KanKan – “F.E.B. (FUK EVRY BDY)” review

Finally getting the 3rd studio LP from Dallas, Texas recording artist & producer KanKan. Emerging in 2019 as a member of Slayworld & by landing production credits for a wide range of artists from Summrs to even Little Pimp, he’s also dropped an eponymous debut mixtape as well as 21 EPs & a couple full-lengths. Although it’s already been a few years since we last heard from Kan, he’s returning over 25 months following his sophomore effort Way2Geeked by releasing F.E.B. (FUK EVRY BDY) only less than 24 hours since it was even announced.

“Fuk What U Sayin’” begins the comeback with a plugg instrumental talking about the old version of him being history whereas “Make No Sense” flexes that he counts racks & hits the border immediately after. “All Typa Shit” has one of my favorite beats on the entire album talking about luxurious materials just before the exuberant “Thru da Storm” floors it when everyone chooses to take off.

As for “Redeye Flight”, we have Kan talking about spraying mags & having a brand new stash while “Group Home” boasts that he counts new money on a daily basis like it’s some kind of cycle. “3Skii” goes for a more sinister atmosphere carrying ice around his neck & his cup after being away for so long while “Overtime” tells the coach to put him in the game since it’s going past regulation.

“Told” continues to finish up the first half of F.E.B. (FUK EVRY BDY) with some synthesizers talking about him keeping everything P while “Fuk How They Feel” accidentally spills lean all over his Rick Owens jeans, raising his prices as a result of the whole mishap. “It Get Scary” talks about having absolutely 0 love for the other side leading into “Yellow Taped” boasting that he & his friends have made millions with one another.

Moving on from there, “Real Solja” talks about only poppin’ out for a check & whacking artists instead of trying to collaborate with them while “Wet ‘Em Up” flexes that he’s so high in the sky the point where he’s gonna have to need a parachute. “BMG (Long Live Scooter)” gives his flowers to the late Young Scooter who tragically lost his life on his birthday this spring while “Ain’t No Turnin’ Back” refuses to waste any more of his time.

“Can’t Wait Up” talks about his big dog status with new money coming at an impressively consistent rate while the pluggnb-driven “Bringin’ Me Back” tackles the concept of drug addiction, always relapsing whenever he attempts at kickin’ the habit. “Can’t Go Back” finds himself unwilling to climb back at the top since it can be lonely at times while “So Many Nights” talks about having dreams of his death.

The song “Outta Town” gets ready to conclude F.E.B. (FUK EVRY BDY) by leaving the city with a freak hoe getting geeked up with one another while “All Black” talks about his outfit preferences treating the Wock like it’s some kind of trophy. “RR P.R.E.” featuring Summrs however reunites both Slayworld alumni to finish things off calling for all their homies who’re locked behind bars at the moment slidin’ to the function with black trucks & masks up.

Some of you may remember me condemning the series of transphobic disses Dave Blunts hurled towards KanKan’s way during the same weekend as the Endeavor-owned TKO Group Holdings division WWE’s WrestleMania XLI when You Can’t Say That was released & to the surprise of absolutely nobody, F.E.B. (FUK EVRY BDY) clears it by taking it back to the prominently heavy plugg leanings of self-titled down to it’s secondary influences of cloud rap & trap.

Score: 4/5

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KanKan – “WAY2GEEKED” review

KanKan is a 22 year old artist & producer from Dallas, Texas who emerged in 2019 as a member of Slayworld & by landing production credits for a wide range of artists from Summrs to even Little Pimp. He’s also dropped an eponymous debut mixtape, 20 EPs & a full-length debut all in that short amount of time with the last offering being ##B4W2G this past summer. But as we enter the final quarter of the year, Kan’s returning in the form of a sophomore album.

“Groupiez” kicks things off with a rubbery, bell-laced trap instrumental talking about his life being a movie whereas “hat4hat” takes a grimmer route admitting that he’s way too geeked. “Over 200” has a more glistening quality to the beat showing off how fast his new whip goes leading into the intoxicating “Go Sit” confessing that one of my twins got caught for that body.

Meanwhile on the title track, we have Kan bragging that he got the racks on him over some minimal production just before the rowdy “No Photos” admits that he doesn’t like taking pics. “Off Roxy” has a cloudier sound to it talking about playing his cards right, but then “Richer Than Him” brings a rage beat into the cut warning that he isn’t afraid to whack a motherfucker.

Lucki tags along for the electronic tinged “##RR##EFG” to spit some some braggadocio while the airy “Fall On” promises that everyone he loves is gonna win. “Livefastdieslay ##4Kaine” is an incredibly profound tribute to Kan’s homie Kaine who passed away of a drug overdose while “New Seal” returns to the hypertrap zone continuing to boast.

Moving on from there, “Playin’ It Cool” blends some hi-hats & vibraphones together talking about maintaining while “X ‘Em Out” shoots for a more futuristic aesthetic reminding everyone that he got rich with no gimmicks. “Ok Kool” is a moodier cut expressing how a lot of these cats get zo’ed while “Can’t Cap” goes into a more materialistic bag lyrically.m with some plugg undertones to the instrumental.

“Figure It Out” has a more orchestral trap flare to it telling the cappers to go make some bread of their own prior to the rage-inducing “OMG” admitting that he doesn’t even give a fuck about the racks. The song “Stay to Myself (Schedule II)” blends acoustic with trap saying these rap motherfuckers ain’t his twin while the penultimate track “Fake 0pps” is a well-sequenced 2 parter about haters being mad ’cause he’s well off & dissing those pretending to be the feds. “High Tech” though ends the album by spitting some gangsta raps on top of some more hypertrap beats.

A lot of artists in this new wave of trap have been making big waves in 2022 ranging from Yeat to Autumn! & Summrs, so it was only a matter of time before Kan did so with WAY2GEEKED & that’s exactly what he does here. His performances are more hedonistic than they were on the debut & the production refines the rage/plugg sound with elements of pop rap & cloud rap.

Score: 3.5/5

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KanKan – “##B4W2G” review

This is the 20th EP from Dallas, Texas recording artist & producer KanKan. Emerging in 2019 as a member of the Slayworld collective as well as landing production credits for a wide range of artists from Summrs to even Little Pimp, he would also go on to drop an eponymous debut mixtape accompanied by 19 EPs & a full-length debut in that short amount of time. But to warm everyone up for his upcoming sophomore effort Way 2 Geeked, it’s only right for KanKan to give the fans ##B4W2G as a way to hold us over until then.

“14” starts off the EP with a electronic/trap fusion talking about how the pussies can’t hit his za whereas “don’t @ me” takes a more uptempo route calling out those who think they’re better than him. The song “see u” shoots for a more atmospheric sound talking about treating every day like it’s a holiday while the penultimate track “after me” works in a rage beat confessing that he’s been geeked all summer. “taxbracket” closes things out with a fun braggadocio banger.

##RR was an impressive debut album for KanKan & for him to give us this in preparation for Way 2 Geeked, I’m really looking forward to hearing him continuing to artistically expand on there. I think the production of each cut gives off it’s own vibe & Kan’s songwriting is only getting catchier.

Score: 3.5/5

KanKan – “##RR” review

KanKan is a 21 year old artist & producer from Dallas, Texas who emerged in 2019 as a member of Slayworld & by landing production credits for a wide range of artists from Summrs to even Little Pimp. He’s also dropped an eponymous debut mixtape & 14 EPs in that short amount of time, but all of that has but nothing but a pre-game & is ready to prove the world what he’s really capable of on his very 1st full-length album.

“Arcteryx” kicks it all off a fun little freestyle accompanied by a minimal yet joyous instrumental whereas “Red” is a bass-heavier cut speaking on his newfound fame. “Breakin the Bank” is a cool electro/trap fusion about his wealth, but then “Not da Same” feels like a leftover from Yeat’s latest album Up 2 Më given the lack of KanKan’s presence on it.

The title track brings in some hypnotic synth melodies celebrating the paper coming in by dropping it on a black Bentley & Roxis just before “Wreck” works in a blobby bass-line talking about walking in the club with that fire. After the acoustic-tinged “Oxy” interlude, “Milan” serves as a corny love ballad with an underwhelming Joony verse at the start leading into the cloudy yet monstrous “Dissin’” goes at his naysayers.

“Under Me” continues where the previous cut left off thematically albeit with a mistier beat while “Take It to Trial” serves as an underwritten shot at studio gangsters. The song “Fuk tha Clout” with Yeat finds the 2 on top of a mind-altering instrumental saying they don’t care about the fame while the penultimate track “Russian Shit” works in some piano melodies getting on his hardcore shit & “Demon Time” is a short yet grim finisher to the album displaying his recklessness.

Overall, #RR is a pretty respectable debut album & I’m curious to hear where he goes from here in the subsequent future. A couple songs seem like they’re unfinished & not fully realized, but KanKan continues to make his mark as one of the biggest names in the plugg scene today as he vibrantly details where he’s at currently.

Score: 3.5/5

KanKan – “##B4RR” review

This is the 19th EP from Dallas, Texas artist/producer KanKan. Coming up in 2019 as a member of Slayworld, he also got his name out there by producing for a wide range of artists from Summrs to even Little Pimp. Dude just dropped a sequel to B4 AMGs & SRTs last month not even & has decided to not slow down anytime soon putting out ##B4RR in just a short matter of time.

“We Get High” is an electro-tinged opener about using drugs before going at those who’re inferior to him on the Pi’erre Bourne-influenced “Under Us”. Meanwhile on “RedEye”, we get these incredible synth passages & KanKan going on about his newfound famous lifestyle.

The song “Mad at Me” is a dystopian shot at his haters while the penultimate track “Broad Day” takes shots at his biters over a nocturnal instrumental. The EP then rounds out with “Wicked”, where KanKan & ssgkobe hop on some monstrous bass for a whole lotta fuckery in their words.

For those who’re looking to get into this kid’s discography, ##B4RR isn’t a bad place to start at all. The ideas he brings to the table in terms of sound are really interesting & he still sounds hungry as Hell despite his popularity continuously growing.

Score: 3.5/5