Cadillactica

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RollingOut.com: Big K.R.I.T. Covers “Rolling Out” & Proclaims Himself King Of The South

cover_krit-650x829Big K.R.I.T. won’t apologize for what he’s about to do. Dressed in all black with a small gold Jesus-piece draped around his neck, K.R.I.T. places a gold and diamond-encrusted crown atop his head while at White Diamond Imaging studios in Atlanta.

The crown served as more than a wardrobe prop, it was a visual centerpiece to K.R.I.T.’s ambitious declaration. The Meridian, Mississippi, native now believes that he is the true “King of the South.”

But while any rapper could proclaim himself “King,” hip-hop fans must decide if it fits the emcee who hopes to wear the crown. Hours after he donned the gold crown for this edition’s cover, a capacity crowd filled The Masquerade concert hall in Atlanta to witness K.R.I.T. perform the last show of his Pay Attention tour.

After Big K.R.I.T. performed, concertgoers had their say. Once the music stopped, nearly 2,000 fans chanted “King of the South” repeatedly in unison.

Indeed, it was a defining moment that proved Big K.R.I.T. may have legitimate reasoning for proclaiming himself the new wearer of the crown.

Unless you have been totally oblivious to hip-hop in the last 15 years, it’s widely known that T.I. has claimed the “King of the South” moniker. Big K.R.I.T. doesn’t intend to step on any toes, but he believes that this is his time to sit on the throne.

“Coming off of ‘Mt Olympus,’ that was my mind[set],” Big K.R.I.T. said of his decision to proclaim himself “King of the South.” “It was me taking it a step further. It was understanding and feeling that I’m confident in the music I make now and what I’m going to a be doing later on and the quality. Especially on Cadillcactica. I created the planet, why wouldn’t I be the ‘King of the South’? For me, that’s just the beginning of my reign and what I’m trying to do musically. I let everybody know it’s not me trying to step on any OG’s toes and be pitted against anybody. I’m supposed to feel that way. My rap name K.R.I.T. means King Remembered in Time. So people have always called me a king. But now is the time for me to step up and take it further.”

From a lyrical standpoint, Big K.R.I.T. can face off with any rapper of his generation. But to become a true King of the South, he must garner overall respect from the region and remain consistent, like Southern greats such as OutKast, UGK, Scarface, 8 Ball & MJG, Goodie Mob and T.I. He must represent Southern culture while making his vision more accessible to those who’ve never traveled below the Mason-Dixon Line.

“I have to keep making timeless music,” K.R.I.T. says. “Music is the only language that everybody speaks. Before I got in this position, it was always about the music. Just because I got that title [King of the South], that’s just me believing in myself as a man and musician. Everybody should feel like they are a king or a queen at what they do. For me, it’s about putting out the kind of music that heals people, still inspires people to follow their dreams. Getting out in this community and doing as much as I possibly can. Because in the beginning, you’re on the road and touring because you’re trying to get the buzz and get people aware. But I’m at a point where I’m like, let’s just give back and make sure I give other people the opportunity in this music game and let’s spread the love because it’s plenty of it out here.”

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Big K.R.I.T.’s “Cadillactica” Debuts With #1 Hip Hop / #5 Soundscan Album On Billboard

Big_KRIT_04_Cyc_1072Big K.R.I.T. Delivers Best Work With ‘Cadillactica’…Instrumentation is grander. Soulfulness intact. And wordplay remains grade A…The diversity and focus has paid off, as Cadillactica is K.R.I.T.’s best and most cohesive work to date. – BILLBOARD

(Nov. 19, 2014 – New York, NY) Mississippi funk survivor Big K.R.I.T. cruises into the stratosphere with CADILLACTICA, his long-awaited second album on Def Jam/Cinematic (released November 11th), debuting at #1 on Soundscan’s hip-hop albums chart, and #5 on the Billboard 200, with first week sales in excess of 43,000 copies. CADILLACTICA’s release was supported by a national tour, an NPR First Listen campaign, an interview on Elliott Wilson’s CRWN series, and much more.

Critical reaction to CADILLACTICA has been swift and over­whelmingly positive. “Lyrically he’s never sounded surer of himself,” opined XXL, praising the album for “doling out aggressively cerebral bars over plush production to construct an 808-incepted rap dream­scape… ultimately, CADILLACTICA proves to be something the game barely knew it needed.” Billboard declared the album “K.R.I.T.’s best and most cohesive work to date.” Rolling Stone similarly praised the rapper’s “blast off into the stratosphere… K.R.I.T. has expanded his sonic palette to boldly go where his dependable country-rap mixtapes have never gone before.” Said NPR, “if growth is the goal, CADILLACTICA extravagantly achieves.”

“K.R.I.T. has always impressed with his unique creativity, drive, and artistry,” said Def Jam EVP Dion “No ID” Wilson. “It’s great to see him fulfilling his promise with this incredible album. He deserves all the accolades, and more.”

In the week leading up to CADILLACTICA’s release, Big K.R.I.T.’s loyal fans rallied to his BigKRIT.com website and social media platforms to take up the challenge of performing a series of tasks in order to unlock his epic “Cadillactica” title track video. In addition to “Cadillactica,” the new album also contains three tracks – “Mt. Olympus,” “New Agenda” featur­ing fellow Def Jam artist Rick Ross, and “Lac Lac” featur­ing A$AP Ferg – that were released earlier this year as part of a week-long campaign of daily advance track releases from the new album.

CADILLACTICA follows up Live From The Underground (released June 2012), the first official album by Big K.R.I.T., which opened to a colossal #1 iTunes Over­all Chart debut and Top 5 Soundscan debut. Live From The Underground was hailed by Entertainment Weekly with a rare A- rating as “the best distillation of the South since OutKast’s rule-rewriting heyday.” The album was also boosted by a one-month, 27-city headlining North American summer tour, followed by K.R.I.T.’s European premiere at a half-dozen major festival and club dates, including XOYO in London, and the Boogie Down Festival in Holland.

The Big K.R.I.T. juggernaut began in 2011, when he was a featured artist on MTV’s “Fab 5 Jams” and was also inducted into XXL’s 4th annual Freshman Class lineup. Hailing from Meridian, Mississippi, 24-year old Big K.R.I.T. (born Justin Scott) grew up listening to early R&B records in his Grandmother’s house, and his music reflects those influences: “I’m reintroducing a type of sound from the South that a lot of the newer generation doesn’t know about, and reminding the older generation of what Southern hip-hop used to sound like.” A poet and lyricist since age 14, he was signed to Def Jam by Sha Money XL.

Photo By: Jonathan Mannion

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DJBooth.net: Big K.R.I.T. – “Cadillactica” (1 Listen Album Review)

albumSweet Baby Jesus hip-hop heads, the moment is finally here! Cadillactica has arrived!

I should be jumping over the moon in a joyous, jubilant celebration….

So why do I find myself overcome with anxiety?

You know when you wait so long for something, when you want something so badly, that when you finally get it you don’t know quite what to do with it? That’s how I feel about Big K.R.I.T’s Cadillactica; I’m not mentally prepared for this moment. I spent so much time waiting for this album, praying to the hip-hop gods that it would be delivered unto my unworthy ear parts, that now that I can actually put it in my ear parts, I’m not sure I’m ready.

I’ve written a ton about K.R.I.T. (see here, here, here and here) because, simply put, he’s one of my favorite current artists and his music inspires me. Aside from Kanye, I don’t think there is an artist who I write about and listen to more than Krizzle. He is a rare constant in my ever-changing music rotation, and it’s not just songs but whole projects. His music matters to me more than almost anyone else’s, so how I first hear this album really matters. I need it to be so good I can’t wear pants for two weeks straight. I need this to be that album. So I’m kind of scared. What if it isn’t? What if, instead of soul samples and aggressive rhymes, K.R.I.T does “Shake It Off Pt.2″? Actually that would be kind of dope, but you get what I’m saying. My expectations for the album are sky high, so I’m scared to actually listen.

Well, that first time has to be some time, right? Waiting isn’t going to make the album any different, I gotta sack up and press play. So I made a little listening station in my living room with all the essentials I would need to make this a proper first listen: my fancy headphones, a bag of Spicy Sweet Chili Doritos (chip game proper), my camo Snuggie, a little bit of weed and of course Cadillactica.

I’m not going to get any more ready than that. It’s time for a “1st Listen Review of Cadillactica.”

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AllHipHop.com: Big K.R.I.T. – “Cadillactica”(Review)

Cadillactica_STANDARDImagine yourself floating through space in a decked out Cadillac, with the bass echoing throughout the galaxy. That’s exactly how Big K.R.I.T. starts this album by creating the planet Cadillactica on the spacey, pimpish intro track “Kreation” This intro is not just a song it’s a total experience. Although just one verse, the song stands firm as a beginning to a journey through the universe. And K.R.I.T puts you in the passenger seat of his pimped out, intergalactic Cadillac throughout the duration of Cadillactica.

While listening to Cadillactica, you may find yourself go through all kinds of emotions. You go from being zoned out in chill mode with “Kreation” to a state of serious thought-provoking moments and reevaluation of existence with “Life” to a series of uncontrollable head-nodding and high adrenaline bursts with the BANG of “My Sub Part 3.” On his 2nd album, Big K.R.I.T was able to deliver on all accounts with Cadillactica. His creativity level is at an all time, lyrically, sonically, and mentally. Every song sounds like more than just a song, each song is carefully crafted and arranged to bring the full potential out of the song.

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ConsequenceOfSound.net: Big K.R.I.T. – “Cadillactica”(Review)

albumA thousand dollars and a pan of brownies: That’s what Mississippi rapper and producer Big K.R.I.T. offered to anyone who could identify every sample he used on 2010’s K.R.I.T. Wuz Here. No one could; there were too many, too seamlessly intertwined. The mixtape was a rich, deeply soulful stream of sounds, what with all those uncovered piano and vocal passages, and it was merely K.R.I.T.’s breakthrough project. With later releases, including 2011’s Return of 4eva, he showed even more vision, continuing to look to Southern rap luminaries like Outkast and David Banner for the base of his sound, but chasing original ideas as well. Soon enough, he was one of the most promising musicians in Southern hip-hop, with artists like The Roots, Texas blues guitarist Gary Clark, Jr., and British art rockers Alt-J (not to mention fellow rappers like T.I., Wiz Khalifa, and the entire cast of A$AP Rocky’s “1 Train”) seeking out his talents for remixes and album contributions — but it all started with a production style that only required one pair of ears.

Cadillactica, his follow-up to 2012’s studio album, Live from the Underground, and last year’s King Remembered in Time mixtape, is another story, marking a significant change in K.R.I.T.’s creative process: Aiming for a different sense of collaboration this time, he only used three samples on the thing, choosing instead to work with producers like Terrence Martin, DJ Dahi, Jim Jonsin, and Raphael Saadiq, and in a real studio when possible. Even more indicative of K.R.I.T.’s desire to innovate, it’s a concept album, partly inspired by records like Outkast’s ATLiens and Eightball & MJG’s Space Age 4 Eva. Planet Cadillactica, he says, is simply his subconscious, and the album serves as a positive dispatch about growing up. Accordingly, it’s a long one — at 56 minutes, it’s technically the shortest of his official projects, but structurally, it feels like his weightiest to date. That’s OK: K.R.I.T. needs the time and space to showcase his range if he wants to create a masterpiece.

Again, the elegance of his style is evident in the instrumentation first. “Soul Food”, featuring Saadiq on vocals, is a flicker of boom-bap drums and twinkling keys. The short but affecting “Standby (Interlude)” features jazz musician Kenneth Whalum III’s warm saxophone curling like smoke. “Third Eye” starts atmospheric like his “Make My” collaboration with The Roots, and it only gets prettier with the scurrying flute of its final third. The escalating “Saturdays = Celebration”, with Jamie N Commons, is a mist of persistent piano progressions and, more to the point, no one’s idea of a rap production, at least until the drums enter halfway through. “Mo Better Cool” is also nuanced, though more energetic than those previous songs, with bursting horns lacing the 808 rhythms.

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TheBoombox.com: Big K.R.I.T. – “Cadillactica”(Review)

albumSpace is the place. On his highly-anticipated sophomore effort, ‘Cadillactica,’ Big K.R.I.T. invites listeners to take an interstellar trip through the South (and his subconscious) aboard his Cadillac spaceship.
K.R.I.T., a 2011 XXL Freshman, proves he is just as lyrical and musically progressive as his more famous classmates (think YG, Kendrick Lamar and Meek Mill). On the album, the Meridian, Miss., MC recounts his own coming of age story — with a futuristic twist. The result is a record replete with honesty, lyrical prowess and classic southern soul.

It is clear that K.R.I.T. is in a pivotal place in his career, taking a leap of faith with ‘Cadillactica’ by breaking away from the mold of the conventional “rapper rises to fame” story. It’s almost as if he didn’t get the memo — first you’re supposed to score a hit record, then follow it up with a groundbreaking album. But Krizzle has chosen to zig while his contemporaries zag. He’s been building his own foundation one mixtape at a time, waiting patiently for his turn to strike, from the dark corner of a studio set deep in the backwaters of Mississippi. While he remains true to the eclectic blueprint provided by his predecessors such as OutKast and UGK, K.R.I.T. reinvents the classic southern hip-hop recipe, allowing his flow to speak louder than the bass blaring out of the system in his ‘Lac.

The album’s sound is a logical evolution for K.R.I.T. but it is also distinctly different from his past projects — mainly because the production isn’t nearly as sample-heavy. This time around, K.R.I.T. takes off his producer hat and allows his tracks to be laced with original music from Raphael Saadiq, Jim Jonsin and DJ Dahi, among others. While it’s clear that lyrically he is still ‘Live From the Underground,’ it’s also apparent that the sound of ‘Return of 4Eva’ is long gone.

Starting the engine, K.R.I.T. begins with ‘Kreation.’ What starts off as a conversation about sex between K.R.I.T. and a woman becomes the story of the genesis of his world. Led by an electric guitar-infused with a soothing snare riff, K.R.I.T. is poetic, painting the metaphorical picture of the birth of ‘Cadillactica’ — one relaxed bar at a time. The opener sets the tone, and it becomes evident that K.R.I.T. is taking the scenic route on this tour of his universe. Instead of hopping on the expressway, he cruises on the back roads and takes his first breath on ‘Life.’ “I found life, on this planet / Dammit / I been damaged, but I won’t take this for granted,” he raps with vigor. But just when you thought he was far removed from classic K.R.I.T, he gets nostalgic, taking it back to where it all started with his sub, on the multi-dimensional, 808-riddled ‘My Sub Pt. 3 (Bang Bang).’

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