Drake and Jay Cole getting up there. Numbers 33 and 35, both titans generally have more, while they pitted against each other critically and commercially during the decade. Both are relatively new fathers and closer to their forties than their early twenties. Both have aged remarkably well, and managed to live awkwardly during this epidemic, with promises of thrown-in projects, EPs, records, apologies, DJ Khalid appearances and full-length efforts. Another thing that is common between the two rappers is that neither are running at their commercial peak. In July alone, Drake dropped three songs, while Cole released two – none of which would go down as candidates for the summer song. There is an ecosystem of very small rappers who rule Roadie Rich, Dababy, Lil Baby – who monitors him. Despite slips in pure supremacy, or perhaps because of it Drake and Jay Cole are experimenting on the margins.
Nowhere is this more evident than in the lyrical miracle tour-day-force that is Drake’s “Only You Freestyle” and Cole’s Louis street EP. Each release is downright impregnable to a wide audience. Hooks are not attractive, if there are hooks at all; The melodies are mostly next to the point; If both are competing with anything, it is their own encroachment.
“Only You Freestyle” features Drake delivering his clumsy and toughest poetry together at any time. On the Hunting M1OnTheBeat production, Drake rapped first, and behind the beat. The lyrics are meaningless. Drake starts the song with a comic bully – “Chubbs can jam this ut for a chain” (in layman terms: his friend Chubbs will steal your chain) – and rhyme by threatening to beat some high kids Eliminates (it may be) a metaphor, who knows at this point). He raps in a British accent that merges into Arabic, which was quickly mocked Fans are concerned The Toronto rapper said, “You and I are the best kids,” because he couldn’t pronounce the words correctly. In short, the whole matter is a mess. There is a sense that he is trying to develop in real time, showing fans the limits of his interests.
In contrast, Cole’s Louis street The EP initially seems to double the perception of the Fayetteville rapper as the elderly Courmadine pricks his finger from his platinum porch. “The Climb Back” and “Lion King on Ice” are soul-sampling punches that hit the heels of Cole socially and socially surrounded by Nolem in June. On the latter song, Cole returns to easy goals, rapping “I tried to warn the niggas they won’t last long / I hope you see how they came and they left.” The weighted shots are likely aimed at the SoundCloud generation he tried to mentor for his final full-length album, 2018 KOD.
At his best, Cole is a storyteller inspired by conflict and over the years, he often had to make it himself if it was not readily available. But “The Climb Back” and “Lion King on Ice” feel like rehearsing instead of a commercial gamble. He doesn’t look like he has more to prove, and Cole also makes time for humor, something that has often survived him at his most ambitious. “They often intend to clap me as ‘genius app misscottin'” and “a problem bet with me is like Hip-Hop Awards / I’m starting to see that you don’t want it Are “really funny comedies otherwise serious matters.
Drake and Cole are at war with their inheritance. As long as they remain in the public eye, both will remain popular. No one wants to believe that music at the level of their stardom is primarily beside the point. And yet the two MCs are still interested in honoring their talents for some Godforsen cause. Even if the results are not true, the experiment has become a fascinating show to watch.