New York host Lifeofthom recruits experienced talent managers, producers, DJs, songwriters, audio engineers and record executive Plain Pat to produce his debut mixtape. He introduced himself from his first pair of EPS Thomas & Robot Jesus, and will release another 3 photos in Rooms 11 and 44 and Cocotaso respectively. However, we tease blind and learn that the former kids saw the ghost manager singles deal with only all the productions.
“Waste” is a passionate choice for the opener, talking about taking all the plates and wanting a lot of stacks, while the highlight “42nd St.” featured by Lørd Skø in a jazz yet soulful way that can be used to represent the Upper Town. The “hand” featuring the Wiki proved to be another favorite collaboration of 4 jobs, engaging in more sampling stripping drums to talk about being a boss type while “overthinking” can address the topic of analytical paralysis.
Meanwhile, on “hittas,” we talked about the lesson on an incredibly cloudy beat that every journey has to hang a drum-free guitar before “night” so that he can marry the game. JEV’s “Cadillac”. & Wiseboy Jeremy put the trio into a trio, giving a stylish ode to GM’s luxury vehicle division, while “Jeep” took a bigger approach to talking about his annoying people.
“GTFO (Get Out)” begins the last stop of the videotape, by giving people who want to see his boundaries in “lost in Las Vegas”, which includes Swavay, who are talking about snatching the phone and logging it into the Finstas type. “XO Tour Life” skipped the instrument of the boom bap, and the piano talked about money always leaving, “jumping” completed the most important piece of the Lifeofthom record, jumping off the edge of the seat for $100.
Reshaping the classic sound of New York by mixing the classic boom rhyme program with genre-fuzzy melodies, Plain Pat helps with sophisticated thoughtful pens and using experimental rhythm/flow/flow, which brings Lifeofthom to a completely different stratosphere without any shadow on those early extension levels, as they are themselves all the highlights. The refreshing production of driving the shutters is unlike any of Thomas’ early works and stands firmly on Homie Lørd Skø, paving a bright future for the East Coast lyricists.
Score: 9/10
