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Jason Voorhees alludes to Jason from “Friday the 13th,” and Jayson Tatum is a star-player for the Boston Celtics who is actually from St. If that wasn’t enough, the hook is nonsense as well, so it is difficult to advocate for the track despite the promising first verse. However, the lackadaisical writing for the second verse causes the latter half of the song to lag. For instance, the 11-track “PIZANO” kicks off with a mesmerizing first verse where Smino spits at lightning speed over a lucid beat packed with kicking bass. “L.M.F” and “PIZANO” also have potential but suffer from gaping imperfections.
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The rapper ruins the song with her cheesy joke at the beginning of her verse and her weak lines, like “A- like a cinnamon roll, head and p- game strong,” which is the last line of the closing verse, leaving Smino no opportunity to recover the track. Everything about this track is fantastic until Dreezy halts the song’s momentum like a wall of bricks. For instance, on “FENTY SEX” Smino lays a slick chorus over a hip-swaying instrumental, and the combination of a morphing bass and quirky xylophone pattern create an original sound. (Image via DJBooth)ĭespite these major positives, there are still loose ends on the project that drag down its overall experience. Smino’s album contains both highs and lows, but it is overall a quality second project. Smino’s animated delivery and clever wordplay also contribute to making “SKEDOS” a noteworthy song. The two halves contrast each other nicely and add a unique recurring component to the track. This level-headed section is more of a logical and poetic argument. (If they don’t) Bring it to they neck, tuxedo see-throughīlood suckas close, n- swat the mosquitos” K-Indie Artists That Will Enrich and Bring Fresh Air to Your Playlists For instance, “SUMMER SALT” stands out as an emphatic beaut, with its ethereal environment bundled with soothing strings, bass and vocals, but the rapper Bari propels the six-track even further with his distorted delivery on the closing verse. Though Smino only invites a small group of guests on “NOIR,” they are utilized well. In a quick change of pace, the second half transitions from the delicacy of the first part to a muddy bass line and a vocal blues flavor during its chorus, allowing the artist to flaunt his singing ability with a climactic isolation in the midst of the mystifying latter half. In this first part, his lyrics embody self-reflection, as he describes his current life to his audience. The two-part introduction “KOVERT” begins with Smino dashing through a subtle instrumental supported by gentle synths. As a result, the wordsmith glimmers with potential on his sophomore output. The project is laced with intoxicating tunes, uplifting anthems and soothing rhythms, and by including only a small number of features and spitting most of the bars himself, Smino puts his abilities on the center stage. On his 2018 follow-up project, “NOIR,” however, the Interscope artist finally seems to be exploiting his lyrical and sonic ambidexterity.