Popstar Benny's approach to production took root in grade school when a Gorillaz CD copy Days of Demons revealed the power of cooperation between species. “They have every style,” the Atlanta batmaker said in an interview in 2023. “It was crazy to me that he was a guy who did everything.” Benny's own hyper-stimulating instruments—reflecting his love of Pokemon OST, late-aughts indie rock and first-wave trap music – have made him a key figure in the Atlanta underground. But it is on the full albums of his producers that Damon Albarn plays. More from various artist collections, 2023 University! and his predecessor, Album*felt like running a Go crazy franchise in draft fantasy mode, staging odd series of features just for the thrill of MIKE bobbing and weaving through a classic Playboi Carti-esque beat, or having Duwap Kaine and Bear1boss freestyle for freestyle's sake.
Benny's latest collection, Oasisis uncharacteristically focused, with an all-female roster of rappers and singers from the Atlanta scene. Clocking in at just under 20 minutes, it's one of the leanest entries in his discography, chaining tracks of psychedelic pop vigilance one after the other. The cover, a creepy, alien landscape vandalized by a set of Lisa Frank stickers, accurately reflects the performances Benny calls out to his guests, juxtaposing their insane taunts with nuclear bass and haunting melodies. In Sanrio terms, it's more Kuromi than My Melody: awful, but so lovable. On “Hate Me,” Coco & Clair Clair effortlessly embody that attitude, capturing all the reasons haters might envy them, like sparking a bidding war at a label or appearing on their friends' Spotify stories. Their rigid stabs make an attractive contrast to the rich digital strings and zigzagging sine waves of Benny's pluggnb orchestration.
These strange, occasionally dissonant fusions of emotion are a particular strength of Popstar Benny and co. 'Charlie's Angels' is a party rocker on the surface, built around Avi Kaior's nonchalant bends and Casamigos' invitations for the dance floor. Benny's New Jazz-Inspired synthetic leads, however, are ready to induce delirium. the song is equal parts ecstasy and panic, like watching the ceiling spin. “Grow Up,” on the other hand, plays things a little too safe, weaving airy jazz chords over a skeletal Jersey club beat. It's enjoyable, but feels light compared to the distinct punch of similarly structured songs by Kyle Ricch or Ice Spice. Opener “2020” matches a vocal track with a similarly ethereal Vayda verse, creating a weathered effect drowned out by a dynamic 808 kick. ” they deserve more room to breathe.
