Ferreira's latest album is rich in content and rewarding. It is a symbol of a prolific artist who has achieved perfect unity between content and performance.

In the past ten years or so, Rory Ferreira (Rory Ferreira) has established a deep, consistent and feature-rich catalog. The nomadic artist, now named RAP Ferreira, was born in Chicago, but then lived in Wisconsin, Los Angeles, Maine, and currently Nashville; most of his early works were released under the name milo, although so far So far, his masterpiece is (y) the beautiful smooth sovereign nose of our arrogant face, released as a scallop hotel in 2018. His new album "Light-Emitting Diamond Cutter Bibles" is rich and useful, combining the improvisation of the sovereign nose with the sound of water that Ferreira has been refining since leaving Los Angeles in 2015.

This album contains his most impressive and complex themes to date, as well as his most vivid images: the ontologically curious snake in one song, and the "python on the rope" in the next song. However, Ferreira’s way of arranging music allows the tone of each song to create and relieve tension on its own. The Bible begins with "counterpoint," and his voice is suppressed-maybe calm, maybe tired. For most of the album, that sound disappeared. When it reappears at the end of "Praise and Worship", it is full of things closer to fear, effectively recasting everything before it. In the latter song, Ferreira sings in an almost monotonous way, "I guess I will follow that Polaris home / of course, when the porn star groans," an airtight couplet, in the element and the artificial Tension is achieved between the inherent things and the content of the performance-most of his works are about this.

The music has a rich structure and a variety of rhythms, even between songs by the same producer. For example, look at how argov in Tel Aviv balances the gloomy "counterpoint" with the bright jazz bounce of "Humboldt Park Gibaritos", or how Brainweight in Nashville becomes a "hyperion" in the "Mouzong Brothers Library Card" ". Ferreira has never interacted with the drums so well as in the Bible. He cascaded them on "Blackmissionfigs" and tilted his syllables at the end of each bar of "gemilut hasadim"; in "uptown 37", he jumped from one pocket to the other like a frog among water lily leaves. A pocket. Some beats are the epitome of the larger intersection that Ferreira himself embodies-take the "one-eighth of the wedding cake" made by gibbsfreelance as an example, it reminds me of the Los Angeles beat music scene ten years ago, but with all the craftsmanship The sewn gravel and the open space Freestyle Fellowship record that he occasionally evokes.

In his videos, Ferreira also developed a unique visual language that avoids careful drawing, traditional color correction, or any other markings designed to indicate that the work has been professionally completed. Sometimes his videos flirt with the short-lived aesthetics of the Internet that he mentioned in his writing: who made you think about the editing? It often looks like a fan-made clip, and this illusion is pierced when Ferreira raps directly to the camera. The "East Nashville" video is in this style. He crossed a bridge unhurriedly, stopping to underline the passage in the song; he was dancing in front of the least marked wall, his body only shining down from his chest. It is not unfinished; it is not sloppy or "low fidelity." This is a prolific artist. He has achieved a perfect unity between content and performance. He can move his body, camera, and microphone with thoughtful thoughts, as if these things were born out of impulse.

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