It’s always nice to see a talented, young artist return for the first-time post-project in order to see how it is that they’ve grown, changed, and continued experimenting and pushing their own sound. And to be honest, we couldn’t be more excited about the fact that Toronto’s Terrell Morris hasn’t only released his first track since March’s Molasses, but that he’s returned with something as inventive and raw as Field Test (Wayside).
It’s a bold look for an artist who is already becoming so well defined by his unique and individualistic approach to hip-hop, where an irreplaceable ability to blend fierce lyricism and high energy with mellow tones and smooth vocals thrives under the direction of inventive and modern production. In Wayside, a song very much worth its titling, Morris and longtime collaborator, Losh unearth a new texture that moves past their own exploits and into the unexplored territory for any hip-hop artist to date.
Less of a meshing, and more of a combative venture of stylistic influence, the track quickly turns from an addictingly head-bobbing display of his signature flow and delivery into a hook defined by fellow Canadian, Weatherstone’s hyper horn exhibitions and an anthemic chant, all the while dancing over an undertone and slow-paced production. The aggressive sort of nature finds peace amongst a modern auditory aesthetic where traditionally stylistic endeavors have moved by the wayside and are steadily being replaced with undertakings such as this.
It’s R&B. It’s hip-hop. It’s jazz, soul, and funk. It’s none of them. It’s Terrell Morris. It’s a group futurist cut.