Occultism is a belief system that involves the study and practice of supernatural or mystical forces. It is often associated with secret rituals, divination, and contact with the spiritual world. Trippie Redd, on the other hand, is an American rapper, singer, and songwriter known for his unique style and incorporation of various genres into his music. It is important to note that there is no direct connection between occultism and Trippie Redd. Although some artists, including Trippie Redd, may incorporate occult imagery or themes in their work, it does not mean that they are practitioners of occultism or endorse the belief system. Trippie Redd's music often explores a wide range of topics, including personal struggles, relationships, and emotions.
McIlwee isn't just the creative force behind Wicca Phase, however; he also sits at the center of a vital underground movement embodied in the GothBoiClique crew. Type "GothBoiClique" in SoundCloud's search engine and you'll elicit over 500 results, from popular tracks with a million-plus listens by Wicca Phase, Lil Tracy, Lil Peep, Mackned, Cold Hart, JPDREAMTHUG and Horse Head; to fan-assembled collections of their assorted tracks; and bedroom musicians who simply add #gothboiclique as part homage, part attention-seeking gesture. (Other members include producers Døves, Yawns and Fish Narc.) McIlwee grew up immersed in punk rock, and in its own new-millennium way, GothBoiClique is as punk as it comes.
McIlwee isn t just the creative force behind Wicca Phase, however; he also sits at the center of a vital underground movement embodied in the GothBoiClique crew. On the new album, I m just writing it all on guitar and piano first, and then sending it to a producer to do a beat on, or add a drum machine, or add some bass, says McIlwee, who is co-producing the project with Døves.
Trippie Redd's music often explores a wide range of topics, including personal struggles, relationships, and emotions. His lyrics are known for their introspective and emotional nature, which resonates with many of his fans. While he may occasionally reference occult symbolism or elements in his music or visuals, it is mainly done for artistic purposes and to create a certain aesthetic rather than endorsing occult practices.
Wicca Phase Springs Eternal: Occult Genre-Smasher Bred in Punk, Backed by Code Orange
"My music isn't meant to be in a genre," says Adam McIlwee, the voice behind the mysterious goth project Wicca Phase Springs Eternal. His songs conjure a sepulchral, enigmatic figure, art-damaged by life's rich pageant. But during a lengthy interview, he sounds animated and gregarious, and audibly blushes when he's congratulated on Corinthiax, the EP that marks his most accomplished work to date. "I'm not good at taking compliments," the Scranton, Pennsylvania–based musician laughs.
McIlwee isn't just the creative force behind Wicca Phase, however; he also sits at the center of a vital underground movement embodied in the GothBoiClique crew. Type "GothBoiClique" in SoundCloud's search engine and you'll elicit over 500 results, from popular tracks with a million-plus listens by Wicca Phase, Lil Tracy, Lil Peep, Mackned, Cold Hart, JPDREAMTHUG and Horse Head; to fan-assembled collections of their assorted tracks; and bedroom musicians who simply add #gothboiclique as part homage, part attention-seeking gesture. (Other members include producers Døves, Yawns and Fish Narc.) McIlwee grew up immersed in punk rock, and in its own new-millennium way, GothBoiClique is as punk as it comes.
Part of GothBoiClique's success, he says, is that the aesthetic is open to interpretation by a generation of listeners drawing organic threads between trap, emo, black metal, dark wave, indie rock and whatever else tickles their fancy. "I'm proud about it," he says of GothBoiClique's mushrooming notoriety. "It was minimal effort. It just happened on its own. The fans let it happen." He speaks poignantly about Lil Peep, the heavily tattooed rap singer whose fatal drug overdose at the age of 21 last November made national headlines. One of Wicca Phase's most popular tracks is "Avoid," a cut he and Peep released last year.
"Our time with him seemed really quick," says McIlwee, explaining that Peep joined the crew about a year before his death. "Obviously what happened is incredibly tragic. I never had anything like that happen … I'd never really had a friend die, much less somebody that I worked on music with. As a person he was sweet and incredibly generous. He made it clear that the success he had coming his way, which was guaranteed because of the deals he made, he wanted to share it with us. I don't think a lot of artists think like that. It's refreshing to hear that from someone who was eight years younger than me. He was a kid."
McIlwee was a kid himself when he stepped away from a burgeoning career in indie rock for the nether regions of internet music culture, one where Southern trap, ambient electronics, emo vibes and goth trimmings are pureed into a virtually unclassifiable sound. Before Wicca Phase Springs Eternal, McIlwee was the lead vocalist of Tigers Jaw, a sprightly pop-punk–inflected quintet that was unafraid to reach across the aisle into heavier circles. The band appeared on a four-way-split with Code Orange Kids — the hardcore group that would become Code Orange — and even lent McIlwee to them for the song "Colors (Into Nothing)," on 2012's Love Is Love/Return to Dust LP.
By 2013, however, McIlwee had tired of band life, and amicably departed. Before splitting, he released the first offering from Wicca Phase: "Bite My Ear," a duet with Tigers Jaw keyboardist Brianna Collins. Initially, Wicca Phase was an experiment: "I was just making drum-machine stuff." Eventually, it became a reflection of his burgeoning interest in the witch house scene and hip-hop's cloud rap/Tumblr scene, both of which blossomed between the late 2000s/early 2010s.
While a childhood fan of mall rappers like Puff Daddy and Bad Boy Records, he had largely given up on the genre by high school. Then he heard Lil B, the enigmatic, iconoclastic rapper and self-described "based god" who virtually pioneered cloud rap with tracks like "Im God" and "Wonton Soup." "He was weird," says McIlwee. "I was confused, and at the same time loved it, and saw someone totally free, creatively and artistically, and that's what I wanted to do. So he got me back into [rap]."
On Tumblr, McIlwee met producer and Lil B collaborator Cold Hart, who was a fan of Tigers Jaw. Listening to Cold Hart's tracks, McIlwee deduced that he could jump on the subterranean beat-maker's tracks and put his unique spin on them. As he nurtured Wicca Phase, it evolved into a conduit for the kind of love dirges that evoke the felt-tipped black melancholy of writers such as Neil Gaiman and Alan Moore, and British goth bands like the Cure and Bauhaus. (On "Scars on Me," a standout from Wicca Phase's 2016 full-length debut, Secret Boy, producer Lederrick turns a few guitar chords from the Cure's "Lullaby" into a hazy, opiate-like scrawl.)
Since 2013, Wicca Phase has issued dozens of tracks through SoundCloud and highly collectible cassette pressings. The project's latest offering, Corinthiax, shows marked growth. While McIlwee's plaintive, punk-leaning croon remains the center, his flows sound more focused and tuneful, and his vocal tone is brighter and stronger, progress that he partly credits to collaborating closely with producer Døves. "I was trying to get out of writing teen angsty songs, so I was coming up with names and mythologies," he says. "Corinthiax was one of those. I first said it in 2013 or 2014. I saw the word Corinthian but replaced the 'n' with an 'x' because it sounded cooler." The character takes flight on the EP's title track, manifesting as a female spirit that emerges at night and beguiles him. "It's part of my witchy, occult stuff," he adds, admitting that he's still fleshing out the idea.
For the next Wicca Phase album, which he hopes to release early next year, he's crafting the blueprints for his musical arrangements. "On the new album, I'm just writing it all on guitar and piano first, and then sending it to a producer to do a beat on, or add a drum machine, or add some bass," says McIlwee, who is co-producing the project with Døves. He aspires to incorporate his love for classic singer-songwriters such as Leonard Cohen and Bob Dylan; fans have already heard hints of that direction with 2017's acoustic Stop Torturing Me EP and the Corinthiax closer "What's the Point of Anything." "It's an extension of what I want Wicca Phase to be, what I've always wanted it to be. I just haven't had much luck channeling it in that direction."
photograph by George Douglas PetersonMcIlwee hasn't completely forsaken his punk rock past. This summer he joined his old friends Code Orange as a special guest on their U.S. tour. If the crowds found at Wicca Phase Springs Eternal's sold-out shows are any indication, it seems as if he and GothBoiClique are charting a new path between two dominant post-millennial youth cultures. They're clearly having a moment right now.
"I really do believe in the music we're making," says McIlwee. "But I do not foresee Wicca Phase having any sort of radio airplay or anything like that. I think it's solely a cult thing." Stranger things have happened.
"My music isn't meant to be in a genre," says Adam McIlwee, the voice behind the mysterious goth project Wicca Phase Springs Eternal. His songs conjure a sepulchral, enigmatic figure, art-damaged by life's rich pageant. But during a lengthy interview, he sounds animated and gregarious, and audibly blushes when he's congratulated on Corinthiax, the EP that marks his most accomplished work to date. "I'm not good at taking compliments," the Scranton, Pennsylvania–based musician laughs.
Occultism, on the other hand, is a complex and varied belief system that includes various forms and practices. It encompasses a wide range of spiritual traditions, including Wicca, paganism, Satanism, and ceremonial magic, among others. Occultists may engage in rituals, spells, divination, and the pursuit of esoteric knowledge. It is worth mentioning that occultism has long been a topic of fascination in popular culture, including music, literature, and art. Many artists borrow occult symbolism and imagery to create a mystical or mysterious atmosphere, which can be enticing to audiences. However, it is important to separate artistic expression from actual belief systems, as not all artists who incorporate occult imagery necessarily adhere to or endorse occultism. Overall, while Trippie Redd's music may occasionally feature occult symbolism or themes, it does not imply a direct association with occultism. It is essential to approach the topic with an understanding of the distinction between artistic expression and genuine belief systems..
Reviews for "Supernatural Forces and Trippie Redd's Artistry: The Intersection of Occultism and Creativity"
1. John - 2/5 stars - I was really excited to listen to "Occultism" by Trippie Redd, as I had enjoyed some of his previous work. However, this album just didn't do it for me. The lyrics seemed uninspired and the beats felt repetitive and unoriginal. I was hoping for a darker and more experimental sound, but instead, it just felt like a watered-down version of his earlier music. Overall, I was disappointed and didn't find anything memorable or unique in this album.
2. Sarah - 2/5 stars - As a fan of Trippie Redd's previous albums, "Occultism" left me underwhelmed. The entire album lacked the energy and passion that initially drew me to his music. The production felt lackluster, and the lyrics lacked substance. It felt like Trippie was going through the motions and didn't bring anything new or exciting to the table. I found myself skipping through most of the tracks, as they all blended together and failed to leave a lasting impression. Unfortunately, "Occultism" fell short of my expectations.
3. Mark - 1/5 stars - I have always been a huge Trippie Redd fan, but "Occultism" was a major letdown for me. The album lacked cohesiveness and the songs felt disjointed. It seemed like Trippie was trying too hard to experiment with different sounds, but it just didn't work. The production was messy, and the lyrics felt forced and unauthentic. I couldn't connect with the music on any level and found myself struggling to finish the album. It's disheartening to see one of my favorite artists release such a disappointing project like "Occultism."