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Clams Casino Birth name Michael Volpe Clams casino mac miller type beats known as Clammy Clams Born 1987-05-12 May 12, 1987 age 32U.
Volpe is currently signed to and.
He has produced tracks for artists such as, and and has also remixed works by, and.
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Volpe contributed a score for Locomotor, a work choreographed by his cousin released on April 4, 2014.
He released his debut studio album through on July 15, 2016.
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Archived from on 2014-02-02.
Archived from on 2014-12-13.
Archived from on 2014-12-13.
Archived from on 2014-02-22.
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Producer Mike Volpe, aka Clams Casino, released his third instrumental mixtape for free on Twitter just before 2013 came to a close.
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The other non-originals that make up Instrumental Mixtape 3 suggest that Volpe spent most of 2013, if not laying low, then slightly receding from the hip-hop world.
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Upon the release of Instrumental Mixtape 3, Volpe took to Twitter to announce that it would be the last installment in the series, and that's probably for the best.
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Producer Mike Volpe, aka Clams Casino, released his third instrumental mixtape for free on Twitter just before 2013 came to a close.
Nearly three years after his breakout moment, the sounds of Mike Volpe have infiltrated spheres of music large and small.
The suburban New Jersey producer, who's toiled away in earnest for several years now asemerged in 2011 with a cinematic, handcrafted sound that possessed a glowing radiance despite its density.
What Volpe was doing felt, especially in the realm of hip-hop, new—a word that the genre's prized as a perpetual goal since DJs clams casino mac miller type beats siphoning the energy of New York City streets for block parties.
You can hear the ghostly, amniotic thrum of Clams Casino's style in the strongest work by and Noah "40" Shebib, two artists who made https://filmman.ru/action/top-action-games-on-google-play-store.html of the only albums to sell more than a million copies in the U.
UK producerfirst heard as the latest in a legion of bedroom producers to ride Volpe's coattails, was one of the many cooks in the kitchen that brewed 's energizing latest LPwhere the fuzzy belches and moaning yawps associated with the strongest Clams Casino material ripped the sky open on the sex-drenched, electric "I'm In It".
The wave of Clams Casino imitators was once at such a high tide that an entire genre was formed clams casino mac miller type beats of the lazily drawn, tab-tripping micro-phenomenon that followed—"cloud rap"—but like so many cultural fads in the internet age, its prevalence was mercifully brief.
Volpe first gained recognition producing tracks for impressionistic rapper-turned-Tony Robbins-typebut the artist that's most closely aligned himself with the Clams Casino sound iswho drenched himself in Volpe's sticky fog for his star-making 2011 mixtape.
An artist who's expressed ambition despite possessing particularly unshowy skills as a rapper, Rocky has proven himself adept at capturing the zeitgeist with the eager eyes of a child trapping lightning bugs in a jar.
The "big songs" from that album still possessed the same slightly woozy, off-center charm that Volpe had previously lent Rocky's music, but the credits behind those sounds—Hit-Boy, Skrillex, Shebib—weren't Volpe's.
Some may interpret this development as bigger producers ripping off one of the decade's most fascinating sonic developments in underground hip-hop, but the truth is more straightforward.
Like Lex Luger and many others before go here, Volpe came, saw, innovated, permeated, and was appropriated until his and the genre's sonic DNA were more or less one.
The lifespan of new sounds in hip-hop is incongruous and more often than not brutally curt towards its creators, but bemoaning it is a waste of time.
This is simply how things work.
The central talking point around Clams Casino beats has been that they tend to sound even better without the rappers that were originally featured on them, and that's no read more here: "LVL" and "Hell" represent Volpe in his element, with his trademark clams casino mac miller type beats of dramatic percussive touches and distorted melodic crescendos coming together potently.
The other non-originals that make up Instrumental Mixtape 3 suggest that Volpe spent most of 2013, if not laying low, then slightly receding from the hip-hop world.
There are a few beats fortwo of which appeared on last year'sand a beat ripped from a collaboration with ; save for the twinkling, uh, euphoria of "Youforia", these productions are minor works in the Clams Casino oeuvre, slight and thinly developed detours clams casino mac miller type beats dissimilar to the low points of the first Instrumental Mixtape, when Volpe's sound was still crystallizing.
Speaking of: "Crystals", taken from the soundtrack to the mega-popular video game Here Theft Auto V, structures its decay around an arpeggiated synth nearly identical to the one that pops up in Burial's "Loner".
Alongside an upbeat re-do of Volpe's contribution to 2011's forgettable Adult Swim Singles Program contribution "Wizard", there are three previously unreleased Clams Casino solo productions here, one of which proves to be a keeper: "Cry for Me", with a pounding rhythm and vocal sample that trips over itself amidst off-kilter synths and a sample of what sounds like children screaming.
The track's reminiscent of his ebullient beat for Lil B's "Unchain Me" that appeared on the previous Instrumental Mixtape installment; that collection also contained his greatest beat to date, "I'm God", and although the highlights on this installment are impressive, the lack of a "big track" along with a slightly higher duds-to-keepers ratio ultimately make it the weakest of the three collections.
Upon the release of Instrumental Mixtape 3, Volpe took to Twitter to announce that it would be the last installment in the series, and that's probably for the best.
It's been nearly three years since he released a solo outing as Clams Casino, the impressive Tri Angle-released Rainforest EP, and perhaps an increased focus in developing his sound without worrying about submitting tracks to rappers would yield more of the creativity that made listeners sit see more and take notice from the beginning.
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WMWTSO was an absolutely phenomenal album and GOOD:AM had it's moments but i definitely believe WMWTSO is what it is because of Macadelic.
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Without a doubt, this is his best piece of work.
Faces was good, but nowhere near this.
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