Mr. Dreamville’s 5th studio release redefines the premise “Heavy is the crown”
Very few MCs in the current spectrum of Hip-Hop get the type of hype afforded to one young Jermaine Lamarr Cole. Fayettville’s favorite son has been heralded as part of a reemerging renaissance of lyricism and conscious content since his 2007 debut mixtape, The Come Up. Signing with Jay-Z’s Roc Nation in 2009, the rapper/producer catapulted into the stratosphere of Hip Hop’s elite with his first four albums, Cole World: The Sideline Story, Born Sinner, 2014 Forest Hills Drive and For Your Eyes Only all debuting at number 1 and each earning platinum sales status. KOD would stream in hot and heavy two days after Cole announced the upcoming projects 4/20 release date.
The infamous stoner holiday as a release date is not a subtlety wasted, as KOD (meaning Kids on Drugs, King Overdose and/or Killing Our Demons) doubles as an intoxicating yet sobering expose into the world of addiction, abuse, trauma and turmoil. Riding the wave of the drug music on the air nowadays, KOD as an album is very lo-fi in essence, full of 808s and spiced with screwed vocals. It’s a beacon through the slurs and mumbles of the day to “Choose Wisely” – as a consumer of stimulants and as an active participant in life.
“But, A2HH, IS IT SNAPPIN?”
Tough question, honestly, and it depends on who you ask.
J.Cole’s fanbase sports the type of ferocity that few artists can boast (Bey, Ri and Em included) – they fight for recognition of King Overdose’s genius and double down in the presence of even the slightest criticisms. Their plight is justifiable, as some critics lambast Jermaine at every turn they get, alluding to an under-the-top low key image and style of music that doesn’t desire the huge noise found in rap’s other chart topping projects. It’s with this in mind that we give a relatively unbiased opinion based on the merits of the project, neither jocking nor attacking Mr. Cole and his loving fans worldwide.
The album starts off with it’s jazzy, spoken worded “Intro” – a very Erykah Badu-esque insight into fear and love before jumping into the title track, full of bass and triplet rhymes, ala Migos, dedicated to flexing on his competitors and his drug adjacent upbringing. “Photograph”, a trunk rattler with a bit of a K. Lamar/ Schoolboy Q vibe to it is about romance and relationships in the social media era:
“Fell in love through photograph
I don’t even know your name
Wonder if you’d follow back
I hope to see you one day
I won’t show my niggas now
I’II keep this one for myself
Love today’s gone digital
And it’s messing with my health”
It’s at this point things start feeling familiar – not necessarily to Cole’s previous work, but more like a clear indication that this album is trying to appeal to the fans of other artists’ established work. This isn’t a slight on it’s own – Kendrick Lamar has at least one album that carries the same burden, doing it well to boot, so we continue…
“The Cut Off” (feat. Kill Edward, a druggy alter ego for Cole), a jazzy, minimalistic tune about keeping manipulative friends at a distance sounds like an off key imitation of a DAMN. track with about an extra yard or two of chorus at the end. The album’s first single “ATM” revives the Badu moment and a little more Kung Fu Kenny influence in the refrain weaving a catchy ode to the addiction to money (addiction to money = ATM, according to a recent tweet from J. himself). “Motiv8” as a follow up is a perfect fit, as the song is geared towards motivating towards money, and all the perks that come with balling out of control, complete with an infectious Junior M.A.F.I.A. sample and plenty of bling rap:
Please don’t hit my phone if it ain’t ’bout no commas
Keep the peace like Dali Lama, big body Hummers
Backin’ out the parkin’ spot and though the law be on him
He exempt, Shawn Kemp, he keep that .40 on him
“Kevin’s Heart” might be the standout song on the album sonically, full of sexy melodics and a heaping dash of Migo style lyrics and adlibs:
Slip me a xanny at once (somebody)
I got the earth in a blunt (smoke)
I get the skirt when I want (skrrt!)
I get the skirt when I want (skrrt!)
Due to the money aroma (somebody)
My girl she got a diploma (smoke)
She got wife written all over
She got wife written all over
“Brackets”, another mellow groove, deals with the struggles that come with a higher tax bracket, along with the nefarious nature of where those monies actually go. “Friends” (with another chopped and screwed Kill Edward feature) is a heartfelt letter to his city and everyone appealing to find healthier outlets for one’s issues, including meditation. “Window Pain” (Outro) is a plea to end senseless violence and pain, including a tear jerking interview with a young fan who recounts her cousin’s shooting and a message that “God is trying to show us something and teach us a lesson”. “1985” (also called “The Intro to The Fall Off”, which may be either Cole’s next album or a tongue in cheek reference to King Overdose, or someone else’s career) is a heartfelt reply to a diss directed to him [presumably from Lil Pump, or whatever his name is] full of suggestions on how to maximize the short lived popularity the industry provides to new gimmicky artists.
The whole album is extremely well conceptualized and manages to fully cover the ideas that the titles multiple explanations demands.
Yet meh.
Meh?
Meh.
Why meh?
“KOD” is either too much of everything or not enough of anything. On first listen it’s near impossible to not think “This is Cole’s version of DAMN. (and TPAB, and Section 80 AND Joey Bada$$’ 1999, etc, etc). The idea of emulating other artists is understandable, relative to the subject matter and Cole’s personal stance, but it does him no favors in terms of creating an exemplary project. A lot of this album feels either preachy (try shoving love into a list of drugs), tongue in cheek or simply arrogant. Keep in mind these are assessments that many albums share, yet coupling that with forgettable rhymes and underwhelming beats and KOD comes off mighty in premise and stale in delivery.
I’ve probably never been so determined to make a B- album work in my mind and heart. Cole is trying to do the right thing by the hip-hop culture, his fans and people worldwide, and they truly love what he does. So do I, if it wasn’t so damn uneventful.
80/100
