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Glorygirl2950: Queen of the Land Album Overview

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Due to Entire Lotta Crimson’s generational influence, nostalgia for the outliers in Gucci Mane and Younger Thug’s catalogs, and the enduring affect of Chief Keef, a brand new wave of rowdy and absurd Atlanta underground rap has emerged. There are Lazer Dim 700’s blown-out, stream-of-consciousness spectacles, that are dingy in one of the best ways; 2Sdxrt3all’s screamed ad-libs, which sound just like the satan on his shoulder come to life; Bear1boss’ overloaded AutoTune melodies; and L5’s psychological interpretation of drill, to call a couple of. Not all of it’s that fascinating—as an example, Child Kia’s new age horrorcore is tryhard edgy—however what all of the music has in widespread is that there is no such thing as a restraint in sight. The identical goes for Queen of the Land, a uncooked new mixtape by Glorygirl2950.

There are a couple of info to find out about Glorygirl2950. For one, she actually likes Keef—her identify is a callback to his imprint Glory Boyz Leisure. She is 5 foot 5 (she factors this out loads), hates malls (truthful), and doesn’t use parking heaps (her automobile is just too quick to abide by any pace limits, after all). This isn’t essentially the most private music; being as wild and funky as doable is the one clear purpose. That may be extra vapid than it’s—considerably like Ken Carson’s X, which principally had the identical mission—if Queen of the Land wasn’t truly wild and funky. This mixtape is stuffed with a lot shrill-voiced wailing, gunshot sound results, surprising, acrobatic flows, and seemingly improvised vocal warbles and gibberish that it may be overwhelming. In a manner, it recollects the foundational but flawed Thug tape I Got here From Nothing 3, the place he engineered a method so wacko that you just weren’t even certain how severely to take it.

Nevertheless, it is best to take Queen of the Land severely. Like ICFN3, that is enjoyable but messy ATL rap. Over a group of beats that pull from plugg and classic lure music, Glorygirl continually stretches melodies to their breaking level and veers off beam simply because she will be able to. She delivers off-the-cuff bars like “A bitch get popped in her BBL butt” on “Slang for Me,” her circulation so slurred it feels as if she’d downed a six-pack earlier than hitting the sales space. The background ad-libs sound just like the squeaks of a mouse caught on a lure, however then her supply accelerates out of nowhere. It’s each extraordinarily erratic and very replayable. So is “WNBA,” during which she’s popping and fluttering her lips for the primary 25 seconds; quick ahead slightly and immediately she’s onto an Adam and Eve diatribe that will make RXK Nephew proud. She makes decisions randomly and recklessly, like on “2950,” the ragiest of the tracks, the place it seems like she’s rapping with a wad of gum in her mouth. Or take “Molly X,” the place, in a cracked screech, she brags about all of the cows she owns. Clearly bullshit, however good bullshit.

Queen of the Land’s pitfalls and strengths are largely a results of the identical subject: There is no such thing as a firming Glorygirl down. Generally that makes for songs which are straight-up abrasive and annoying. Consider the ear-splitting shoutfest “Glory Freestyle,” or contemplate “Fireball,” the place she will be able to hardly get by a line with out mimicking the sound of a chirping fowl. It will get insufferable quick. A label may need given her the recommendation to sit back out a bit, although that’s the type of word which will have sanded down the thrills, too. What’s made Atlanta a longtime inventive hub for impartial, underground rappers is that the town’s surroundings typically pushes artists to go large with their most rash concepts, even when they wind up faceplanting half of the time. One factor’s for certain: Queen of the Land couldn’t have come from wherever else.

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