Big Figures Review


Big Figures
KAM222 and Hill$ are two Pretoria based artists who have seen a high rise in following in 2017 as they released 4 joint singles (all of which were relatively popular). "Bool & Brazy", "GLOW', "PRICELESS" and finally, "BIG FIGURES". Despite the fact that these two identify as two separate artists, all their work has been done together and they have clearly possess incredible chemistry that is often found in duo's. They seem to make their great music together which is to their benefit (as a musician should always release their best output), however, also their detriment as it becomes harder to identify them as separate entities.
While KAM222 works solely as a rapper, Hill$ works as both a producer and as a rapper. When they form a union, it's somewhat bound to be something different. The track was KAM222's final release during their joint 2017 run. There's an interlinked connection to his previous single, "PRICELESS". 
"BIG FIGURES"  (which is produced by Hill$), begins with an eerie laugh and background adlibs which are accompanied by similarly mysterious keys and an eccentric melody. The base drop is spastic and the kicks ensure the percussion works hand-in-hand to carry the rhythm. Shortly after, the hook is performed by Hill$ alongside KAM222's adlibs being used as vocal layering - the effect is an enticing and enjoyable hook. Hill$ and KAM222 both perform their parts with relentless energy. Hill$ uses a quick and uptempo flow which catches the attention of the listener but he manages to keep it steady enough not to lose his flow or the sense of enjoyment.
The hook is quite repetitive and easy to remember.  Hill$ raps:
"I wanna go get the Big Figures/ I wanna go get the Big Figures/ I wanna go get the Big Figures/ I wanna go get the Big Figures/ I wanna stank up them numbers nigga/
 I wanna stank up them numbers nigga/ I wanna stank up them numbers nigga/ I wanna stank up them numbers nigga/ I wanna go get the Big Figures/ I wanna go get the Big Figures/ I wanna go get the Big Figures/ I wanna go get the Big Figures/ I wanna drip when I hop out nigga/ I wanna drip when I hop out nigga/ I wanna drip when I hop out nigga/ I wanna drip when I hop out nigga"
There's nothing complex or impact-filled about the hook but often, people forgot that the most important component of music is the ability to make someone feel something and to be honest , this makes me want to MOSH. The hook allows the rappers to expand on the surrounding themes. 
The song is about the aspirations of making big figures, both metaphorically and literally. It's a reference to various to money and various types of success. However, the song also carries notions of flexing.This idea is further enhanced by Hill$ 's opening verse. The open verse acts as an indication of how he aims to achieve wealth. He then progresses to talk about how drive for success is due to his sister and family in the long run. Hill$ performs his verse with genuine confidence - this is signified by his strong delivery style and dope vocal tone. He changes his cadences to match his sentiments. As he speaks about his family and goal, he resolves towards a light delivery thus creating a sense of genuineness carried in his words .
When he talks about more braggadocios things, his delivery becomes hostile and aggressive change while he manages to maintain his flow in the midst of his flexathon.  Hill$ continues like this before ending his verse. The verse is good display on his part. He matches the production's upbeat nature and maintains the energy throughout. The hook is repeated again before being introduced to KAM222's verse. At first grasp, it's an odd transition to go from Hill$ is voice to KAM222 (who's tone is more mellow and deep) but as the song progresses, the transition is easier to get into as KAM222 maintains the energy of the song and ensures it's suitable for the aux. 

KAM222 follows the braggadocios nature of the song as he mentions various material objects alongside rapping about how nice he is. He also raps with a definite sense of confidence in his words whilst incorporating a good flow, syncopation and cool cadences to create an alluring effect. He remains relatively consistent in his verse as he rhymes well. While this doesn't have quadruple entendre, over-your-head wordplay, extreme rhyme density and other lyrcial measures - KAM definitely holds his own. He's nice with it. He rhymes, "I am applicable, ending your life with a couple of syllables" alongside a "Sheeeesh!" adlib in the background. Sheesh, indeed - that's cold. However, at times, KAM222 does drop a corny bar ("My money be sick, it got a little cough") and also appears off-beat for short periods. Despite this, it was also a good showing on his behalf. It was enjoyable and characterized by good wordplay and swift rhyme scheme changes. After his verse, the beat begins to transition into different sonic realms. The same hook is rhymed, however, it’s distorted. The distortion accompanied by the sense of melancholy creates an alluring effect that emphasizes the great production.
In totality, "BIG FIGURES" is a good song with a vast replay value. It carries notions of modern neo-trap while being catchy but still having a bit of substance (although it doesn’t drive deeper into those realms). Being an incredible lyricist is of great importance but people tend to ignore that an artist’s musicality is just as important. A song should mostly be judged on how it makes a person feel and this song is well-suited for today’s melody crazed landscape. On the contrary, although having notions of melodic rap, Hill$ and KAM222 are both MCs who can handle their own. If improving their lyrical showings and going into content with introspection and analysis, they might be able to create music that may bridge the gap between old heads and the new generation. Both verses by Hill$ and KAM222 are notable. Hill$ dropped the better verse due to his energy, delivery and overall effect but the latter also illustrated signs of being a good wordsmith whilst he kept the listener intrigued due to his syncopation, wordplay and melody choices. They complement each other effectively and combination to form a sound direction that remains enjoyable, dynamic yet together. They ended their 2017 run with their best single of the four.
75/100

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