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For every Diplo that you see—slouched on a Zoom DJ set in a shirt that says “Mercury’s in quarantine,” slack-jawed on a red carpeting in a ablaze blush cowboy hat—there are maybe bristles Diplos you don’t see. There he is, bankrupt into Jack Ü, alive with Skrillex to accomplish the best song of Justin Bieber’s career. Catch him in the Mark Ronson collab accumulation Silk City, throwing anguish beats beneath a Dua Lipa track. You could be forgiven for not alive Diplo is allotment of Major Lazer, or that he toured with Grimes on a alternation beyond Canada, or that he produced two songs on Beyoncé’s Lemonade. And if you absent clue of who concluded up on which remix of Lil Nas X’s “Old Town Road” as the song angled into brand afterwards brand (K-pop! Kidz Bop!), maybe you forgot that Diplo was the one to accomplish it shiver and billow into electronica.
Diplo is acquainted of his addiction to be both all-over and forgotten; he called a 2014 anthology Random White Dude Be Everywhere. His new album, a declared country almanac trickled bottomward from the success of “Old Town Road” and the meme-level pervasiveness of the yeehaw agenda, has his absolute name in the title, blame a about-face from sparkly club bangers. Snake Oil is a country anthology the aforementioned way Westworld is a western, or “Cotton Eye Joe” is a alehouse ballad. The almanac is steeped in stock-image cowboy aesthetics. A dabble agitation through AutoTune. “Uh, uh, do si do,” Blanco Brown grunts, 18 times in two and a bisected minutes. In Diplo’s world, the Jonas Brothers are as acceptable a country accumulation as the Zac Brown Band; they bark about hometowns, aback roads, and “giving into love,” while ample guitars accord into exhausted drops and bleared synths. But Diplo succeeds in what he sets out to do: He braids archetypal Diploisms into country frameworks, and sometimes, he doesn’t complete like Diplo at all.
Such is the case on the best song on the album, “On Mine,” a gentle, abrasion Noah Cyrus adulation song. The assembly borders on theatrical—melodramatic wobbling bass, a choir of layered vocals, seconds-long cymbal reverb alveolate at the end—but this is still Diplo at his best subdued. “I don’t apperceive if I can airing this apple alone,” Cyrus pleads. The choir rises in a abscess brew of instruments; it’s abutting to aural absolutely euphoric, a affection Diplo about affluence for juddering bass-blasted babble tracks. On “Dance With Me,” he coaxes strumming guitars into aerial close abode as Young Thug snakes about the exhausted and country-pop songwriter Thomas Rhett croons, “Give me your body.” It’s as danceable and calmly attenuated as any summertime Top 40 radio hit.
You don’t accept to a Diplo anthology for the songwriting, and Snake Oil suffocates in treacly kitsch. Song titles abandon the all-encompassing affair clichés: “Heartless,” “Heartbreak,” “Real Activity Stuff.” “I assumption what goes up, it charge appear down,” Ben Burgess drawls over trudging 808s. “Just because you’re out actuality active doesn’t accomplish you free,” cries the country accompanist Cam. “Sometimes in life, what you wanna do isn’t necessarily what you’re gonna do,” Orville Peck says on the album’s intro, a 97-second spoken-word concoction of countryisms about gunslinger showdowns and arid hideouts. It’s meant to be funny, and it is: This is Thomas Wesley’s playground, and success isn’t abstinent by whether his country songs are acceptable or alike by whether they’re good, alone by whether the adviser has fun. Still, the closing “Old Town Road” remix feels like a abatement from the blow of the album, not a arrangement for it. You appetite to break in this assault oasis, a abode area Billy Ray Cyrus moans about Fenty sports bras and whistles circle about the beat, buoyed by the simple neon beatitude of Diplo accomplishing what Diplo does best: soundtracking the party, wherever it leads.
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