Big K.R.I.T.'s zero-to-60 career trajectory has taken the rapper mere months-- he was unknown for much of 2009-- to become one of the more buzzed-about blog-rap phenomenons. Compare his sudden rise with that of his obvious influences, like Pimp C, whose impact was still just being recognized upon his death, or T.I., who toiled in the Atlanta underground after a major-label false start before beginning his ascendancy. K.R.I.T. is a talented artist, a rapper with dimension and ambition who has learned much at the feet of the masters. His new record, K.R.I.T. Wuz Here, is a strong release from a kid who has a lot of ideas and approaches, although he hasn't quite established himself as a distinctive star, and often falls back on a collection of well-crafted southern rap clichés. The fact that we're even talking about him today is because he stands on the shoulders of some rappers who didn't have such an easy path to critical acceptance.
It helps that K.R.I.T. seems uninterested in following the paths of major-label creative casualty B.o.B., who seemed to outgrow rap before he could even grow into it. Instead, the rapper joins a first wave of new artists (G-Side, Yelawolf, Pill) working a vein of Southern rap traditionalism, embracing the production aesthetics of UGK and Organized Noize. K.R.I.T.'s ear is his biggest strength; as a producer, tracks like "Return of Forever" and "Country Shit" find him revitalizing the staid indie rap template with the 808s and swagger of Southern rap.
As a rapper, K.R.I.T. still seems to be working his persona out, as if his talents have leapt ahead of his sense of self. Just as he deftly emulates great producers, his rap influences are the best of the best; choosing Pimp C as a stylistic forefather suggests he identifies with strong personalities, even if he's working his way through them to find his own. And T.I.'s topical breadth and lyrical flexibility serve a strong example for an artist uninterested in painting himself into a corner. Goodie Mob certainly laid a blueprint for his more socio-political verses. It's also smart of him to work with rappers like Curren$y-- the most charismatic nu-South backpack rapper. If K.R.I.T. follows this path, he could end up with a truly great career.
And while this tape is strong, it's as much about potential as it is an achievement in itself; as great as it sounds hearing K.R.I.T.'s scrappy rap style ride "Country Shit"'s energetic beat, the track is almost undercut by its topical genericism. Tracks like "Just Touched Down" and "See Me on Top" feel like steps further back; standard soul loops, archetypal exercises flawlessly executed but ultimately quite empty. The flip is tracks like "They Got Us", "Children of the World", or "Small as a Giant," where K.R.I.T.'s reflective, conscious approach shows signs of personal honesty, political frustration, and hints at the person hidden behind the music.
