Griselda's dark horse. But a force of his own, as well.
Nothing screams New York grime more than Griselda Records. The flagship independent label has, through prolific and consistent releases, become a household name for the East Coast hip-hop scene. Their style is unmistakable: It’s common to hear a fresh NYC artist and remark, “This sound is so Griselda.” And that’s exactly what I said when I first listened to stalwart lyricist Rome Streetz. As far as I can tell, Rome has released 14 full-length albums since 2018 - not exactly uncommon, but the steady critical reception is impressive. Last year, Rome made headlines with his solo project Kiss The Ring, which I was impartial towards. It was only last month when I realized that Rome was Griselda himself. Unsurprising, but as a Griselda devotee I was alarmed that I had never done my due diligence. That’s what led me to Rome’s latest LP Noise Kandy 5, and I have to confess: Nothing this year has transported me back to the shadowy sprawl of NYC in the same way.
The Griselda triumvirate has historically been Conway The Machine, Westside Gunn, and Benny The Butcher. Alongside these three, Mach-Hommy and Boldy James periodically achieve the spotlight. So Rome Streetz doesn’t even make the top five. That may soon change. What really shocked me is how uncompromising Rome’s rapping is on Noise Kandy 5. Take the inexorable intro “Second Seizure." Unrepentant and offhand, Rome’s slew of oblique rhymes and measured flow won me over instantly. Whoever Piff James is, the production is as chic as gangsta rap gets. Lyrically, Griselda has always strayed from conscious hip-hop in favor of the classic street tropes. Rome is no exception. But that doesn’t make him a weak songwriter; in some ways, he’s stronger. It amazes me how Rome can find infinite variations of ribbing haters and eulogizing his fame. It also means that he avoids the pretensions that conscious rappers often embrace. At least I have no idea what Rome’s political opinions are.
“Chrome Magnum," featuring in-house producer Conductor William’s intrusive sampling, embodies the token Griselda flavor that fans have come to expect. Tangy, biting, yet addictive. The lyrical engineering is cold as iron: “No love in the land of lust; every palm ain't a hand to trust / You either got it or you don't, we ran the scammin' up / Profit off your profile thеn go shop in Canada.” I pride myself on my ability to keep track of even the most erratic lyricists, but I couldn’t help but become dumbfounded by the end of the first minute. It’s a shame that Rome’s talent is often overshadowed by other Griselda moguls. However, it is true that Noise Kandy 5 can seem derivative at times. Beyond the endless bars, there isn’t much song structure either. That’s acceptable for now, but if Rome wants to expand beyond being known as Griselda’s underdog, he needs more than just witty rhymes.
We get a glimpse of what Rome could evolve into on the paranoid, deeper cuts of Noise Kandy 5. And it’s enticing. “Black Magic” is a personal favorite. I doubt this is a popular track off the album: It certainly doesn’t have the immediacy, or hooks, of “Fire At Your Idle Mind”, for instance. But the drumless, almost carnal instrumental loop paired with the crude, indecent lyrics is eerily ethereal. The same follows for the trap-infused mutilation of “Shake & Bake." When I say the apathy of these tracks is the most effective at evoking emotion, I mean it. These are the tracks that I would love to see inflated into a full-length concept album. Immersion and cohesion is key. It seems like Rome has thrown a myriad of styles on Noise Kandy 5, hoping one will stick. Sure, semi-posse cuts such as “Stunna” are thrilling on first listen. But ultimately it’s the slower, strung-out tracks that have the lasting impact.
Rome Streetz has the voice, the wits, and the resources to release a decade-defining treasure. Relative to the rest of Griselda, he is on par and rising. Having said what I said, it means little to nothing that I believe Rome can do better; I can’t expect every album to be a masterclass. Noise Kandy 5 is worthwhile in its own right. It’s an ideal taste-test of NYC hip-hop and what Griselda has to offer. And it has kept me coming back again and again. In the end, that’s all that matters anyways.
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