Torrent details for "Lil Durk - Just Cause Yall Waited 2 (2020) [320 KBPS]" Log in to bookmark
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100.10 MB
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07-05-2020 16:21 (edited 14-05-2020 16:42) by Freak37
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Artist: Lil Durk
Title: Just Cause Y'all Waited 2
Year Of Release: 2020
Label: Alamo (Geffen Records)
Genre: Hip-Hop/Rap
Quality: 320
Total Time: 39:50
Total Size: 100 Mb
Tracklist:
01. Different Meaning (2:31)
02. Street Affection (2:45)
03. 3 Headed Goat (2:50)
04. All Love (3:09)
05. Gucci Gucci (2:49)
06. Viral Moment (3:12)
07. 248 (2:36)
08. Triflin Hoes (2:24)
09. Internet Sensation (2:06)
10. Street Prayer (2:39)
11. Chiraq Demons (2:54)
12. Doin Too Much (1:42)
13. Broke Up In Miami (2:29)
14. Turn Myself In (3:12)
15. Fabricated (2:33)
Who is going to save Lil Durk’s soul? There’s barely a moment on Just Cause Y’all Waited 2 where the drill veteran doesn’t sound on the verge of tears, ready to collapse in the recording booth, his voice trembling with pain. Nobody who has been paying attention will be surprised: Durk has been broadcasting an unvarnished depiction of South Side Chicago communities since around the time of Obama’s first presidential campaign. These are now areas of the city devastated by coronavirus—early reports revealed that black Chicagoans account for more than 70 percent of deaths from the virus, despite making up 30 percent of the population—and most likely to bear the brunt of prolonged economic recession. In this backdrop comes the latest tape from a man burdened for far too long, his spirit finally ready to rupture under the weight of an unjust world.
You can forget about finding a sense of catharsis on Just Cause Y’all Waited 2; Durk refuses to fill his music with false hope or easy answers. Never mind that he claims to be based out of Atlanta these days—his loyalty is to the people of Chi-Town. (Just last month he showed up at Rush University Medical Centre to help deliver meals to frontline workers.) Durk is not the most famous voice in rap to emerge from his hometown, but he’s probably the most detailed, the most compassionate, in his vision. In this latest study of the city, he walks the line between reporter and preacher, gangster and citizen.
The ghosts of lost comrades circle Durk’s music, rendering almost every cut sorrowful and spectral. In his hands, Auto-Tune has a bled-dry beauty; over the piano chords of “All Love,” his digitized voice accentuates the erosion of his spirit. Far from a one-note vocalist, he drops the effect on “248.” Durk has never been particularly interested in virtuosity for its own sake, and here he slides into a conversational style, sounding like he’s slumping back in a chair, recollecting for his biographer.