Showing posts with label kodak black. Show all posts
Showing posts with label kodak black. Show all posts


Why they always fuckin’ with me? No, I don’t give a fuck ‘bout One Time!” Since the reign of T-Pain, the city of Tallahassee has been starved of a star. Places such as Broward County and Miami have been the focus-point of Florida Hip-Hop for years now, leaving T-Town silently in the shadows. That is until K'NO dropped. Although the rapper is now based out of Los Angeles, he represents Tallahassee whole-heartedly; using his savage 2019 single, “ONE TIME”, to cast some rays back on his Gunshine home. Certainly, a star resides in this lyricist, capable of ascribing another face to Tallahassee’s growing list of greats. Only difference between K'NO, and the autotune icon before him, is that this emcee’s artistry hardly caters to the radio. Over hats, snares, and 808s, K'NO is inexplicably cutthroat. His bars are riddled with the ruthless realities of Tallahassee’s streets, matched with clever metaphors regarding the life he lives within them. “ONE TIME” is not a single detail shy of the grittiness, swagger and grime overtaking other areas of Florida. In fact, it may be even better, given that it pumps with an energy only K'NO can accord. This record will be dropping on all platforms May 23rd, and an album will be following it as soon as Miso Rich Entertainment gives the word. Until then, you can catch K'NO’s “ONE TIME” on Youtube; and watch this T-Town talent’s numbers quickly climb. 



“One Time” 








G Pea’s phenomenal, new opus “Glass House”, is opened with a poignant spoken word. Shrouded by a miscellaneous cacophony of noises, the rapper ushers us into the concept of his project. In a solemn, yet creative code, he speaks on the state of living in 21st century society; drawing countless parallels to “living in a glass house”. As moving as his soliloquy is, this ten-track album was seething for a sonic entrance to the glass abode; and G Pea provides one with the thunderous “Doors”. It is a magnetic trap banger, riddled with insightful jewels from G Pea’s own experiences and perspectives. Likewise, it cements the bases for much of the project’s sound. Tracks such as “WIFI”, the impactful single “Fishin”, “Progress”, and “Where You Going?” each adhere to this harmonious rubric; thumping club-ready beats coupled with inspiring, conscious bars.



Two personal favorites have to be the victorious, poetically-written 8th track “Foundation”; and the soulful, auto-tuned ballad of the 9th track “Devote”. Both show the splayed range of G Pea’s artistry, and add gorgeous architectural dimensions to the “Glass House” aforementioned. Truly, the masterpiece is a concept album, through and through; where the intellect of G Pea’s lyricism aims to refurnish the “Glass House” we’ve all been living in. By the end of the album, we discover that G Pea does not find this residence problematic what-so ever. The problem lies within the fact that, in the 21st century, we are all throwing stones. He hopes, with a listen to this incredible album that he can begin to remove those rocks from the palms of our hands.


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There’s nothing new under the sun. Especially the one beaming across the state of Florida, shining vibrantly on Miramar’s own, Tone C. In a gilded gush of autotune and rap, the Panama-born emcee takes us back a decade with his latest, radio-friendly release, “LIGHTS OUT” (feat. Israel Taylor). 

 

This track is a bubbly, torrid fusion of pop, hip-hop and R&B; reminiscent of the aesthetic that dominated much of our radio earlier in the century. The Toya Beats production is buzzing with melodious synths, backed by grandiose, 808 drum loops; sonics which all mesh to create the perfect club-rocking concoction. Tone C gives nothing short of a stellar performance. He flexes his penchant for song-writing and story-telling; flirting lyrically with a girl unknown. His solid delivery, matched with the addictive auto-tuned hooks of his feature, Israel Taylor, create a powerhouse of a record; dripping with every ounce of warmth and magnificence that attracts the lot of us to the Sunshine State. If the nature of radio records, as of late, has been suffocating, “LIGHTS OUT” is a nostalgic breath of fresh air.



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Florida spitter, Yung Booz, opens single with the mention that “An OG once told me ‘Boy, you hot in these streets when you touch that microphone.’” Four minutes later, it’s crystal clear that the man wasn’t lying. Not one bit.



“All Or Nothing”, Booz’s latest, Stackz Up Michael-produced drop is a quintessential, Southern trap smash, featuring a chantable chorus, and booth-burning bars. On the record, our Sanford soldier details just how dedicated he is to prospering; telling each and every way he’s willing to get that almighty dollar. The hook comes overflowing with that infamous, addictive, and melodically-pleasing Southern deliverance we all know and love. It’s pure, and poised to excite any crowd he may perform for. When it comes to his verses, that very same crowd just might fly into a riot. Booz brings an infectious energy and aggression to his raps. You won’t simply listen to his lyrics. You will feel every syllable he shouts, because each and every last one of them clearly come from his spirit. His unyielding spirit, the very same spirit that keeps him devoted to succeeding, gives every word its own powerful punch. If he holds on to that spirit, pushing this record with everything he’s got, “All Or Nothing” will be flying up the charts.




“ALL OR NOTHING” 


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