At its best, Ca$ino is the most reflective Keem’s ever been. He parses through how California and the Vegas Strip have poisoned him and his circle, but his warring pop star and rapper sensibilities leave his reckoning in a garbled tonal mess.
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At its best, Ca$ino is the most reflective Keem’s ever been. He parses through how California and the Vegas Strip have poisoned him and his circle, but his warring pop star and rapper sensibilities leave his reckoning in a garbled tonal mess.
Ca$ino, which feels like a difficult yet necessary transition out of The Melodic Blue and lacks that album’s easy gracefulness, may not yield an immediate answer. But it certifies Keem as an artist with a distinct vision he’s determined to carry forward, no matter what happened in his past.
It’s a staunchly creative gesture, defying the pressure of the outside world for a project which thrives on internal desires, and the power of autobiography at any cost.
It’s a confident, cohesive return that sounds like Keem has stopped trying to prove he belongs, and started figuring out what he wants to say now that he’s here.
Arranged with a sense of brevity, Ca$ino is limited to just eleven songs, making each of its entries feel both more unique unto themselves and more significant as part of a larger statement than the usual overstuffed commercial rap record.
There are a few tracks that are decent rather than great, and the 36-minute runtime leaves it feeling a little too brief. That being said, it’s always a good thing to leave your audience wanting more, and Baby Keem certainly does that.
Ca$ino, Keem's sophomore LP, retraces that creative outline carefully. With the Kendrick Lamar-assisted songs "Good Flirts" and "House Money," Keem continues reaping the benefits of the genetic lottery. But he's not solely relying on K-Dot to carry the weight of the album.
At its best, Ca$ino is the most reflective Keem’s ever been. He parses through how California and the Vegas Strip have poisoned him and his circle, but his warring pop star and rapper sensibilities leave his reckoning in a garbled tonal mess.
Ca$ino, which feels like a difficult yet necessary transition out of The Melodic Blue and lacks that album’s easy gracefulness, may not yield an immediate answer. But it certifies Keem as an artist with a distinct vision he’s determined to carry forward, no matter what happened in his past.
It’s a staunchly creative gesture, defying the pressure of the outside world for a project which thrives on internal desires, and the power of autobiography at any cost.
It’s a confident, cohesive return that sounds like Keem has stopped trying to prove he belongs, and started figuring out what he wants to say now that he’s here.
Arranged with a sense of brevity, Ca$ino is limited to just eleven songs, making each of its entries feel both more unique unto themselves and more significant as part of a larger statement than the usual overstuffed commercial rap record.
There are a few tracks that are decent rather than great, and the 36-minute runtime leaves it feeling a little too brief. That being said, it’s always a good thing to leave your audience wanting more, and Baby Keem certainly does that.
Ca$ino, Keem's sophomore LP, retraces that creative outline carefully. With the Kendrick Lamar-assisted songs "Good Flirts" and "House Money," Keem continues reaping the benefits of the genetic lottery. But he's not solely relying on K-Dot to carry the weight of the album.
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