A week before he was fatally shot in Atlanta, King Von unveiled his highly-anticipated debut album, Welcome To O’Block. The project was meant to be a glorious celebration of the frontrunner of drill music. As the genre expanded across America to New York, and the UK, among other European pockets, King Von became the torchbearer for his neighborhood in the midst of the genre’s increasing globalization. Von’s intensity fueled his storytelling and his ear for production reflected the volatility of his environment. His debut album was more polished than Levon James but it still captured Von’s raw, unadulterated perspective that positioned him as OTF’s second-in-command.
What It Means To Be King extends the vision Von laid down on its predecessor. The rapper’s personality and charisma seep through each bar as a reminder of the qualities that transformed him into one of rap’s most exciting figures at the turn of a new decade. This time around, Von isn’t leaping into the project with urgency as he did on Welcome To O’Block. “Where I’m From” kicks the project off with somber piano keys while the late rapper reflects on the volatile environment that raised him and the meteoric rise of drill music from the humble stomping grounds of his hometown. He references Chief Keef’s groundbreaking introduction to the world, and references L’A Capone, paying homage to the bricklayers of a subgenre that his lifestyle directly mirrored.
It’s the events from Von’s past that have produced some of his most riveting moments on wax but What It Means To Be King offers a glimpse into how he was shaping his sound. The 21 Savage-assisted, “Don’t Play That” comes at left-field following the drill-centric back-to-back following “Where I’m From.” “War” and “Facetime” ft. G Herbo feeds into his foundation of Chicago’s subgenre, highlighting the conviction in Von’s voice alongside one of the sharpest MCs to emerge from Chicago’s Southside. In contrast, “Don’t Play That” serves as a bubbly, laid-back record that expounds on both Von and Savage’s pop sensibilities. “My Fault” with A Boogie Wit Da Hoodie similarly dives deeper into the melodies without Von losing the ruggedness in his tone.
The first half of the project does rely on a sense of familiarity. Some of the features, like Moneybagg Yo and Fivio Foreign, appear on the tracklist as a safety net in replicating the rawness found on Welcome To O’Block. The list of blockbuster-worthy guests leads to the official release of “Evil Twin” ft. Lil Durk, an exceptional exhibition of their natural chemistry and a pinnacle in the project. It’s a reminder of the enormous loss that Durk faced in November 2020, fueling his triumphant run for the past year and some change. “Evil Twin” also serves as the connective tissue on the tracklist that leads to further exploration of Von’s natural chemistry with homebred talent.
At its core, What It Means To Be King remains rooted in Von’s affinity for O’Block and the Southside of Chicago. The latter half of the project includes appearances from regionally renowned associates, like Boss Top, who appears on “Get Back” and “Go N Get Em.” It’s unfiltered glimpses into the desolate corners of Chicago and the cycle of death and violence. The paranoia and survival tactics are rooted in the trauma that often goes unaddressed.
The majority of the project does boast guest appearances but it’s the solo cuts that show the battle scars that define Von. Songs like “War” and “Too Real” capture his unwavering conviction and urgency in his tone that produced cinematic suspense in each bar. And that remained Von’s strongest attribute as an artist until his death. The immediacy in his storytelling brought fans along for an exhilarating journey but at the center of it all is an in-depth exploration of the cause-and-effect of the circumstances that he was born into.