{"id":387491,"date":"2026-03-16T06:26:08","date_gmt":"2026-03-16T06:26:08","guid":{"rendered":"https:\/\/www.europesays.com\/ie\/387491\/"},"modified":"2026-03-16T06:26:08","modified_gmt":"2026-03-16T06:26:08","slug":"reemo-kyriemo-irving-album-review","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ie\/387491\/","title":{"rendered":"Reemo: Kyriemo Irving Album Review"},"content":{"rendered":"

At this point, there\u2019s a drill variant in nearly every major city in America, but none will put your moral contradictions to the test like the scene in Philadelphia. In recent years, Philly drill rappers have turned the genre\u2019s complicated brutality into theatrical horrorcore heavy on hoops analogies and religious symbolism. The most famous of the bunch is Skrilla<\/a>, who merged the evil-ass choir-drill beats\u2014popularized by local guys like Ot7Quanny<\/a> and Lil Buckss\u2014with darkly spiritual (and, yes, memeable<\/a>) lyricism and exploitative<\/a> world-building. Deeper under the surface, masked showmen like HappyDranker and Tovi<\/a> fill their drowned-out diss tracks with mythmaking fit for comic<\/a> books<\/a>. The overall scene feels so over the top and stagey that it\u2019s sometimes easy to forget that you are in fact listening to one of the darkest permutations of drill music.<\/p>\n

With West Philly\u2019s Reemo<\/a>, the weight of his words are never an afterthought. In comparison to all of the costume rappers lurking in the city\u2019s shadows, he is the contemplative traditionalist, light on gimmicks. Reemo\u2019s new mixtape, Kyriemo Irving\u2014which includes sick illustrated cover art that features him going for a finger roll at a playground in hell, while an opponent points a gun in the air like Wood Harris at the end of Above the Rim<\/a>\u2014is full of hungry day-in-the-life raps and meditations on fate from the school of Meek<\/a> and G Herbo<\/a>. He\u2019s not a technical buzzsaw like either of those guys, but he has their style of breathless storytelling on lock. \u201cAnd them funerals when you know you got to get back for the dead, that\u2019s a horrible feeling,\u201d he raps on the jazzy \u201cOverKill,\u201d with the worn-down voice of someone recovering from a bad cold. He\u2019s thinking about the human emotions that a lot of modern drill skips in favor of menace.<\/p>\n

No score yet, be the first to add.<\/p>\n

I wouldn\u2019t consider Reemo an old soul, though: He embraces the blunted flows and drama integral to Philly drill of the moment. \u201cShe look in my eyes, I can\u2019t lie to her\/Even my mom know we the ones giving vacations,\u201d he mutters over the faded, 42 Dugg<\/a>-core drums of \u201cIn the Past.\u201d He does run into the same problems a lot of other rappers on the circuit do when stretching their bars into a full-length mixtape: too many mushy Creed montage beats (the biggest offenders are the generic soul samples of \u201cLife Is Good\u201d and \u201cHoop on the Road\u201d), too much time spent on fucking other dudes\u2019 girlfriends (we need to bring back diaries). That would irk me more if the writing wasn\u2019t otherwise sharp and tonally flexible. He can be funny: He considers messing with a broke girl to be as much of a taboo as eating pork. He spits Marcus Camby and Udonis Haslem punchlines, then tells a story about scaring his latest fling with his PTSD-induced nightmares and cold sweats. \u201cRay Lewis\u201d is a raw vignette with a King Von<\/a> level of violent detail, but an unexpected dose of dreaminess and sentimentality.<\/p>\n","protected":false},"excerpt":{"rendered":"At this point, there\u2019s a drill variant in nearly every major city in America, but none will put…\n","protected":false},"author":2,"featured_media":387492,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[264],"tags":[12327,18,117,19,17,337,806],"class_list":{"0":"post-387491","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-albums","9":"tag-eire","10":"tag-entertainment","11":"tag-ie","12":"tag-ireland","13":"tag-music","14":"tag-web"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@ie\/116237433844659573","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/387491","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/comments?post=387491"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/387491\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media\/387492"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media?parent=387491"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/categories?post=387491"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/tags?post=387491"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}