What better way to represent the uncertainty of that time than by diversifying the sounds and sensations associated with each song? From Parker Corey’s industrial backings in Fetus to the rehashing of Ol’ Dirty Bastard’s Shimmy Shimmy Ya on Shimmy, Amin é brings unique character to the production of each track to embody the turbulence that can define one’s mid-twenties. The inconsistent stylings throughout Limbo play right into its concept: life isn’t one mood fits all, especially when you’re in your mid-twenties trying to figure out what the fuck life is. ![]() Limbo takes the successes from both of these albums and expands upon them, creating a consistently candid atmosphere littered with different flavors and brutally honest bars. On the flip side is ONEPOINTFIVE, the between-LPs mixtape released in 2018, whose trap-heavy tracks blew out speakers and provided some of Amin é’s most ambrosial hooks and melodies to date, but at times lacked a genuine feel in favor of playing to the mainstream sound of the time. His 2017 debut album Good For You, while introspective at times with songs like Money and Turf, gives the overall feeling of a free-flowing and carefree summertime album to bump while sunbathing and pool partying. Limbo represents a shift in the way Amin é approaches his craft, as well as the emotions and vulnerabilities he expresses within his music. The candid nature of that journey lays heavy within the album, giving it an aura of genuineness and relatability that touches just as deeply today as it did upon its release. Amin é was twenty-six at the time of the release, experiencing what he refers to in an interview with Oregon Public Broadcasting as a “quarter-life crisis” while trying to navigate adulthood. He covers this range of topics all while experimenting with different sounds and production to feel out where he fits sonically. He raps about the death of Kobe Bryant, the racial tension of his upbringing in Portland, Oregon, his determination to succeed, and the aches and pains of growing up and seeing those around you grow up. Limbo represents a crossroads in Amin é’s life: a state of uncertainty and experimentation he experiences while attempting to find his place in life and in music. ![]() One year after the release of his sophomore album Limbo, the Portland rapper’s adamant self-determinations - as well as his aptitude for blending flippant arrogance with visceral vulnerability -s till captivate and shine as some of his best work to date. slowthai and Vince Staples) is a statement of brash mockery and tenacious self-confidence so audacious that you can hear the whiskey bottle sloshing and black leather squeaking from that fateful MTV Video Music Awards night in 2009. In the middle of Aminé’s Pressure In My Palms (feat. I do yo ass the same way that Ye did Taylor” “You Bisquick, scallywag, silly muthafuckas
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One justification would be the transmission of the protocol over long or loaded lines of limited bandwidth, where it could be interesting to increase the rate over those lines at the expense of local gate area. It's not clear whether the outcome will improve the performances, to check but it likely depends on the technology. It requires XOR gates to detect if a change of state should occur.įrom a performance point of view, it takes more resources and increases the critical path but reduces the number of phases. It requires XOR gates and a reference register to output transitions instead of states (changing polarity instead of indicating "I'm ready"). ![]() In general though, it will be harder to maintain the same throughput with a protocol that needs to switch signals at twice the rate.Ģ-phased ack/req provides the same functionality too but the implementation has its disadvantages, the logic to handle high/low may be more complex vs the natural 4-phased protocol. It all depends on the scale of the circuit and the technology. But synchronous circuits have block buffers that may consume a lot when the fan-out is big, which have other consequences like EMI, the need of local capacitors and/or the use of spread spectrum techniques. So yes, they are functionally equivalent.Ĥ-phased req/ack signals switch twice as much, which is not great from a performance and power consumption point of view. Furthermore, only one phase is required since the valid and ready are not a response to each other on the current transfer, they are simply updated on the next cycle.Īll 3 protocols controls the transfer of data accurately, they can transmit back pressure too. The valid/ready (or equivalent) protocol doesn't need the return to zero phases thanks to the synchronization on the rising edge of the clock, it can only be used in synchronous logic. The signals are responses to one another: both are responses in the 4-phased protocol, ack is the only response in the 2-phased protocol. The 4-phased or 2-phased req/ack protocols are necessary in the absence of clock, in asynchronous logic. ![]() An old question but I'll answer anyway for the sake of future similar queries. |