![]() If Keem came through with quotable lyrics or something I’d could salvage it, but nah he just uses this weird early 2000’s pop-punk impression to talk about how he hates using condoms. ![]() That’s exactly what this song sounds like. It’s like whenever rappers/singers link up with that one fat white guy with the glasses who loops the same 4 bars over and over again. I’m biased of course because I hate hearing people sing/rap over guitar loops. Keem has you in the palm of his hand on pretty much every song on this album. Especially on NOT MY BRO because it starts off as this obviously fake Carti song, but then that beat changes and Keem’s energy goes through the roof. STATS, MOSHPIT & NOT MY BRO all do this and wow I’m so glad. There’s a couple songs on here where the beat switches and it catches you totally off-guard. That would be chaotic if someone else tried, but since Keem is hella versatile he pulls it off flawlessly. ![]() Keem is a walking firework one minute then a hopeless romantic the other. But DIE FOR MY BITCH? This shit is different. Which is rare because usually when a lot of people love something I immediately am turned off to it. ![]() Then at a house party I finally found out who it was and heard the song in full and loved it. I had heard people saying some of the lyrics to ORANGE SODA, but no one would tell me who it was. This vision is one of intentionality and understanding, traits that lead to a cohesive presentation despite the eccentric feeling that the songs can have when played in order.Not gonna lie, I had no idea who Keem was before this tape. From humbling a model on the opener “STATS” to crooning over a past lover on the following track “HONEST,” Keem, real name Hykeem Carter, possesses an artistic vision that seldom few have. It is self aware in its messaging, playing into braggadocios while offering nuanced perspectives that drastically varies the listening experience. The listener upon completing the record will leave it feeling that no one else could make that collection of songs, further highlighting the individuality of the record.īaby Keem’s Die For My Bitch is THAT record and one year after its release, it is even more apparent.īoasting 14 songs and clocking in at around 34 minutes, Die For My Bitch epitomizes a “successful” Hip Hop project. Although there is not a formula to consistently produce impactful, top tier content, a successful hip hop record is “successful” due to it occupying a space that seldom few interact with. They build upon previously popular soundscapes while implementing variations of their personality into the direction of the record. So when looking at mainstream hip hop records that have captivated audiences in the last five years, they establish an essence that is unmatched amongst the market. Furthermore, in recognizing this discrepancy not just being developed but already apparent, it is on the artists to craft records that deliver an idea and never overstay their welcome. This results in a wide array of content that divides the consumer’s already diminishing attention span. It also does not help that the artists have opted to exploit the streaming platform and abandon the concise 10-15 track album for a more redundant 20+ track experience. Whether it is used to narrate a night’s adventures or a routine trip to the grocery store, the consumer has grown to neglect rap music due to its overbearing presence. As the genre has seen popularity increase over the last decade, the consumption of the music has mostly become a passive act.
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