![]() Production may be the catalyst of 4NEM, but his commitment on the rapping end separates it from more minor tapes in his catalog. “Tuxedo” is similarly led by horns that bring back memories of the Flockaveli era, but this time the hi-hats rattle throughout and clash with Keef as he shifts between chants and growls. ![]() Once you’ve given up the hope of percussion, the drums suddenly begin to thud and the moment is euphoric. For the first minute, Keef’s triumphant raps (“Made it out the Chi’/If I didn’t, wouldn’t see today”) are backdropped by a drumless instrumental and horns that blare louder than a fire alarm. “Bitch Where,” produced by Akachi and Sonickaboom, might be the coolest. Similar to Keef’s most noteworthy albums, 4NEM is driven by the beat selection. But the way he continues to reimagine and reinterpret those influences is part of what makes 4NEM feel so alive. I suppose that’s nothing new-since Keef was a teenager, he’s been infatuated with ATL trap and Memphis street rap. If you were to tell me that Keef spent the past year recording this album unplugged with access to nothing but a USB of Gucci Mane and Three 6 Mafia mixtapes and Lex Luger and Zaytoven instrumentals, I would believe you. But when it clicks, you get a tape as singular and creative as Almighty So, GloToven, or his latest project 4NEM. I tend to side with the latter, which isn’t to say the music is always good. ![]()
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