Ditto the post-breakup bar crawl of “Wet Lashes & Shot Glasses” and “Show U Right,” which aims for roller-rink jam status-complete with talkboxed vocals on the hook-but lands in generic ’70s-movie-soundtrack territory.
has even admitted that he purposefully produced the song at 69 bpm-but it’s little more than Isley Brothers karaoke. “Cum Out to Play” is supposed to be a velvet-sheeted sex jam for the ages-K.R.I.T. has proven many times that he can carry a tune, the album suffers when he shifts gears completely. The raps on Roses are fleeting compared to previous projects, and while K.R.I.T. “Even if we are faithful,” he coos to his nameless lover, “Sometimes love flames out.”īut moments with genuine heart and drive are too often spoiled by overeager schmaltz. On “Generational - Weighed Down,” he fears passing his alcoholism and bad decisions onto his future children and second-guesses the relationship he spends the first half of the album building. That song and “Rhode Clean” evoke vintage K.R.I.T., effortless rap-R&B hybrids that cruise by like gently refurbished muscle cars. “Southside of the Moon” is a playful take on the age-old love story to hip-hop (“I’m from 300, she from 106 & Park/ BET Uncut, I used to see her in the dark”), told over producer DJ Camper’s minimal 808s, snaps, bass notes, and hums. is still capable of bringing scenes to life with a wide eye and a sharp pen, and certain moments showcase the warm sincerity of his earlier work. Roses is more expansive in scope, encapsulating a four-act love story from first contact to breakup, sectioned off by the four elements: the early passion of fire the foundation of earth the familiarity and rhythm of water and the turbulence of wind, as he explained during a livestreamed album listening event. His past love songs are as seamless as the fusion of his pet sounds, pulsing with the rush of first love or the gravity of an argument as the narrative demands. Roses’s imbalance is a shame because its direction feels like a logical extension for K.R.I.T. And though K.R.I.T.’s risktaking is commendable, the results flounder between earnest ballads and cover band hokeyness.
#Big krit new album 4eva is a mighty long time mac
Roses aims for a similar love-soaked retrofuturism as albums like OutKast’s Stankonia, Mac Miller’s The Divine Feminine, and Silk Sonic’s An Evening with Silk Sonic. Instead of subwoofer-shredding bass, Roses subscribes to the sleek funk style of bands like Sly and the Family Stone and Parliament-Funkadelic-sounds that his Dungeon Family progenitors would spend hours digging through crates to replicate. achieved a delicate balance of brash and introspective cuts, which has since been abandoned.
Between his 2017 double album 4eva Is a Mighty Long Time and 2020’s K.R.I.T. The Mississippi rapper’s fifth studio album, Digital Roses Don’t Die, feels like the biggest curveball of his career, even for an artist used to going against the grain.
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