We’ve had an entire rollercoaster of music lately but we’ve been missing BANGERS. So today we’re proudly dissecting a brilliantly-produced and written earworm, Drippin In Foregin By NLA T’Head and CheckkaBaggShawtyy, whose freestyle you previously loved. This new record bestows boastful lyrics, self-made reflections, plenty of smartly-intercalated ad-libs, and a hook you’ll be murmuring long after the song is over. It’s a song that also brings back strong 2000s vibes when doing rap was about making music that could end in dance-offs.
We’ll be the first ones to admit off the bat this is our first ever lo-fi record we’re covering. Simply because this type of music usually doesn’t strike a chord with the listeners anymore. Since Wayne got famous with his Lollipop and the production styles got ever-so-enhanced, imperfect records got acoustically shelved. But Drippin in Foreign got that something that you find yourself unable to skip the track. The raw vibes, the fast flows, the mega confidence we’re fed with, make a great recipe for pulling the audience in and keeping it hooked for the entire 2 minutes and a half.
From the very first seconds we hear a loop of “Drippin’ in foreign/ I ain’t never been overseas”, with a very rhythmic cadence and strong production influences à la David Banner’s Get Like Me. NLA T’Head’s first verse grants a constant flood of catchy aggressiveness, “Killing all these rappers/ I ain’t even in the industry/ N****s they be hating/ Can’t let this sh*t get to me”, and as he moves in deeper, he gets darker talking about turning haters into memories (ouch!) NLA T’Head sets a strong pillar for the first half of the song, rising the bar pretty high for CheckkaBagShawtyy to follow. The rap artist makes it evident he’s got plenty of real-life-based material to rap about, delighting some audiences and equally frightening others. The mark of a great presence.
CheckkaBaggShawtyy’s verse is interestingly enough on the opposite flow spectrum of NLA T’Head’s, being slower, continuous, and phonetically sounding like a never-ending sentence. By consequence, Dippin in Foreign feels like a strong balance of rap forces that’s kept stable by the artists’ opposing styles. The artist’s likable voice makes threatening lyrics sound like a business proposal: “Thumbin thru tha profit/ Hammer back I ain’t gotta cock/ Big glock no pocket rocket/ Plays callin’ I’m outta pocket”. CheckkaBaggShawtyy seems to resist the pressure NLA T’Head’s laid before him, of focusing on adversaries, and shifts the narrative towards women instead: “Had to tell her suck it sloppy/ […]/ On my d*ck like a jockey/ I’on want no p*ssy/ B*tch just top me/ Gotta pay me fa my time/ Give a f*ck if she fine/ Ain’t nan h*e gon’ stop my grind”.
After another hook and an outro worthy of mentioning (you may wanna lower your earphones’ volume if you’re using any, shout out to @taytookyagirl, the producer), we are left with a definite impression: Dippin in Foreign is a fun, menacing record with an illuminous touch of golden-era hip hop. While it will feel like breakfast food for people over 30, it will most likely feel like a splash of cold water for Gen Zers. They ain’t ready 😀
Interview conducted by Mariana Berdianu
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