Rhyme Report

Published on December 28th, 2017 | by 00T456578754920


An Introduction to Baltimore’s Own King Los

King Los @iamKingLos releases back to back 13- track mix-tapes, G.O.A.T. and Moor Music.  The prophetic street poet puts on for the Charm City, days before we enter 2018.  The Indie Baltimore emcee attempts to break the mainstream away from Home Box’s genuine love for The Wire in previous years.  He emerged on the rap scene with fellow Maryland artist Logic, premiering divisive bars on Sway in the Morning’s, Five Fingers of Death Radio spot.  As a King he conquers the soul infused sounds as he paints a vivid picture as rap’s resident Basquiat. After signing with Bad Boy in 2005 and 2012, he has been akin to Puff Daddy’s new era brand.  Appearing on the track, “Ocho Cinco” with French Montana, and collaborating with  Cleveland rapper MGK.  His relationship with P. Diddy, one of the most wealthy names in hip hop, began after he was selected for Making the Band 2.  He subsequently rejected the show put gracefully signed with his label, and requested Diddy as an executive producer on debut God, Money, and War.

Now with 88′ Classic RCA Records, King Los’ braggadocios bars prove he will go harder than the atypical Baltimore rapper.  Far from classic icons like Mullyman and Tim Trees, he enters a lane with new wave artist like Tate Kobang, who pinned a new-age rendition of, “Bankrolls.”  Although uniquely gifted he falls into a lane with artist such as Wale, Fat Trel, Shy Glizzy, Gold Link, and Black Cobain.  Seasoned Baltimore artist have been both lighter and more accrued to r&b fame, circa Mya, Ginuwine or Sisqo of Dru Hill.

In initial release G.O.A.T.  King Los explores instrumentals from popular rap singles, such as “Gucci Gang,” Meek Mill’s “Dream and Nightmares,” and “New Freezer” his second attempt to amass Kendrick Lamar’s verses.  The first effort appeared in a freestyle over Kendrick Lamar’s infamous Control verse in 2015.  As he mirrors the melodies of modern hits, the hooks are remixed in a respectful effort, which would be better received as the original refrains. Still he implores respect on tracks like “I Shot Ya,” and “Mo Money Mo Problems,” Bad boy classic records.  Candidly Moor Music, is a boisterous display of skill and talent.  His wordplay uses a simple methodical technique.   The Moor Music tape is agitated, yet rooted in tradition. King Los cements a mixture of feel-good vibes, and slow methodical bars.  Moor Music is soul food, in an industry saturated with less substance, aside hype. Behind bars of solace, King Los ruminates as an intellectual force in indie rap, King Los represents the raw form of hip hop, with the innovation of today, and the hope of a greater Baltimore.


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