Review Summary: Khirey Akeem, the chaotic, emotional mess that he is; has become a main stay inside all of rap’s indie circles and won’t be going anywhere no time soon.
The interesting thing about finding music is you never know what you’re going to get once you click play. But once you click play the next two to three minutes of your life can either be wasted or become an enchanting experience. I had this very exciting moment when I stumbled across Khirey Akeem. Nonetheless we are here with the debut album of the indie rap star, Dumbass. Khirey Akeem’s name has been a talking point in the local Atlanta rap scene since the release of his debut mixtape Jackass no less than 11 months ago. Many complimented his LO-FI aesthetic with the added dose of hardcore East Coast rhymes. Some were doubters, but then six months later Khirey Akeem put to rest all the doubters with the release of one of the best LO-FI records of all time. That record being his 5 track EP Asshole. Asshole displayed a boy trying to cope with the motions of growing up, in pain. It’s multiple drug references & suicidal thoughts left Khirey more than vulnerable. The vulnerability of the project is what is more admirable above all. Also not to mention the driven ambition of one putting it all on the line. Its production was flawless in every sense of the word. It was more than just a project. It was an experience in an experience if that makes sense. The versatility of not only the rhyme schemes and the spoken word like delivery, but also the layering of each track presented an artist with nothing to lose but almost everything to gain. He won over everyone and some. Now we stand 5 months later with another project. Is this what we wanted?
Absolutely yes, and I can’t say anything but that. Dumbass begins with an instrumental track named Daniel sounding similar to something that possibly could have ended up on a Kid Cudi project of old (or even on asshole for that matter). It’s loud. It’s overbearing. It’s over dramatic. It’s everything that would describe Khirey Akeem as an artist thus far. Its major highlight is the guitar playing from Akeem’s former punk rock band I Really Hate Mondays. It appears that they have buried the hatchet and this is exactly what we’ve missed from them (Maybe a reunion album is in the works? A guy can dream right?). It’s a 2-minute adrenaline rush with moments of quiet, sparks of thundery bass’ and earth shattering electric guitar riffs. But once the intense monotony ends we are brought to bombastic banger, Akeem. Akeem is Khirey’s nosiest output to date and it wasn’t produced by him (The only other producer credit on the album goes to former collaborator D.O.P.E.). He fires rhymes off at one of his speediest flows ever discussing his status upon the game. With lines like, “I’m number one I ain’t fit for number two, I just came here to put a clip in you” It’s a sure victory stance Khirey has taken on this track. The line is nothing impressive on the lyrical standpoint but it’s the tone in Khirey’s voice that is so demanding. Taking notes from himself Khirey’s voice is so in control. The Meek Mill syndrome he suffered from on Jackass is dead and gone and on this track he smoothly and angrily demands his respect (Say La Birdman anyone?). He is the guy who dropped Asshole 5 months prior and it’s clear he feels slighted by all he’s seen people say since the aftermath. Khirey fires quotable after quotable after quotable as the first verse gets stronger and stronger. He shouts out clipping, makes modern day pop culture references and even has a tad bit of 2007 Lil Wayne swagger thrown in at the end of the verse. The song halfway through is monstrous and a beyond strong opening statement. Also notable it’s the first time Khirey uses the triplets pattern as well. Then Khirey presents his catchiest chorus to date. In only a punk rock manner he cold bloodily screams to the top of his lungs, “AHHH ***, I NEED THE SQUAD TO GET WITH IT.” It’s an instant highlight. It has not only the production pacing of something from Jackass but it also has the experimental elements from Asshole. It’s a more than unfriendly reminder for those who forgot how lyrical Khirey Akeem actually is when he is actually spitting. Once the madness of the track’s second verse ends we are brought to track three.
Track three you say? Why that is Derek of course, and for the first time since the release of his first project Khirey Akeem shares the spotlight only this time he doesn’t outshine the opposing MC. Khirey takes holt of the first verse with a demanding reminder of how skillful he is at MC-ing (if you weren’t convinced on the previous track) and has multiple elements of trip-hop and trap. But then out of nowhere local Atlanta rapper A. Young comes in and takes all of the intensity of Khirey’s verse and slightly outdoes him in only a competitive fashion (Just how Khirey did his young cousin Cam the Chef on jackass). He had various anime references including the standout line, “Khirey Akeem & A. Young are one hell of a fusion.” And that they are. The production is bass-y; so booming & It’s got so much commercial appeal that it’d be hard to deny it’s live factor when performed. It’s a definite standout as two rappers battle it out to see who’s better and for the first time Khirey is outdone but barely. As we proceed to the next track, dan it’s labeled UNMIXED AND UNMASTERED so it may have been an afterthought, but once thing is clear it’s obviously influenced by Kendrick Lamar’s track untitled 2. The chorus reigns just like Kendrick’s with the loud chants of, “I NEED AARON NOW,” with a massive southern influence also with the help of another unknown local Atlanta rapper by the name of Joey $tash adding to the heavy southern sound while sharing the chorus with Khirey. It starts off quite repetitive but once Khirey starts rapping he quickly distinguishes himself from all the immediate Kendrick biting and starts shooting sheer fire bars. It’s more so a depressing tale (and not vividly told but enough to feel), especially once the lyric, “Why we gotta pay to live when it should be free, my niggas get shot when it should be me,” is rapped. Khirey has a knack for vivid imagery but once he breathes for a second he goes completely insane on the second verse. The flow is smooth; his delivery is monotone but perfectly fitting for the song. He sounds sad and even with him bragging like he’s been known to do about his skill, he still doesn’t lose sight of what the song is actually about. But once you realize it has to many elements barrowed from K. Dot it loses its appeal very quickly especially when the chorus comes back around and eventually the person named Aaron who is actually another Local rapper hailing from Atlanta, Georgia named Conscious who does the vocal skit at the near end of the song. Plus, the absolute raw version doesn’t give the song the hit factor it may have had. But with all that being said the vocal skit leads into the next song where Khirey actually takes a back seat and let’s yet another MC shine in his place.
That song being Loop. Loop is performed by the rapper mentioned above in the last paragraph named Conscious. It has the old school boom bap feel that Khirey once owned and it reminds you quickly of jackass, minus Khirey rapping. Conscious comes in spitting some hard hitting bars with the instant pull in lyric, “Get up outta yo head nigga, we know all that the devil do.” His verse is quite fitting for his stage name as the words he spits have various religious elements and lines that involve finger pointing at society. But the moment you realize he’s a more than excellent rapper, Khirey comes back to remind us exactly who’s album this is with a hard stabbing chorus. With him staying calm and deadly he chants in only a punk rock manner (also fun to mention the song’s length is very punk-esque as well clocking in at a minute forty-five seconds), “You want war, I want more, go head settle the score. Guns, knives, blood, gore. The *** ain’t pretty. I’m tired of self-pity. It’s time for some action, no time to be acting.” It stabs so hard and almost takes away from the more than superb performance by his counterpart. As that track ends the album hits a traumatic sound shift once Interlude rings in. Interlude is so beautifully orchestrated; it has layers on top of layers. It’s beyond fitting for what’s about to come next on the album as the first half was a sure fire bar fest from all parties involved.
Now we reach the second half of the album, you know the dramatic part. Khirey Akeem after releasing asshole had a void to fill. That void being the overtly emotional rapper with a poetic delivery. It got such a big push that people forgot about the brag that was that of jackass. As the album transitions from it’s up to date jackass approach it begins to take pieces from asshole. Hallway, the album’s only single to be released before the album was such a highlight when it was dropped. The moment it comes on with the more than loud sample and Khirey spitting some of his best lyrics yet (Note in only the first 43 seconds) you hear him once again spilling his heart. The best thing he gained from his last project was voice control and emotion, which he was missing so much on his first project. He’s not screaming, he’s rapping with passion now. Then the beat transitions flawlessly and he shoots off constant references to his life even poking fun at the fact he doesn’t have appeal to the “hoes”. Hallway was an instant love when it was released back in March and another obvious statement record, but then the track of all tracks (One I had been anticipating once the tracklist was revealed) comes on. What track you ask? None other than Celina/Nicole (Durante. Pt. 2 & 3). The best song on asshole not only got one sequel, but two in one song. The song begins with a feature from Guy Sawyer singing a pitch shifted harmony along to the gorgeous string and piano section of the first twenty-five seconds of the song, yet it’s over in an instant and out of the woodworks Khirey comes swinging. Instead of approaching it how he did on Durante, he sounds happy instead of angry and depressed. The poetic delivery is so sensible once the beat changes to a whole new set of strings sounding beyond heavenly as if angels themselves were playing the chords. It sounds like a memory of when things were great between this still unknown mysterious woman who we now know as Celina Nicole Durante. Instead of begging for things to get better he confesses his love, his goals and ambitions in such a manner than any woman would be honored to hear a man say these words. And just as you actually think things have become better between his love affair, the song shifts once again to a lone piano key being played. Part 3 becomes emotional and painfully honest. Khirey immediately wakes up from his drug induced memory and now looks at where things are now. He, with his voice as hoarse as you can imagine, quietly spills out the lyrics, “Popping pills just to cope with the stress,” and right then he’s shocked out of his dream and quickly it becomes a nightmare. The piano background not only adds to the sadness but Khirey’s voice quietly fainting into the piano throws all the happiness and serenity of the first half out the door. Once his verse ends the piano picks up pace and plays for an extra minute only to give you time to reflect on the words Khirey spit. He’s dying inside and out and has nowhere to go or run to. Death in his mind is the only thing imminent.
After a skit from an unknown interview is played, the closer track Stephen comes in with yet another stellar performance on the mic from Khirey. He comes in spitting his fastest flow ever with various flows. I MEAN VARIOUS FLOWS. He’s even sadder and even contemplates whether or not if killing himself is truly the only way out. Where the last track left off it picks up here with intensity and feelings that far outweighs anything else that appeared on this project. He spits for over a minute and half and never loses the flare and spark of the verse. Every line has a ballsy plea or revealing and acceptance of his former (or current) drug addiction. He goes and goes and goes and gets faster and faster. It’s impressive for lack of a better word. It truly highlights the skill of rapping Khirey has and has always had. Then once his verse stops the heavy bass drums kick in and another feature from the lead singer of local San Jose punk rock band DEADONSITE Scott Tanner throws his output and summary of the whole album with a spoken-word verse. It’s elegant. It’s free flowing. It’s motivational. It’s depressing. It excels. It’s everything that can describe not only this album but Khirey Akeem’s entire career up until this point. The last words that leave his mouth are, “The source of love, the source of happiness… It all comes from within.” What a spectacular ending to a spectacular album. It’s almost as if he wrote his verse to give Khirey a reason to continue going on and even with that being said the album does not end there. After a moment of silence, an airy and beautifully played acoustic guitar comes in and a series of voicemails are played from various people. From the album credits it appears as in order those people include: Daniel Hyde, Aaron Crossland, Chris Gaines, CELINA DURANTE! (We found her), & Alison Carr (his mother). All of them sharing something personal about themselves with them all hoping Khirey eventually calls them back. What a finish. Also a fun fact for those who don’t know, Khirey Akeem put in the album credits that he recorded the entire album in a hospital. How true that is? We’ll never know, but it can be a beautiful urban legend. With the album officially over we come to our final paragraph.
Khirey Akeem, is a mess. A big, chaotic, emotional mess. But that’s what makes his artistry a pleasure to witness. There are multiple missteps on this album, like Dan. It’s too raw and it’s quite hard to enjoy a song with a big scoop of potential for radio play when it’s so messed up (Plus it bites heavily off of Kendrick Lamar). The first of half of the album runs like a mixtape, just as jackass did (Not that that’s a bad thing). There are moments of Khirey showing weakness as a rapper getting slightly outdone twice on his own album. And he has quite the focus issue on longer projects (With this being his longest project to date clocking in at twenty-eight minutes and ten seconds), keeping a thorough balance. Also the lo-fi approach may be very off putting to some. But one thing is for certain, some of Khirey Akeem’s best songs are on this album. There are multiple standouts that not only define him, but define his career on this album. He is the self-proclaimed lo-fi God anyways; he’s not supposed to appeal to us anymore. He already had us after jackass, dropped an early classic in his career (asshole.) and now he’s just enjoying the ride to the top. In an era where lo-fi artist are way more acceptable than they were years ago Khirey has not only found his sound and niche, he’s found right where he fits in, in an era of internet birthed rappers Khirey Akeem isn’t going nowhere no time soon. Enjoy him while he’s here and by the way, Khirey Akeem has won 2016 whether the industry knows it or not.
