Big K.R.I.T. - 4Eva N A Day | Album Review | By Volume

I'm here to tell you love ain't some fucking blood on the receiver. Love is speaking in code. It's an inside joke. Love is coming home. The Format - If Work Permits
Big K.R.I.T. - 4Eva N a Day

Big K.R.I.T.

4Eva N A Day

A tumultuous mixtape where label conflict collides with brilliance.

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Author: on April 15, 2012
6.7
Cinematic Music Group
March 5, 2012

It is somewhat disheartening how comfortable K.R.I.T. is becoming on record. Not that he is without reason to celebrate; he has released an alarmingly large amount of excellent music in the past two years, as well as signing a deal with Def Jam. Not bad, when you consider the pictures he has painted of a life spent between his headphones and the humid streets of Meridian, Mississippi. Endlessly dedicated and unapologetically colloquial, K.R.I.T. colours himself in a workmanlike fashion. So seeing him “make it,” so to speak, is an encouraging flow for his personal narrative from an outside perspective. For K.R.I.T. himself, though, it seems a mixed bag of sorts, as one would expect of fame, especially the marginal kind. You know – when your friends, some girls, and some writers all know you; fans gather in a respectable mass; and promoters are feigning respect, where they used to demand you hurry the fuck up. But still your managers come down on you for the hits – this is a business, after all — and you cannot quite stand up to label ownership with steady footing. It must be a complicated world which K.R.I.T. occupies presently. 4Eva N A Day if nothing else supports that theory immensely.

Excuse my tone of voice / but today was just a bad day,” he opens on the excellent “Handwriting,” and then continues to elaborate: “Label hit me about another single / and said I ain’t had play / Since Country Shit.” Amongst a serious bang and an oily guitar riff encompassed by some draping strings, the song continues with K.R.I.T. introspectively analyzing his eventual downfall, whether it be from his pride, a flop, his fundamental aversion to major label ethics, or – more dramatically – at the end of a bullet. This aspect to his output – the magnifying glass with which he examines hip-hop and music culture – is probably his most appealing characteristic. Beyond simply being very good at it (“Hit or miss, we take the risk / Cause anything is better than viennas and warm grits,”) he relishes in his admiration for fine booze, bud and big booties without ever having really sold drugs or murdered anyone. Nor does he even truly pretend.

The problem is, it seems like the pressure might be getting to K.R.I.T. This is not a slight against him; he has given away three full records for free that range from great to block-rocking hot. We cannot expect him, especially so young, to be flawless at all times, and truthfully K.R.I.T.’s faults are what make him so compelling. All of this hoopla, and he is still yet to release a debut-proper; which from where I am sitting is being constantly delayed. One would hope it is K.R.I.T.’s perfectionist nature and this mixtape is him cleansing his palette.

Or, you could view all the venom he shoots in the direction of his big-label burden as telling, and argue that the first half of this record is him placating the suits hovering above by simply recreating a lot of what made Return of 4Eva (2011) so infectious. “4EvaNaDay(Theme)” is about as close to a mirror image of “R4 Theme Song” as you can get. “Get money / Don’t be no lame” is how he starts off his first single “Boobie Miles,” and he follows with a flurry of sport-themed clichés about making it. Thing is, for me to re-read those previous comments – they are probably accurate, sure, but they miss the entire point of K.R.I.T. “4EvaNaDay(Theme)” and “Boobie Miles” both are homes to settle into, places to set up shop. They provide landscapes for listeners, their pacing, beats, the songwriting, the subtle production tweaks. It doesn’t matter that there are faults; it’s all about how he puts them on display.

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