By this point, 2018 seems something of utopic, a distant universe. A past we’ve completely dissociated ourselves from given the calamities which this year has already witnessed. Arguably, though, the release of Lil Nas X’s ‘Old Town Road’ in 2018 began ‘The Yeehaw Agenda’ is continuing strong to this day - a peculiar infatuation (to say the least) with a blend of antithetical genres: country and trap. The virality of a slightly humorous concoction infiltrated its way into the larger fray of popular music, including Lizzo and Solange’s repertoire, complete with a TikTok dance named “the git up” soaring in popularity. Whilst I remain mystified by this bizarre infatuation gripping the music industry, the newcomer-on-the-block rapper RMR ultimately has a few more things to say on his debut EP, Drug Dealing is a Lost Art.
Beyond a collective handful of tracks, we really only know three certain facts to RMR’s background: 1 - he’s 22 years old; 2 - he persistently wears a ski mask; 3 - he’s from “the world”. In spite of his confidentiality, the public have abided by RMR’s wish to simply “listen to the music”, with his first single ‘Rascal’ accumulating over 2.5 million views on YouTube since February. Brightly-lit pianos, auto-tuned vocals, and heart-wrenching lyrics imminently asserts itself as the formula to RMR’s beloved country-trap blend. Delving deeper into his 2nd single, ‘Dealer’, marks a stark improvement on his Juice Wrld-esque, nasally vocals which contrast well against the intrinsic 1st and 3rd trap-beat accentuation (cite Roddy Ricch’s hit ‘The Box’ as one of a multitude of modern trap examples).
Lyrically, however, these singles lack any real pertinent gravitas to them. Aside from the comically ‘deeper’ meanings courtesy of Genius’ extraordinares, the sole lyrics of ‘Rascal’s post-chorus “fuck 12” as well as the insipid "woah"s peppered throughout this EP quickly vanquish into a trite popularity battle onto public radio. Granted, there’s also space for nostalgia, but recites back to the excruciatingly feeble days of Akon and T-Pain, which consumes RMR’s most recent single, ‘I’m Not Over You’.
For the continuation of these vapid tropes in ‘Nouveau Riche’ and ‘Best Friend’, the EP’s inception track ‘Welfare ft. Westside Gunn’ contains a comparatively more enticing recital of RMR’s background - one fighting with such themes as drug dealing, violence, and money. With helping hands from the legendary producer Timbaland and rapper Westside Gunn here, RMR explores a common trait besetting many rappers of today: acclimation to a newly-found wealth. With desperate claims to “go get it, my mama stuck on welfare”, RMR tussles with these juxtaposing lifestyles of old and new - yet the rest of the EP refuses to expand much beyond this, concluding “she love the fast lane, all rich ain’t go no struggle”.
As my string of questions surrounding RMR’s background extends, so too do my questions on his debut EP. Personal comfort is sought, however, through RMR’s determination to blend country and trap - one which seems so far-fetched it borders on jocular. But for all of the artists seeking a certain nostalgia from 80’s new wave or 00’s glitch-pop, many others conjoined to the current ‘Yeehaw Agenda’ seem comfortable sifting through the pop-country textbooks stoically written by the likes of Keith Urban and Rascal Flatts. And whilst I can’t see this EP ageing all too well, I can appreciate our current needs for boosting morale - summarised aptly by one YouTube commenter: “the country star we didn’t ask for, but needed.”
RMR's debut EP, 'Drug Dealing is a Lost Art', is out now and can be found here.
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