Hip-hop has always been ahead of the curve, and quick to throw off the shackles of tradition (the genre has largely left the single format to rot, for instance – if your track’s on YouTube, that’s it out). There’s an obsession with space in music at the moment, but Clams’ productions are so packed with white and blue brush strokes that they threaten to spill off the canvas at any moment. These tracks snap and bang in all the right places, with sawn-off snares and gun-metal drum machine programming at their core, but they also swell with layers of ambience distorted synth pads and reversed voices forming the majority of it.
Until then, we have this, an instrumental mixtape of classic ghetto production techniques filtered through the eye of YouTube embed codes. Oh, and his first records are due out on Type and Tri Angle.
He’s named after a Rhode Island seafood dish he’s never eaten, and judging by the above quote, from a recent interview, his sampling process starts with the search bar of peer-to-peer programs.
He produces from his mother’s attic, where he’s made beats for Soulja Boy, Mobb Deep’s Havoc and Lil B, but he’s never met any of them and probably not earned a dime directly from working with them. “To find things to sample, I used to just type a random word – like “blue” or “cold” – into LimeWire or BearShare and download the first 10 results.”Ĭlams Casino is oh so modern.
