T-Killa – “Big Bro Talk” – an exercise in smart wordplay and flexing flows

T-Killa – “Big Bro Talk” – an exercise in smart wordplay and flexing flows

Share Button

Producer, artist, and engineer T-Killa The Hott Spitta was born and raised in Greenville South Carolina. Inspired by 2Pac, Jay-Z, T.I. he gets a lot of T.I. Comparisons. Signed to independent label Generational Muzik, T-Killa also has his own publishing company called Nonchalant Publishing Global LLC. “Big Bro Talk” is his tenth solo album. Let’s face it, the man cannot be stopped. He comes around with new albums just about like clockwork. What’s more, they tend to actually be good. It defies all logic, especially within a genre so notorious for a lack of willingness to support longevity. Ten albums is a truckload of work, in an era thriving on singles alone.

As things move along, the album builds its momentum and intensity; there are lots of songs, lots of features, and lots of vibes, making it feel like more of a top selected playlist at points rather than just a single body of work.

However, the flip side of the coin is that T-Killa manages to hit some incredibly high notes along the way. He’s at his best when he centers on timely content, surrounds himself with high-powered beats and attacks the bars head-on.

The album eases in with “Past (Intro)” ft. Evelyn Nance, before cementing itself in the resonating “Siblings”, which gives us our first taste of T-Killa’s urgent rasp. From there on out he takes us through various nuances that range from triumphant and combative to emotional and reflective. With a cohesive sense of production doing wonders, each track glides perfectly into the next.

Moving forward we encounter the sweeping cinematic sound of “Pour Out A Lil’ Henny” ft. Rickdarula, and then the slow-burning soul of “Solo” ft. Shaleese Greggs. By the time you hit “Paid” ft. ATM_MUZIK and the haunting bounce of “Animosity”, it becomes clear that this is a generous, compulsively enjoyable recording, unburdened of commercial pressure in a way that’s all too rare in this numbers game.

“Class” ft. BAD GUY COOK, RoadRunna Boogey & ATM_MUZIK, is an exercise in smart wordplay and flexing flows, as the crew dig in on a dynamic template. “Peers” forges another smooth and soulful beat, embellished with mellifluous sampled vocals to fill the spaces between T-Killa’s deep-voiced verses. “Covid (Interlude)” ft. $hooter, RoadRunna Boogey, is proof that T-Killa can turn each beat he touches into a masterpiece of streetwise sonic wizardry.

“Quarantine” ft. BAD GUY COOK, boasts a dark and booming 808 beat, as T-Killa leans into the production with a menacing flow. A tone and mood he retains on “Renegade” ft. Rowdy K, as he unpacks his verbiage.

“M.P.R.” ft. BAD GUY COOK is an impactful motivational sermon about money, power and respect. T-Killa provides the perfect undertones necessary to sell the emotion in his lyrics. “Compromise” ft. RoadRunna Boogey is constructed on a skittering trap beat and a twisting melody.

All throughout the album T-Killa delivers strong bars mixed with the encouraging message to hustle with ambition, he’s both a clever scribe and loaded with sheer charisma. Moreover his able to flip his sonic template from one song to another.

“Around” ft. TASTI TAM sees T-Killa and his feature dip into some explicit sexual innuendo. “2Pac” is T-Killa attuned with what makes him so captivating: he tightens his delivery, focuses his songwriting, and adds more weight to his voice.

The album moves to a close with “Future (Outro)” ft. Aviyana Suber & Rickdatula and “Vibe (Bonus Track)” ft. Chinc’. It checks off all boxes for a great album: dynamic production, unapologetic rhymes, and full-fledged flows. T-Killa does his job by serving up biting lyrics to match the excellent beats. His contribution to the project is top-notch in every aspect.


Twitter: @TKilla_MOMEnt IG: GenerationalMuzikTkilla Facebook: T-Killa

Leave a Reply

Your email address will not be published. Required fields are marked *