It was the sort of track that one could take great pleasure in despising ― obnoxious enough to grab your initial attention, but catchy and stupidly clever enough to keep you bobbing your head, eventually joining in Jesus’ sneering, deliberate flow as he threatens to “take you out like a fucking date,” or catch you at the “wrong place at the wrong time.” To bump “Drill Time” is to ride the fence between pleasure and pain, toying with the idea of jumping toward either side. The Ohioan emcee’s controversial single-cum-video “Drill Time” wormed its way into meme status in the summer of 2015, largely thanks to the dubious authenticity of its white, pubescent mastermind, and partly on the strength of its deliciously sinister production and eyebrow-raising use of simile. Slim Jesus is a celestial entity that feeds off the hatred of others and is willing to intercede in the physical world in order to sow his feast of discontent.
He that hideth hatred with lying lips, and he that uttereth a slander, is a fool (Proverbs 10:18). If you “thought that you had Turbo in your palm,” like he speculates on “Alone (Intro),” he has 12 more tracks on deck to show you how wrong you were. “Drank Head” reminds me of listening to Kingdom circa “Bank Head” (no pun consciously intended). Turbo’s grown-up beats, though, are the main attraction. The all auto-tuned delivery sounds somewhere between that of Almighty So, a kind of critical touchstone, and the in-your-face vocal style of more recent mixtapes. “She told me that she loved me /And then I closed the curtains,” sings Turbo on “Couple of Coats,” practicing the latter and sort of expressing whatever of a romantic ethos he, one of rap’s ultimate cynics, has. Every song is the kind of distracted love song he’s so good at making, blending what sound like true expressions of his emotions with crass and imaginative storytelling. In terms of his entire musical craft, Keith Cozart has entered a new era, swapping the Chief Sosa mask with that of Chief Turbo. I don’t know what surprised me more while listening to Thot Breaker - that Chief Keef is still producing his own tracks, or that they all sound amazing.
– Nick HendersonĬhief Keef - Thot Breaker Adamn is nothing new for the eponymous rapper, but it is the best document thus far of what he does: immaculately mastered beats from Ryan Hemsworth, Shlohmo, UV Boi, and Dolan Beats form a silky continuum for Adamn’s cobwebby shittalking meditations to spread out, comfortably anesthetized in their sleepy half-articulation. I Am Adamn is the rising Chicagoan’s first proper album, bringing a hi-fidelity touch to the sparkling, gauzy production lane that 2016’s slept-on Back 2 Ballin tape codified. Adamn Killa - I Am Adamn Īdamn Killa is the type of rapper who does one thing, and will do it proudly ‘til death - the ineffable aura encircling his flow lilts in how it refuses to make a case for its drooping metrics: yawning hooks trail off and form concentric rings around a self-image of solitude as Adamn constantly repeats his own name (“ Please don’t ask me who I am, it’s on my face” he warbles on “Too Late”) and pens dirge after ballad about how bad his haters smell.
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