![]() It’s that same self-sufficiency that built Memphis rap and made it so appealing to outsiders. Instead, they are classic bootstraps parables: “I came out the slums, I’m the one that made it happen/Now I’m gettin’ back ends, I used to get them bags in.” Most of Key’s songs are celebrations of himself-“Like Key” is about how “there ain’t another like me”-but his more emotionally inflected songs, like “Monster,” don’t reach Dolph’s depths of self-loathing and despair. Key’s six solo tracks are a younger man’s songs, Dolph’s endlessly listenable drawl replaced by rhymes that are clearer in delivery but simpler in construction. On “Black Locs,” he raps about wearing the eponymous shades so he “can’t see nobody” and taking drugs to “hide the pain that’s inside.” There are stabbing, Psycho-like strings on “If I Ever,” and the looping guitars on “1 Hell of a Life” scream “Lil Peep / XXXTentacion Type Beat.” Dolph’s songwriting range has expanded along with his sound, allowing darkness to creep in at the edges. There’s not much else going on in Dum and Dummer, but there doesn’t need to be: Their shared charisma is enough.Īll the beats are courtesy of producer BandPlay, who adds new colors to Dolph’s palette. ![]() ![]() Nevertheless, he’s a dependable sidekick, and on Dum and Dummer he trades bars with his elder about the weight of their chains and their weed consumption. He is younger, and his solo work doesn’t announce itself with the same authority as Dolph’s. Fellow Memphis rapper Key Glock, meanwhile, has just three mixtapes to his name.
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