Scotty Seed Beckons Towards All Hallow’s Eve on New LP
As Dinah Washington might’ve said, what a difference a year makes. Can you believe it was just 2019 when Scotty Seed last graced the site of Breaking and Entering? Back then, he displayed an uncanny knack for belting out sumptuous melodies, catchy grooves, and pop sensibilities.
Today, however, you likely wouldn’t recognize that young man, least of all by the music displayed on his most recent Long Player, Hallow’s Eve. The fun, the joy in the tracks, that’s all been replaced with a sonic darkness befitting of the collection’s title. Seriously, that is.
Perhaps Seed is merely the consummate musician who has the ability to throw himself, sans restraint, into his work. Consider this project a concept album, meticulously conceived of, executed, as it were, and delivered.
However you rationalize this seeming metamorphosis, the fact remains dude’s beats are hard. Credited to producers Eugene, Michael Banks, Dibs, and Seed himself, this material categorically knocks.
Moreover, it displays an aesthetic that, at its best moment, encapsulates the ethos of some of the most compelling rap around. We’re talking brooding, tension-filled, fear-inducing tracks that are countercultural to the point of doing them credit. There’s a surplus of eerie snatches of vocal samples, some making sense while most don’t without playing the track back a couple of times, abundant 808 drops and tremulous basslines.
All of this is merely a prelude to Seed’s vocalizing, which showcase a dandy array of songwriting and showmanship. Some times he whispers. Other moments he’s chanting, as he does on “Smile For Me”, trying to hypnotize you with his cadence, rhythm, and lyrics.
But it’s the screaming that stands out on this oeuvre, and which shows his most distinctive progression as an artist. He’ll go from saying something with assertion to ranting it, on multiple tracks, as if someone’s life depended on it. That’s part of the story on “Boogie Man’s Knife” as well as “Smile”, in which the artist gives it everything he’s got in the vocal booth.
The title track is an interesting blend of his whisper style and conventional singing, which are counterpoised against each other. The former is characterized by a dearth of drums to highlight the melody; the latter rely on the drums to move things along while getting his point across.
There’s no telling where Seed will go next in his work but, I assure you one thing: his beats’ll likely be hard.