Nineteen-year-old Kari from the Southside of Chicago has an unorthodox flow paired with a lyrical prowess that is simply unmatched. Throughout his most recent EP HOT DAMN (the prelude) Kari views himself as an outsider, someone not understood by a racist America, or even by many of his peers. The orchestral, thickly layered production immediately steals the attention of the listener with a unique perspective among rappers of a similar caliber.
The blaring, horn-based production of the opening track, “RED CARPET RAVIOLI,” is reminiscent of something like a training montage in Rocky. The beat provided by myfriendnate acts as an explosive backdrop for Kari to spit his acrobatic bars and double entenderes. With braggadocios rhymes, Kari uses the song as an opportunity to rap circles around his peers. “I’m running on the track and watching everybody finish.” The song’s steady high-hat adds to the running theme, building tension and inferring the image of Kari on a metaphorical treadmill, running with no end in sight while all those around him tap out.
When asked about what influences his decision to opt for more live instrument-driven beats, Kari responded, “Nate and I really just wanted to create sonic landscapes that we felt were true to our interpretations of the subject matter.”
Following the opening track is “LEMONS,” the first song with a feature, this time from HateSonny. Longtime friends, Kari said that they have known each other since they were 15. Clocking in at more than four minutes, the song stands out by its length. Yet Kari uses the time efficiently, as it seems he’s always got more to say on a track. The production contains a calm and steady piano loop, and underneath a sample can be heard of a rather rambunctious gathering, “Fuck this, fuck everything,” can be heard, which might play into the opening line. “I only make music for white men to hate me,” the line seemingly aimed at a white-washed America, one pitted against him that doesn’t see him as a valuable member of society; only some ruffian criminal. Kari’s flow is hungry and aggressive, his resentment towards society can be heard in his voice. The sample, in the beginning, could be his frustration with how he is seen. The steely HateSonny handles the chorus with his usual cold, monotonous flow. Kari’s ravenous delivery is indicative of how imperative it is for his career to take off, “All I know is plan A cause plan B hasn’t been planned for.”
“dimondz” has the most experimental beat on the project. It has a hollow sound with air hissing, like an industrial pneumatic machine. “The streets too cold man, ask them where the love at, don’t die too young, ask them where your thug at,” suggests Kari is in the middle of all this chaos yet still thriving. It’s a stark contrast from how many people would approach that type of environment, and suggests he feels he’s been left out from the prosperity that much of the rest of the country enjoys. The staticy chorus provides a refreshing sound that compliments the rawness of the vocals, and both izzihot and dfree da vinci offer masterful guest verses.
The shortest song off the project comes with the Gus Chvany produced “BUNS,” at a mere minute and forty seconds. The song opens with a sample, the infamous quote from Bill O’Reilly, “Fuck it, we’ll do it live.” During the song Kari compares himself to today’s rap legends when they were on their rise, referencing the likes of Gucci Mane and Waka Flocka Flame. But what becomes evident is that it is more important that he remains true to himself and maintains his integrity. This is made clear in lines like, “On the road to riches and I’m on my goat shit.” Kari wants to be a legend, but he knows he needs his reputation to stay solid and downright impeccable. Ending the song off with a sample of female vocals, it carries the listener off in a daze on the empowering track.
Immediately “SMWYG” reveals itself to be no ordinary track by the bluesy, jazzy saxophone that marks the beginning of a new track. Seemingly calling out into the abyss looking for Kari, he responds back, “yoyoyoyo.” The production is more orchestral than ever, sounding like the opening of a midday talk show that needs to wake up it’s listeners. Full of energy, Kari unleashes a flurry of rhymes in response to the boisterous beat. The comedic, “I throw away ya chain if our contract came out, I nutted in her eye then her contact came out,” is just one bar that sticks out in the blizzard of rhymes put out by the Chicago rapper. Kari’s laser-focus flow chews through the verse, rapping about being from a different planet, being sober, and overcoming stereotypes, the theme of sticking out is continued on this standout track. The jazzy saxophone carries the track home, and to the final song.
Produced by myfriendnate and Kari himself, the final track, “JIMMY DEAN BREAKFAST SANDWICH,” opens with a sample from Robin Williams exclaiming about the hot weather. The beat slows down the momentum of the project, as well as having a sample of a female choir singing. Kari explains he could never just sit around and wait for something to happen, a reason for this project’s existence. His wordplay continues to be on point, slinging lines like, “When the oven get to baking grab a motherfucking apron.” Front to back Kari has a loyalty to telling it how it is, and he expresses his allegiance to only speaking facts, “I only let the truth leave the tip of my tongue,” which makes the listener think what opinions he may be holding back. Informing the listener that he will forever be mastering his craft, the beat cuts out and he just raps, “No sleep, no slumber bitch.”
HOT DAMN (the prelude) effectively achieves what Kari set out to do: leave the listener yearning for more. The project is just long enough to show he’s got a lot to say, but not too long that anything on here is stale or filler. The project doesn’t miss with any tracks, and shows that Kari outshines the rest of his peers.