I m god clams casino

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Clams Casino interview: the dark history of 'I'm God'

The New Jersey producer, born Michael Volpe, splices anthemic choirs with ambient rumblings, pummeling s with delicate melodies, and pop samples with trap arrangements. It was a decision fueled by technology. See media help. Archived from the original on July 13,

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Put in historical context, the track marked a couple of important micro-revolutions for music. In the late aughts and early s, emerging producers and rappers would connect on email and build tracks together without ever meeting face to face. With no record labels in the way, they would chuck their handiwork on random file-sharing links or MySpace pages something that unintentionally lent the songs an impermanence. Finding the gems required keeping an ear to the ground; knowing who to listen to and where to dig.

The sound of cloud rap was murky and morose melodies paired with hip-hop drums, purpose designed to be spacious enough to be rapped over.

To mark the occasion, we spoke to Clams Casino, aka New Jersey beatmaker Michael Volpe, about ten years as an underground hero. Whatever happened to hip-hop sub-genre cloud rap?

Read Story. Where were you at with your career then? I was really early on. I had just been reaching out to artists and rappers using MySpace, sending them beats to use for free. The sending beats to rappers -- is that how you got linked up with Lil B? I was a super fan of The Pack, this group he was in earlier on. So I reached out to him a couple of years later when I started getting serious about getting music out.

A couple years after that, in , was the first time we connected online. Did you feel much a part of the electronic music scene then, or was your eye always on hip-hop? At that time it was definitely all hip-hop to me, really. I was just making rap beats and sending them around. And all of a sudden I became a part of it as an artist. I put out a bunch of rap beats -- stuff that was made to be rapped on, and sent to rappers.

I guess there was something about it that could stand on its own, and a lot of people knew that about my music before I did. I remember not really thinking much of it. I mean, that was the only thing I really remember of it: making it and sending it out and not really thinking much of it.

I have felt stronger about a lot of other things that I made. I sent it to a couple of people before Lil B but he was the first one that had the reaction of like -- he freaked out about it and emailed me back. He immediately knew it was a special one before I did. Do you remember where you first uploaded the song to?

It was probably just some kind of file sharing link, like Zippyshare or something. One of those random things that would pop up and then disappear. And I would have put it out on Twitter through that. Did you know much about the legalities of clearing samples back then? Would it ever have occured to you to clear a sample in those days? So at that time, legal stuff was the last thing on my mind.

Clearing samples? I was just putting out music for free on MySpace and Twitter! Nothing was commercially released, so it never crossed my mind. How did it feel to have made a song that was, by many metics, a huge success, but not actually get to reap the financial rewards of it? I felt like I was just happy about what it was doing musically.

I was like, I did a song with one of my favourite artists ever! Reception and legacy [ edit ]. Track listing [ edit ]. Personnel [ edit ]. Notes [ edit ]. References [ edit ]. Red Bull. Archived from the original on December 26, Retrieved December 25, Archived from the original on April 5, Retrieved December 26, Red Bull Music Academy.

Archived from the original on December 25, Archived from the original on October 2, Retrieved March 5, Archived from the original on June 3, April 24, Archived from the original on April 16, Retrieved April 15, Second City Prints.

The Guardian. Archived from the original on January 6, Retrieved April 16, March 2, The New York Times. Archived from the original on July 28, Retrieved March 31, Los Angeles Times.

Archived from the original on March 30, ISSN Archived from the original on March 31, Retrieved December 26, — via Google Books. June 29, Archived from the original on October 31,

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