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Pimpton – Killa Call Me Killa Vol. 1 [Review]

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Regina, SK – Regina MC Pimpton has just dropped his highly anticipated mixtape, Killa Call Me Killa Vol. 1. After the success of his 2013 debut tape, The Deal Breaker: Manifest Destiny, Pimpton decided to roll out another tape for our listening pleasure. This 17-track banger ups the ante with features from Mistah F.A.B. and Moka Only, as well as collaborations with some of Saskatchewan’s finest artists (including Pimpton’s fellow C.J.E. crew mates).

For those of you who’ve never met Pimpton, this mixtape’s title is just too perfect. See, Pimpton doesn’t use the word “homie” or “bro.” He uses the word “killa,” and he uses it for everything. If you’re his friend, you’re his “killa.” If something is dope, it’s “killa.” So if you don’t have time to read the mixtape review below, here is the CliffsNotes summary: it was killa.

Pimpton – Killa Call Me Killa Vol. 1 [Review] -HipHopCanada


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Killa Call Me Killa Vol. 1 starts off with two trappy tracks: “Pom Pom Wit Killa Inside” and “Hustle Er’y Day.” “Hustle Er’y Day” makes for a great little dance tune. Some folks sound ridiculous when they try to use “er’y” instead of “every” and it just becomes a sloppy mispronounced mess. But Pimpton’s enunciation is solid.  The track was produced by one of Pimpton’s new partners, Kholebeatz from Norway. Exotic, right?

The tape’s namesake track, “Killa Call Me Killa,” shows up as the third tune on the tape. And it’s a hungry remix of Timbaland’s “Break Ya Back.” Pimpton starts name-dropping himself in his rhymes. And, surprisingly, it works. Vocalist Miss Behaven contributes lyrics for the hook, which also provides Pimpton with some shameless name-recognition: “Pimpton, Pimpton. I aint tryin’ to take all that.” In hindsight, “Pimpton” is a brilliant stage name. It embodies suave lady-killing antics, hustle, and grind, without actually labelling Pimpton as a “pimp.” Pimpton is just doing his thing, embracing trap rap, and munching his way to the top of Saskatchewan’s hip-hop scene.

The sixth track, “Wouldn’t Deserve That” offers a nice change of pace. The track features Saskatchewan R&B vocalist, Kyle Jordan. Jordan and Pimpton start the track off with a soulful little hook about not deserving marriage. And just as it begins to feel like we’re headed for a heartbreaking ballad, Pimpton is back to proclaiming his name and talking about his gnarly sexual escapades. He compares his female anatomy exploration to the Last Supper.

Killa Call Me Killa Vol. 1 may be a mixtape, but it’s filled with original tracks. In fact, only four joints off of the album are remixes. One of these remixes is an ambitious take on Kendrick Lamar’s drinking anthem,”Swimming Pools.” The track is called “Cry Baby,” and has absolutely nothing to do with mass alcohol consumption. Pimpton verses about the cycle of relationships. He replaces KL’s “Pour up. Drank. Head shot. Drank. Sit down. Drank…” with “Birthday. Fight. Christmas. Fight. Valentines. Fight. Easter. Fight. Anniversary. Fight…” So while Kendrick is getting his drank on, Pimpton is getting his fight on and trying to avoid having his baby cry. It’s a glimpse at Pimpton’s more sentimental side  — the side of him that isn’t foraging to satiate his sexual appetite at the Last Supper.

Mistah F.A.B. shows up towards the end of the tape on the track, “Where People Don’t Make It.” Mistah F.A.B. doesn’t actually spit any verses, but instead, contributes his husky deep-toned voice to the hook. Yes, Pimpton got a legendary rapper on a feature and got him singing, instead of rapping. The track seems to allude to Saskatchewan’s presumed lack of a hip-hop scene: “I’m from where people don’t make it.” But the track finishes with a more hopeful, “Me and my people goin’ make it.” So Pimpton seems pretty confident that he and his people (the C.J.E boys) are on their way up to represent their scene.

The mixtape winds down with a surprising track choice: a freestyle to the Kanye West-produced crew-love joint, “Clique.” Pimpton freeverses his way through the entire track. There is a definite lack of “we” in Pimpton’s clique, though. He is his own one-man-clique, so his lyrics are mostly directed at himself. It’d have been nice to see some more love for C.J.E. in this track.

The final track on the tape, “RockWitUs” features one of Canada’s favourite MCs: Moka Only. And this track wilds out. Moka opens up the track versing about how he, “don’t do them kitty raps like you mouse-kateers.” And then Pimpton takes a brief break from spitting about being a “genius with a penis for a Klondike” to sing — yes, sing — five little words: “Anything and everything for you.” Pimpton is not typically one to start crooning over his beats. He maintains a fast flow with continuous spits. But this little melodic debut of his was mighty fine.

And then he gets back in the rapping zone, inviting everyone to bring the weed (and bongs, and joints, and more marijuana-related paraphernalia) out. And then, Pimpton tells his listeners they ”…can rock with us at the show.” Actually, it’s probably more like “RockWitUs at the show,” because that’s how the track’s name is stylized, you know. But rocking with Pimpton sounds like a killa good time, doesn’t it?

Photography courtesy of Pimpton


Twitter: @ThePimpton | @Kholebeatz | @malfunction92 | @C_J_Ent | @IAmUrsaMaja | @MOKA_ONLY | @MistahFAB

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Sarah Sussman is HipHopCanada's Associate Editor in Chief. Sarah was born-and-raised in Calgary, AB. She is a freelance writer and photographer, as well as a 2013 graduate from SAIT Polytechnic's journalism program. She writes about hip-hop and fashion (and sometimes a combination of the two). Sarah has written for The Weal, Where Calgary, Essential Calgary, and Our Alberta. Sarah started working with HipHopCanada in Jan. 2013 as Canadian Prairies Editor. She has been fortunate enough to interview some gnarly fine folks, including Moka Only, Joey Bada$$, Mac Miller, Maseo (De La Soul), Ali Shaheed Muhammad (A Tribe Called Quest), and more. Twitter: @IHeartTART

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