Each track on its own can be appreciated for the skill and artistry with which it’s built, but as a long player the songs just don’t gel enough to reward any type of listening beyond ambient background music, which given the overall quality of the work, is a pity. 3 is that Clams Casino’s versatility means it’s hard to approach the mixtape as a singular, cohesive piece. A$AP, is a great demonstration of Clams’ knack for drawing interesting textures from looped samples, but cuts like Hell just feel half-baked and repetitive without a lead vocal over the top. On the other, it can feel like the addition of a user friendly beats can lower the value of its more abstract elements. These all contain the familiar Clams Casino hallmarks hissing, low-quality snatches of melodic fragments and chords and manipulated voices, all soaked in reverb and delay hi hat 16 rhythms. At its best, this combination creates a vehicle for rich pieces of sound art to reach a wider audience. But they are packaged with club-friendly beats that make them more appropriate as backing tracks for artists like A$AP Rocky and Mac Miller. The songs for the most part are intricate and skilfully produced, often using granular synthesis and disembodied loops that call to mind Oneohtrix Point Never and Balam Acab. It’s hard to find the right approach from which to listen to this latest effort from the hyped hip hop producer Clams Casino.
