Blending comedy and song is nothing new. With the likes of Weird Al and Bo Burnham, the current generation of active musicians have grown up with the development of comedic music. However, Ohio native Kill Whitey has been creating his own signature brand of the genre, blending tight raps around eloquent productions from producers you would hear on the most serious of underground projects. Crediting his talents to his grandma’s ability to sing absent minded melodies about anything on the spot, he has been toying with his craft since the age of 11.
Despite his inane content, his works are cohesive and thought out — taking special care to not only make people laugh, but make a quality track. Using music and comedy as an outlet for his hyperactivity, the two have always existed harmoniously for Whitey, each coming naturally. “I’ve always been a hyper-active idiot, and it’s been equally detrimental and beneficial in my life. But I can’t really get rid of it — so I think eventually my music just became an outlet to capture my hyper ramblings and humor. I’ve always made music, whether it was playing drums or making beats or improvising stuff. So, I suppose they just came about at the same time really.”
Two years of solo releases, shocking visuals, and collaborative works with his counterparts in the crudely named collective “Pee Pee Gang” have somewhat conditioned his following for his second album, POTTY MOUTH. Whitey shares that brand is built to be everything he isn’t, “Kill Whitey as a character to me is almost the polar opposite of how I actually am. Like it’s all hyper-sexual and drugged out and written from the headspace of an absolute crazy goon.”
The term ‘shock value’ holds little weight in music and creative content in general as of late. However, Whitey has curated his own brand of shock value, somehow able to spin ridiculous concepts into golden rhymes like a perverted Rumplestiltskin. POTTY MOUTH shows the Whitey already know, and so much more than was bargained for.
Though he is known for his ability to push, rip in half, and set fire to the metaphorical envelope, this particular album has an extra edge to it, unseen in his prior works. While these songs are absurd and over the top, they call out a culture existing in rap currently, “On POTTY MOUTH most of the songs are written in character and just straight up rap songs that have an extra raunchy edge to it. Like there’s so many sex references that are just insane and profane but really I’m a pretty nice respectful person, and I’m timid as fuck until I’m comfortable with people. It’s pretty much just me making fun of myself, as well as making fun of how ridiculous rap personas are I guess. I also just like to see how far I can push perversion, it is really funny to me because it’s so ridiculous. I guess I make sexploitation rap at this point.”
Despite how blatantly zany the writing of POTTY MOUTH is, it was approached with a keen eye and new approach to Whitey’s process, “For Kill Whitey, everything up to Cockstar was 100% freestyled. But Cockstar was still just okay to me. I really tried to step it the fuck up with this project, with writing, delivery, and having the songs still be hard and listenable, while still keeping my humor. Hopefully I accomplished that.”
Though this album was approached seriously, with the intention of creating a cohesive project, it was also used as a sort of stepping stone in his creative process; hopefully giving him the confidence and practice necessary to release new types of content, “I’m working on serious music right now, but I’m not gonna put it out until I think it’s actually decent, because it’s a new ground for me. And I also just hate the fact that a lot of times things with a comedic edge just get written off as easy and stupid and I kind of want to prove, like no — my immature and ridiculous comedic music can be actually good at the same time.”
POTTY MOUTH is not only Whitey’s most scandalous album to date, but also the most meticulously crafted. With it’s first songs seeing the light of day in early 2018, it has slowly grown with Whitey’s persona over the last year, “I recorded the first two songs immediately after releasing Cockstar and then took a break and made Silly Time with Spanky while in the process of moving from Ohio to LA. Once I got settled with a job and an apartment I recorded it from the beginning of December until the end of March. I probably made about 25 songs for it, and just sized it down to the songs I thought were the hardest and most ignorant.”
This process proved successful. Thirteen tracks of absurdity build POTTY MOUTH, with features and production credits from the likes of Father, TrippyThaKid, Getter, MKULTRA, Nedarb, and so many more. Kill Whitey has put this generation’s humor into song with POTTY MOUTH, and proved that there is no line between good music and comedic music.