"Rapper Lil Peep comes out as bi on Twitter". The way Lil Peep sampled and sang and drew from alternative rock music initially stirred ire from hip-hop and indie fans. ↑ Strauss, Matthew (November 18, 2018).Lil Peep, born Gustav Åhr, had been one of the more talented and brutally depressive members of the SoundCloud rap community + flashes of what the future of gtr music might b. (He once said that he was bisexual, to not much scandal-another sign of generational aptness.) The hitmaker Mark Ronson today tweeted that the “Benz Truck” clip gave him “chills. The video offers a great clash of aesthetics, with Peep unafraid of appearing feminine and pretty while he raps about having sex with women. The slurred syllables create a feeling of bleary intimacy, and beneath the keyword jumble about drugs and jewelry is a tune you can hum all week. Over the grumbling guitars of his biggest song, “Benz Truck (Гелик),” Lil Peep gave a clinic in the ways that “mumble rap” doesn’t have to be a derogatory term. But then they’re happy together under a rainbow. “Burn me down ’til I'm nothin’ but memories,” he sings, and in the video he does light himself on fire to get back at a girl. What might have been an overdone high-school story gets personalized for Lil Peep’s heart-on-his-forehead, pill-popping, cartoon-colorful slacker persona. If you hear self-seriousness in the music, it’s undercut in the video. “Bother me / tell me awful things”: a great scrawl-in-your-binder catchphrase. Quickly the production moves into hip-hop territory with drum machines and glitch edits, but Peep’s chorus just gets gnarlier, more barbed, with the transformation. The song opens with the kind of ugly-pretty electric guitar strumming that’ll transport certain listeners straight back to the early 2000s of listening to Deftones or Taking Back Sunday, and for other listeners will just land as novel and exciting. 1, offers a glimpse at the potential he had as a crossover star. “Awful Things,” from this year’s Come Over When You’re Sober Pt. Fixating on mortality was part of the act, but as important to his appeal was his delivery style: the enveloping haze, the singalong center, the specific attitude and look, all of which earned him notices in The New York Times and GQ. He is, of course, not the only rising star of his-or any generation-to take addiction and suicidal thoughts as lyrical inspiration, and he’s not the first to obsess over Kurt Cobain and Amy Winehouse. The same, though, could be said of many 24-hours periods in Peep’s packed social media feeds. The Guardian reports he’d been hospitalized for an overdose, and the last 24 hours of his Instagram is a chronicle of drug-taking and death notes. To dive into his world, as hundreds of thousands have done in the two years since he started uploading his music to SoundCloud and YouTube, is to be magnetized. And he arrived as a fully-formed, totally watchable generational symbol. Gustav Åhr, the Long Island–raised 21-year-old who went by Lil Peep, spiked that brew with the catchy yelping and self-loathing sensibility of emo and pop punk, just at the moment when a popular revival of those scenes seemed imminent. The rising trend on the Billboard Hot 100 is a woozy-slow mutation of rap, obsessed with drugs, emotionally open but still marked by macho posturing. If you were going to bet on the young musicians most likely to soon be superstars, until yesterday, a lot of smart money would have been on Lil Peep.
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