I’m not sure if I actually liked shit that sounds like this prior to Drake and 40’s rise, but at the moment I’m a huge fan of sounds I’d describe as muted and/or underwater-ish. To be completely honest, it’s the primary reason I check for any of Drake’s music. I’m always hoping 40 has a hand in the production. Shit just sounds interesting to me.
However, this isn’t about Drake. I’m just easily distracted while writing. And eating. And being distracted. M-Lito is a producer/rapper out of the Cayman Islands (whaddup Romney) and I’ve known him to be a decent producer. But he outsources the beat to Matt Houston for this song, and the man delivers. I’m impressed by the way each element of the production filters in seconds after the last one, until eventually a cascade of sounds introduces the hook. Similar sentiments apply to a number of Matt’s other works, which he seems to have constructed with rappers such as Meek Mill, J.Cole, Lil Wayne and yes, Drake, in mind. In fact, I easily surmised Matt made this particular beat for Lupe Fiasco – no shots, but thank God that didn’t work out – this beat would have single-handedly improved that shitty album by 34% and I’d be forced to acknowledge its existence beyond barbed insults.Overall, Matt’s stuff isn’t MY cup of tea, but he definitely sounds like he’s spent time absorbing current terrestrial radio and putting his own spin on the trends of the times.
As for M-Lito, he’s done much better than I anticipated, even if he’s talking that cliched come-up/struggle shit. His confidence and impassioned delivery, along with a few clever turns of phrase, more than make up for the cliches on deck. I didn’t know folks in the Caymans had this much struggle in them. I figured it was all good all the time. You know – bitches, beaches and bank accounts.
I hope he writes a song with that exact title.