Written by Elijah P. Flying cars, anime transitions, a jersey club drum pattern and a melody ripped from a Kid Laroi track, Caloocan’s very own RB Slatt is building a world never heard before in the Northside in EIGHTEEN’s most outstanding offerings titled “TAHLA”. As close followers and homeboys claim their sound to be “hyperpop”, it’s almost unfair to box them right in the umbrella term. As RB Slatt covers a wide array of multi-fx and cross-dimensional beat switches, they surprisingly come out more cohesive than opting for a hodgepodge of digicore nonsense. Previously enabling the emo-rap of the late 2010s, RB Slatt smoothly transitions to the bitcrushed, rock-n-rolla of the internet age of the 2020s with aesthetics that call for a futuristic and almost self-destructive sonic direction in both production and vocal delivery. “TAHLA” rallies behind RB Slatt’s newly found musical identity, supporting a grander, more possible pathway for rappers to partake in this untapped, almost idle landscape of production style. But with the existence of the emotive rap acting as a precursor to RB Slatt’s chosen subgenre, he effectively capitalizes on the delivery as if to complement its salted wounds of a nasty breakup. There’s potency to vocal prowess in louder, much more chaotic instrumental, and RB Slatt slightly masters that skill in “TAHLA”. SUPPORT THE ART & THE ARTIST: