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If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change - Dre (he/him) and Vonne (they/them) - first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people - they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that InchencyclopedicInch barely begins to cover it - not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think InchMiami bass meets NOLA bounceInch), but also drum 'n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene - which includes everything from punk rock house parties to the black Inchteen nightsInch that pop up in rec centers and ballrooms - they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. For anyone who's been feeling suffocated by the sameness that's been afflicting hip-hop and pop - where a small handful of ideas gets recycled endlessly, and a spin through the big new- playlists quickly devolves into a blur - They Hate Change's Jagjaguwar debut, Finally, New lives up to it's name. Finally, a r
