THE SCRUNK FILES, PART 2 of 3: AUTO-TUNE THIS, SON
PART TWO: Where we dissect the blemishes and barfs of the scrunk vanguard.
The crunk core kids aren’t too sure themselves about what exact message their music wants to say; but what they are sure about is that they want to party hard, drink lots of booze, get inked, and—as the BrokeNCyde song “FreaXXX” goes—“get fucking freaky now!”
Crunk core (also scrunk, crunk punk, and screamo-crunk) is the newest emergent genre to come out of middle America. It resonates strongly with global teens and tweens and spreads itself via the MySpace and Twitter virus. It combines the rollicking suburban style of dirty crunk rap and the belligerent screams of post-hardcore. More specifically, I should say it tries to.
The Boston Phoenix describes it as “a combination of minimalist Southern hip-hop, auto-tune croons, techno breakdowns, barked vocals, and party-‘til-you-puke poetics.” The way scrunk awkwardly saturates its songs with auto-tune, in particular, is so odious it can make T-Pain sound like Enya.
If you’re not familiar with it, auto-tune is a vocal effect that sounds like Cher, Lady Gaga, and a very horny robot had a vicious animal orgy inside your mouth. [Time answers the question of why pop music sounds perfect—or intentionally imperfect—here—Ed.]
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