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Next to “L.M.F.,” this is an early favorite. This snare is crisp as the first sip of McDonald’s Sprite. Add another "Kamehameha" line to the lexicon of Dragon Ball bars that are very prevalent in hip-hop. I love the slower tempo and how he’s weaving through the sweet production. Smino’s gift for playing with words is reason enough to revisit his songs. I’m not sure what the narration has to do with the story, but we have more great production with soothing singing. The drums knocking harder than kids banging out the “ Grindin'” beat in their lunchrooms. Sonically, Smino is expanding his palette while applying all the tricks that make his songs stand out. I can’t tell the sonic origins but it reminds me of Da Rocinha III, the Brazil-inspired project he dropped a few years ago. The bounce is sending me through the roof. I have to assume this is a play on To Kill a Mockingbird. I can’t recall the last album that began with an intro that’s four minutes long.
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There are some grabbing lines, especially when he starts to take off, but it does drag a bit. “Wild Irish Roses” from blkswn was also a mellow intro that was more of a warm blanket rather than hot coals. The slow speed is a drunk kind of drowsy: when you’re aware and awake but could use a bed of feathers. He’s like Magneto but instead of controlling metal he controls sound. The production is thin but transforming, building around him.
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The man knows how to turn his voice into the most colorful instrument. She has a speaking voice made for quiet storms and soothing crying babies. Album advances should come with liner notes. Each song will receive my gut reaction from start to finish. In usual 1-Listen fashion, the rules are the same: no skipping, no fast-forwarding, no rewinding, and no stopping.