"I observed from the venue's balcony as the Atlanta rapper strutted onstage, pleading for mosh pits and making devil horns with his fingers. "Open that shit up!" Che snarled, over and over again. He was so hellbent on manufacturing the destruction his music encouraged that it soon became obvious he was barely even rapping his songs. After a while it felt awkward, almost like the crowd was meant to perform for him."
"If there's anyone who can propel rage in a new direction, it's OsamaSon. The South Carolina rapper has already inspired copycats of his own. But engaging with the scene necessarily means brushing past whichever version of Playboi Carti its leaders are currently modeling themselves after-Osama included. No matter how effective the execution, this process is getting monotonous. There's a beauty and a curiosity in dissecting references that feel distant."
A Brooklyn performance featured an Atlanta rapper repeatedly urging mosh pits and making devil-horn gestures, privileging crowd-produced destruction over vocal clarity. The performance used bloodcurdling shrieks and 808 avalanches designed for collective catharsis, exemplifying a rage-rap tendency to emulate predecessors. OsamaSon, a South Carolina artist, has influenced imitators and offers a different approach through sustained melodies, a puerile sing-song twang, a cyborgian cadence distinct from Carti's lilt, and occasionally sludgier, neurotic beats. His January release Jump Out signaled evolution, and on psykotic he does not lean further into his lodestar's orbit.
Read at Pitchfork
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