Could Clams could have taken samples or rap verses and played them over his spectral instrumentals? ‘Moon Trip Radio’ would have benefitted from gruff vocals perhaps those of Ghostface Killah, whose uncompromising delivery was so effectively offset by Toronto band BadBadNotgood’s smooth jazz sounds on their collaboration ‘Sour Soul’ you can imagine Ghostface, er, killing it over tracks such as ‘Healing’ and ‘Soliloquy’. Songs such as ‘Cupid Wing’ do stand-out, as he manages to throw together hi-hats, synths and warped, glitchy vocals – but it’s over before it begins. He weaves, dabs and ducks but doesn’t punch, offering very little of substance on this self-released new project. But it all feels so slight like the smallest touch can knock it down. There are bursts of atmospheric ambience and melodic guitars, metronomic drums that nestle deeply within the grooves of the track and twirls of soundscape wrap themselves around the production.

Over these 11 tracks, Clams directs us away from the aforementioned sounds we would usually associate with him. His second solo album, ‘Moon Trip Radio’, is a heavily experimental record that finds Casino attempting to forge an identity in a new genre. Casino went on to collaborate with renowned artists like Lil B, Mac Miller, The Weekend and Schoolboy Q, all the while remaining distinctive as an artist in his own right. With layered, greasy bass underneath haunting synths and staccato drums, Casino’s productions stood out on A$AP Rocky’s breakthrough project ‘$AP’.

Clams Casino catapulted himself into the cultural sphere at the start of the decade.

Clams casino moon trip radio review