🎬 Grisha – Tarantino 22 gen 2024
Every so often, a track emerges that seamlessly blends eras, offering a nostalgic nod to the past while firmly planting its feet in the present. “Tarantino” by Belgian rapper Grisha, produced by the versatile Alexis Seys, is one such gem.
🎤 Meet Grisha: The Voice from Ypres
Hailing from the historic city of Ypres, Grisha is a burgeoning talent in Belgium’s hip-hop scene. Raised amidst the echoes of a city known for its resilience, his music reflects a blend of raw emotion and storytelling prowess. Grisha’s lyrical delivery is both authentic and compelling, drawing listeners into his world with each verse.
🎛️ Alexis Seys: The Maestro Behind the Beat
Based in Kortrijk, Belgium, Alexis Seys is a multi-instrumentalist, producer, and mixing engineer renowned for his genre-blending productions. His experimental approach to music allows him to craft soundscapes that are both innovative and emotionally resonant. Having collaborated with a diverse array of artists, including Grisha, Alexis brings a unique sonic depth to every project he undertakes.
🎶 “Tarantino”: A Track Worth the Replay
“Tarantino” stands out as a testament to the synergy between Grisha’s evocative lyricism and Alexis Seys’ masterful production. The track’s cinematic quality, reminiscent of its namesake director’s storytelling style, offers listeners a rich auditory experience that bridges the gap between classic hip-hop vibes and contemporary sound design.
If you’re seeking a track that encapsulates the essence of hip-hop’s golden era while introducing fresh, modern elements, “Tarantino” is a must-listen.
[Intro]
Ay Alex, turn this shit up
[Verse 1]
Look
All the bullshit I don’t need that
Introduced ‘em to your doorstep
Saggy pants, sneakers on, swaggin’ in the buildin’
Cocky motherfucker they don’t like him when he kills it
Rookie of the year, like a B-O double S
You gotta see that
We be sittin’ in the fastlane
Now it’s from the tap
Later on it will be champagne
Hangin’ in the clouds
Takin’ off just like an airplane
Big G steppin’ on the court and makin’ boards
I guarantee that old school, with a flavor
Sneaky goin’ for the hit, like an alligator
A hater, leave him hangin’, tell him see you later
Servin’ appetitе-ic shit like a fuckin’ waiter
Green dolla bills, like my first namе was CeeLo
We be makin’ movies, just like Quentin Tarantino
Remember back with T, he was drivin’ that Camino
Now, he flexin’ and finessin’ on the pitch like Ronaldinho
PRODUCTION DETAILS
4 Bars Pattern : 808 – Bass
🧠 Explanation of the Pattern:
- Bar 1:
- A long 808 note is played on a low pitch. This sets the foundation and gives weight to the start of the loop.
- Bar 2 (just before bar 1):
- A descending scale or glissando is programmed with short 808 notes, stepping down in pitch.
- This is likely used as a transition effect or fill, adding movement and anticipation before the next section.
- Bar 3
- Another sustained 808 hit, probably on a different pitch from the one in bar 9.
- This gives the listener a sense of change or progression.
- Bar 4:
- A final sustained note, possibly repeating or resolving the previous one.
4 Bars Pattern : KICK
- The kick starts at with a single long hit, giving weight to the drop right after the intro — where only the sample was playing before.
- From bar 2 onward, the rhythm gets more interesting:
- You’ll notice some syncopated hits and tight double kicks, especially around bar 2.3 and 3.3. These add bounce and groove, which is a classic move in trap and drill beats.
- The kicks don’t follow a robotic grid; instead, they feel more human and bouncy, playing off the rhythm of the 808.
- The pattern then repeats similarly through bars and, keeping the groove consistent while supporting the bassline.
4 Bars Pattern : SNARE
Snare Pattern Breakdown
This is a standard trap snare pattern.
- The snare hits every two beats, right on the 2 and 4 of each bar.
- This keeps the rhythm steady and familiar, giving your beat that classic trap bounce.
- It creates space for the kick and 808 to do their thing, while anchoring the groove.
4 Bars Pattern : HIHAT
These 4 bars of hi-hats are very important for the overall groove. They’re in 16th notes, but with a different offset or swing — it depends on how you want to call it.
Anyway, it starts on the first 16th note, and the third 16th note is slightly shifted with a 30% swing.
On the second eighth note, the first hi-hat is on the grid, the second is slightly ahead, the third is late.
On the fifth and sixth eighth notes, they’re swing just like in the second eighth, and that’s the first bar.
The other 3 bars, I’ll let you study them yourselves.
Bars Pattern : Sample 1
I don’t know where the sample used in the beat comes from, but this one is very similar — you can listen to it here:
I cooked up a pack inspired by that Alexis Seys beat Grisha flipped — same vibe, same sauce. You’ll get everything you need: MIDI files, WAVs, samples, melodic lines, all ready to drop in your session. If you’re feelin’ it, show some love and cop it from my shop — real recognize real.
