This is not because Hip Hop listeners are anti-humor or even anti misogyny, but because Cole has lead us to believe he can deliver a powerful punch on a powerful track but rather gives us lame video game jokes.Īlthough Cole is eager to deliver on his lofty ambitions he rarely hits the mark. Bars like “know allot of niggas, that’ll marry your type/ bad bitch with a degree I’ll let em’ scoop ya/ I’m Koopa, I never been the Mario type” are more groan inducing than anything else. The lyrics are half braggadocio and halfhearted proclamations about groupies. However, lyrically Cole doesn’t add much to the party. It’s an excellently crafted track that boasts a chorus by a church choir warning that “Trouble’s coming!.” It’s all dark clouds and thunderous skies. The beat sounds like it should induce sweaty palms and uneasy stomachs. Take for example the song “Trouble.” This is the kind of J. It’s a great novel with the last forty pages missing. Dope beats with classic Hip Hop references but not reliant on them.Īt its worst Born Sinner is all lead up without a satisfying conclusion. This is Cole at his best, wordplay and lyricism at ease with the track. However, he still finds time to add a bit of social commentary regarding the racial under tones of constant silly Illuminati rumors. Here he injects sharp defiant yet lyricism like “I studied Machiavelli/You niggas couldn’t blow with C4 strapped to your belly/I snuck up out the parks where niggas be living heartless /And cannot tell the difference between Iraqi, Israeli”. This is the closest you’ll get to Cole giving you Timberland and hoody rap. At its best, “Born Sinner” is a snarling yet contemplative grab for legitimacy best personified by the aforementioned “Villuminati”. Sonically Cole sets the mood with ominous bass lines and brooding beats, laying the foundation for something “way darker this time” as he puts it on the introduction track “Villuminati”. Born Sinner is Cole’s melancholy sophomore album that is based upon his sense of bewilderment and depression he experienced prior to his debut album. While he’s not a virtuoso at either, the culmination of these two should guarantee a top spot with his peers. Similarly, his attention to detail in his production, including picking the right samples and structuring soaring melody (“She Knowz”) makes him one of the best beat makers in the game. Cole’s workman like approach to similes, metaphors and a raspy Nas-inspired flow is commendable (“Mo Money”). His music never invites the drama and creativity of Kendrick Lamar. However, Cole never seems to be at ease playing the heartthrob as eagerly as Drake does. Cole boasts a gold plaque for his debut album “Cole World: The Sideline Story”, a platinum plaque for the leading single “Work Out”, respect from his peers and a fanatically loyal fan base. Cole is no doubt a considerable star in his own right. This unintentional one-upmanship by the Toronto native seems to have cast a shadow over J.
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