Although it has been over a month since the release of k$upreme’s latest mixtape, Sorry 4 Da Flex 2, it deserves far more attention than it has been receiving. The Atlanta rapper, who gained popularity through his close affiliation with Lil Yachty, is known for his fast-paced, effectively monotonous vocals that often stray far from the conventional standard. Although he is one of the more contributory members of Yachty’s Sailing Team Collective, his consistent and innovative projects often fail to permeate the barrier of the mainstream.
K$upreme’s work ethic is applaudable; the original installment of this album, Sorry 4 The Flex, was released not too long ago. This tape was one of two projects released in 2017, and it was shortly followed by the release of his 2018 project, Flex Muzic 2—a whopping 18-track album. Not only did Flex Muzic 2 include the talents of Ski Mask The Slump God, Playboi Carti, Lil Yachty, and more; this project demonstrated the consistency that his previous mixtapes occasionally lacked. With such frequent release of quality music and a distinct and refreshing persona beginning to form, expectations were undoubtedly high for Sorry 4 Da Flex 2.
The initial track on the album instills confusion, but—as you’ll shortly learn—this is by design. Skrt Skrt Beep Beep is something you have never encountered in all your days of voracious listening. At first, it’s unclear if the track is actually music; but then, after you get adjusted to k$upreme’s ludicrous structure, the track is not half bad. My first impression of the album was solely based on this track, and such absurdity was unsettling. But once I listened to the following five tracks, everything made sense. Skrt Skrt Beep Beep is an extreme encapsulation of the avant-garde style that is to come.
Trap of Die Freestyle follows, and without hesitation, k$upreme begins spitting prompt and ceaseless bars. For nearly half the song, even though the lyrics are being delivered at an unimaginable pace, the beat has yet to drop. This intentional withholding of conventional production forces listeners to anxiously anticipate the drop; and when it arrives, let me tell you, it certainly makes the wait worthwhile. This peculiar approach manufactures energy in a curious way, and it left me eager to learn which other tricks k$upreme has up his sleeve.
Rasta follows, and we get yet another unusual beat—one that resembles that of 21 Savage’s a&t. K$upreme comes in conspicuously offbeat, but in no way does it disrupt the initial energy established by the intriguing, minimalist production. He then proceeds to demolish the beat with eccentric (yet controlled) ballistic offbeat bars, seamlessly transitioning back and forth with SlimeSito. Although SlimeSito is the only feature on the 6-track mixtape, the combination is more than appropriate, and the two work in unison.
Next we have Still Tipping Freestyle, which is a remix of Mike Jones’ Still Tippin’—an early 2000s banger. Although there is a great discrepancy between the styles of k$upreme and Mike Jones, I believe the remix doesn’t do Mike any disservice. K preme diminishes the absurdity of his previous cadences and gives us a more manageable pace, while still maintaining his signature offbeat delivery. Oftentimes offbeat rapping can create a certain tension for listeners, as the style doesn’t offer that familiar, smooth sound. That being said, k$upreme has mastered the craft, and no matter how jarring his transitions may feel, the cohesion is astounding.
Im Da Man Freestyle is next, and k$upreme starts off slow and steady. Suddenly, though, we return to the rapid fire delivery that we have become familiar with. This time, though, K preme is diversifying his flow, taking unpredictable turn after unpredictable turn. His continuous interjections keep you on your toes. You cannot listen to this track in the absence of your own assumptions; but if you can allow yourself to relinquish such anticipations, k$upreme will take you on a two minute roller coaster ride.
Perfect Timing wraps up this brief mixtape, and it serves as an excellent final track. We are served the hottest steel drum beat since the wildly successful (but heavily played out) ZEZE, and k$upreme keeps up the good work. The lighthearted beat pairs incredibly well with his expeditious and erratic bars—a dynamic that is both engaging and infectious. Once again, the structure of k$upreme’s delivery makes no sense whatsoever, but it sounds so good, and I can’t get enough of it.
After the brief tracklist comes to an end, it is clear that k$upreme took the atypical approach on Flex Muzic 2 to the next level. Sure, he recycles a few one liners from said album, but why should anyone care? Chances are, your favorite rapper and their whole entourage have been paraphrasing the same handful of Young Thug and Chief Keef lyrics for years… But that’s a discussion for another time.
Anyways, the point is that k$upreme allows listeners to glide effortlessly through the project. In fact, he might even provoke some constructive thinking about who really deserves recognition in the rap game. And if that’s not the case, he will certainly make you question your conventional musical knowledge. He just keeps going and going and going, leaving listeners who attempt to decipher the complexity of his demeanor in the dust.
Although this project is brief and peculiar to the mainstream music consumer, there is no need for it to meet any sort of standard; Sorry 4 Da Flex 2 is so idiosyncratic that comparing it to any existing work would be a fool’s errand. In short, this mixtape is a critically slept on mini-masterpiece, and I implore you to listen for yourself.