This is a project I’ve had in my personal rotation for a while, but postponed a proper write-up until now. At first blush, you wouldn’t think there’s much to be had here; Hoodrich Pablo Juan, eternally linked with ATL trap scene and the members of Migos while never quite escaping their shadow, and Kenny Beats, a relatively unknown producer who’s most notable production credit to this point came on a throw-away ScHoolboy Q song from 2012. The unlikely pair dropped South Dark; a quick 7-track mixtape with some cheeky cover art, a meh title, and surprisingly high replay value.
South Dark benefits greatly from the surprising chemistry between artist and producer. Opener “Dead End” is the standout for me, and Hoodrich wastes no time going in over some odd yet catchy synths that flutter along behind a powerful bassline and an active, interesting drum kit. Hoodrich does his part, punching the gas from chorus to verse back to chorus. He’s not trying to do too much on the mic, instead rapping about the things he knows best; designer clothes, doing drugs, getting money, the usual. His voice is measured, controlled, but not distant or lazy. I really enjoy his flow; it manages to be effortlessly cool while seasoning certain words with a distinctive Southern flair (like “Behhhhnz”). He’s clearly locked in, and the result is a surprisingly engaging track that I wish was gifted an extra verse.
“Do This” comes next, and it too pleasantly surprises. Kenny Beats, with assistance from BigHead, cooks up a cloudy, thundering bassline to accompany another lively 808 as Hoodrich drops the volume a little, giving the track a menacing feel backed by raps about living the claims he makes in his music. “C Sick” is another highlight, as Hoodrich brings generic but quick rhymes to play over a whining, chattering beat. The album’s closer “Ruthless” is uneven yet powerful, as exhibited by scattered bass hits and a verse/chorus combo from guest Duke. Hoodrich doesn’t leave his comfort zone much here, and the track is admittedly a bit bland, but the energy from the beat and feature give it a needed boost.
There are some misses here, however. “3 Point Stance” is in the same range as “Ruthless” in terms of beat, but it is bogged down by a lethargic Hoodrich on the mic, who unloads some truly terrible bars that torpedo the song. “EveryDay” finds Hoodrich about one register too high on the mic over beat that is just too busy. Between the odd vocal changes and the shuddering, weird beat, it just isn’t particularly enjoyable. Hoodrich thrives on slower, bass-heavy beats, and “Hood” features a beat too light and quick for him. He manages the beat as best he can, but it gives the song a strange, almost disembodied feel. The featured Baby Ullie is also wasted on a nearly unintelligible intro.
A mixtape like this is bound to have slip-ups, but the ones made here are far from fatal. South Dark has the distinction of being a mixtape released by an Atlanta artist in the general trap subgenre that not only has multiple successes but also unquestionable replay value. It’s a celebration of someone who’s made it but knows he can go further. Hoodrich knows he doesn’t need profound lyrical content or mold-breaking beats to ensure his project sticks; he just needs to refine what everyone else is doing while adding some personal touches (in this case, his signature flow). Kenny Beats clearly knows his artist well and managed to cater to his strengths on most of the tracks. With South Dark, Hoodrich's fun verse on “I Can” with Migos and a Lil Uzi Vert feature on the remix of his song “Zombamafoo,” Hoodrich Pablo Juan is now in prime position to step out of the underground.