You know those precious, intangible moments between waking and unconsciousness, where notions become eel-slippery and it's hard to keep up with the action on the telly? "Catacombs" ties those moments in a Fruit Roll-Up and feeds them to you, sloooooooowly, on a revolving waterbed.
I'm half expecting to hear this tune surface during one of those scenes in the contemporary Scooby Doo episodes where either the mystery hasn't kicked off or it's already been solved, where the gang is dancing awkwardly and apart in some dive burger joint.
Rap fame's volatility is also its double-edged sword; today's on-the-verge blog toasts are tomorrow's E1 Entertainment bustas. G-SIDE inhabit that weird no-man's land where they're Pitchfork famous, but can get arrested, and probably will if the rhyming thing doesn't pan out. "Came Up" reflects this abject between-the-gutter-and-the-stars uncertainty. And that silken, maudlin whine you hear in the background? That's the world's sultriest violin, singing for all the straight-to-Rhapsody sucker MCs.
So this is what all those singles posing as glossolalia fits and mod pomo costumes were building up to: 50-foot queenie MOR thunder that splits the difference between TLC's "Waterfalls" and Allison Iraheta's "No One Else."