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My favorite Lil Ugly Mane track was his last single, “On Doing an Evil Deed Blues,” a seven-minute swan song that explained his decision to retire the project. (His beats were often credited to Shawn Kemp, another alias his real name is Travis Miller.) Together, the style and substance of his music conjures something like a wounded predator that still wants to kill you even though it’s about to die itself. As a producer, he possessed an uncanny ability to make samples or synths sound deranged, like Three 6 Mafia did in the ’90s but also like Arca does today. His lyrics were morbid and aggressive, sometimes to a comic degree his voice was almost always pitched-down, so his tongue sounded swollen. Now, after rap, who knows? But from 2011 to 2013, he was one of the genre’s most aesthetically refined artists. Before rap, he made noise and hardcore music. He was a rapper and producer from Richmond, Virginia, though he doesn’t do either of those things anymore, at least publicly. I was worrying about how good things are fleeting the other afternoon when I thought of Lil Ugly Mane.
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