Mainly known for his work in the rap collective Loud Lary Ajust, which played sold out shows at the Metropolis and Club Soda, Lary Kidd is more than ever a master of his art. He gives us a dialectical album whose dialogue, held with himself, opens a breach on the unsuspected abysses of the twenty-year olds of the third millennium.
Both lucid and arrogant, Lary Kidd offers us an amalgam of rhythms and melodies that carry his sentences both raw and neat, reflection of the demons that inhabit him and that are silent only once shown. He portrays a generation that does not have any trouble with being seen. He grabs it to show it better, but as for what surrounds his, the more he strives to grab it, the more it slips between his fingers.
On Contrôle, the rapper's first solo album released on Coyote Records, Lary reaffirms his status as the leader of the last Quebec rap wave. He renews his pen, becoming darker and more incisive: he tells us about the downsides of success, the corollaries of fashion, of the bad influence that rap clichés have on a generation that misunderstands them for the guarded paths of emancipation. Inspired by the rhythm and melancholy of Joy Division, The Weeknd and Danny Brown, Lary once again demonstrates his language ability, building complex, polysemic structures in tune with the density of his lyrics.
A little less than a year after the release of Contrôle, Lary returns with Contrôle V2, a deluxe version of his first album, including 4 new tracks that Lary himself describes as the best music he ever released. Once again, these pieces testify to the opacity created by all these thoughts that are intertwined in the artist's head with stinging verve.
Currently working on a new album, Lary promises us an album worthy of his reputation; a condensed raw energy where will break an avalanche of sentences punctuated with remarks sometimes stormy.