In their place we get a Dolla $ign focusing on catchphrases and simplicity. The needling insistence of nebulous agency jams “Know Y I Came” and “Zone’n” is scaled back, and the cloying misogyny of “Bitches Ain’t Shit” is carved out, too. Ty’s reigned in some of the thornier aspects of his songwriting for Beach House. Beach House the EP succeeds where the mixtape Beach House 2 didn’t, further commercializing Ty’s sound without sacrificing the meat and potatoes of it, the foul-mouthed, sex-positivity of Ty’s quixotic bedroom capers and the production’s precarious balance between slight, house-informed ratchet music, trap and densely arranged traditional R&B sounds. ![]() With “Paranoid” steadily inching up the charts, Ty’s new label Atlantic is capitalizing on its Billboard Hot 100 traction with a retail EP. “Paranoid” parlayed a spectral Mustard production into a story about a serial cheater caught in the same club with both girlfriends. Suitably the mixtape’s least fussy song was its biggest hit. Sometimes it worked, but all too often it sounded like it was fishing for hits. Last year’s Beach House 2 took a bigger-is-better approach to the lushly produced, impishly explicit sounds of the first installment, soldering famous guests onto remixes and melding unrelated songs into overlong, drippy epics. Los Angeles singer/producer Ty Dolla $ign heads up ratchet music’s R&B division after paying dues producing for Compton stars YG and Problem and featuring on Cali rap records of every stripe Ty finally zeroed in on a sleek, commercially viable sound on his flagship Beach House mixtape series with tracks like “My Cabana”, which crossed a swatch of Skrillex with horns lifted off of the R&B band Mint Condition. ![]() Lo and T-Pain linking up with ratchet impresario DJ Mustard in search of a renewed relevance. The Bay Area’s high intensity, sparsely produced ratchet music scene has reached its tipping point, what with locals like Sage the Gemini scoring chart hits without any airplay elsewhere in the country, savvy out-of-towners like Nicki Minaj and Jeezy genuflecting westward as early adopters Drake and Tyga did on “The Motto” and “Rack City”, and artists like J.
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