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‘Innercity Haze’, meanwhile, has the dubby sensibilities of Peaking Lights, but swells like ‘Unfinished Sympathy’. ‘White Sand’ operates at the intersection between Detroit techno and vintage shoegaze.

Motor City isn’t without its influences – there are touches of Kuedo’s music for replicants, and nods to Polygon Window’s misty electro – but it’s still wonderfully difficult to pin down. Swedish producer Martin Herterich’s most substantial release to date is a windswept collection of urban threnodies and scrolling synthscapes. The most impressive of the lot, however, was this secret weapon from Not Not Fun. Plenty of records in 2012 invited listeners for a drive around imaginary cities: DROKK’s debut cruised the streets of Mega City One Symmetry’s Themes For An Imaginary Film plotted a lengthy route through some neon-lit metropolis Hecker and Lopatin’s Instrumental Tourist ( quite literally) took the listener for a fantastical inner-city spin. Rarely for a major label hip-hop debut, Pluto’s also smart with its guest appearances: Juicy J shakes up ‘I’m Trippin’ without straying far from the track’s subject matter (er, drugs), Drake slaughters the remix of ‘Tony Montana’ and even Snoop keeps the levels high on ‘Homicide’. I redeemed myself with the donkey… If that would have been Miami, everybody would have been laid out.”ĭruggy Auto-Tuned space ballads produced by Mike Will and others is an easy sell in any circumstances, but it’s easy to underestimate Pluto: after a false start in disposable opener ‘Parachute’, it grows into a record that hit us in ways that we never thought the Dungeon Family and Gucci Mane running mate’s music would.Īt the album’s heart is the aching ‘Turn Off The Lights’, a club ballad turned otherworldly quest tale that’s one of the year’s very best singles, but there’s close competition from its little brother ‘Neva End’, the exultant ‘Straight Up’ and ‘Truth Gonna Hurt You’, perhaps the moment on Pluto where Future sounds most resigned to life in his quartz void of leaf and Gucci boots (“I need to get my act together / we changing up the weather / it’s so hard to be settled”). Like the last wildebeest that couldn’t be fast enough and make it away, I latched on him and let him know. You can see the last wildebeest in the pack of buffalo, I jumped on them like a lion.

A writer’s words can only do so much when describing a rapper whose appeal is as instinctive and physical as Gunplay’s, so we’ll let the man himself close this blurb – with a quote from a radio interview following his BET Awards brawl with 50 Cent. After stealing the show with world-beating guest verses on Kendrick Lamar’s ‘Cartoon & Cereal’ and MMG’s ‘Power Circle’, he released 2012’s leanest, meanest mixtape: a mere 13 tracks long, Bogota Rich: The Prequel was all impact, sporting the astonishing ‘Fuck Shit In My Life’ and ‘Jump Out’.

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It might, of course, also be his last as a free man – the Triple Cs member and Maybach Music Group affiliate is currently facing life in prison if found guilty of assault and armed robbery – but what a way to go out.