate alongside Yung Lean or Based God; it’s nauseating, goofy, but somehow undeniably infectious. His sporadic, white-boy “wha?’s” and “uh’s” enter the track at just the right time, notifying listeners not to take this track too seriously. “Wreck’d” features some unforgettable, bizarre lines including a blow job-Gotye allusion and a Moon Stone evolve sequence. It seems like everyday there is a new semi-ironic producer putting out bizzaro trap induced chillwave—and nobody should be complaining. This rising wave of DIY producers is changing the game of music for the better; the overtly weird are becoming the innovative—music making  is starting to feel universally approachable again. If Daniel Johnston’s brain wasn’t reduced to pure lysergide, he’d be impressed.


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