Wayne’s career, in many ways, has been the antithesis of K.R.I.T.’s. It’s funny and surprising, blasé yet vital. is joined by Lil Wayne, who drops one of those unexpectedly great verses that, even this far past his peak, he still delivers regularly enough that we should almost start expecting them. On “Addiction,” a shameless and otherwise only so-so knockoff of Kanye West and Lil Pump’s “ I Love It,” K.R.I.T. had availed himself of a few swings and misses. Iz Here might have been better off if K.R.I.T. is almost incapable of making a song that’s anything less than perfectly fine. The Rico Love feature “Obvious” rides the same wave of wistful Caribbean music as Drake’s “Controlla,” while the strip-club fantasia “Blue Flame Ballet” mirrors the freak-soul of Childish Gambino’s “Awaken, My Love!” There are shades of Migos in the triplet flows of the clubby trap cut “I Made,” and elements of Frank Ocean in the wistful closing stretch twofer of “High Beams” and “Life in the Sun.”Īll those songs are perfectly fine, because K.R.I.T. Here” taps the jazzy joy of Chance the Rapper and Donnie Trumpet. “I Been Waitin,” with its posh, nervy production, borrows liberally from Travis Scott’s art-house trap. Iz Here he tries branching out a bit, too.
barely even bothered acknowledging current trends, on K.R.I.T. There’s literally a song called “Learned From Texas,” about all the moves he learned from DJ Screw and UGK, as if anybody who’s listened to more than 10 minutes of K.R.I.T.’s music could have possibly overlooked Houston’s influence on him.īut unlike 2017’s 4Eva Is a Mighty Long Time, where K.R.I.T. He’s still making music seeped in UGK worship, all soulful Southern country grooves, subwoofer-Shiatsuing bass, and Pimp C snarl. The album is ostensibly a sequel to his 2010 breakout project, and the title’s nod to the past only underscores how little his core sound has changed since then. the same as he always is: perfectly likable, admirably sincere, predictably dependable and dependably predictable. Even when his projects impress on first listen, they can’t help but bleed together in the big picture.Īnd so K.R.I.T.’s latest project K.R.I.T.
is beginning to look like rap’s answer to Ty Segall: consistently good, rarely stop-the-presses great. And yet there’s a sense that he’s underperformed. Has a following, and longevity isn’t anything to scoff at. was able to parlay his talent into a sustainable recording career. Unlike Donnis or Charles Hamilton and the blog-rap era’s other flash-in-the-pans, K.R.I.T. That’s not to minimize what he has accomplished.
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