Take the aggressiveness of Underground Kingz, include the lyricism of Outkast and throw in a bit of a country touch, and you have Big K.R.I.T.
The King Remembered in Time has held a solid following during the early years of his career, but with his sophomore effort, “Cadillactica,” K.R.I.T. begins to live up to his name.
The album’s intro, “Kreation,” has clear inspiration from the slow pace of Texas rap with an underlying layer of metaphors that are rarely found in mainstream radio.
Following the intro is “Life,” which sets the tone of “Cadillactica,” a concept album about a planet far from Earth. A place where K.R.I.T.’s mind comfortably rests instead of trying to escape and become something he’s not.
The album then transitions into a series of heavy hitters, including the title track and the third installment of the “My Sub” series.
There is a massive amount of bass utilized on the album, but it’s used in good taste through the deluxe edition of the record’s 17 tracks. Even some blues elements find their way onto Big K.R.I.T.’s sophomore effort in “Standby.”
It takes a few listens to get past the well-crafted instrumentals K.R.I.T has produced and truly listen to the lyrics. Once that layer is uncovered, “Cadillactica” can be appreciated for is cohesive musical experience.
In one of the most controversial songs of the year, “Mt. Olympus” calls out K.R.I.T.’s doubters who have only started listening to him after being called out by Kendrick Lamar on “Control.” He clearly states he’s been around for years, but people have been too occupied listening to mainstream rap to hear him or other conscious Southern artists, such as Jay Electronica.
Confidence radiates through “Cadillactica,” and rightfully so. Instead of the limited potential heard on his first album, “Live from the Underground,” listeners get a full dosage of one of Mississippi’s top hip-hop artists. He has stayed true to his Southern roots as opposed to straying from them, and with that comes a price.
By releasing an album so innovative for today’s culture, K.R.I.T. may push himself further away from the mainstream, but album sales now dictate popularity instead of talent. There are no radio hits on “Cadillactica” forcing listeners to find more than a catchy beat and actually connect with the music.
In a world full of songs about money, cars and other tangible possessions, Big K.R.I.T. has created an album the industry has long forgotten about. Although it may not receive the award nominations it deserves because of its lack of popularity, the daunting challenge of creating an album more complete than “Cadillactica” should reinvigorate hip-hop.