Chattanooga musician Coogi Doogi lives for the reclamation of specific details drawn from his experiences. You can hear this process of turning memories into music scattered throughout his work. With ties to old-school Southern hip-hop and boom bap rhythms, he conjures impressionistic landscapes where music serves as a starting point for a direct collaboration with his audience-the more we feed into his reality, the more he offers us in return.
Coogi has always been a populist explorer, delving into the realms of musical bravado and bombast with a casual motion that belies his music’s complex underpinning. An inherent swagger and rhythmic bluster pulse through his songs, but he never cedes to cliché and fashions an atmosphere that encourages a vast experimentalism, even when his work feels familiar and hewn from a communal hip-hop lineage. You can hear and examine this melodic split in the grooves of his latest track, “White Girls Got Swagg.”
Taken from his forthcoming record, “Rare Coogi,” this song offers up a slithering bass ripple that flows beneath lithe vocal calisthenics and retro soul harmonizing. Using his time on the mic to call out the opposite sex, Coogi works through a hip-hop mainstay: the candid breakdown of female traits. And while some artists use this as a way to condone misogyny, he uses it to explore a dense web of influences while simultaneously subverting our expectations of certain aspects of the genre that appeared in the early days of hip-hop.
Joshua Pickard covers local and national music, film and other aspects of pop culture. You can contact him on Facebook, Twitter or by email. The opinions expressed in this column belong solely to the author, not Nooga.com or its employees.