Rap, gospel choirs and psychedelic guitars straight out of a Jimi Hendrix or Jackhammering drumвЂ™nвЂ™bass rhythms, gothic organs, turntable scratches, garbled (Bombs OverД«aghdad)вЂ™ signalled what was to come. Sounds and faster beats reflecting the growing prevalence of drugs like ecstasy Influence that rave culture was having upon rap music at the time, the new Where the vast majority of mainstream hip-hop wasД¬haracterised by slow, laid-back tempos, Outkast acknowledged and embraced the Practically every other hip-hop artist in 2000. Launched them into the musical stratosphere, placing them miles ahead of Splicing street-level ghetto imagery with psychedelic explorations, Stankonia These tracks simply wouldnвЂ™t have worked as effectively as they did.Д®stablished Outkast as undisputed masters of southern hip-hop, praised for Within our grasp, rather than some totally out-there fantasy land. Reality, helping to make Stankonia feel more like a tangible world just His more grounded flows not only keep up with hisД«andmateвЂ™s creativity and visions but provide a crucial anchor for them in Recording studio, but that observation does not denigrate the importance of hisД¬ontributions here. Big Boi вЂ“ spent his time more conventionally in the Grown tired with plain rapping) which contributed greatly to StankoniaвЂ™sД¬omparison, Patton вЂ“ a.k.a. TrappinвЂ™вЂ™ вЂ“ Benjamin adopted a speak-singing croon while recording (having Killer Mike on the amusingly lewd вЂSnappinвЂ™ & Manner with the albumвЂ™s guest stars вЂ“ among them, future Run The Jewels MC Eventually moving to the studio to flesh out the songs in a collegiate Opting to work predominantly from his house that he was re-decorating,Д¬omposing song sketches on an acoustic guitar and painting lyrical ideas on his Well-spring of inspiration was largely (but not exclusively) down to AndreДЈ000. Groups apart, but Outkast was already a broad enough church in sonic terms to

It was the product of the kind of creative restlessness that normally pulls Nothing like the dimension jump that actually transpired with Stankonia. 1998вЂ™s kaleidoscopic Aquemini had signposted this to some extent with its huge sonic palette, but Tempos and the duoвЂ™s lyrical dispositions, Stankonia was much faster, withД«ig Boi and Andre 3000 frequently more energised and urgent in both theДelivery of their flows and their thematic content. Where the likes of their 1994 debut Southernplayalisticadillacmuzik and its 1996 successor ATLiens were generally laid-back in terms of their Immediately noticeable element of their fourth recordwas how different InДoing so, they hit upon a rare alchemy of creative ingenuity and mass appeal Rock to rave music and gospel via more adjacent genres such as soul and funk. With a massively diverse palette of Black music influences, from psychedelic Rage back into it.вЂќ They sought to inject their established southern hip-hop template So itвЂ™s time to crank it up, put a little more вЂњHip-hop is real comfortable right now,вЂќД«enjamin вЂ“ a.k.a. The landscape of hip-hop at the end of the decade, and felt that it was tooД¬omplacent, relying on gangsta-rap clichГ© and increasingly stale tricks in theД¬ase all but a few exceptions. The studio in the spring of 1999, Andre Benjamin and Antwan Patton looked at That wouldДЄll change with their fourth album, Stankonia, released in the autumn ofДў000 and which propelled them to global superstardom.

Kind of radio song that would ensure blanket coverage to reach outside of theirД®xisting fanbase, however big it was. Of calling-card track that would help them break international markets, or the Outside the United States was comparatively low, and they had not made any kind They had emerged not only as one of the most acclaimedДЄuteurs in their genre, selling a million copies of each of their first three studioДЄlbums and receiving glowing reviews from all quarters. Millennium dawned, Atlanta-based hip-hop duo Outkast were in a very

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