![]() Not every guy out there is trying to write poetry, and they shouldn't be penalized for it when they do what they are trying to do exceptionally well. The point of rapping is different for every rapper. ![]() They're not trying to blow your mind, they want to make you dance and I think they accomplish their goal better than Logic accomplishes his. Rae Sremmurd on the other hand, their rapping comes off as effortless and catchy to me. Sure his flow is usually nice, but I'm not a big fan of his voice and his bars tend to fall pretty flat for me. ![]() Logic is (IMO) one of those "lyrical miracle" rappers sure his schemes are complex, but I think he fights to fit too many syllables in too short of a space and his delivery suffers for it. Sometimes basic schemes hit you harder than "lyrical spiritual miracle" fluff, because they are seeking to accomplish a different purpose. But what are good lyrics? They are not necessarily complex rhymes or deep metaphors good lyrics can be incredibly basic and shallow as long as they are delivered well, because good lyrics are tailored to the rapper that spits them. A "good" rapper has flow, a good voice, and good lyrics. 50 Cent is not especially lyrical when matched up with DOOM but he's one of the best rappers of all time IMO. Lyrical rapping does not equal good rapping. Sure they might be a boy band but that's not really the question you're asking when I read your post you want to know why they're so successful when you feel they lyrically don't match up to Kendrick or DOOM or whoever. I think you, and a lot of people on this sub, have a misunderstanding of what hip-hop is. To me, it seems like they're simply a way for Mike WillMadeit to put out his own dope production and get an extra cut. Rae Sremmurd consistently seem to me to be outdone on the remixes, guest verses, or production on there own songs. If you take Nas, Jay, MF Doom, Kendrick, Eminem or any of the greats away from the production their verses will stand on there own two feet as a statement. On the whole they're average frat party rappers to me that got lucky enough to be paired with a producer like Mike willMadeit who's production is what sells the songs. They're lyrics aren't particularly deep or clever like Young Thug, but they lack his distinctive presence and personality. And to my ears, they lack the talent Earl Sweatshirts verses or Tyler the Creators production to warrant their fame. They're in their early 20's which I wouldn't count against them except to show that it's not like they've been grinding away for years to get to this point. “We’re separate entities, but the big is when we come together.It seems to me that these guys are the equivalent of a 5 seconds of summer except they're rapping and they're dirtier. ![]() “At the end of the day, we understand that we’re Rae Sremmurd,” Swae tells Apple Music. However, unlike Outkast, these solo sojourns were less a sign of a duo drifting apart than a process of shoring up individual strengths for the greater good. Outkast’s 2003 split-personality set Speakerboxx/The Love Below provided the blueprint for Rae Sremmurd’s ambitious 2018 triple-LP package, SR3MM, which supplemented the duo’s namesake record with individual full-album showcases for Slim ( Jxmtro) and Swae ( Swaecation). But in the ever-sharpening contrast between Slim’s rugged strip-club-prowling persona and Swae’s cosmic loverboy vibe, Rae Sremmurd recall another irreverent Southern rap duo. Rae Sremmurd embraced their role as the eccentric, freaky-fashioned emissaries of feel-good hip-hop, and with their chart-topping 2016 smash, “Black Beatles,” the duo crafted an infectiously melodious trap anthem that invoked the Fab Four as a yardstick for their own world-domination dreams. the Mike WiLL Made-It imprint to which they signed). Atop a chiming Mike WiLL Made-It beat, the Tupelo-reared fraternal duo of Slim Jxmmi and Swae Lee let loose with an excitable, squealing flow that was as delightfully disorienting as their handle (a reverse spelling of EarDrummers, a.k.a. In a hip-hop landscape dominated by lo-fi mumble rappers and woozy Future-isms, Rae Sremmurd’s 2014 debut single, “No Flex Zone,” hit like the high beams of an 18-wheeler lighting up an interstate at night.
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