In 2019 SpaceGhostPurrp may be more known for Sampling Immature‘s “I Wanna Know You That Way”, Purrp kicks
That Way”, Purrp kicks whilst you glide nonchalantly you encounter these asteroids of
his online antics than he is for his music. Purrp was once
considered ‘Hip-Hop’s renaissance man’. He pioneered
the revival of the 90’s sound and aesthetic. SpaceGhost-
Purrp pioneered the underground vision. He was destined
to be the next big thing in the rap game. Sadly, things
have not turned out this way for the Carol-City artist. A
myriad of factors have caused his career trajectory to fall
into a downward spiral. The purpose of this feature-length
article is not to focus on what could have been. Instead
the purpose is to focus on what has occurred throughout
SpaceGhostPurrp’s polarising career. This feature will de-
tail the artistic triumphs of SGP and explain how his im-
pact has changed the music landscape forever. SpaceG-
hostPurrp is an infamous figure in today’s rap game. His
impact and influence can not be denied. This is LO-FI The
Magazine and for our second feature article we will delve
into the career of the ever-polarising Markese Money
Rolle aka SpaceGhostPurrp.
2010/2011: THE DAWN OF THE PHONK
SpaceGhostPurrp’s internet presence can be traced back to the
AOL era and his start in the music world can be traced back
to 2008. Two years after his initial debut, SpaceGhostPurrp
would emerge on the underground scene. On May 23, 2010
SpaceGhostPurrp created his YouTube account ‘SpaceeGhost-
PurrpMJ23’ and SGP was officially born. A few months later,
NASA: The Mixtape would kickstart Purrp’s prominence in the
underground scene. With co-signs from underground pioneers
Kreayshawn and Speakz! It seemed like SGP’s star was des-
tined to shyne. During 2010/2011 SGP would establish himself
as an underground superstar. A wave of change was brought
upon the underground scene with Purrp’s arrival. After a hand-
ful of years in which he released music under “Muney Jordan”
Purrp finally found his lane in 2010/11. The dawn of the phonk
was upon us.
NASA: The Mixtape catapulted SpaceGhostPurrp from virtually
unknown to being one of the hottest underground prospects.
The mixtape was released through the traditional avenues of
Datpiff and his hallowed YouTube channel. In 2010 the under-
ground was still in its infancy. Lil B demonstrated the power of
being an independent artist through his revolutionary use of the
internet. In this ‘infant’ stage of the underground only a handful
of artists had notable followings. Luckily for Purrp two of these
established artists took notice of his innovative work. Speakz!
And Kreayshawn both co-signed the NASA Tape. These co-
signs helped bring Purrp to the forefront of the underground
scene. NASA: The Mixtape helped launch SGP’s career but no-
body would predict the impact that he was about to have on the
music world.
NASA: The Mixtape is an undisputed classic. Released Sep-
tember 13, 2010, It was the mixtape that birthed the legend
of SpaceGhostPurrp. The co-signs Purrp received during this
era and the quality of his music rose his profile to new heights.
NASA: The Mixtape typifies the underground sound. The project
sprawls several trunk-rattling soundscapes that are tied together
by one nostalgia inducing sound effect. This sound effect is a
sound from Microsoft 3D Pinball, a free to play game that came
pre-installed on several PCs during the late 90s and early 2000s.
This unique sound effect separated his mixtape from anything
else available at the time. It also created a sense of consistency
throughout the tape. The multitude of sounds were all tied to-
gether through the simple use of sound effects.
The mixtape personifies its title accurately. NASA: The Mix-
tape is a drug-induced, waved-out journey through the galaxy.
Instead of travelling through the galaxy by the usual means, SGP
takes us on an interstellar journey that is best enjoyed riding in
an old school Cutlass Supreme.
away from being featured on a Datpiff compilation. This is yet
off NASA: The Mixtape with ‘Intro (Rare)’. The self-produced
beat contrasts the galactic electric guitar driven sample with
SGP’s trademark asteroid breaking kicks and 808s. The song
opens with tone setting bars: “Spaceship, spaceship, bitch fuck
relationships”, which establishes his unmatched energy from the
outset. Intro (Rare) sounds like the soundtrack to an intergalactic
apocalypse. The sample adds the necessary depth to Purrp’s
hard hitting trunk rattling sounds. The smooth, sultry sounds of
90s RnB were flipped on their head in ‘Intro (Rare)’ and its fits
seamlessly with SGPs new age speaker knocking elements.
‘Intro (Rare)’ is far from cookie-cutter material. It’s a daring ef-
fort from a young and hungry artist who managed to craft an
amazing soundscape by using contrasting elements. Just like
his inspirations Juicy J and DJ Paul used to flip heavenly movie
scores into aural horror, Purrp managed to flip something sultry
into a song that’s worthy of being the soundtrack to the galactic
apocalypse. SpaceGhostPurrp sets the tone of NASA perfectly
with the brilliance of ‘Intro (Rare)’. One track deep and the NASA
galaxy was thoroughly illustrated through Purrp’s wizardry.
After the apocalyptic beauty of ‘Intro (Rare)’ we segue into
‘Sex Money Drugs (Wavy)’. ‘Intro (Rare)’ is the soundtrack to
the galaxy’s apocalypse and ‘Sex Money Drugs (Wavy)’ is the
soundtrack to the galaxy in its post-apocalyptic state. ‘Intro
(Rare)’ featured Purrp exorcising his demons. On ‘Sex Money
Drugs (Wavy)’ Purrp flips the script and exudes a cool similar to
Max B, the originator of the wave. His intergalactic mack mode
was activated. Sonically, SGP explores waters which have
rarely been explored. Infectious dubstep wobbles resonate
throughout the track and they fuse with the equally infectious
horn sounds to create the ‘space swag’ by which NASA abides
by. The signature Purrp elements are present as well. The signa-
ture speaker rattling 808s, claps, hi-hats and kicks are present
to add the ‘Phonk’ to the dubstep driven beat. Lyrically Purrp
catches the pocket of the constant dubstep wobbles to exude
his cool and kick knowledge on the hedonistic aspects of each
and everyone’s lifestyle. As previously mentioned, Purrp’s mack
mode was activated throughout the track. Think of ‘Sex Money
Drugs (Wavy)’ as a 2053 AD version of 8 Ball & MJG’s Space
Age Pimpin’. This adaptation of the dubstep sound makes ‘Sex
Money Drugs (Wavy)’ one of Purrp’s most unique songs. It’s
one of the best combinations of rap and dubstep to exist. ‘Sex
Money Drugs (Wavy)’ introduces us to the hedonistic side of the
NASA galaxy. Through the use of his mack mentality SGP seam-
lessly transported us from the chaos of ‘Intro (Rare)’ into the cool
of ‘Sex Money Drugs (Wavy)’.
Following the dubstep driven ‘Sex Money Drugs (Wavy)’ we
move into ‘For The Love Of Money (Wavy)’. ‘For The Love Of
Money (Wavy)’ is perfection in .mp3 form. Sampling ‘Lil Chill-
Ain’t No Luv Lost’ Purrp floats over this track like a true West
Coast OG. ‘Intro (Rare)’ illustrated a thundering galactic war,
‘Sex Money Drugs (Wavy)’ encapsualtes the hedonsistic af-
termath and ‘For The Love Of Money’ is the introspective ride
through the stars and solar system. ‘For The Love Of Money
(Wavy)’ is the quintessential companion for your late night rides.
Arguably Purrp’s best effort at reviving the feel of the West Coast
sound. ‘For The Love Of Money (Wavy)’ serves as a prophecy
for Purrp’s future. This prophetic nature adds a unique element
to this tracks lore. SGP raps: “I don’t wanna sell my soul for
no fuckin’ fame, SpaceGhostPurrp just remember that name”,
“Imma be on VH1, Imma be on MTV”, “I wanna make this rap shit
better, fuck sellin’ crack”. All these statements would eventually
become true. These prophetic statements illustrate the beauty
of ‘For The Love Of Money (Wavy)’ and furthermore NASA: The
Mixtape. This debut project serves as a prophecy to the rest of
his career. Everything he spits on NASA becomes true. The mix-
tape is generally driven by aesthetic but those pockets where he
prophesies his rap career add substantial depth to the mixtape
experience. Whilst listening to NASA: The Mixtape you glide
through the galaxy of NASA and its “red diamonds same colour
planet Mars” nonchalantly without a care in the world. However,
5 6
prophecy, these asteroids of a young artist’s hopes, desires and
dreams. These asteroids of raw emotion would eventually turn in
to fulfillment for Purrp. ‘For The Love Of Money (Wavy)’ is a raw
display of his desire to make this rap shit work. Knowing that
these desires, these asteroids would become fulfilled adds an
element of lore that is absent from your run-of the-mill song. The
prophetic nature of ‘For The Love Of Money (Wavy)’ makes it a
standout song on NASA: The Mixtape and one of the best from
his discography.
Sonically, the formula for ‘For The Love Of Money’ is identical to
the previous two tracks. That being, the fusion of a sample with
Purrp’s signature elements: 808s, kicks, claps and hi-hats. Sim-
plicity is usually the best recipe and that rings true with the sonic
elements throughout NASA: The Mixtape. The array of samples
used on this tape allow this simple formula to reign supreme.
Three tracks into the NASA experience and SGP has taken sam-
ples from RnB, Dubstep and West Coast G-Funk. Three very
different spectrums of the music world. This trio of differing ori-
gins are all tied together through SGPs proficient sound design.
Purrp’s hard hitting elements are a constant throughout the tape.
Couple this with the use of the pinball sound effects and SGP is
able to maintain a constant theme throughout the NASA journey.
Despite the stark differences in sound between tracks.
‘I Love Lean (Weed)’ appears after ‘For The Love Of Money’ for
the next chapter in our NASA exploration. “I Love Lean (Weed)”
continues the harkening back to rap lore of the 90s. For this track
SGP samples Mystikal’s “Still Smokin” to teleport us to an inter-
stellar strip club. This hazy, drug anthem embodies the ambi-
ence of the South during the Y2K era. It is a song which should
have become the ‘go-to’ for every hypebeast during the peak
tumblr era of 2011-2014. Unfortunately it was ahead of its time.
As a result the song remains slept on until this day. Lean has
been a staple of rap culture since the days of DJ Screw. Purrp
re-energised this lean culture and brought it back to prominence
in an underground world that was fuelled by it’s love of drugs.
On a song in which he professes his love for the purple potion,
SGP flows impressively over the menacing instrumental. Again
he drops another prophecy by saying: “SpaceGhostPurrp imma
bring this rap shit back, Thanks to Bricksquad they brought that
trap shit back.” Prophecies such as these age like fine wine and
add another layer to the legacy of NASA: The Mixtape. ‘I Love
Lean (Weed)’ is a dedication to the drank that fuelled the cre-
ative genius of Purrp and his idols that came before him. The
menacing drug anthem fits perfectly amongst the array of stars
in the NASA galaxy.
Through the first four tracks of NASA: The Mixtape, SGP has
taken us through a galaxy of mayhem. Using the soundscapes
of RnB, Dubstep, West Coast G-Funk and New Orleans Bounce,
Purrp has taken us to each corner of the NASA galaxy. On the
next track Purrp continues to profess his love and admiration for
very distinct ways of life. ‘I Love Lesbians (HOT!)’ follows ‘I Love
Lean’. On this cut, we are taken on an UFO directly to Based
World. ‘I Love Lean’ is the slow, menacing drug anthem whereas
‘I Love Lesbians (HOT!)’ is its antithesis. The galactic sound-
scapes are ever present on this NASA track. The club-worthy
sonics are ever-present. Instead of the kickstand inducing lean,
‘I Love Lesbians (HOT!)’ is best suited for those in the club thiz-
zing off molly. The hyperactive beat coupled with the content
and flow of the song makes ‘I Love Lesbians (HOT!)’ a seamless
fit on any Lil B tape. The based braggadocio is strong through-
out the song and it illustrates Purrp’s innate ability to seamlessly
switch between styles whilst maintaining the thematic consis-
tency of the tape. ‘I Love Lesbians (HOT!)’ is another stop on
the journey through the solar system that is known as NASA:The
Mixtape.
SpaceGhostPurrp taps into his former alias Muney Jordan for
the next track on NASA: The Mixtape. ‘Muney Jordan SpaceG-
hostPurrp (Trap)’ is his ode to the late 2000’s trap movement.
On this cut he channels his inner OJ Da Juiceman or his inner
Young Jeezy to create a song which is a few DJ Drama tags
another display of Purrp’s proficient ability to draw inspiration
from a specific era or moment in time and use this inspiration to
create his own interpolation of the aforementioned style. This is
the trap banger for all those on planet NASA. Simplicity is king
yet again as Purrp lets his ‘phonky’ elements shake, rattle and
boom the trunks of all the NASA Gang Raiders out there. ‘Muney
Jordan SpaceGhostPurrp (Trap)’ is yet another selfless display
of homage form Purrp. Many artists go to exhaustive lengths to
detract those who influenced them. But SGP remains transpar-
ent when its comes to those who inspired him. Just as previous
tracks on NASA: The Mixtape were inspired by bygone eras in
music, Purrp uses ‘Muney Jordan SpaceGhostPurrp (Trap)’ to
pay homage to the peak era of the Trap music movement.
“NASA:
The Mixtape is a
drug-induced, waved-out
journey through the gal-
axy. Instead of travelling
through the galaxy by the
usual means, SGP takes us
on an interstellar journey
that is best enjoyed riding
in an old school Cutlass
Supreme.”
‘NASA Gang (Swag)’ revisits the ‘galactic war’ sound of the in-
tro track. The track starts off with what has become a signature
SGP chant which is : “Kill that hoe, Kill that bitch”. This chant,
which has since been used by Robb Bank$ on the song ‘ILYSM’,
coupled with the haunting beat immediately paints the anarchist
nature of the NASA Gang. The outcasts of the galaxy per se.
Despite the darker tone of the track it maintains the infectious
trunk-rattling vibe. SGP’s signature ‘really’ ad-lib shines bright
on the track as it interloops with the quasi-based flow which is
used throughout the song. ‘NASA Gang (Swag)’ is a braggado-
cious head-bumping, mosh-worthy anthem which best exempli-
fies SGP’s futuristic swag. He adds to the anarchist nature of
the track by rapping: “Slow the beat down… Get off that jerking
shit”. This quote doesn’t just add to the contrarian swag Purrp
possesses; it is also another prophetic moment on NASA: The
Mixtape. One year later, after being on that “jerking shit”, people
would be engrossed in the trill aesthetic that was pioneered by
SpaceGhostPurrp. ‘NASA Gang (Swag)’ is a slap-in-the-face to
all the conformists out there.
People who are labelled as ‘different’ are often referred to as
‘spaced-out’ or ‘alienated’. Purrp flipped this connotation with
‘NASA Gang (Swag)’ and in turn NASA: The Mixtape. SGP em-
braced being an outsider. He turned being an outsider or being
‘spaced-out’ into the legendary space swag which he exhibits
throughout the tape. ‘NASA Gang (Swag)’ personifies the vi-
sion of NASA: The Mixtape. It’s all about embracing the ‘space
swag’. Embracing being different.
Purrp brings the vibe back with ‘Yo Purrp (Swag)’. This is the
stoner anthem for the NASA galaxy. ‘Yo Purrp (Swag)’ uses the
instrumental of OJ Da Juiceman’s song ‘Crazy Color Chain’
which is produced by Lambo Beats. Purrp takes this instru-
mental and turns it into a hypnotising track for those sessions
of inebriation. ‘Yo Purrp’s (Swag)’ hypnotism is furthered by the
constant echoing of his trademark chant: “kill that hoe, kill that
bitch”. This echoing combined with SGPs verses and adlibs il-
lustrate how Purrp layers his vocals to further the ambience of
the track. The vocals are layered in a very unconventional way
to leave the listener in a mystical trance. ‘Yo Purrp (Swag)’ is a
welcome smoke break on the trip through the NASA galaxy.
‘Friday (Strip Club)’ is the next song on NASA: The Mixtape.
Arguably the most well-known track off of the project, the song
has since been co-signed by Wiz Khalifa as well as other art-
ists. ‘Friday (Strip Club)’ samples Cherelle’s ‘Saturday Love’ and
adds a booming bass line to create a frenetic club-banger. One
of SGPs most iconic songs, it still rattles the trunk even 9 years
after its release. ‘Friday (Strip Club)’ is the perfect bounce back
from the smoke break that was ‘Yo Purrp (Swag)’. ‘Friday (Strip
Club)’ has stood the test of time as a party-starter. It’s booming
bass and galactic swag solidifies it is an all time classic of the
2010s. With ‘Friday (Strip Club)’ Purrp had evolved the Miami
Bass sound. It sounds exactly what Miami Bass should sound
like in 2023 if the genre is ever revived. There is not much to
be said about ‘Friday (Strip Club)’ other than that it is a timeless
classic. One of the heftiest bangers to come out of the 2010’s.
When it comes to a classic like ‘Friday (Strip Club)’ there’s no
need to wax poetic about it. The music says all that needs to
be said. An unmitigated classic, ‘Friday (Strip Club)’ solidifies
NASA: The Mixtape’s legacy amongst internet rap lore.
The 10 track escapade into the NASA galaxy ends with ‘Snap-
back 90s (Rare)(RIP Eazy E Bring Back The 90s)’. ‘For The Love
Of Money’ was a resurrection of the laid back West Coast sound
whereas ‘Snapback 90s’ is a resurrection of the ‘Gangsta’ rap
movement which was pioneered in the late 80’s and 90’s. Draw-
ing inspiration from groups such as South Central Cartel and
NWA, SGP channels his inner Eazy E to profess his love for
the 90’s era of hip-hop. Purrp’s hard hitting delivery equals the
hard-hitting beat and it creates a fitting outro track to NASA:The
Mixtape. The song is militant in its nature and it allows us to fin-
ish our journey through the NASA galaxy on the same note we
started it. ‘Intro (Rare)’ sets an apocalyptic tone and ‘Snapback
90s (Rare)’ carries that same defiant tone until its final seconds.
The whole project is an injection of infectious swag and ener-
gy. Which makes it fitting that those qualities are retained in the
outro track. ‘Snapback 90s (Rare)’ leaves you immersed in the
NASA galaxy, it leaves you wanting more. Luckily, SGP fans had
a plethora of music to look forward to after the initial bombshell
that was known as NASA: The Mixtape.
“NASA: The Mixtape is one of
the greatest mixtapes of the
2010s. The sounds, flows and
aesthetic established on this
tape are unlike anything else in
the rap hemisphere.”
NASA: The Mixtape is one of the greatest mixtapes of the 2010s.
The sounds, flows and aesthetic established on this tape are
unlike anything else in the rap hemisphere. These elements truly
take you to another universe. The tape is succinct and simple
but these qualities may be its biggest positives. SpaceGhostPur-
rp takes samples from a multitude of styles such as: Dubstep,
RnB, West Coast Rap and Southern Rap. Purrp ties this variety
of styles together with aural pleasures which include speak-
er-breaking: 808s, hi-hats, claps and drums. He sprinkled his
‘phonk’ sufficiently over the soundscape to give the sounds of
NASA: The Mixtape an unmatched originality. Music critics and
listeners alike, tend to champion complicated sound patterns
and rhyme schemes but NASA: The Mixtape is living proof that
when utilised in the correct matter simplicity reigns supreme.
Little things, which may seem insignificant to some, add to the
NASA experience. The nostalgia-inducing sound effects of 3d
pinball add an extra layer of depth to the project. Sound effects
like the ones displayed throughout NASA have become a staple
of Purrp’s artistic arsenal. The prophetic nature of NASA: The
Mixtape also elevates it status as one of the greats. Throughout
the tape SGP drops many prophetic gems such as: “SpaceG-
hostPurrp imma bring this rap shit back”, and “Im tryna make
this rap shit better fuck sellin’ crack”. These prophecies, which
have now become true, add to the legacy of NASA. When you
catch the little gems such as the: prophecies, the declaration of
his dreams and desires for the future of rap, the soul which flows
through SGP becomes very evident. Again this prophetic nature
of the NASA Tape adds another layer of depth which only adds
to its legacy.
Holistically, NASA: The Mixtape can be regarded as one of
the best mixtapes of the 2010s because of its originality. Ev-
erything that features on the tape has a unique feeling. The
sounds, styles and aesthetics haven’t been duplicated since.
NASA: The Mixtape is undoubtedly one of a kind. A class above
other underground projects. The galactic phonk will take you on
a drugged up, swagged out and introspective journey through
the NASA universe which will have your trunk rattlin’ from start to
finish. The samples will make an old-head swoon, the pinball ef-
fects will have you fiending for Windows 98, the fresh sounds will
elevate your sonic palette and the variety of flows will keep you
intrigued. There’s something for everyone on NASA: The Mix-
tape. There are throwback sounds and Eazy-E flows for the hip-
hop heads, there’s quasi-based flows for the disciples of Lil B’s
‘Bitch Mob’, there’s booming bass and layers of mesmerising
7 8
sounds for those in ‘druggy’ mode and most importantly there’s
an unmatched sense of swag throughout the tape. NASA: The
Mixtape has that X-Factor. Regardless of who you are NASA will
have you space swaggin’ like no other. Whether you want to
cruise through your city and bump something at ignorant vol-
umes or if you want to get intoxicated and take yourself to space
right quick, the NASA Tape is your perfect companion. NASA:
The Mixtape is the ideal fit for any situation and it is for this rea-
son amongst many others that NASA: The Mixtape is an undis-
puted classic. It should be considered a top 10 mixtape from the
2010s and in the present day it remains criminally underrated.
I often wonder what would happen if Purrp kept his foot on
the gas with the NASA sound. Would he still bring the wave of
darkness that inspired the whole rap game? Or would everyone
be on the space swag wave? I believe the NASA sound had
great mass appeal. Purrp would eventually progress from the
NASA sound and bless the world with Blvcklvnd Rvdix 66.6. The
NASA era often gets slept on because it preceded the storm.
All the NASA sound, swag and aesthetics can only be traced
to a 30 minute tape. A tape so limitless in its potential that if this
sound remained Purrp’s primary sound he could of brought a
whole different wave to rap world. But like most great artists do,
he chose to progress. This progression embodies the beauty of
SGPs art. The progression is fluid, so sudden that it’s like falling
in love with a whole new artist each time he switches his style.
The NASA style though, will forever be his most underrated.
NASA: The Mixtape helped propel Purrp’s career. It put him
on the underground map. He was still in the infancy of his ca-
reer but the greatness of NASA: The Mixtape gave him a perfect
foundation to build upon.
On NASA: The Mixtape, SGP had openly paid homage to those
who inspired or influenced him. Through several shout-outs and
samples during the tape it became clear that Purrp was Hip-
Hop’s renaissance man. He was hell bent on restoring that 90’s
feel in the rap game. SpaceGhostPurrp continued on his righ-
teous path to revive the bygone era of the 90’s and 2000’s by
releasing the Purrped & Chopped series of mixtapes. Purrped
& Chopped was essentially Purrp’s homage to DJ Screw. The
series of tapes were a mish-mosh collection of: freestyles and
rare songs which spanned several eras of music. The Purrped
& Chopped tapes became Purrp’s vehicle to pay homage to
those that came before him. The tapes also became Purrp’s ve-
hicle to put his fans on to the music that inspired him personally.
These mixtapes are more than DJ Screw homage tapes. They
were devices to spread his 90s renaissance across his fanbase.
It’s no surprise that DJ Screw and several other artists featured
on these mixtapes became a part of every tumblr kids playlist.
The Purrped and Chopped tapes played a role in shaping the
music tastes of everyone in the underground. These mixtapes
were a unique avenue for Purrp to further entrench his aesthetic
amongst the underground masses. SGPs Purrped and Chopped
series remain an overlooked part of his legacy.
The first installment in SGP’s Purrped & Chopped series was
‘NASA Underground: Lost Tapes (1991-1993)’. The tape is
blend of Chopped & Screwed SpaceGhostPurrp songs and 1
take freestyles. As mentioned before Purrp restored the feeling
of the Screwed Up Click era. Instead of it being Screw and his
cohorts, Purrp assumed the role of being a man one army. This
first edition of the Lost Tapes focuses more on Purrp’s freestyle
tracks. Throughout the 14 tracks SGP vibes over an assortment
of instrumentals and then gives each freestyle the Purrped &
Chopped treatment. NASA: The Mixtape introduced us to the
world of SpaceGhostPurrp and the Purrped & Chopped era im-
mersed listeners in the 90’s revival that Purrp was pioneering.
The first installment of the Lost Tapes series shows the courage
of SGP at the time. Coming off a release which had garnered him
a decent internet buzz, he could have easily followed a traditional
career trajectory instead he chose to veer left. He chose to dou-
ble down on 90s revival by dropping a series of tapes that were
catered towards a very niche underground audience. These ex-
perimental projects showed Purrp’s commitment to restore that
90s feel in the rap game. Chopped & Screwed music has always
been a feature of Hip-Hop since DJ Screw introduced the world
to it, however no artist had put forth the effort to make Chopped
& Screwed music such a prominent part of their discography.
This was until SGP released the Purrped & Chopped series. This
collection of tapes should be viewed as an amazing display of
homage to the pioneers of Screw music in Texas. Purrp ensured
their legend was respected and admired in this new internet era.
These mixtapes should be seen as an educational tool for new
generation Hip-Hop fans seeking that O.G. knowledge. They re-
store the feeling of a bygone era. One of the best eras in music
history. NASA Underground: Lost Tapes (1991-1993) is the first
installment in this underground workshop.
The next installment in the Purrped & Chopped series was Pur-
ple Hulk NASA Underground: Lost Tapes (1994-1996). On this
tape SGP chops up some classic tracks from the 70’s and 80’s
such as: Fatback Band – ‘Is This The Future’ and BB and Q Band
– ‘Genie’. The inclusion of these old school tracks were of a sim-
ilar to how Screw’s inclusion of old school tracks in his wealth
of tapes. Purrp combines these classic tracks with more S.U.C.
(Screwed Up Click) style freestyles. He also chops up a classic
Gudda Gudda cut from Lil Wayne’s ‘Sqad Up’ mixtape series.
A true illustration of his prolific Rap knowledge. On the second
installment of the ‘Lost Tape’ series Purrp chops up deep cuts
from various eras to shine a light on forgotten classics. Just like
the first installment ‘Purple Hulk’ is an hour and twelve minute
vibe out session that takes you into the abyss of rap culture.
On March 15, 2011 the Rap world lost a bonafide legend. The
voice of ‘G-Funk’, Nate Dogg passed away. One day later SGP
released a Purrped & Chopped tape in his honour. ‘Purrped &
Chopped/ RIP Nate Dogg & DJ Screw’ is 7 tracks of ‘G-Funk’
greatness. Purrped & Chopped by none other than SpaceGhost
himself. He continued his admirable trend of paying homage
whenever necessary. Consider this tape a celebration of a Hip-
Hop legend. The 7 track haze is a must listen for fans of slowed
down music. SGP continued his honourable tirade by honouring
a Hip-Hop legend who laid the foundation for future artists to
succeed. The Purrped & Chopped series helped establish SGPs
status as culture connoisseur.
Following the release of the Nate Dogg tribute tape SGP re-
leased ‘Purrped and Chopped: RIP DJ Muthaphukkin Screw’.
Arguably Purrp’s most diverse tape of the series, the tape
features songs from: Mos Def, Max B, Odd Future, Tangerine
Dream and Three 6 Mafia. With ‘Purrped and Chopped: RIP DJ
Muthaphukkin Screw’ SGP provides listeners with a full fledged
palette of what inspired him. This tape is an essential listen if
you are trying to dive into Purrp’s music taste during the early
underground era. SpaceGhostPurrp continued his crusade to
restore the 90’s feeling in rap with this addition to the Purrped &
Chopped series.
“The
Purrped & Chopped
saga was one of a kind in the
modern rap world. For those
trying to delve into the career
of Markese ‘Money’ Rolle the
‘Purrped & Chopped’ tapes
are essential listens.”

Just before the dawn of Blackland Radio 66.6 came the most
experimental tape of the Purrped & Chopped series. This tape
was: ‘420 Tape: Purrped & Chopped’. The mixtape is a 40 min-
ute trance inducing mash of slowed SGP instrumentals as well
as SWV and Toro Y Moi cuts. The true gem of this tape is a
track titled ‘DRKNZZ XF LXVX (Darkness of Love)’. In the song’s
preamble Purrp shouts out several figures who have helped
his profile grow. Artists such as Syd, Mike G, Speakz and Lil
Ugly Mane are shouted out. The song is a remix of the ‘Been
Fweago’ instrumental off of Blvcklvnd Rvdio 66.6. The hallowing
instrumental is chopped, cut and slowed which intensifies one
of SGPs darkest soundscapes to this date. Purrp refers to this
track as his masterpiece and you can tell why once you start
bumping this track. ‘420 Tape: Purrped & Chopped’ is the rarest
tape from the Purrped & Chopped saga. It’s part Vaporwave,
part DJ Screw. The uniqueness of the ‘420 Tape’ adds another
dimension to the Purrped & Chopped series.
The release of Blvcklvnd Radio 66.6 brought a whole new
wave of attention to SGPs world. In the wake of this new wave
he added to his Purrped & Chopped series by releasing a new
installment in the ‘Lost Tapes’ series. ‘NASA Underground: Lost
Tapes (1997-2000)’ is the third edition of the Lost Tapes series
and the sixth instalment in the Purrped & Chopped saga. SGP
makes a return to the classic ‘Lost Tapes’ formula by mixing un-
released freestyles with classics from other artists. Just like its
predecessors, this tape emulates the ‘Screw’ world nobly. ‘Lost
Tapes (1997-2000) features two of the most profound tracks of
the whole Purrped & Chopped era. ‘RIP Jitt Pt.1’ and ‘RIP Jitt
Pt.2’. These songs are dedicated to Purrp’s fallen friend Ladar-
ius ‘Jitt’ Frazier. SGP has dedicated his career to memorialising
‘Jitt’ and these two songs personify the pain Purrp feels after
losing his close comrade. ‘RIP Jitt Pt.1’ and ‘RIP Jitt Pt.2’ are rare
songs in SGPs career where he drops the mystique and allows
us to witness the pain he felt when he lost his friend. We get to
see the emotions of the underground messiah. This rare moment
of introspectivity illustrate the hidden gems which exist in all the
Purrped & Chopped tapes. Some of SGPs most experimental,
emotional and groundbreaking work exists in the Purrped &
Chopped era.
The next installment in the Purrped & Chopped series is ‘Club
Nvzv (1995)’. This tape is another compilation of songs from oth-
er artists that receive the Purrped & Chopped treatment. This
tape is the spiritual successor to ‘Purrped & Chopped: RIP DJ
Muthaphukkin Screw’. ‘Clvb Nvzv (1995)’ focuses strictly on the
grimiest of 90’s rap. The essence of the ‘Phonk’. This tape fea-
tures songs from legendary artists such as: Master P, Trick Dad-
dy and Lil Chill. Purrp again illustrates his profound knowledge
of Hip-Hop classics throughout this tape. ‘Clvb Nvzv’ person-
ifies Purrp’s 90s renaissance to the fullest extent. Undoubted-
ly, ‘Clvb Nvzv (1995)’ helped shape the music interests of his
whole fanbase. This tape is the last installment in the ‘Purrped &
Chopped’ era. He would continue to revert back to the ‘Purrped
& Chopped’ style throughout his career. Releases such as the
Alize Mix and the VENENO Series are the successors to the
‘Purrped & Chopped’ saga. The ‘Purrped & Chopped’ collec-
tion helped Purrp fulfil his mission of reviving the 90s rap world.
These tapes helped SGP spread his wave across the under-
ground. The Purrped & Chopped saga was one of a kind in the
modern rap world. For those trying to delve into the career of
Markese ‘Money’ Rolle the ‘Purrped & Chopped’ tapes are es-
sential listens.
Aside, from the Purrped & Chopped tapes, SGP also released
a plethora of ‘loose’ Purrped and Chopped songs and the ‘Sum-
mer Jam’ series through his YouTube channel. Again these
tracks further propelled his aesthetic to the masses as he ac-
companied the ‘Summer Jam’ series with visuals. These visuals
were a compilation of clips from throwback live performance
shows such as ‘Soul Train’. Essentially these visuals are what
was portrayed in the Migos’ ‘Walk It Talk It’ music video. Always
ahead of his time, SpaceGhost used the Summer Jam series to
further proliferate his artistic visions.
In retrospect these tapes represent a very unique part of Purrp’s
legacy and his artistic journey. The Purrped & Chopped collec-
tion was an unprecedented vehicle for Purrp to proliferate his
aesthetic. With each consequent release Purrp was single hand-
edly reviving the 90s. Most importantly he was putting modern
fans on to the legendary DJ Screw. Each tape serves as a his-
tory lesson, a crash course on how the hip-hop landscape felt
in the 90s. This collection of tapes was a tribute to the legends
that inspired and paved the way for artists like SpaceGhostPur-
rp. SGP was in the midst of paying his dues and he ensured he
educated his fans on what’s really real. SGP was on a one man
crusade to revive that underground culture of the 90s.
In terms of its legacy, Purrped & Chopped is slept on. The
mixtapes are certainly an acquired taste. They exist as evidence
on how SGP created his universe from the ground up. ‘NASA:
The Mixtape’ broke the doors down for Purrp. Whilst the Purrped
& Chopped saga helped entrench his status as the internet rap
scenes mystical overlord. Just as Screw put the South onto clas-
sics from other regions, SpaceGhostPurrp put the internet onto
the rare and real classics from various eras of Rap. It seemed
like Purrp had the recipe to transform the music world forever.
He would do just that with his next official mixtape release.
THE BLVCKLVND SUPERNOVA:
“THE DOPEST ALBUM OF 1991”
(UNTIL FOREVER)
Blackland Radio 66.6 changed the world forever. The mixtape
was released on May 1, 2011 and has since become one of
the most influential mixtapes of the 2010s. The visions, sounds,
flows and presentation of this tape set the standard for the new
era of underground rap. This project altered nearly every aspect
of the rap world. The tape chronicles SpaceGhostPurrp’s evo-
lution from the creator of the ‘space swag’ into the rap game’s
number 1 anarchist. Blackland tore down the walls of traditional
song structure, sounds, presentation and it changed the tradi-
tional mixtape formula. It is one of the few projects that can claim
that it changed the game forever. But how exactly did it change
the world? It’s time to take an in-depth look into the supernova
that is Blackland Radio 66.6.
Before pressing play on the 20+ track bible of Blackland it is
instantly evident that this project is not for the faint-of-heat. Two
things that discern Blackland from other mixtapes that were re-
leased during this era are its track listing and art direction. The
cover of Blackland Radio 66.6 is a pen-and-pixel inspired mas-
terpiece. The artwork was crafted by Lil Ugly Mane. This mix-
tape art depicts Purrp amongst headstones and a pile of skulls.
Flanking Purrp are two quotes which have since become iconic.
These quotes are “Suck a Dick for 2011 Swag” and “Dopest Al-
bum in 1991”. The cover is reminiscent of Lil B’s Red Flame and
Blue Flame tapes with the main difference being the darkness
depicted on the Blackland cover. The purple background cou-
pled with the skulls and headstones make Blackland a perfect
fit alongside any Memphis rap tape of the early 90s. The art di-
rection of Blackland is so important because it adds to the over-
whelming experience of the mixtape. The art direction personi-
fies the sound of the tape and this helped Blackland become the
genre-shifting force it is now renowned as.
The tracklisting is another aspect, outside of the music, that
makes Blackland such a legendary tape. The song titles are all
written in SGP’s secret code; the Raider Hieroglyphics. A’s be-
came V’s, O’s became X’s, E’s became X’s and U’s became
V’s. The formula for the hieroglyphics were simple but it made
fans feel like they deciphering a hidden ‘g-code’. Little elements
such as the hieroglyphics added dynamism to the Blackland
recipe and furthermore to SGP’s aesthetic. Blackland’s art di-
rection and the hieroglyphics helped the project transcend mu-
sic. The total package is what made Blackland shift the culture.
The Raider Hieroglyphics have since become synonymous with
9 10
“Blackland tore down the walls of tradition-
al song structure, sounds, presentation and
it changed the traditional mixtape formula. It
is one of the few projects that can claim that
it changed the game forever.”
Purrp, his affiliates (Raider Klan & ASAP) and his fanbase. The
hieroglyphics became a phenomena. Influence is often a specu-
lative subject but when you have an art direction so unique you
can clearly see what it brought to the culture. SGP coupled this
unique art direction with game changing sound to create music
history.
Blackland Radio 66.6 starts off on an aggressive note. ‘Pos-
sessed’ sets the tone for the Blvcklvnd adventure with its dark and
gritty lo-fi quality. ‘Possessed’ restores that cassette tape feeling
right from the outset. SGP starts off the track with an iconic rant
that exemplifies why the song is titled ‘Possessed’. Following the
rant, a Mortal Kombat sound is summoned from the depths as it
transitions to the Lex Luger-esque beat. The soundscape may
be similar to Lex Luger’s beats however SGP’s subject matter
quickly separates this song from the standard trap song. On the
hook Purrp screeches: “Possessed, possessed, bitch I’m bout
it, look in my eyes, why would I lie”. This screeching, screaming
delivery is more suited for heavy metal than it is conventional
rap. That is the beauty of Blackland, it goes so far against the
grain of what was the status quo at the time. ‘Possessed’ should
be viewed as the track where Purrp created ‘Trap Metal’, a sub
genre he would expound upon in 2014 with his IntoXXXicated
project. The tone and style of this song escapes the usual rap
tropes and instead takes the less traveled Odd Future path of
anarchistic angst. As soon as you press play on Blackland you
are taken in to the depths of an un-mastered, angst-ridden, dark
and grimy world in which Purrp reigns supreme. ‘Possessed’ is
a stark contrast to the ‘space swag’ of the NASA era. The Black-
land supernova was about to take off.
After being thrown into the abyss of Blackland via ‘Possessed’
we take a right turn into the hedonistic nightlife with ‘SAND 2011’.
‘SAND 2011’ is one of the most popular songs spawned from
this project. Odd Future and The Internet member Syd dropped
this song at the various shows she would DJ. This opened SGP
to a floodgate of new fandom and it was one of those moments
that helped catapult his status in the underground world. A ca-
reer defining moment for Purrp. A co-sign from Odd Future in
2011 was a major coup. This added exposure helped cement
‘SAND 2011’ as one of the biggest bangers in underground his-
tory. A banger which remains in many playlist rotations until this
very day. Sonically the song is very different to ‘Possessed’. It
maintains that anarchist energy. Due to the lo-fi, limit breaking
nature of the beat and the vocals. ‘SAND 2011’ is championed
by an infectious loop of a FL (Fruity Loops) stock sound which
combines with the Blackland drum package to create havoc on
your speaker system. It remains one of the hardest hitting instru-
mentals to come out of the underground. Lyrically, SGP spits de-
bauchery that is befitting of the songs title (Suck A N*gga Dick
2011). The debaucherous content and the infectious beat make
‘SAND 2011’ the ideal party starter at any underground func-
tion. ‘SAND 2011’ is homage to the Three 6 Mafia track ‘Suck
A N*gga Dick’. It exemplifies how SGP is willing to repay those
who inspired him with the necessary homage. ‘SAND 2011’ is
a rare stroke of genius. It is the anthem which catapulted SGP
into cult status. An anthem which helped birth the supernova of
Blackland.
Purrp would revert back to the ‘trap metal’ sound for ‘Fuck Taylor
Gang (Not a Diss We Just Not Dickriders)’. The title of the track
screams anarchy which follows the general theme of the Black-
land Radio. Underground fans were praising Purrp for dissing
the movement of Wiz Khalifa but he debunked the claim that
it was a diss to Wiz. Purrp insisted that this song was a diss to
a gang of people in his hood who used the Taylor Gang mon-
iker. It was essentially a diss to those who were followers AKA
‘dickriders’. Despite the abrasive title of the song, Wiz Khalifa
would collaborate with Purrp on the song ‘T.A.P.’ which Purrp
produced. SGP restores the ‘trap metal’ vibe on ‘Fuck Tayor
Gang’ by sampling a menacing guitar riff and intertwining them
with the staple sounds of the Blackland era. These sounds being
the: Mortal Kombat screech, Godzilla sound, speaker breaking
kicks, drums and 808s. On the track Purrp vehemently decrees:
“If you rep what you rep gon n rep that, it’s the Raiders in this
bitch wearing all black”. This passage from Purrp is important
because it establishes the Raider Klan’s M.O. It personifies the
Raiders as all black rockin’ soldiers who will rep their sets at any
costs. On ‘Fuck Taylor Gang’ SGP announces that the Raider
Klan are willing to go against the grain and that they are here
to stay. SpaceGhostPurrp had founded the Raider Klan a few
years before the release of Blackland; ‘Fuck Taylor Gang’ and
Blackland Radio 66.6 helped establish the Raider Klan move-
ment.
Through the first three tracks on Blackland Purrp set the tone of
the tape. The first three tracks encapsulate the gritty, grimy and
low-fidelity qualities of early Memphis Rap tapes. These tracks
also show that Blackland is not a cookie-cutter rehash of the 90’s
wave. Instead SGP adds unique elements to the tape that set it
apart from anything else in the rap world. The journey through
Blackland continued with SGP taking us to the tunnels for ‘Get
Yah Head Bust’. The Mortal Kombat theme sampling track cre-
ates an unsettling ambience which will have the most fearless
person paranoid. ‘Get Yah Head Bust’ is another defining song
for Purrp’s career. ‘SAND 2011’ was the prototypical ‘banger’
that broke Purrp through to a wider audience but ‘Get Ya Head
Bust’ became the song which established his wave and aes-
thetic. The harrowing dark ambience, the video game sample
and the enchanting psychotic lyrical content that are present on
‘Get Ya Head Bust’ became the benchmark for the quintessen-
tial Purrp experience. This song is part- horrorcore, part- new
age boom bap. A fusion of the deepest cuts from DJ Sound
mixed with the ‘choppy’ vibe of RZA’s group the ‘Gravediggaz’.
The atmosphere created by SGP is unparalleled and this atmo-
sphere is why ‘Get Ya Head Bust’ is a standout song. This cut off
Blackland was a collision course of the grimy East Coast sound
and the harrowing nature of Memphis Rap. Purrp brought two of
the grimiest worlds together. ‘Get Ya Head Bust’ certainly isn’t
for the faint of heart.
On ‘Get Ya Head Bust’ Purrp took us to the tunnels. The depths
of Blackland. Once we escape the tunnels we move back into
the debaucherous world which was introduced on ‘SAND 2011’.
SGP expounds upon the ‘strip club steez’ of Blackland by bless-
ing us with ‘Grind On Me’. ‘Grind On Me’ takes the same sound-
scape from ‘SAND 2011’ and rearranges it in a less frenetic way.
It’s a song to mack to, whereas ‘SAND 2011’ is a song to mosh
to. ‘Grind On Me’ remains a hidden gem in Purrp’s discography.
It offers a change of pace on the project. ‘Grind On Me’ brings
us out of the tunnels and lets us vibe for a few minutes amongst
the chaos of Blackland.
SpaceGhostPurrp keeps the strip club shaking on Blackland
by following up ‘Grind On Me’ with ‘Like A Strippah’. Purrp main-
tains his player mack status on this track by producing an up
tempo beat that only can be described as one-of-a-kind. ‘Like
A Strippah’ features menacing keys, chops, mortal kombat
squeals and the classic Blackland drum patterns to create a
vibe that will get any girl “twerkin’ it like some strippers”. ‘Like A
Strippah’ shows Purrp’s proficiency at creating strip-club fuelled
hedonistic bangers. His up-tempo beats remain other worldly
and he delivers his lustful rhymes with a rare vigor to create the
perfect soundscapes for all the trill strip clubs out there.
Spaceghost keeps us on this hedonistic path by following up
‘Like A Strippah’ with the laid back haze that is ‘Take Dat Dick’.
‘Take Dat Dick’ is the after party anthem. The slowed down
drowned out haze of ‘Take Dat Dick’ is best suited for late night
vibe sessions with your significant other. Mack-ology 101 is on
display throughout the track. His flawless ability to seamlessly
switch between his punk rock anarchist mentality and his world-
wide pimp mind-state is displayed several times throughout
Blackland. This ability is a true testament to his prodigious art-
istry. ‘Take Dat Dick’ is another sonic masterpiece which further
proliferates SGP’s genius sound design. The elements of the
‘Take Dat Dick’ beat are familiar to a lot of the other self-pro-
duced cuts on Blackland. Purrp’s transcendent ability at man-
aging to alter and merge these elements allow him to keep each
beat as mind-blowing as the last. ‘Take Dat Dick’ sees Purrp
slow these elements down to create a hazy and smoked out
ambience which continues our trip through the hedonistic world
of Blackland. When cooking the beats on Blackland it seems
Purrp is creating the recipe for aural hell. Except this aural hell
is just as beautiful as it is scary. Like an evil deity Purrp has us
under the spell of Blackland for the duration of the tape. The evil
chemist of the rap world, SGP would darken the world with his
Blackland Supernova.
‘Mack Named Purrp‘ is the magnum opus of macking, pimp-
ing and vibing. Blackland started off by alternating between the
anarchist-spirited tracks (Possessed, Fuck Taylor Gang, Get Ya
Head Bust) and the hedonistic strip club bangers (SAND 2011,
Grind On Me) but from tracks 5-8 (Grind On Me, Like A Strip-
pah, Take Dat Dick and Mack Named Purrp) the mastermind
SGP would diverge us in to the debauchery of Blackland. The
Barry White sampling song continues to portray the visions of
an everyday mack in South Florida. These ‘strip-club’ and ‘play-
er-mack’ anthems help Purrp assert his identity as a Miami-bred
artist. Miami was the birthplace of Unkle Luke and the 2 Live
Crew. A rap group which pioneered the sex-fuelled subgenre of
rap which became known as ‘Miami Bass’. ‘Miami Bass’ music
was created for the sole purpose of getting women to “shake
what they mama gave ya”. It holds a special place in the cul-
ture of Miami. Essentially it was music created for the players
and pimps to get their mack on. Although Purrp’s sounds are
a far cry from the ‘Miami Bass’ movement it can be said that
his anthems intended for the strip clubs, for the players and the
macks have their roots bound in Miami Bass culture. Through
these lustful tracks SGP is both asserting his identity as a South
Floridian and reviving aspects of Miami Bass culture with his
own twist. These songs about macking, strip clubs and sex cul-
ture are subtle odes to his upbringing as a Floridian and to his
love of Southern culture in the 90’s.
For ‘Mack Named Purrp’ SGP samples the prince of pillow talk,
Barry White, to create an instrumental masterpiece which would
later be used for the Juicy J track ‘20 Zig-Zags’. ‘Mack Named
Purrp’ is the perfect contrast between the limit-breaking and
speaker knocking elements of Blackland and the otherworldly
ambience created by the Barry White sample. The sample has
you floating on cloud 9 whilst the kicks bring you back in to the
depths of Blackland. Flow wise, Purrp utilises a cadence that
was brought to prominence by Southern rap in the 90’s. The
flow furthers Purrp’s mission to create a 90’s revival. Purrp raps:
“Project Pat should be coming back to slap y’all in the mouth,
Bring the 90’s back to the fuckin’ South”. Mack Named Purrp is
one of the best tracks from Blackland. It sets the table perfectly
for ‘Tha Phonk’ which truly revived the 90’s Southern flow.
‘Tha Phonk’ is a song which helps define the 2010’s. It is a
track which is largely responsible for the Memphis revival that
would play out during the rest of the 2010’s. ‘Tha Phonk’ is one of
SpaceGhostPurrp most revered songs from his storied career.
The song features SGP reviving a flow which is associated with
the legendary Three 6 Mafia. Using Three 6 Mafia’s ‘Late Night
Tip’ instrumental, SGP formally introduces us to the Phonk. This
song is his passion fuelled mission statement to revive the 90’s.
Couple this impactful song with the powerful music video and it
created a work of art which shifted the culture. The video depicts
SGP, in an iconic all black fit, dwelling on his lonely in various
grimy locations. Brandishing an occult like skull SGP presents
himself as an imposing figure. The all black, gold teeth swag
depicted in this video has become commonplace in the modern
rap game but it is this music video which revived that aesthetic.
SGP’s subtle aesthetic differences such as the: hieroglyphics,
unique descriptions on his YouTube uploads and his generally
mysterious online persona were brought to life in the music vid-
eo for ‘Tha Phonk’. For the first time ever viewers were exposed
to SGP’s aesthetic in the flesh. The way it was presented in ‘Tha
Phonk’ music video left a lasting impression on the underground
rap world. Blackland was the tape that opened the world’s eyes
to Purrp whilst the music video for ‘Tha Phonk’ helped the vision
of Blackland take over the world. ‘Tha Phonk’ is one of the most
important songs of the 2010’s and its music video helped shape
the underground world.
After several tracks which display Purrp’s mack-ology, ‘Tha
Phonk’ was a return to the anarchist tone set by the opening
tracks of Blackland. Purrp continues this anarchist nature with
the next song ‘Underground’. ‘Underground’ is another ‘fuck
you’ to the conventional rap industry. Purrp raps: “This ain’t no
J. Cole Rock n Roll, this that Raider shit” which characterises
the Raider’s as the contrarians of the rap game. On the hook
SGP raps: “Fuck all these weak rappers who won’t survive in the
motherfuckin’ underground”. ‘Underground’ is the track which
draws the battle lines between the industry and the new age
underground. Entering the 2010’s the underground was revo-
lutionised by Lil B the Based God. His esoteric swag and his
utilisation of the internet helped inspire a whole wave of indepen-
dent artists who would use the internet as their medium to es-
tablish their careers. SGP was among this new breed of internet
artists. Songs such as ‘Underground’ helped set the parameters
for what an underground artist embodied in this new internet
era. ‘Underground’ encapsulates the anarchist and contrarian
principles which would reign atop the moral hierarchy in this new
age of internet music. For this track Purrp crafts a soundscape
which would be fitting for a boss battle in any classic video
game. Sampling rokOPERA’s ‘Zombie 98’, a track from Italian
horror film ‘Zombie’ (or Zombi 2), SGP continues his trend of tak-
ing the most obscure tracks and bringing them into the void of
Blackland. ‘Underground’ laid down the laws to the followers of
this new age of internet music. The underground revolution was
brewing and Blackland helped bring this revolution to fruition.
SpaceGhostPurrp switches up the flow and tone of Blackland
with ‘1991 Thowed’. This track is another one which displays
his desire to revive the 90’s rap world. ‘1991 Thowed’ features
Purrp rapping over a swirly and drowsy G-Funk instrumental.
An ode to the West-Coast’s gangsta rap hay day. Purrp also
11
pays homage to DJ Screw by slowing the track down for all the
drank sippers out there. The freestyle interlude serves as a nice
reminder to the listener of what Purrp’s mission was at the time.
This mission was, of course, to restore the feelings, sounds and
swag of 1990’s rap music. He wanted to bring back that true
underground vibe. He also wanted to ensure that the legends
from each region got their necessary homage. East, West, North
or South, SGP was riding for every legend. ‘1991 Thowed’ is a
welcome change of pace from the chaos of Blackland Radio
66.6. It is also another selfless act of homage from Purrp. These
acts of homage have been commonplace throughout his career.
Especially on the next track ‘Tha Real’.
‘Tha Real’ sees SGP continue on his West Coast crusade. For
this song, SGP tackles an Eazy-E instrumental to provide listen-
ers with a much needed smoke break on the harrowing Black-
land adventure. We catch Purrp in his laid back mack status yet
again on this West Coast fuelled cut. ‘Tha Real’ is another free-
style track like the previous song ‘1991 Thowed’ and it serves
as a smoke break of the Blackland tape. A true escape from the
anarchist and debaucherous nature that is displayed predomi-
nantly on the mixtape.
Throughout Blackland Purrp was displaying his selflessness
by constantly paying homage to the 90’s pioneers that inspired
him. SGP took his selflessness to the next level by placing other
underground artists’ songs on Blackland Radio 66.6. The first
song from an artist other than SGP that we encounter is ‘My
Hood’ which is performed by Lil Ugly Mane and produced by
Ahnu. This track is the perfect introduction to the architect of the
Blackland cover art. Lil Ugly Mane, just like SGP, was beginning
to make waves in the underground scene with his own South-
ern inspired melancholic music. This placement on Blackland
introduced Purrp’s fans to the mysterious figure that was Lil Ugly
Mane. Ugly Mane would go on to build a large cult following him-
self. This placement on Blackland can be viewed as something
that sowed the seeds for his meteoric rise in the underground
world. Aside from Lil Ugly Mane, Purrp also placed songs that
he produced for other artists on Blackland. These artists were:
JK The Reaper, Stonergang (Sortahuman, JoeyBagaDonuts &
Dizzy D), and Main Attrakionz. All these artists would go on to
forge their own paths in the underground and this placement on
Blackland will forever make them a part of history. SGP’s place-
ment of other artists songs on Blackland shows his true selfless-
ness. Purrp was still building his own platform but he was willing
to share the spotlight that he had with his underground cohorts.
Although a lot of Blackland’s content can be viewed as divisive
SGP’s placement of other artists songs on this mixtape shows
that deep down he is an honourable man who was trying to pro-
mote unity in the underground scene. These other artists songs
do not detract from the Blackland experience at all. If anything
it adds to the ‘radio-station’ aesthetic that the title insinuates. It
is also an illustration of the unity that was present within the bur-
geoning underground scene in 2011.
‘Been Fweago’ is yet another classic cut from the transcen-
dent Blackland Radio project. ‘Been Fweago’ features haunting
soundscapes comparable to ‘Get Ya Head Bust’. If Purrp took
us to the tunnels on ‘Get Ya Head Bust’ then on ‘Been Fwea-
go’ SGP took us to the asylum. The eerie ambience created by
the bells combined with the chaotic build up and breakdown
of the beat will have listeners in a lucid state of pandemonium.
Purrp’s career is full of some of the most experimental sonics to
come out of the Hip-Hop world. ‘Been Fweago’ might be one of
his rawest creations. ‘Been Fweago’ is the sonic descent into
the underworld. It is your worst nightmare in .mp3 form. Purrp’s
genius is on full display with ‘Been Fweago’. The left-field com-
position of the beat, the trance inducing hook and SGP’s razor
sharp verses combine to create an infectious experience. Lyri-
cally, Purrp embodies the hustler’s mentality: “Can’t get a job so
you try to sell coke”. ‘Been Fweago’ is all about getting it how
you live regardless of your situation. It is the psychotic hustlers
bible. Drugs, Money, Bitches and getting ‘Fweago’. Once the
song has played through in its entirety Purrp runs it back and
slows it down for all the screwheads out there. SpaceGhostPur-
rp’s fanbase is often referred to as a cult. ‘Been Fweago’ is one
of Purrp’s finest seances to date.
‘Been Fweago’ sent listeners on an endless descent into
the depths of the underworld. Following the pandemonium of
‘Been Fweago’ we encounter ‘Captain Planet’. SGP channels
his NASA origins by crafting a beat that is fit for the milky way
galaxy. ‘Captain Planet’ samples Tangerine Dream’s ‘Remote
Viewing’ (which was featured on the GTA IV soundtrack). The
combination of Purrp’s hard hitting elements with the inherent
esoterism that is present in Tangerine Dream’s music creates
a true sonic blessing. This esoteric soundscape adds anoth-
er vibe to the Blackland palette. Pitchfork once characterised
Purrp as “…woozy Wu-Tang loops… paired with an off-the-
dome rapping style that’s equal parts Lil Wayne and Lil B”. This
is perhaps best exhibited on ‘Captain Planet’. On the first verse
of the track SGP uses a polished rhyme scheme and he drasti-
cally switches this to a quasi-based flow for the second verse.
His ability to emulate their style (Wayne & Wu-Tang) and ad-
hoc switch to the signature based flow (which was pioneered
by Lil B) exemplifies his ability to remain fluid as an artist. These
ad-hoc switch ups exemplify the underground landscape at the
time. At this time, underground music was all about self-expres-
sion. Through the constant switch of sonics, rhyme schemes
and thematic styles Purrp was essentially doing whatever he
wanted. He abandoned the norms and changed things up
ad-hoc. Something that traditionalists would stray away from
doing. These ad-hoc switch ups on ‘Captain Planet’ and on
a larger scale Blackland Radio 66.6 create a crash course of
differing styles and movements. It’s part 90’s renaissance and
part new age anarchism. Purrp provides us with microcosms of
rap history. ‘Captain Planet’ is one of those microcosms.
As stated before, Pitchfork characterised SGP as: “…woo-
zy Wu-Tang loops… paired with an off-the-dome rapping style
that’s equal parts Lil Wayne and Lil B” because of his ability
to replicate, blend and interpolate aspects of various styles.
‘Osiris of the East Pyramids (RIP ODB)’ sees Purrp channel
36 Chambers RZA to decree himself the “Osiris of the under-
ground”. This song sees Purrp deliver technical rhymes over
a sparse instrumental which is reminiscent of early Wu-Tang
works. ‘Osiris of The East Pyramids’ is SGP’s homage to the
golden age of East Coast Rap. The boom bap era. SGP of-
ten pays homage to the Southern culture of the 90’s whereas
‘Osiris of The East Pyramids’ demonstrates that Purrp has love
for every coast. He is a true Hip-Hop connoisseur.
‘Legend of the East Pyramids’ provides another surprise to
the listener. For this track, SGP flips Portishead’s song ‘Strang-
ers’ from their acclaimed album ‘Dummy’. Purrp provides the
obscure goodness with this sample. ‘Legend of the East Pyra-
mids’ continues down the grimy, gritty and hazy path of ‘Osiris
of the East Pyramids’ and ‘Get Ya Head Bust’. The boom-bap,
East Coast tunnel renaissance is in full effect.
Another aspect which is rarely discussed about both ‘Osiris
of the East Pyramids’ and ‘Legend of the East Pyramids’ are
the connotations of these tracks. The use of mythological terms
such as ‘Osiris’ and ‘Pyramids’ are little insights into Purrp’s
enlightenment and his beliefs. ‘Osiris of the East Pyramids’
is a track in which Purrp asserts himself as the ‘Osiris’ of the
underground world. The Osiris is an Egyptian God. The refer-
ences to Pyramids in the song title further stress this enlighten-
ment present in the shadows of these tracks. This element of
enlightenment is important in the context of Blackland Radio
66.6 because it is often mis-cast as a demonic mixtape due
to its abrasive title. The sounds, themes and vibe of Blackland
are undoubtedly dark but this glimpse of enlightenment was
an insight into the knowledge SGP possessed. ‘Legend of the
East Pyramids’ and ‘Osiris of the East Pyramids’ are gritty in
their nature. They are also gems of light within the depths of
the Blackland tunnels. Blackland Radio was Purrp’s journey
through darkness. These two tracks shows the light he has
within. He would unleash this light to all by transforming from
12
‘Dark to Light’ during the ‘God of Black’ era. The seeds were
being sown for his incoming wave of empowerment on ‘Osiris of
the East Pyramids’ and ‘Legend of the East Pyramids’.
We continue to aimlessly dwell around the tunnels of Black-
land as Purrp introduces us to his Raider lifestyle on ‘Rath of a
Raider’. SGP continues his 90’s East Coast revival by hopping
on Low Lives’ ‘Ill Rhymes’ instrumental. An extremely deep cut
from the late 90’s. On ‘Rath of a Raider’ SGP goes into great
detail about the lifestyles and ideals of the now infamous Raider
Klan. “Feel the wrath of a Raider, he’s a trendsetter and a skater,
constantly thinking bout the paper” are his opening bars on the
track which instantly proliferates the Raider mentality. He utilises
the wordplay heavy rhyme schemes that were prevalent during
the boom-bap era. He drops gems such as: “Lyrically Warren
Sapp my metaphors will tackle you”. He intertwines these gems
with lyrical images of the Raider Klan ethos: “He’s too smart, with
a cold heart, don’t come to me crying bitch I laugh like Kevin
Hart”, “Leather jacket, all black, with the Raider snapback and
the timbs [Timberlands] to match, it’s all love black”, “The only
crew to walk around like the Terminator, get out of line you lil
bitch and feel the wrath of a Raider”. ‘Rath of a Raider’ is SGP’s
most impressive and focused lyrical effort on Blackland. Over
the classic boom-bap sound, SGP was able to vividly explain
and characterise the lifestyle of a Raider Klan soldier. Although
Raider Klan was established locally by Purrp in 2008, ‘Rath of a
Raider’ is the track which gave us the image of what a Raider
stood for and what they were going to look like. It gave credence
to the Raider movement. It played a role in birthing a movement
that changed the music landscape forever.
‘Rath of a Raider’ was the manifesto for the Klan movement.
Following this manifesto we are thrown back into the frenzied
chaos of Blackland with ‘Tha Power’. ‘Tha Power’ restores the
chaotic, mind bending energy of ‘Possessed’ and the pande-
monium of ‘Been Fweago’. The incessant squeals, high pitched
sirens and distressing sounds provoke a chaos within the mind.
This track is another one which encapsulates the youthful and
bounding energy within Blackland. Another track which speaks
to the anarchist within us all. ‘Tha Power’ and its youthful, anar-
chistic energy ensures that it fits perfectly amongst the delirium
of Blackland.
“Blackland
Radio 66.6 was one of those
rare works of art that transformed who you
were, who you listened to and how you
dressed. It shaped your artistic identity.”
“Blackland tore down the walls of tra-
ditional song structure, sounds, pre-
sentation and it changed the tradition-
al mixtape formula. It is one of the few
projects that can claim that it changed
the game forever.”
For the closing track of Blackland Radio 66.6, Markese Money
Rolle aka SpaceGhostPurrp glides with quasi-based noncha-
lant raps over 2Pac’s ‘Against All Odds’ instrumental. After the
epic journey through Blackland you would expect a crescendo
ending. However in classic SGP fashion he throws convention
to the wayside and closes the project with a hazed-out, one-
take Based freestyle. This contrarian ending is the perfect way
to end Blackland Radio. Holistically, the tape is all about crush-
ing norms and restoring the feel of a bygone era in rap music.
With this outro Purrp throws one last jab to convention and again
ends things on his terms. Blackland is a crash course of sounds,
styles and aesthetics. Instead of ending with a bang it ends with
a hazy whisper. ‘Fuck The Golddiggaz’ keeps us in the cycle
of Blackland. It leaves us wanting more. It leaves us wanting
the crescendo moment. However the crescendo is within all of
Blackland. We are thrown from one sonic extreme to the next,
from one rhyme scheme to the next and from one mortal kombat
squeal to the next. We experience highs or crescendos through-
out the whole tape. By ending the tape on a rather unassuming
note, Purrp leaves us under his mystic spell. He keeps us fiend-
ing for the future of his journey. One of the greatest tapes of
our generation ends on a murmur, but real underground heads
wouldn’t have it any other way.
In conclusion, Blackland is one of the greatest projects in mod-
ern Rap history. It is one of the few projects that is responsi-
ble for shifting the whole culture. One of the few projects that
changed the music world forever. With Blackland Radio, SGP
did not just achieve his goal of reviving the 90’s, he also breathed
life into the next generation of artists. The dark, chaotic, hazy
and frenzied sounds, the selfless displays of homage, the con-
stant echoing of Godzilla and Mortal Kombat sound effects, the
angsty, anarchist, debaucherous, lustful and introspective lyri-
cal themes and the groundbreaking aesthetic fused together to
create the ‘Phonk’. The ‘Phonk’ would change the world forever.
Max B brought the wave in the late 2000’s and SpaceGhostPur-
rp brought the ‘Phonk’ in the 2010s.
The NASA Tape showed SGP’s boundless potential. He was a
young kid with a vision to change the rap game for the better.
He had visions of being a reviving the 90’s rap scene. Traumatic
life experiences growing up in Carol City, Miami and a passion
13
for music led to the birth of Blackland Radio 66.6. A tape which
personifies the youthful anarchist. Blackland is a ‘fuck-you’ to the
rap game and it’s an eye opener to whoever is willing to listen.
Purrp’s evolution from NASA Tape to Blackland is one-of-a-kind.
Those who heard NASA: The Mixtape when it released caught a
glimpse of Purrp’s potential. He had exceeded and fulfilled this
potential within the space of a year. SpaceGhostPurrp’s monu-
mental progression was just the beginning. The rise of the Raid-
ers was about to come to fruition.
For many, Blackland Radio is a piece of art that defines who
they are. It opened our eyes to new sounds, styles, artists and
new movements. It tapped into our inherent anarchist nature and
provoked our desire to defy the norms and be different. Black-
land is the ultimate cult classic. It is also the best kept secret
of the rap game. Stumbling upon Blackland Radio shortly af-
ter it’s release was life changing for those who listened. It was
the equivalent of finding that inspirational book that transformed
your livelihood or finding a passion that drives and motivates
you. Blackland Radio 66.6 was one of those rare works of art
that transformed who you were, who you listened to and how you
dressed. It shaped your artistic identity. It was deeper than sim-
ply being another mixtape. Blackland shaped the undergrounds
identity. Soon we were rocking all-black, gold teeth, changing
our A’s to V’s and our E’s to X’s. At one point all underground
fans were showcasing their inner Raider. Some took a liking to
the dark nature of Blackland, others took a liking to the anarchist
‘fuck the world’ nature of Blackland whilst others embraced the
history within Blackland Radio 66.6. No matter what aspects you
personally took a liking to, these forces (darkness, anarchy, his-
tory) worked in unison to transform your artistic being.
Blackland Radio 66.6’s legacy will forever remain underrated in
the public eye. Simply because it is a niche project. It’s too lo-fi
for audiophiles, too abrasive for Hip-Hop purists and generally
too out of control for those who aren’t in tune. The only legacy
Blackland holds amongst the mainstream world is a 7.1 review
from Pitchfork, a handful of references in Denzel Curry interviews
and an interlude dedicated to Blackland on Curry’s latest studio
album ‘Zuu’. This lack of public recognition is the biggest hole in
the legacy of Blackland Radio. Its legacy amongst underground
fans is immeasurable. But it has never received its rightful ‘swan-
song’ in the public eye. Blackland empowered the youth like no
other project before or after it. To many of us, SpaceGhostPurrp
is our equivalent to Wu-Tang, NWA, Cash Money Records, DJ
Screw, No Limit Records and many of the other legends from the
90’s. This is because Blackland inspired, shaped and impacted
a whole generation of listeners just as these various movements
during the 90’s did. General ignorance will forever withhold
Blackland Radio 66.6 from receiving the recognition it deserves
as the most impactful tape of the 2010’s. Today’s rap game is
fuelled by artists, aesthetics and visions inspired by Blackland
Radio 66.6. If you know, you know. The real will forever acknowl-
edge SGP as a forefather in the modern rap world.
After the release of Blackland Radio 66.6 there was newfound
attention on SpaceGhostPurrp. He was posted on the iconic
MISHKA bloglin which was notorious for breaking new under-
ground talent. He was also profiled on LA Weekly. Purrp had
become the flavour of the month. SGP would parlay this buzz
into pushing his Raider Klan movement, forming the Trillwave
with Speakz! And he would continue to build his buzz by mov-
ing to New York to create with Harlem upstart ASAP Rocky. The
two would combine forces to create another game changing
movement. The ASAP Raiders. The future was looking bright for
Purrp and soon a whole era of Rap would begin. The evolution
of SpaceGhostPurrp would continue as he would morph into the
God of Black.
14

Blackland Radio catapulted SpaceGhostPurrp to cult
status overnight. Co-signs from Odd Future and features
in LA Weekly caused SGP’s star to rise to astronomical
heights. The underground world was patiently waiting on
his next move. Patiently waiting for his next revolution.
In the post-Blackland world Purrp would use his new-
found fame to attain new connections in the rap game.
He would also continue to cultivate his connection with
his day ones, Speak! And Kreayshawn. After Blackland
he would go on to pioneer a new movement, join forces
with another upstart collective and he would expand his
Raider Klan mafia. SpaceGhostPurrp would also undergo
a personal metamorphosis in the months following the re-
lease of Blackland Radio 66.6. The Blackland Supernova
shook the music world. Purrp would continue his fluid pro-
gression as an artist and as a human being. SGP founded
the Trillwave movement with Speak! , moved to New York
to clique up with the A$AP MOB and he would manifest
his personal progression by becoming the ‘God of Black’.
He changed the world with Blackland. In the months that
followed the Blackland Supernova, Purrp ensured that he
continued to revolutionise the rap game.
THE TRILLWAVE BEGINS
SpaceGhostPurrp’s first release after Blackland came on June
15 2011. This release was a single titled ‘My Enemie’. ‘My En-
emie’ is another menacing track which embodies Purrp’s 90’s
revival. This single release signifies the start of the Trillwave
movement. The Trillwave movement was founded by SGP and
Speak!. Trillwave was not a group in the ilk of the Raider Klan but
more of an all-encapsulating term to describe the music coming
from SGP, Speak! And their affiliates. During the Trillwave move-
ment, Purrp would collaborate with Speak! On several tracks.
He also announced his plans for the release of five brand new
mixtapes. Arguably the biggest coup of the Trillwave movement
was Purrp’s appearances on Juicy J’s legendary Blue Dream
and Lean mixtape. After the Blackland Supernova, he would
keep his momentum rolling by founding the Trillwave movement
with Speak!
Whilst pushing the Trillwave agenda, SGP and Speak! Linked
to collaborate on several songs. These songs were: Way Back,
Leisure Life, Like That and Bang which featured KGB. On these
tracks these two display their Trillwave chemistry over various
soundscapes. This series of collaborations are a must listen
for any SGP fan. The collaborative efforts between Speak! And
Purrp showed the underground community that the Trillwave
movement was all about unity. Perhaps the rarest collaboration
to occur during this era was the collaboration between SGP,
Speak! And Juicy J. This trio would exchange verses on the
track ‘Deez Bitches Rollin’. ‘Deez Bitches Rollin’ would feature
on the legendary Blue Dream and Lean tape and it would re-
ceive the music video treatment as well.
SGP would feature on Blue Dream and Lean three times.
He featured on the aforementioned ‘Deez Bitches Rollin’ with
Speak!, ‘Real Hustlers Don’t Sleep’ with A$AP Rocky and he pro-
duced the track ‘20 Zig Zags’. Being a prominent collaborator on
Juicy J’s Blue Dream and Lean was another hallmark moment
for SGP’s career. He was blessed with the opportunity to col-
laborate with one of his biggest inspirations. His work on Blue
Dream and Lean also exposed Purrp to a whole new wave of
listeners. Through the art of collaboration, Speak! And SGP were
able to bring their Trillwave movement to the forefront of the un-
derground. Their connection with Juicy J also furthered the Trill-
wave. The Blackland Supernova catapulted SGP into stardom.
The Trillwave movement ensured he kept his momentum rolling.
During the Trillwave movement SpaceGhostPurrp announced
he was working on five different mixtapes. These mixtapes were:
Blvck Mvrdxc, Trilluminati, Summa Phonk Vol. 1, Mind of Purrp
and Son of Eye (in collaboration with clothing brand MISHKA).
In preparation for the release of these tapes Purrp dropped a
plethora of tracks which have since become ‘loose ends’. Songs
such as: ‘My Enemie’, ‘Soul’, ‘Phoolish’, ‘The Truth’, ‘Lyk Ah Dia-
mond’ and ‘Keep Bringing The Phonk’ were intended for these
various tapes. These songs, which were released during the
Trillwave era, are some of SGP’s most outstanding loose tracks.
If these five mixtapes released as planned, Purrp would have
taken over the whole rap world. SGP was preparing to release 6
classics in a calendar year (these five proposed tapes + Black-
land). However SGP would have a change of heart. In August
2011 he moved to New York to clique up with A$AP Rocky and
the A$AP Mob. This move brought a change in the creative di-
rection of Purrp. He would scrap these five mixtapes and instead
focus on collaborating with various members of the A$AP Mob.
In September, Purrp would bring his ‘God of Black’ aesthetic to
the forefront. The Trillwave was still in effect. It just took a back-
seat to the dynamism of the A$AP Raiders.
In conclusion, the Trillwave movement was solely about push-
ing forward the underground wave. Through the art of collabo-
ration Purrp and Speak! Were able to sustain and expand upon
the momentum in their respective careers. Although the Trillwave
movement did not become the force it initially promised to be,
A$AP and the Raider Klan carried the Trillwave ethos through-
out their early rise to fame. The Trillwave should be viewed as
the movement that kept the underground wave strong during
2011. It may not be the most well known chapter in underground
history but it kept things moving in the music world. It should
be remembered as a movement that unified the underground
during its formative years.
THE A$AP RAIDERS TAKEOVER
As previously mentioned, SpaceGhostPurrp moved to New York
in August of 2011. This move occurred so Purrp could link up,
live and collaborate with the A$AP Mob. The A$AP Mob at the
time consisted of: A$AP Rocky, A$AP Bari, A$AP Yams, A$AP
Ant, A$AP Nast, A$AP Ty Beats, A$AP Ferg, A$AP Twelvy, A$AP
Illz and A$AP Dom (Dominic Lord). The A$AP Mob took Purrp
in as one of their own and thus the A$AP Raiders were born.
This movement only lasted a matter of months. This short tenure
aside, it was a movement that changed the landscape of the
music world forever. The impact of the A$AP Raiders is still felt
‘till this very day.
Whilst in New York, SpaceGhostPurrp expanded his profile sig-
nificantly. Through a series of collaborations, freestyles and live
performances the A$AP Raiders created an undeniable wave.
Purrp was the X-Factor that brought this wave to fruition. Some
of the most iconic moments in underground history spawned
from the A$AP Raiders movement. In terms of collaborative ef-
forts, SGP produced or featured on the following songs: ‘Dope
Sample’ (Produced by SGP, Performed by A$AP Twelvy), ‘Blvck
Tape 1996’ (Produced by SGP, Performed by A$AP Ant and
SGP), ‘VZVP RVIDERS’ (Produced by SGP, Performed by A$AP
Nast, A$AP Ant, A$AP Dom and SGP), ‘Purple Swag Chapter 2’
(Produced by A$AP Ty Beats, Performed by A$AP Rocky, SGP
and A$AP Nast), ‘Keep it G’ (Produced by SGP, Performed by
A$AP Rocky and SGP) and ‘Pretty Flacko’ (Produced by SGP,
Performed by A$AP Rocky). The plethora of collaborations be-
tween SGP and the A$AP Mob were extremely stellar. It helped
establish the A$AP Raiders wave. However the A$AP Raiders
movement was bigger than music. It was a culture shock. The
collaborations were just one aspect of the A$AP Raiders move-
ment. Many factors fused together to create the A$AP Raiders
tsunami.
The several live performances from the A$AP Raiders contrib-
uted to their game changing wave. Rocky, Purrp and the Mob
performed at various festivals/venues such as: CMJ, The Cre-
ators Project, Santos Party House and Community 54. The myr-
iad of live performances exemplifies the burgeoning energy of
Purrp and his A$AP family. This youthful exuberance coupled
with the all-black anarchist swag displayed the aesthetic which
19
“The
now defunct A$AP Raiders are the
Penny Hardaway of rap. They teased us
with the potential, gave us glimpses of their
transcendent greatness only for it to end in
turmoil”
changed the world. These shows were instrumental in spreading
the A$AP Raider movement. These shows gave Purrp, Rocky
and the Mob the opportunity to purvey their aesthetic to large
audiences across New York. It also gave them the chance to
spread their infectious energy around New York City. If you want
to witness the game-changing performances, various clips from
these shows exist on YouTube and Vimeo. The myriad of live
performances gave SGP and the A$AP Mob a chance to dis-
play their unique sound and energy to audiences all across New
York. It gave them the chance to physically manifest their wave.
The combination of SGP’s mystique and the get-fly recklessness
of the A$AP Mob created a perfect storm. These shows illustrate
how the A$AP Raiders influenced a whole generation of artists.
The A$AP x Raider Klan Stash House Freestyles furthered
the wave of the A$AP Raiders. This series of freestyle videos
featured Purrp and his A$AP cohorts vibin’ and spittin’ in the
depths of the ‘Stash House’, the apartment in which the A$AP
Mob stayed at during this era. The A$AP Raiders were kickin’ it
like it was the 90’s all over again. The live performances illustrat-
ed the burgeoning energy of the movement. These freestyle vid-
eos doubled down on purveying the energy of the A$AP Raiders
movement. Odd Future helped build their hype by documenting
the various wild indiscretions that they would undertake. The
A$AP Raiders used the video medium in a similar way to build
their hype. Instead of documenting their wild indiscretions, the
A$AP Raiders documented a series of freestyles to cement their
vibe in the heads of all underground fans. The ‘Stash House’
freestyle series captures the A$AP Raiders movement at its
apex. This series can be characterised as being nothing short of
legendary. The ‘Stash House’ freestyle series will forever live on
in infamy. The A$AP Worldwide x Raider Klan Stash House free-
styles encapsulates the spirit of the A$AP Raiders movement. A
movement which shaped the next generation of artists.
Personally, Purrp was going through his own progression. Coin-
ciding with his move to New York, SGP decided to scrap the five
mixtapes he had planned to release in 2011. Instead he chose to
completely switch his artistic direction. SpaceGhostPurrp trans-
formed into the ‘Black God’ for the ‘God of Black’ era. During
the A$AP Raiders era Purrp released two singles to help build
momentum for the ‘God Of Black EP’. These singles were: ‘Blvck
Lvzt’ and ‘Blvck On Blvck 1995’. These songs illustrate a minor
progression from his Blackland Radio mixtape. The true ‘God of
Black’ vision would come to life during his return to Miami.
Why exactly did Purrp leave for Miami? After the release of Live.
Love.A$AP the A$AP Raider movement was primed to takeover.
SGP’s two guest appearances on the tape furthered his profile.
It seemed the ‘God of Black’ was next in line to reign supreme.
Things didn’t turn out as planned for the A$AP Raiders. Numer-
ous factors led to the demise of the short yet impactful move-
ment.
Several factors, both major and minor led to the demise of the
A$AP Raiders. The first factor were accusations of A$AP steal-
ing SGP’s style. Initially these murmurs of A$AP biting SGP’s
style came from various affiliates of Purrp. It is almost undeni-
able that SGP brought the all black, gold grillin, southern and
90’s swag to the A$AP Mob. These elements had been staples
of SGP’s aesthetic since 2010. Whereas, as evidenced by the
‘Get High’ music video the A$AP Mob were still caught under the
Max B wave in 2010. Purrp’s influence upon the A$AP Mob and
their music is undeniable. This exertion of influence is something
which occurs in most collaborative movements. The same case
for style stealing could be made for some Raider Klan members
during late 2011/2012. The A$AP Mob did repurpose SGP’s vi-
sions. But it seemed that during the A$AP Raiders era their rela-
tionship was rather recipricous. These murmurs of style-stealing
quickly became a deafening shriek. Accusations of style-steal-
ing became commonplace after the fallout between A$AP and
SpaceGhostPurrp. Style-stealing became the main narrative for
the beef between the A$AP Mob and SpaceGhostPurrp. But it
was an incident at one of their legendary live shows that caused
the crux of the initial fallout between the two parties.
On October 24, 2011, A$AP Rocky, Purrp and the Mob per-
formed at FADER Fort as a part of the CMJ festival in New York.
Allegedly, Purrp and the Mob assaulted someone who was
working the sound board at the event. The A$AP Mob were on
stage and allegedly damaging equipment and daring the sound
engineer to stop them. This escalated to an altercation between
the A$AP Mob and the sound engineer who was allegedly struck
in the head with a microphone. This assault led to the engineer
requiring 10 stitches to his laceration. On the surface level,
this incident seems harmless to a friendship which had grown
bigger than music. Nonetheless, the victim decided to press
charges on all members who were present at the FADER Fort
that evening. In the wake of this incident Purrp had left New York
and headed to Miami on November 24. SGP claimed he had to
return home to look after his Mother. Members of the A$AP Mob
believed Purrp was dodging the court appearance that awaited
him as a result of the FADER Fort incident. It seemed this fallout
was going to remain just that. A minor fallout. A$AP Rocky sent
shots at the Raider Klan on the remix to David Banner’s track
‘Yao Ming’. But the two parties would exchange pleasantries
on twitter after this FADER Fort incident. A$AP would storm the
stage at an SGP show in New York in January 2012. Purrp was
also featured on A$AP Rocky’s Pitchfork Selector freestyle which
was released in January 2012. The relationship between the two
parties seemed to be on the mend. Despite these attempts to
mend the relationship between the Raider Klan and the A$AP
Mob their differences had escalated into an all out war by the
middle of 2012.
On October 14 2011, A$AP Rocky inked a $3,000,000 deal with
RCA, a subsidiary of Sony. There has long been speculation that
Rocky wanted to sign SGP and the Raider Klan under the newly
established A$AP Worldwide imprint. Essentially envisioning a
Rocafella/Dipset type takeover. Whether or not Purrp committed
to this, he eventually reneged from a contractual situation with
A$AP Worldwide. The accusations of style stealing from Purrp’s
affiliates, the forthcoming FADER Fort incident and the looming
label situation most of caused immense stress on the camara-
derie between Rocky and SpaceGhostPurrp. The label deal and
SGP’s role in negotiations remain pure speculation. It could be
20
another factor which contributed to the initial fallout between A$AP Rocky and SpaceGhostPurrp.
In closing, the demise of the A$AP Raiders can be attributed to a multitude of factors. Claims of
style stealing, the FADER Fort incident and the label situation created a recipe which eventually
divided Purrp from the A$AP Mob. Combine these factors with the inherent pride and rash deci-
sion making that comes with being a young adult. You have the ingredients necessary to cultivate
disaster. Countless efforts were made to fix the relationship between the A$AP Mob and SGP.
Sadly, the relationship was never restored to the peak of its heyday and as a result the A$AP Raid-
ers movement came to an end. Relations between the two parties entered a state of disrepair in
June 2012. A$AP Twelvy and Raider Klan’s Matt Stoops were allegedly involved in an altercation.
This caused Purrp to self destruct on twitter and declare war on the A$AP Mob. The battle lines
were now drawn.
The beef between the A$AP Mob and the Raider Klan split the mainstream and underground
indefinitely. The impact of this beef still resonates in 2019. Together the A$AP Raiders were rev-
olutionising the music world. When split apart, the A$AP Mob and the Raider Klan would leave
their own imprints on the rap world. Fans will forever be left wondering ‘what-if?’ when it comes
the A$AP Raiders movement. Together they could have taken the world by storm. Alas, the A$AP
Raiders, despite its short tenure, should be considered as a movement that established the vi-
sions for the next generation of rap.
When you analyse the dynamic of the A$AP Raiders movement and furthermore the relationship
between A$AP Rocky and SpaceGhostPurrp it becomes apparent we were robbed of potentially
one of the greatest combos of the 2010’s. A$AP Rocky often referred to SGP as his twin. Demon-
strating the kin-like bond between these two. ‘TWIN’ was also the name of their duo: ‘Two Wild
Ignorant N*ggaz’. SGP and Rocky were slated to release a collaborative project entitled ‘Black
Man’s Wealth’ aka ‘BMW’. Rocky and Purrp had teased fans with their dynamic chemistry on ‘Keep
it G’ and a collaborative project between the two is something that rap fans have wished for ever
since the two artists linked up. As mentioned before, the A$AP Raiders movement is one of the
rap world’s great ‘what-ifs?’. The potential collaborations and projects that the Raider Klan and the
A$AP Mob could have pieced together during this era is something rap fans still reflect on until
this day. The now defunct A$AP Raiders are the Penny Hardaway of rap. They teased us with the
potential, gave us glimpses of their transcendent greatness only for it to end in turmoil. The A$AP
Raiders represent a potential that was deeper than music. They set the standard for all future rap
collectives.
Luckily for fans of the A$AP Raiders era, a breadth of content still exists on the internet. The
‘Stash House’ freestyles, various interviews and the live performances allow fans to experience
the movement all over again. The rarest content from the A$AP Raiders era is a podcast which
features both A$AP Rocky and SpaceGhostpurrp. Resurrected by the YouTube channel Spacee-
GhostPurrpMJ23, the podcast shows us the kinship that existed between Rocky and Purrp. We
can relive the ‘what-ifs?’ of the A$AP Raiders movement thanks to the amount of documentation
present on the internet.
THE RETURN OF THE BLACK GOD
SpaceGhostPurrp returned to Miami in late November 2011. Despite the turbulent end to his ten-
ure in New York, SGP descended upon Miami as a man on a mission, He quickly bolstered the
Raider Klan roster by adding local Miami artists such as: Denzel Curry, Nell, Rell, Lil Champ FWAY
and Metro Zu (Lofty305, Ruben Slikk, Mike Dece, Poshstronaut and Freebase). After re-establish-
ing himself in Miami, Purrp had crafted perhaps the most iconic version of the Raider Klan roster.
He combined these new Miami artists with artists across the United States. The non-Miami artists
included the likes of: Ethel Wulf (Xavier Wulf), Chris Travis, Key Nyata, Amber London, Slim Gueril-
la and Eddy Baker. SpaceGhost had established his Raider wave several months prior with Black-
land Radio 66.6. His return to Miami allowed him to re-focus and revolutionise the Raider vision.
During the A$AP Raiders era, Purrp altered his artistic direction. He abandoned his original plans
to drop five mixtapes concurrently. Instead, he adopted the God of Black aesthetic. He released
a duo of singles during his time in New York that showed a minor progression from Blackland. The
return to Miami seemingly refuelled Purrp and soon he would manifest the ‘God of Black’ aesthetic.
The enlightenment and empowerment of SpaceGhostPurrp was about to occur.
Prior to the release of the ‘God of Black EP’, SGP released several singles to build hype for the
release. These singles were: ‘Blvck on Blvck 1995’, ‘Blvck Lvzt’, ‘Mystikal Maze’, ‘Dark to Light’,
‘SAND 2012’, ‘Don’t Give a Damn’ and ‘The Black God’. Of these 8 singles only four would make
the final version of the tape. ‘Dark to Light’ was one of the singles that got cut from the ‘God of
Black EP’. Irregardless of its exclusion from the tape, ‘Dark to Light’ embodies SGP’s progression
from the Blackland era. ‘Dark to Light’ is a five minute track that’s part spoken word and part rap.
The sparse, empty beat sets the tone for the knowledge SGP is about to kick. This track is essen-
tially an apology from Purrp. An apology for the devilish content on Blackland. He also explains the
context behind some of the legendary songs on Blackland Radio. “This is who I really am, this is
SpaceGhost mother fuckin’ Purrp, the God of Black. I’m no longer blinded by Satan.” is what Purrp
declares at the end of his spoken word spiel. ‘Dark to Light’ is the manifestation of Purrp escaping
from darkness and embracing enlightenment. Although ‘Dark to Light’ did not feature on the ‘God
of Black EP’, it is the song which best exemplifies the ethos of the God of Black era.
21
After several months of promotion, SpaceGhostPurrp released
the ‘God of Black EP’ on February 2, 2012. The 11 track EP fea-
tures songs from the mystical Purrp and his new Raider Klan al-
lies. Purrp kicks off the tape with Raider Klan’s first lady, Amber
London and her track ‘Low MF Key’. ‘Low MF Key’ is a true down
south banger. Amber London uses Doc Million’s ‘Big Baller’ in-
strumental to bring that 90’s Texas swag back to life. The phonky
beat resonates as Amber London flows calmly and effortlessly
about her lowkey philosophy. This song could have fit perfectly
on any No-Limit Records release from the 90’s. With ‘Low MF
Key’, Purrp starts off the ‘God of Black EP’ by shining a light on
the first lady of the Raider Klan. The phonk is now in session.
SpaceGhostPurrp decrees himself as the Black God for the
next track off of the EP. ‘The Black God’ is one of SGP’s more
well known songs. A definitive song from the ‘God of Black’ era.
Production wise, SGP creates a beat that only the dark angel
could conjure up. Booming bass interpolates with haunting keys
whilst sudden horns bring the lucid loop to a close. This haunting
and impactful soundscape allows Purrp to spit his self-empow-
erment anthem. ‘The Black God’ sees Purrp apply his new found
enlightenment directly to his music. He raps about his common
anti-establishment themes by exposing hypebeasts: “…As I try
to expose the robotic hypebeast up in the same clothes.” but it
becomes apparent that SGP has ascended to a new level. His
delivery was less anarchistic and more measured. The youthful
angst present in Blackland was swapped for a more calculated
approach. Couple this new calculated approach with the clean-
er more tactful sonics of the Black God instrumental and you are
presented with an ascended version of SGP. Despite this ascen-
sion, ‘The Black God’ is still raw underground music. With ‘The
Black God’ and furthermore the ‘God of Black EP’ SGP switched
from being the underground’s lead anarchist into being the un-
derground’s leading light.
‘The Black God’ as a single release was vastly ahead of its
time. The theme of being your own God was commonplace in
the works of golden-age rappers. The five percenter knowledge
of self was constantly proliferated through the works of Nas and
the Wu Tang Clan. With ‘The Black God’ Purrp brought these
principles back into the light. More than a year later, Kanye West
would release a song entitled ‘I Am A God’. The songs are dis-
similar in nature but the theme of self-empowerment are both
focal points of the tracks. It is nearly impossible to ascertain
whether Purrp was responsible for inspiring Kanye West to cre-
ate ‘I Am A God’. One thing that can be drawn from this situation
is that SGP was ahead of his time with ‘The Black God’. Always
ahead of the curve, this further illustrates SGP’s proficiency as
a trendsetter.
Following the self-empowering anthem that is ‘The Black God’,
Purrp gets us caught in ‘Mystikal Maze’. Sampling the ‘sounds
of hell’, Purrp crafts one of his most harrowing sonic experienc-
es. The sounds of hell intertwine with other mystical elements to
formulate a lush haze for your speaker system. ‘Mystikal Maze’ is
another standout song from the ‘God of Black EP’. On this track,
SGP goes in-depth about the corruption of every day society. “I
always try to smile but the world too fake,the world is a house
with a yard full of snakes.”. He contrasts this disdain for society
with lyrics that emanate his daily struggles. “I know how it feel
to not have any loot, tired of the same clothes, tired of eating
the soup.” As mentioned before, the God of Black EP gives us
a more polished version of SGP. The anarchistic undertones are
still present. But the angst of Blackland is replaced with a sense
of empowerment. The ‘God of Black EP’ is a far cry from the
usual tropes of motivation music. SGP instead meshes his en-
lightened philosophies and his personal struggles to create the
empowerment present in ‘Mystikal Maze’. Add the otherworldly,
hazy and lucid beat to this recipe and you are provided with a
dose of darkness which accompanies the light of empowerment.
The yin and yang of the ‘Black God’.
The lush haze of ‘Mystikal Maze’ left listeners in a drowsy loop.
‘Elevate’ and its frenetic nature arrives to shock listeners back
into reality. This cut is the quintessential address to every hater
out there. SGP implores us to rise above hate in a manner only
he could. A unique quality of ‘Elevate’ and several other tracks
off of the ‘God of Black EP’ are the use of vocal effects. Purrp
has been layering his vocals in unique ways since NASA: The
Mixtape. However the additional vocal effects were first intro-
duced in the God of Black era. The vocal effects present on ‘Ele-
vate’ almost sound like your subconscious. Or some sort of deity
within the .mp3 file. These vocal effects and the vocal layering
intertwines with SGP’s forceful verses to create an overwhelm-
ing experience for the listener. The pitched up or pitched down
(sometimes both) vocals throughout the ‘God of Black EP’ lurk in
the background similar to how the voice inside your head creeps
up on you when you least expect it. The measured and purpose-
ful use of vocal effects and vocal layering throughout the proj-
ect illustrates the refinement Purrp underwent during this era.
Elevate is another song which embodies the spirit of the God of
Black era. A welcome reminder to rise above hate at all costs.
“With ‘The Black God’ and fur-
thermore the ‘God of Black EP’
SGP switched from being the
underground’s lead anarchist
into being the underground’s
leading light”
We are introduced to another Raider for track 5 of the ‘God of
Black EP’. ‘Twistin’ is Denzel Curry’s contribution to the EP. On
this track he is flanked by familiar Purrp disciple Lil Ugly Mane.
Curry and Ugly Mane exchange devious verses over the gritty,
string-fuelled Ugly Mane produced beat. This song is another un-
derground classic. A teenage Denzel Curry spits nefariously with
his own interpretation of the classic Memphis flow. Purrp’s 90’s
revival continued, with his extended Raider family joining the cru-
sade. The inclusion of his fellow Raider’s tracks on the ‘God of
Black EP’ was yet another display of selflessness from SGP. He
utilised his status as an underground star to help build the profile
of his upstart Raiders. ‘Twistin’ shows listeners that the Raider Klan
movement was in full effect. The Klan were ‘takin no shortz’ when it
came to expanding their profile.
SpaceGhost restores the introspectivity to the ‘God of Black EP’
with the track ‘Raider Prayer’. Akin to ‘Elevate’, “Raider Prayer’ is
another reminder to ditch the hate and be yourself regardless of
what others may think. The repetitive hook re-establishes the Raid-
er Klan ethos: “Fuck what they say, Imma do me”. The swirling,
eerie and drowsy beat is similar to the hypnotising loop of ‘Mystikal
Maze’. This track is another song which vividly describes his am-
bitions and visions: “No time for thuggin’, no time for hatin’, gettin’
straight to the money so fuck the procrastination”, “Fuck all the
haters , they just motivatiors, mind on a mill [million] with mansions
and elevators.” As shown in these excerpts, Raider Prayer may
be one of Purrp’s most visceral lyrical efforts. He immerses the
listener in the visions of the Raider lifestyle in a way which he had
never attempted to in the past. The visceral lyrical effort and anoth-
er amazing beat make ‘Raider Prayer’ the perfect track for those
needing that extra empowerment to embrace being themselves.
Blackland birthed the phenomena that was ‘SAND 2011’. Every
great track needs a sequel right? We get one with ‘SAND 2012’.
Instead of producing a song that sounds similar to the initial bomb-
shell that was ‘SAND 2011’, Purrp did the polar opposite. ‘SAND
2012’ ditched the chaotic nature of ‘SAND 2011’ and SGP pro-
duced a track that encapsulated the ‘God of Black’ sound perfect-
ly. The slowed down, waved out elements of the beat are a stark
contrast to the frenzy of ‘SAND 2011’. This track shows us that
even an enlightened Purrp is a master in the art of lustful sonics
and rhymes. The waved-out, debauchery-filled song is an ideal
transition from the philosophy-fuelled, introspective tracks that
precede ‘SAND 2012’. This cut is a welcome return to the lustful
22

world which SGP specialises in. Purrp managed to craft an ide-
al sequel to ‘SAND 2011’ despite the obvious differences in both
songs.
We continue to explore the lustful distractions when we switch to
the next track. ‘Blvck Diamonds Pearls’ doubles down on the hazy
lust that ‘SAND 2012’ initially produced. This track expounds upon
the ‘wavy loops’ that are consistent throughout the ‘God of Black’
era.The simplistic instrument patterns let these ‘wavy loops’ shine
bright throughout the track. The lustful nature of the track is em-
bodied with Purrp’s lyrical effort on ‘Blvck Diamonds Pearls’. The
8th track on our journey through the ‘God of Black EP’ illustrates
SGP’s innate ability at creating some of the darkest and debauch-
erous tracks of the modern era. The Miami bred artist continues to
pay homage to his roots with these lustful anthems.
SpaceGhostPurrp provides a true banger for all his fans with
track 9. ‘Don’t Give a Damn (Miami Bass)’ is what futuristic Miami
Bass would sound like. Similar to ‘Friday’, SGP’s signature boom-
ing bass resonates throughout the song to create the necessary
bang required. This bass combines with a cowbell sound to get
the ‘black vamps’ out there wylin’. These elements combine with
a sample of Criminal Mafia’s ‘BHZ’ to produce a beat that can be
best described as a masterpiece. Purrp channels his inner Eazy E
for the delivery on this track. The forceful delivery and the hard hit-
ting beat makes ‘Don’t Give a Damn’ the standout banger from the
‘God of Black EP’. ‘Don’t Give a Damn’ became a staple of Purrp’s
live performance routine. During a live performance of ‘Don’t Give
a Damn’ SGP pays homage to Memphis culture with his own ren-
dition of the G-Walk. Purrp’s G-Walk is an iconic dance in under-
ground folklore. Following the enlightening start, it was only right
for Purrp to provide his fans with an all-out banger. ‘Don’t Give a
Damn’ fills that void admirably.
SGP continues to display his Raider Klan soldiers with the next
cut. ‘Mink Rug’ follows ‘Don’t Give a Damn’ on the ‘God of Black
EP’. ‘Mink Rug’ is a Metro Zu track which features a Purrp verse.
The Freebase produced song samples Bobbi Humphery’s ‘Mes-
tizo Eyes’. This track introduces listeners to the Metro Zu experi-
ence. Lofty305, Ruben Slikk and SGP all exchange based verses
over the heavenly beat. Metro Zu was a group that pushed artistic
boundaries not only in music but in many other forms as well. Their
psychedelic and esoteric vibe is on display with ‘Mink Rug’. The
collaboration with the ‘artsy’ Metro Zu shows us that Purrp can
mesh with any crowd that creates boundary pushing art. Purrp
can kick knowledge with the young righteous ones, he can exude
cool with the fashion kids and he can get based with the art-rich
martians. The ‘God of Black EP’ was SGP’s vehicle to empower
the underground world, regardless of their vibe. It was also SGP’s
vehicle to introduce people to the new and improved Raider Klan.
‘Mink Rug’, ‘Twistin’ and ‘Low MF Key’ showed the world that the
Raider Klan were ready to blow. Under SGP’s guidance they would
do just that.
The ‘God of Black EP’ concludes with the track ‘Money Power Re-
spect (Free BG)’. ‘Money Power Respect’ takes the hazy, drowned
out elements of the first few tracks of the EP and turns them up a
notch. SGP swaps out the haze for a more defined sonic palette.
SGP continues to illustrate his progression behind the mic on this
track. ‘Money Power Respect’ and the ‘God of Black EP’ as whole
shows SGP’s progression as a technical recording artist. His rap-
ping on this EP is more thought out and purposeful. Aside from the
progression in aesthetic and sonics, Purrp’s progression as an MC
shines bright on the ‘God of Black EP’. The finale of the EP, ‘Money
Power Respect’ embodies the progression Purrp has made from
Blackland Radio 66.6 to the ‘God of Black EP’
One of SpaceGhost’s less talked about tapes, the ‘God of Black
EP’ can be seen as the moment SGP fully committed to the devel-
opment of the Raider Klan movement. The inclusion of songs from
Amber London, Denzel Curry and Metro Zu shows the emphasis
SGP was placing on the Raider Klan during this era. ‘The God of
Black EP’ is also notable for the artistic and personal progression
of SpaceGhostPurrp. His progression from ‘angsty’, enraged evil
genius into a calm, tactful, enlightened and empowered overlord
is evident throughout the EP. This progression fuelled the Raider
Klan revolution. On this project, the dark angel provides us with
mystical and hazy empowerment anthems that have stood the test
of time. Purrp returned to Miami as a messiah of the underground.
“In a matter of months Purrp had col-
The ‘God of Black EP’ helped entrench his status as the messiah.
In conclusion, the ‘God of Black EP’ is a pivotal one in the career
of Purrp. Following his rather ambiguous departure from New York,
the God of Black era helped re-assert his momentum in the mu-
lated a roster of relative unknowns and
sic world. This era helped proliferate the Raider Klan movement.
The God of Black era should be viewed as the era which laid the
platform for the Raider Klan. The Blackland era was a supernova
turned them into the underground’s
which changed the music world forever whereas the God of Black
era was a solid building block that allowed his Raider movement
to prosper. The Raider Klan revolution was ushered in by the God
most prolific crew. Never before in rap
of Black.
In the post-God of Black era we bore witness to the rise of the
Raider Klan. Buoyed by the newfound attention caused by the
‘God of Black EP’, the other Raider Klan members began to put in
history had a collective so vast been
work of their own. During early-mid 2012 Klan members produced
classics such as: Pizza & Codeine (Chris Travis), Wolfgang’s Ro-
dolphe (Ethel Wulf), 1994 EP (Amber London), Two Phonkey (Key
created.”
Nyata), Phonkilation (Key Nyata), Hell on Earth (Chris Travis) and
Strictly 4 My Raiders (Denzel Curry). The breadth of content from
Raider Klan members during this era was immense. Their wave
could not be denied. All these classic tapes were released under
the Raider Klan umbrella. Music videos from each member were
posted on SpaceGhost’s legendary YouTube channel. Purrp was
pushing the Raider movement just as hard as he was promoting
his own solo works. In a matter of months Purrp had collated a ros-
ter of relative unknowns and turned them into the underground’s
most prolific crew. Never before in rap history had a collective so
vast been created. Artists from each corner of the United States
were united under the Raider Klan’s 90’s renaissance. The sheer
amount of classic material that was released by the Raider’s in this
early- mid 2012 era created a movement that revolutionised the
rap game.
Following SGP’s individual triumphs with Blackland he continued
to shape the identity of underground listeners. With three separate
movements: Trillwave, A$AP Raiders and the Raider Klan, Purrp
kept himself at the forefront of the underground world. His 2011
to 2012 run, in terms of influence, is unmatched. It will never be
duplicated again. By exerting his influence upon the A$AP Mob
and pioneering the Raider Klan, SGP played a considerable role in
shaping the underground as we know it today. As early as 2012,
SGP had established himself as a deity in the underground world.
From an individual perspective, SGP kept his own wave strong.
On March 3 2012, SGP signed a single album deal with indie la-
bel 4AD. More known for their pop and electronic releases, Purrp
was the first rapper to sign with 4AD. Upon announcing his deal,
he also announced his debut studio effort ‘Mysterious Phonk: The
Chronicles of SpaceGhostPurrp’. The LP was set to feature remas-
tered versions of his underground classics as well as a handful of
new original songs. This label deal added a veil of legitimacy to
SGP’s artistic proficiency. Suddenly, the major publications were
beginning to take notice of the upstart producer/rapper SpaceG-
hostPurrp.
SpaceGhostPurrp also released a commercial (music video)
for Mystikal Maze. The UnkleLuc directed visual takes footage of
SGP’s SXSW performance and alters it in a mind bending way.
The blurs, swirls and colourisation of the video bring Purrp’s God
of Black vision to life in the most effective way possible. This music
video serves as our introduction to UnkleLuc. His dynamic visu-
al style brought the Raider Klan movement to the visual medium
in ways unimaginable. UnkleLuc’s distinct visual style fit perfectly
with the Raider Klan’s own distinct style. UnkleLuc and FXRBES
would be instrumental in bringing the Raider Klan vision to life.
Heading into mid-2012 the stage was set for the continued ascent
of SpaceGhostPurrp and the Raider Klan. They had constructed
a wave which was undeniable. However, the supposed amicable
split up of the A$AP Raiders turned out to be a farce. In June 2012
the beef between A$AP and the Raider Klan blew up. The once
harmonious underground was now in a state of disarray. The war
between the A$AP Mob and the Raider Klan was about to com-
mence. The underground was about to change forever.
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