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“Phoenix doesn’t have much of any hip-hop scene,” Ritchie told me, which led them to relying on the internet for shaping and spreading their music.
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It’s not like you have to ‘understand’ it.” These weird-pop sounds are complemented by fast-paced verses from the group’s other two members, rappers Ritchie With A T, 22, and Steppa J Groggs, 29.Īfter everyone dried off and ordered pancakes (it was 5 p.m.), Injury Reserve explained their origins. “Weird sounds that can also sound like pop songs. “Our biggest influencers are artists who make easily digestible music while pushing the boundaries of what that even is,” Corey told me. And, most importantly, you can play Injury Reserve at a party, setting them apart from their underground-internet-rap contemporaries. But Injury Reserve has made it work, developing cohesive sound that’s entirely their own. When done wrong, this breadth of wildly different styles might risk sounding like experimentation for its own sake. Their most recent album included samples of Korean K-pop and New Zealand war chants. They make vibrant, jazzy hip-hop that seems to incorporate every genre of music you could dig up on the internet, from punk to grimes rap to EDM. It’s a reflection of the sincere, DIY weirdness that is at the heart of Injury Reserve’s sound. Catlitt’s grandson, told me over pancakes at a Manhattan diner. “Shout out to Michael Catlitt, D.D.S.,” Parker Corey, 21, Injury Reserve’s producer and Dr.
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The Phoenix, Arizona hip-hop trio literally recorded both projects in their producer’s grandfather’s dental office after all the patients had left at night. Injury Reserve’s first two albums- Live From the Dentist Office (2015) and Floss (2016) -aren’t just goofy tributes to oral hygiene.