Society is on the precipice of change. Gender superiority, though not yet abandoned, is an institution ripe with the potential to self-destruct.
The duty now rests on the shoulder of the underground - with all its kingpins, bosses, and stick-up boys - to guarantee change is assured.
Sure, anything that men can do women can do just as well , if not better; a forgone conclusion. In this year of our Lord, twenty-ought-fourteen, women are trusted in boxing rings with more than numbered placards. Sporting gloves and trunks befitting a fighter, girls are have gained access to rings with twice the number of sides to boot. But tangible change, where society is concerned, must be sustainable. Society's underbelly must accept the changing of the times as fact. Elliot Ness was a man, and Al Capone, too, is said to have been been male. But while one gentleman gave chase as the other heeded, neither would have become historical figures without the women of the temperance movement, hatcheting their way towards the 18th Amendment. Even upon reaching the highest of peaks, a certain respect must be afforded to womankind. "Mother of mercy, is this the end of Rico?"
The Queen of the Pacific might be inclined to say ye, yes it is.
A boss by any standard, it is from this vein that Amber London bleeds: boss-lady tried and true. Her catalog stretches back two years, and throughout it London's aesthetic has been consistent. The fetish for nineties southern rap is undeniable. Alas, Miss Low Key is more than forlorn gangsta rap regurgitation. The seminal RXIDXR KLVN figure has long been among the network's most adept rappers. With a persona equal parts meanm and determined, with an unmistakable unapologetic Houston-flow, London's attitude lends itself to throwback status: uncompromising. A student following the hustler's blueprint, as was once the norm, by applying the playbook to her music. Gender is of no importance on a moat wherever the beat float. Bad is bad in spite of reproductive genitals.
Such is the trend which continues on "Can I Live Wit Da Glock on Me." What follows is a hypnotic 32-bar rap without any semblance of chorus. Between the cmumukative fifty-seconds of intro/outro are two verses, the second of which is superior, broken up by an interlude. In absence of a hook, the Hard II Find (Not Found) thesis applies just as well to the loosie below: "this underground." Released over the weekend, the song is sample based and Produced by occasional BRK affiliate YungIceyBeats. The track features the Atlanta beatmaker's affinity for deep-melodies and heavy bass; which, as can be heard on this Black $murf track, allows rappers to make of his beats what they will. Content-wise, "Can I Live Wit Da Glock On Me" justifies the narrator's lifestyle, all the while begging the question "Why has the OG has never received more attention"; a habit Amber London songs cannot seem to shake despite being on fire east of Osiris
For progressive, artistic statements the author's advice is to look else where. Honest, straightforward music, however, can be enjoyed below.
- John Noggle
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