Many articles have been authored by one Anonymous Superhero featuring an artist called Cosenza, affectionately known as Yung Sprite, but this is years later on some future shit. Past and present have become practically irrelevant, especially in this fast paced, oversaturated, and overpopulated industry filled with deficient attention spans where concern and care come in short term waves of mostly force fed information that refreshes every five seconds, erasing the importance of older information to make room for influx of increasingly mindless misinformation or things no one should ever need to know. The need to know anything or retain literally any knowledge about anything is steadily declining as people let their electronic devices think for them.
This is not science fiction, some novel you probably never read in high school, the lyrics to a Pink Floyd song described in a narrative, or some conspiracy theory nonsense. High art and culture are being suppressed and censored, just as they always have been. The music industry has gained some freedoms in the current digital age, of course with questionable moral implications, but generally speaking music has become more accessible. This is the age of misinformation, where even music has been dumbed down and unoriginal, somehow forsaking the staying power of talented artists by so easily forgetting anything meaningful or memorable, completely wiping impressionable minds of such depth, emptying them completely only to flood them with a constantly refreshing feed of trending topics that are mere distractions.
They don’t want you to listen to Ye’s new album. They would much rather you think he is stupid and broke, erratic and mentally ill, off his meds and spouting nonsense even in song. They don’t want you to know the truth. They don’t want you to remember.
Remember, mother f*cker?
My elephant brain will never forget the first time Cosenza dropped that track, closing out his first live DJ set on CDJs with a smooth transition into ‘Worst Behavior’ from the song’s introduction. The record plays backwards for a few seconds, a difficult sound to match or switch over to with ease. It was New Years Eve Eve, and Mad Decent Monday on a holiday was hype AF. I remember screaming the words to one of my favorite songs, looking up at Alex also screaming, sharing the sentiment of this song that has become a mantra for us over the years. I wrote the following in an article for Do Androids Dance all those years ago. A few years might as well be another lifetime, some alternate universe that seems too surreal to even have happened:
Motherf*ckers never loved us, and we stay on our worst behavior to spite everyone. It is unappealing to the rest of the world, I know. We just don’t give a f*ck or sh*t. Especially when there’s something to flex about. New year, new artist. If you don’t know Alexander Cosenza by now though, allow him to reintroduce himself. Not with words of course, but with the universal language that is dance music. He speaks it fluently and eloquently.
The song remains the same, and cliches are really just truths. The more things change, the more they stay the same. We are on some eternal cycle that rotates and recycles and regurgitates everything so that eventually it isn’t hard to enter or exit any stage. It is about as difficult as killing your first live DJ set and ending with a very tough transition, so that the recording of that set is immortalized and forever relevant. Even that passage above is still completely true. Every word I have ever written about this boy now a man, mother f*cker he done grown up, is still true today. Some of you may remember this kid Cosenza from Philadelphia, who came out the game with legit support from UZ, Baauer, RL Grime, Skrillex, Diplo, legends and local artists alike all up in his DMs and playing his tracks from clubs to festivals. Philadelphia could never forget this kid, so representative of their sound and swagger.
From White Tees, White Belts and Hollertronix to Mad Decent Monday and a yung homie who gets it, it’s all brotherly love. Literally, that is the meaning of Philadelphia. Keep hating if you so desire. I’ll be over here getting my serious swag on with baby boy until you’re ready for this shit.
Remember, mother f*cker? Probably not. Philadelphia is sometimes severely discounted, its history ignored. Mad Decent began here, is still here, and many of the legends from dance music’s golden age, hashtag real DJs, can still be found lurking the mean streets where it all began. They can still be found curating parties, spinning actual records and rare mp3s, popping up parties on handwritten flyers, and flying under any mainstream radar even when the trends try to snatch them up.
Mother f*ckers never loved us, but we have learned a thing or two about brotherly/sisterly love. Ukrainian dancehalls to seedy, sweaty, dark bars, the history here is inescapable as it lives and breathes.
We are on our way tonight to a record release party, where a low-key hip hop legend and a metalhead turned dubstep DJ/Producer have made an album. An Actual Record, which is the name of the label on which these records were released. Actual Records, well CDs in this case, packaged, to be distributed at an actual party where actual people will eat, drink, listen to music, and have actual conversations with each other. These parties are not uncommon. Labelhead/crate toting tastemaker Aaron Ruxbin hosts a mixtape exchange every Christmas, and cultivated some of the coolest parties in this city, even as the EDM bubble overinflated and burst.
Remember? Mother f*cker? They used to never want to hear us.
Except there was a time when everyone was listening to the music of Cosenza, and there were predictions this kid was about to blow. The first time I had that feeling was when Victor Niglio leaned over during UZ’s set at Soundgarden Hall in Philadelphia to tell me that the remix of ‘Hangover’ by Buraka Som Sistema I was bouncing to, dropped by UZ, was in fact a Consenza edit. After that, I ran into him at that same venue before Bro Safari’s Animal House tour a few years ago. He was waiting for Nick to come let him on the bus.
Cosenza always delivers, even after all this time, and this massive tune just got aggressively massive, invading your earholes with no sign of departure anytime soon.
‘Killa’ is a hot new tune from Skrillex and Wiwek featuring the dope grimy female vocals of Elliphant. Already a barrage of insane sounds, jungle terror and rudeboy vocal samples, ambient melodies juxtaposed with heavy drops, the original is organized chaos that goes hella hard. This track is so wild that it’s existence is almost unfathomable, which must make the task of remixing entirely impossible. At the very least ill-advised, but Cosenza is on his worst behavior. He can’t heed warnings he can’t hear, and he can’t hear anything like that right now. Loud music, Yeezy sneakers that double as a spy phone, and cameras snapping everywhere. Everyone is chanting his name, hanging on the A because that is how they used to do it in the trap house.
Remember? Mother f*cker? You won’t forget this time. Catch Cosenza on socials and get to know Yung Sprite, the Early Years. The future, and a revamped Yung Dirty Sprite 2 is upon us. This is the sequel, one of those rare instances where it is better than the first.
Skrillex X Wiwek – Killa ft. Elliphant (Cosenza Remix) | Free Download
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»»» From the Archives, Yung Sprite: The Early Years
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