Year : 2012
Genre : Hip Hop with clever, tame experimental tints
Label : Independent
Origin : United States
Official site : > - here - <
Kei-Shon-Son's latest to date project is a series of releases that focus on the working hours side of everyday existence, and this indeed is something most listeners will have not much - if any - trouble relating to.
This particular mixtape, composed of a smart selection of the related material contributed continuously by the artist, features seven tracks, and not one of them bleeds through the 3 minutes mark, in fact, they do not even reach the mentioned benchmark. Really not a problem, quite the contrary : Kei-Shon-Son seems to have found his style, which is to deliver the goods in straight-out fashion and with fluent, swift efficiency, without relatively cumbersome musical buildup strategies being forced down on your receptors in the process. Read on to know more about this mixtape.
Kei-Shon-Son still brings you the classic style of KSS - wonder what THAT might be, eh? - rapping that you have had the chance to hear from him via his earlier output, like in Tha Sleepwalkers. His demeanor is still calm, peaceful and still he comes through as a really OK guy, featuring clever lyrical content which is much more interested in trading with optimistic percepts than in painting grim perspectives. The musical side of things have adapted a shape of sober experimental form in the sense that the grooves you hear are classic, old school ghetto synth pop pleasantries, yet some kind of playful adjustment always is utilized on top of them, and never to the point that it would hurt the character of the music. To name some of these solutions without the intent to cover all of them, - because there are lots, thank God & KSS - I'm pretty sure that Kei-Shon-Son plays around with the mere "direction" of the sounds, for example, - reverses some of them - to unleash an interesting effect on the listener, while he similarly employs mature panning strategies to add space and movement to the tracks.
The song called "Woke" - the last one on this mixtape - features a lady who signs a pretty awesome backdrop-lead that conveys the feeling of - uhm - classic ghetto epics, pardon my French. I'm referring to the mood you can pick up from songs like "One Hundred and Tenth Street" - the same vibe, now channeled by a lady with great efficiency, without her seeking to be super-bombastic in a "lookicansingepically!" way. Kei-Shon-Son definitely should work more with this chick, in my opinion, as the musical/hip hop chemistry between the two builds into a construct that is very easy and pleasant to appreciate.
Once again, the mixtape weighs in kind of as an extended play in character, which, though, is communicated rather beneficially : Kei-Shon-Son is not the kind of producer who gets super-sentimental about the fact that he could assemble a legit track, and so is enthusiastic to build it up in front of you to prove the point. Nah, the guy knows what he is doing, and that is none other than deliver "just natural" rapping right away on the fly, which also is the hardest and most admirable kind of it.
Check out Kei-Shon-Son's I Can't Call It Vol. 4 mixtape at : http://www.officialhiphopmusic.com/
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