BigKlit Shines While Taking Risks on Her Newest Record “Fatality”

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Released earlier this month, Fatality is the newest record from LA-based rapper BigKlit. Known for her provocative writing and spirited hip-hop bangers, BigKlit has graced her fans with a different sound on her newest project. In the wake of 2020's Klitorius B.I.G, a record that she described as more "mainstream" and "poppy," her register is much grittier and punk-inspired. BigKlit told me that she attributed this to working with a new production team, and though her two styles are dissimilar, she felt like both are definitely her styles and a piece of her. Despite the risks behind adopting a new approach, Fatality is a solid and well-executed record full of BigKlit's signature chaotic performances and calculated writing.

Describing BigKlit's Fatality is no easy feat, as the project skillfully draws from several musical genres while still remaining cohesive and focused. Though some moments show inspiration from 70's punk music, others may sound like garage rock, trap music, and a style of hip-hop that is simultaneously industrial and experimental. In the face of these comparisons, BigKlit manages to provide something brand new - an authentic and original sound that pushes the amalgamation to its limits. Across the album's 22 tracks, she traverses through moments that are both powerful and energetic, as well as ones that are more reflective and downtempo. Even at the most hectic moments, BigKlit writes carefully and remains in control of her manufactured chaos.

One of BigKlit's many talents is her mastery of performance, seamlessly creating a union of dynamic singing, rapping, yelling, and even moaning on Fatality. Though some tracks are mixed like a heavy metal anthem, and others like a single straight out of Awful Records, BigKlit's versatility shines consistently throughout the project. At any given time, she may be shrieking and moaning as we hear on "Fukkd Up" or rapping effortlessly on tracks like "Jet" and "Grown." Even when BigKlit sings on tracks like "Mirror," or "Skin," she still delivers lines that are both simultaneously engrossing and thought-provoking. There are too many to quote, but on “Make a Wish” she yells “Imma make him scream” until her voice starts to falter, except there is no slowing down, no loss of confidence or power.

One thing that is apparent on Fatality is how, in many ways, BigKlit reflects a clear parallel between herself and the early female pioneers in punk rock. Female-led 1970's punk groups like X-Ray Spex and The Bags wrote about many of the same topics BigKlit covers on Fatality: money, power, sexuality, gender, and identity. Both were subversive and likely labeled as "provocative," but this title dismisses both those groups' and BigKlit's artistry - reducing progressive music into an object carrying one unitary theme of shock. By describing music like BigKlit's this way, we restrict the art in front of us before we critically think about its intent, message, and relation to us. There is clearly a great deal of intention behind BigKlit's writing, as even on the opening line to "Make A Wish" ("I fuck him like a side bitch / He think he mine") plays with ideas of gender roles, infidelity, and power that were just as relevant 50 years ago.

Though Fatality is only 45 minutes long, it is the perfect serving of impactful and abrasive ear candy to start the year off right. Alongside the record, BigKlit also released an accompanying short film, full of intense, demonic, and even surreal visuals to compliment her music. During our brief interview, BigKlit told me that Fatality was partially inspired by the protests that took place this summer. She said that raw emotion was "exactly what the world needs right now" and I couldn't agree more. As BigKlit wrote on the intro to Fatality, people are now afraid that the world will change, but if the future means elevating music like this, then I am here for it.

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