Decay and Fluent met online and sent music files back and forth as they worked toward a project of their own, “Decay & Fluent Are City Slick: The Antique Black,” a side project created entirely through digital means. (He and Fluent, to this day, still haven’t met in person.) That album got a lot of attention and underground buzz which led to Decay signing with Molemen Records to release his solo record.
In the time between City Slick has been patiently crafting an album full of emotion and meaningful messages. Decay and Fluent have completed their follow-up album, “The Money and His Fool,” continuing their dirty sound of hip hop. Pure, angry, and uncompromising, their best work yet.
Having lived through the eclectic styles of the various Chicago neighborhoods of his youth, Decay was also exposed to reggae, calypso and soul music from his mother, a Guyanese immigrant. Artists like Marvin Gaye, Teddy Pendergrass, Mighty Sparrow and Otis Redding—protest music from the streets of Jamaica and Trinidad and Chicago’s south side.
Decay came of age in the early 90s. He listened to Too Short, Public Enemy, and Wu-tang Clan. He found common ground between the rappers he loved and the music of his youth: Protest, rhyme, backbeat, humor, politics, satire and rebellion. He carries on the raw sound and boom-bap tradition.
Decay entered the game in 2005, when he released “In Retrospect,” his first solo album, a record of razor-edged lyrics and pro-black anthems. He played clubs. He worked on his rhymes. He toured. He grew. His second release was “Fluent & Decay Are City Slick: The Antique Black,” a side project created entirely through digital means. (He and Fluent, to this day, still haven’t met in person.)
As hip hop became co-opted, commodified and changed by the mainstream, Decay stayed true to its roots. Decay is currently finishing up his second City Slick album, “The Money and His Fool,” a return to the dirty sound of hip hop, pure, angry, and uncompromising, his best work yet.