How many songs about fucking can you stuff onto one album? I’m not sure what the Guinness Book of World Records has to say on the subject, but I’m pretty sure Mista Latex just blew the previous holder away.
Hailing from Atlanta, Mista Latex dropped his first full-length album, Living Life, in March of 2017, after appearing on many mix tapes around the region. Because of this, it’s safe to say that he cut his teeth on the southern rap scene before venturing off to do his own thing. It’s nice to listen to an artist’s debut record that has a vision and style that’s already cultivated. It makes the listening experience much better than someone who’s currently experimenting.
The first thing I noticed about the songs is that the beats were tight. I really enjoyed the mix between the regular drum and bass bed tracks topped over with a plethora of other instruments: piano, harpsichord, pan flute, a horn arrangement and even some sex moans for good measure. My only beef with the instrumental bits is the sound of the snare drum. It’s very tight. It’s reminiscent of a military marching band’s drummers. The rolls are quick and the attack of the snare melts away without any lingering. I, for one, enjoy a little bit of presence. It’s a small thing to nitpick, but nitpick I shall.
One of the best thing about hip-hop albums is that they always feature other artists, which is a great way to showcase different rap styles all on one album. My favourite flow from the whole album is the opening MC spitting fire on “Dirty South,” which seems to be a shout-out to how hard, yet fucking awesome, the south is. It’s a solid change of pace from the iambic pentameter that dominates almost the whole album. Say what you wish, but I love me some machine-gun-fast-rap ratatatatatatat!
As for the lyrics, well, they don’t leave much to the imagination. Most of the songs revolve around either being a thug who’s gonna shoot you in the face, a few ego-self-inflating lines about how Mista Latex is the emperor of the south, fucking shorties, and of course pimping bitches. Maybe it’s because I’m getting old enough to lose count of my grey hairs, but I don’t see the appeal of constructing an entire album around these themes, especially the whole pimping-out womEn part. It all seems meaninglessly hostile. Like, he’s getting paid from the work they do, yet threatens violence if they don’t give him a cut? Should we not have moved past this type of thinking in twenty-seventeen? Also, according to this album, “pimping bitches” somehow correlates to being the ultimate sex getter, I guess. I don’t know, it makes no sense to me. If you happen to know the answer, please feel free to explain it to me in the comments below.
Written by Aaron Deck
*edited by Kate Erickson