“Gone Krazy” by Millz Corleone
Constructing a hook in modern hip-hop that doesn’t sound similar to the scores of intriguing climaxes coming out of the rap underground at the moment is hardly an easy task. It takes a lot of thought, a pure love of the game, and the sort of natural talent that players like Millz Corleone will tell you doesn’t grow on trees. Corleone is rocking a pretty unique swing in his new single “Gone Krazy” that recalls experimentalism ala Conceptz much as it does the direct attack of a modern, alternative trap movement, but all in all, this has his signature sound engrained into its very bones.
The lyrical flow here is act, and I like that Millz Corleone isn’t leaning on the bassline to shape his depth with each verse. contrarily, he hangs back from the tonal bottom-end and syncs up with the beat itself, swinging along to the percussion in a manner that showcases his OG sensibilities more than they do his indie, alternative side (which is still quite present in “Gone Krazy,” don’t get me wrong). His structural approach is pretty old school, but his execution is what aligns him with a burgeoning era of bold players that need more cohesion and artists like this one in the spotlight.
Most hip-hop, especially modernly, puts a lot of stock in the percussive element in any given performance, but this is a track that sees Millz Corleone using his verse to drive the groove and using the drum part only as the minute guide it ought to be. I love that he isn’t all over the backend trying to force his words out behind a wall of instrumental physicality – he is the muscle in this piece, and his swagger perhaps amplified by the tension he’s joined by in the arrangement.
The bass is totally AWOL at the fever pitch of “Gone Krazy,” and I’m glad it is – if it were obstructing any part of the verse here, I don’t know that we would get to appreciate how much energy Millz Corleone is putting up with the mic in his hand. He’s got a voice that was made to soak up the spotlight and a charisma that isn’t completely lyric-centric, and the latter alone would have been enough to win some high marks from this critic in regards to his latest release this summer.
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