was informed loosely by the aesthetics of modern pop-rap: Drake, Post Malone, Tyler, the Creator. Those influences show themselves here in the embrace of direct, radio-friendly pleasures, but also in the ways that, like, say “Passionfruit” or “Life is Good,” flipped onto its B-side abruptly or paused for a well-placed sample before fully settling into its groove.
“Lime” takes the form of an early Caribou cut, or perhaps a Röyskopp-featuring-Erlend Øye track, until it transforms into a Pop&B track for 30 seconds, and then a slow, sad thud, like a mental flipping of a radio dial. The almost-interlude “Sunny’s Time,” which conjures up a plaintive piano recital pirouetting with a gruff, inscrutable rap vocal, feels like sugar to water dissolving in real time.
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