Album Review: Big K.R.I.T., Digital Roses Don’t Die

Big KRIT

Digital Roses Don’t Die (released February 18, 2022)

This Black History Month, instead of doing the usual and talking about Black folks who made peanut butter and traffic lights, I wanted to make things more personal. All month I’ve shouted out the friends, mentors, artists and creators who have directly impacted my life. Check ’em out here.

So if you’re one of those trolls who stays mad at me, blame the people I’ve highlighted all February. They are the ones who made me.

Also if you still click and share my post even though you have beef, thank you very much! I admire that level of psychotic stanning, it helps my pageviews.

Coincidentally, one of the artists I showed love to recently was Big KRIT. As I said in my post, the irony of Southern hip-hop’s dominance of rap (and pop culture in general) is that we’re losing many of the elements that defined the best albums of the region. The artistic creativity, the introspection, the storytelling and scene setting – all the tolls that shaped the greatest albums in Southern rap history now overshadowed by a sea of codeine, auto-tune and repetitive trap beats.

Quiet as kept, KRIT has spent the last decade bringing that old feeling back, harkening to the heyday of veterans like Scarface, UGK and Outkast. He made music that was authentic to the Southern fans’ experience.

He made music that was real.

Just as I compared KRIT’s storytelling and creativity to legends like Outkast, he gives us Digital Roses Don’t Die – seemingly a vast departure from the KRIT we all know and love.

But when you think about it, it’s not that big of a departure at all. If he really is the spiritual successor of the UGK/Scarface/Outkast sound, consider DRDD his version of Andre 3000’s The Love Below.

And just like Love Below, expect a divisive response to this album.

First single “So Cool” might feel like a bit of a misdirect. On the surface, it’s a fun, groovy single, although KRIT does decide to sing the hook himself. That’s not out of the ordinary for him of course, but it’s a subtle hint that this album is a different experience.

But once you dive into “Southside of the Moon,” the album’s first proper track, the vibe is apparent.

Oh so, KRIT is SINGING on this album????

The bars are still sharp, interspersed here and there (“I’m from 300, she from 106 and Park/BET Uncut, I used to see her in the dark”) but largely, yes, this album is more R&B than anything my Cousin Chris Brown has done in the past six or seven years.

Of course, KRIT is far from Teddy P with the vocals, so he leans heavily on the production to get the job done. Credit producers like DJ Camper and Krizzle himself because the soundscapes are very well done. “Show U Right” has an unmistakable Earth Wind & Fire influence (even the album’s interludes are an ode to The Elements) while “All the Time” feels like it was pulled from Parliament’s playbook.

The production is so endearing on tracks like “Just 4 You” and “Would It Matter” that I’m willing to forgive KRIT’s unpolished delivery. Plus, y’all know my rule – add a horn to a song and I’ll probably grade on a curve.

That said, there’s no denying the greatness of “Rhode Clean.” In true KRIT fashion, this track is built for the highway. KRIT becomes the personification of this ride, falling in love with a chrome lady, having chrome babies – it’s so ridiculous but an absolute GROOVE.

Despite those fun moments, it’s clear why the reaction to this album has been so mixed online. Besides the obvious “why is he singing sooooo much?” stuff, there are times where the song structure just doesn’t work. Take “Wet Lashes & Shot Glasses” – the concept of the song is strong, the hook is catchy and DAT SAX on the beat is undefeated (per my horn rule) but the decision to alternate between outright singing the first verse and doing the choppy trap flow thing on the second verse throws off the pacing. Guest vocalist Rolynne also gets lost in the sauce and that’s a shame – the little of what we heard of her could have really elevated this and other tracks too.

For me, KRIT’s biggest draw is his introspective concepts. It’s why I’ve said his Return of 4eva mixtape is one of the best rap releases of its era. We don’t see much of that high-level introspection here. As a homebody I appreciate the spirit of “Boring” but, true to its name I guess, it never hits the next gear and just drags to the finish line. “Generational – Weighed Down” is really intriguing, with KRIT sharing his fears of parenthood, afraid that the sins of the father will harm his child. But again, the performance isn’t enough to carry the concept home.

Digital Roses Don’t Die is the ultimate acquired taste. I’ve seen longtime KRIT fans call this album KRIT’s absolute worst while others labeled it an artistic masterpiece.

As for me, I’m in the middle. I respect the creative risks taken here – even though there are often as many misses as wins. I can see a couple these songs riding with me (literally) throughout the summer. Others are best left alone.

Digital Roses do have their share of thorns after all, but you can’t overlook the beauty.

Even when it’s not the beauty you expected.

Best tracks: “Rhode Clean,” “Show U Right,” “So Cool”

3.5 stars out of 5