Reviews : Big K.R.I.T. : Return of 4eva

Big K.R.I.T.      

Return of 4eva

[self-released; 2011] 

 8.0/10 ___________________________________________________________________________________

Southern rapper/ producer Big K.R.I.T. is incredibly genuine. Upon first listen of his self-released mixtape Krit Wuz Here that came out last year, it is evident the Mississippi native did not enter the rap game in order to become famous or make money like a handful of rappers just starting out, but rather, for his love of crafting soulful, low-riding hip-hop anthems. Following the release, he even went so far as to offer $1000 and a batch of brownies to anyone that could identify every sample on the tape, exhibiting the rapper’s true Southern hospitality. On the new, free mixtape Return of 4Eva, K.R.I.T. reexplores the typical Southern rap motif, consisting of cars and women, that showed up on his first release, but also, takes a portion of the album to reflect upon the poverty and racism that troubles the streets around the country, and the materialism so prevalent in hip-hop today.

“I ain’t rap about dope, nor did I sell it/ I guess the story of a country boy just ain’t compelling,” raps K.R.I.T. on the low-key track “Dreamin’.” Lyrically, Big K.R.I.T. deviates from hip-hop conventions such as rape or drugs, and instead, his lyrical content comes from a place of sincerity, illustrating that he does not pride himself on showing off or being stuck up. He is simply being himself without getting caught up in cliché urban antics. While K.R.I.T.’s iconoclasms are apparent within his rhymes, the production on his tracks is undeniably reminiscent of mid-90’s Southern hip-hop.

On last year’s K.R.I.T. Wuz Here, he firmly established his prowess for crafting warm, sample-laden beats often recalling production comparable to Aquemini-era OutKast or Mississippi rapper David Banner. K.R.I.T. further develops his sound on Return of 4Eva creating an even hazier and more soulful strain of hip-hop evoking nostalgia of the South. “R4 Theme Song” in particular, exhibits this southern comfort rather effortlessly by riding between soul and crunk, and layering vocals on top of one another, all while backed by pounding 808s (808s refers to a particular drum kit on the Roland TR-808, a drum machine manufactured in the eighties that is used heavily in hip-hop ever since it was developed).

Most tracks on 4Eva play out with a laid-back quality, but every now and then, he’ll bring forth something a little harder; like the marching band horn stabs on “Sookie Now” or the wavering siren on the reworked “Country Shit,” a single from K.R.I.T.’s previous release that is amplified even more here. The reworked single features verses by Southern rap veterans Ludacris and Bun B, who sound fresher than they have for quite some time. Even Chamillionaire, a rapper has not been too active since his hit “Ridin’” over five years ago, finds his niche on “Time Machine,” a highlight from the mixtape in which the listener is invited follow K.R.I.T. back though his childhood memories while driving around with his father. Fittingly enough, Return of 4Eva itself provides the perfect background music for cruising around with your friends and the windows rolled down in these coming warm summer months.