A Tale of Two Double Albums: Migos Does Wrong what Big K.R.I.T did Right


Migos were everywhere in 2017 – the slew of dizzyingly successful singles off Culture, the album itself, and the innumerable guest features and collab albums ensured the trio were never out of sight (and earshot). The three Migos were music, a cultural moment in themselves.

In the midst of the Atlantans’ reign, a fellow Southern MC quietly dropped one of the best albums of the year – a double album, no less. Big KRIT (née Justin Scott) had been staying lowkey for too long, but when he resurfaced with 4Eva is a Mighty Long Time, it was evident that the wait was worth it.

Each of the two sides on 4eva… serves a definite purpose. The Big KRIT side showing off his lyrical acrobatics over deep-fried trunk-rattling production. The songs here are tight and incisive, delivering braggadocio and barbs with a technical finesse that shows off KRIT’s hunger for greatness.  The Justin Scott side is where the MC gets personal. The beats are more soulful and expansive, which allows Scott to ruminate over his struggles and insecurities and quietly celebrate his personal joys.

The entirety of 4eva… runs to 18 tracks, and nearly an hour and a half. Even the greatest of artists can – and have – put out lackluster albums when they try to indulge their maximal tendencies (looking at you, Lulu). Fortunately, KRIT doesn’t fall into this trap, instead revitalizing himself and delivering a body of music that does not stutter, or stumble over itself. There are few indulgences, keeping the sonics stylistically diverse and the songs themselves lean. KRIT has also inculcated a great ear for melody, which he uses to great effect in his singing as well as in the arrangements on the longer tracks. Round this off with a carefully curated set of guests, many of them frequent collaborators with whom he works exceptionally well, and you have an album that rarely – if ever – overstays its welcome.

Big KRIT poured his heart and soul into 4eva is a Mighty Long Time, understanding his strengths and weaknesses exceptionally well, and it shows. Despite its length, the LP doesn’t feel like it goes on – forgive the pun – for a mighty long time.

While KRIT was shining in his lane, Migos were working on the follow-up to their acclaimed album. Clearly intending to ride the wave of their previous success for some more time, Culture II arrived almost exactly a year on from its predecessor.

Or perhaps more accurately, it landed with an awkward thump.

As a whole, I don’t dislike this album. I loved multiple tracks and liked a few others.  There are several moments of Migos at their most Migos, and there are a few interesting sonic moments, specifically in the production. The singles are some of the best songs on the album. But at a whopping 24 songs long, Culture II overestimates the patience of well, everyone who’s listening to a Migos album. And that proves this LP’s downfall.

Migos have never been compelling lyricists – their appeal comes as vocalists, with unique flows, buckets of charisma and catchy choruses and vocal intonations. Stretching these talents across far more tracks than they need to diminish them significantly. It doesn’t help that the MCs themselves sound a little disinterested in experimenting, or even amplifying their strengths. In fact, in Quavo’s case in particular, his weaknesses as a lyricist are amplified as he struggles to keep coming up with interesting punchlines about wealth and sex. The Autotune-drenched vocals simply aren’t enough. Only Offset manages to hold his own on a significant part of the album.

It comes down to a significant, singular difference in how Migos and KRIT approach their respective albums – how much the MCs have to say. Having not put out a new album in a long time, KRIT had a number of themes to speak on, and a lot to prove. That translated into each song, each verse, each hook having its definite place. There was enough variety for the size of the album to not feel excessive, and being a gifted MC, KRIT ensured that we were listening intently to his every word. But given the deluge of music Migos have been associated with over the past year, Culture II is overkill. In a bid to keep their names in the industry’s conversations, they’ve put out too many songs that recycle their (already generic) tropes in decreasingly clever ways, accentuated by their limited technical skills. The result is an album that says a lot without actually saying much of note. The singles will keep the Migos brand afloat, but at what cost? Twitter is flooded with self-attested fans trashing the album. “The whole album sounds like one long song” is the most common refrain.

It’s unfortunate, really, that the Migos have been so blinded by their fame that they got complacent, to the point of repetitiveness. Because the first Culture made it evident that they could be wildly creative and entertaining. Their revival after the middling post-Versace run is further proof that they know what they’re doing, and can do it right if they want to. It’s a hope, too. Maybe they’ll put out an album that cements their legacy the way 4eva is a Mighty Long Time did for Big KRIT sometime in the next few years.

One can only hope it won’t be another gargantuan double album.





A Tale of Two Double Albums: Migos Does Wrong what Big K.R.I.T did Right