Perry Porter and OldMilk dropped their hip hop/R&B album, Grey, on June 4, and the lead single, “Custom,” which released about a week before the album and features Astral Trap and SWANKS, set the tone for a phenomenal project. Porter, who also goes by Perry Paints, is a painter and songwriter from Tacoma whose artistry across mediums has garnered him a legion of fans. OldMilk is a producer, DJ, and fellow artist who produced tracks for Porter’s 2019 EP, Pretty Perry, and lauded full-length debut Bobby Ro$$.
“Custom” is a polished, four-and-a-half-minute track that’s all fluid motion. Kicking off with a voiceover proclaiming, “It’s showtime,” the single braces listeners with a keyboard interlude before launching into an absurdly catchy chorus. Lyrics like, “Everything on me made custom / Whip that cream like custard” roll off the tongue and are followed by the equally suave, “Baby, come roll with me while I roll the weed / I’m gonna roll when I whip that paint.” As both a painter and a musician, Porter blends mediums and takes ownership of his artistry. Everything he owns is custom — because he paints it.
Porter is relaxed — almost unbothered — in his vocals. It’s easy to picture him loosely smiling and languidly vibing as he sings about doing well for himself. Lines that talk about “chipping up the competition” and “gettin’ paid” are delivered with searing ease and an air of comfortable excitement. Even while letting loose and celebrating achievements, the mood remains infectiously chill.
Grounded in a low, punctuated beat that lets the chorus and rap verses glide effortlessly over top, the production on “Custom” is solid throughout: There’s a pleasing rhythm to the track that’s mellow but uplifting. This is the track you hear walking through the door of a good hang; it sets the tone for the rest of the night with its almost-arrogant casualness and undeniable cool-kid flow.
As the track concludes, what sounds like audio from a teaser commercial cuts in. The clip begins with a gun shot and transitions to voices talking about bounty hunting. Listeners are then left to wonder if Porter sees himself — as an artist or individual — as a target. It’s abrupt, but it works: Through the sudden and unexpected, Porter once again asserts his signature artistry and ingenuity, adding another layer to an already well-defined track.
Ultimately, “Custom” is unabashed in its self-congratulation, and rightfully so: Porter gives listeners an effortless flow that would be an exercise in futility not to vibe with and celebrate alongside.
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