I'm Him

| Kevin Gates

Cabbagescale

100%
  • Reviews Counted:7

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I'm Him

I'm Him (His Imperial Majesty) is the second studio album by American rapper Kevin Gates. It was released on September 27, 2019, via Atlantic Records and Bread Winners' Association.-"Wikipedia"

Critic Reviews

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  • The Ikonic Music Blog

    He’s honest. He’s bold. He’s clearing his heart in this album.  

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  • All Music

    The excellent and inexhaustible array of tools in his skill set demands a lot of space, and I'm Him nears the same high level of expression, introspection, and catharsis as his best work. 

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  • The Sentry

    I’m Him is another step in the right direction for Kevin Gate. Holding an album on his own is a tough task and his style of music is pleasing to the ear, it just lacks consistency and diverseness in his beats and lyrics. 

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  • Rap Reviews

    Some music feels manufactured and some feels hand crafted, and “I’m Him” falls into the latter category. There’s a quality to this effort that suggests he will only keep improving over time.  

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  • Hot New Hiphop

    It’s more of a documentation of Gates’ current state, full of inspiration and blunt-force contemplation that enrich his story and herald the return of “his imperial majesty.” The main attraction, as always, is one of hip hop’s most irresistible personalities: a well-oiled, one-man show of clenched-teeth street codes, humble beginnings, and emotional immediacy that doesn’t mince words.  

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  • DJ Booth

    I’m Him is a reminder that, along with being a proficient rapper and songwriter, Gates has one of the best ears for contemporary trap production. Although some tags are more recognizable than others, the assortment of producers he recruited for I’m Him excutes. The kicks are elephant-heavy, the snares all snap like firecrackers, and each bassline surges with a bombastic vibrancy. 

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  • Pitchfork

    If I’m Him feels just a hair less essential than some of Gates’ previous releases, it’s because there isn’t all that much new to see. Gates folds a bit of DaBaby’s irritable yammer into his flow on “Facts” and on “Pretend” he flirts with a dancehall patois, both of which he more or less pulls off. 

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