Born Sinner Biography

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I was 14 years old, days before the school year ended, when I found myself stumbling upon a surprise announcement by J. Cole, my Lord and Savior himself; “My new album. 2014 Forest Hills Drive. 12/9”.
Then there was me. A teenaged schoolgirl scavenging various german sites for any leaked sample of this album I could find. I found myself feeling (weirdly) good about myself, like hey, look at me, I’m so unique and would you look at my music taste.

North Carolina rapper J. Cole’s follow up to 2013’s Born Sinner rejects featuring collaborations, producing his most intimate and elaborate album yet, that made me reminisce about the classic Cole sound, though parts of this album suggest he has developed his sense of versatility by adapting his signature sound into a more complex and diverse mixture of upright front tones and technically produced backbeats, while incorporating his signature hard-hitting lyrics, proving his ingenuity in the production of his tracks. In his quest to canonize his sound, he ignored the release of singles prior to the album’s release,
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and physically. This is depicted over a choir-esque sound which is layered in between few other sub basses and upright tones which evoke a cool, airy feel, somewhat adding to the sensuality of this song. The tones of a lush synthesizer and rattling high hats are compiled to produce this masterpiece of a both rhythmic and chill style. The harmonious tones in the background are formatted perfectly to comply with technical languid tones, to ensure his audience focuses on the lyrical message, by not unnecessarily amplifying it with the backbeats and support sounds itself. This technique of eschewing the idea of upfront rhythms and kick basses is applied to songs such as ‘Hello’, ‘Apparently’ and ‘St Tropez’, where the lyrics are the focal point of the
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