2014, amid a New York music scenery progressively lacking myth storylines, Bobby Shmurda experienced like the last of a dying breed. Though his opus took place on the now-defunct Vine, Shmurda and his GS9 companions presented a magnetism that could have spread beyond 15 minutes. The memorization of his logo music “Hot Nigga” (which topped at No. 6. On the Hot 100!) struck by his boisterous rage, bass-knocking concerts “Bobby Bitch” and Rowdy Rebel’s “Computers” formation of the season of Shmurda. But December, in the process of audio, a formal breakthrough, Shmurda was imprisoned and finally sentenced to seven years in prison, cutting off his uprise and cold the development of his art in its childhood.
The Shadmurda superstar, and how gained recognition from the city’s youth and old guard without kowtowing with either group, He has kept his candidature for the olympics “King of New York” King despite. Without an album, His new job had only been reinforced by personality and bravado. But a song seemed to have an instinctive catalyst that made you feel as if you were person to a new future actor. Here now was none innovative — just an overloaded character surrounded by all the ring and chirps. The new BodBoy EP, Shmurda’s first independent project was when his release from jail in February 2021 and a promo of his offered breakthrough “Ready to Live”, efforts more of the same. But it records as nothing more than a revisiting of his previous peak, with a wash record of showcases and danger that fails to capture the feeling of days of yore.
On paper, Shmurda says a surefire strategy is needed: Stick with what you know. But achieving earlier success requires accurate operation, Bodboy’s inexperience illustrates flaws overshadowed by the enthusiasm of 2014. “Hoochie Daddy!” a crazy pickup at TikTok virality with sped-up background vocals and supplanted Jersey team producer, is a demeaning listen. “From the Slums” with its collapsing musical climax and thumping largemouth, feels torn from a 2010s album playing through a stinky earphones in Times Square. Shmurda continues to run at the rapid pace of the production, injecting soft ad libs that sparkle rather than shine through. Sections 2 and 4, creating stream-of-consciousness bars noise like your buddy freestyling at the pics at 2 a. M. M. You don’t arrive at a Bobby Shmurda music with depth and investment in songwriting, and you can understand him!, you won’t find a memory of enjoyable passages. His desire to speak, and what ever comes immediately to mind, provides a little of that funny moment ( “Cause I was shooting in my slippers in the middle of the street” He blurts “BodMont”), but the uninspired meansders gain vintage fast.
Yet there are really happy cases when Shmurda’s campy stupidity overlaps with producer ventures into new local land. He delights the full-broadcast producer of “Glock Inside” that feels as if it were torn from a Duke Deuce endeavor, as his self schoolyard. The first thing we hear him say “Jumped out of my momma pussy straight into the trap” it was certainly funny. His petty taunting comes off as charming, and his one-liners fire an acceptable share from the site. The rack of racks “Whole Brick” is a transmitter that sounds like it should game every time he joins a space: When he was chanting “I’m about to sheriff a whole brick!” alongside a legion of background voices, it seems like a celebration of his return to music.
