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Bbymutha - Muthaland

Name: Bbymutha - Muthaland
Item: Bbymutha - Muthaland
Author: Kiana Mickles

Published
Sep 29, 2020
Words
Kiana Mickles
Label
Self-released
Released
August 2020

In her debut album, the Chatanooga rapper takes on serious topics while inviting us into her fantasy world.
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Bbymutha, real name Brittnee Moore, makes music for herself. "So when I'm rapping all of these raps are personal, I'm not just making up stories," she revealed in an interview with the Washington Post. "These are my personal experiences." It's this candor that makes Moore's music so refreshing in an industry wrestling with a model of glamor that is unattainable for most. Listening to her music is like catching up with an old girlfriend, whether she's indulging in tales of sexual adventures, reminding you of how rad her kids are, or recounting, in detail, how she repaid a man who recently scorned her. Moore's debut album, Muthaland, comes after a consistent stream of EPs since her breakthrough Glow Kit, released in 2016. It's also alleged to be her last before she "retires" from the rap industry. While the truth of that is still yet to be determined (the Chatanooga artist has since teased a release due out next month), the project should tide most fans over for a while. Moore isn't one to be messed with, but she seems tired of being pigeonholed as everyone's "bad bitch." In standard Bbymutha fashion, she addresses this with a charming sense of humor. The premise of the album revolves around a game show that allows a contestant named "Bootyholisha" to spend 24 hours in Muthaland with Bbymutha. This character reflects the lofty expectations imposed onto Moore as a presumed mascot for female empowerment. In one interlude, "Skit 3," a tired Bbymutha pleads with Bootyholisha to quiet down as she babbles about her newfound empowerment. "Scam Likely" also pokes fun at demanding fans, as a shrill voice calls Bbymutha their "spirit animal," only to go on and call her a "bitch" when she blocks them for suggesting she collab with Michael Jackson. Even when playing with a whimsical concept, the album is one of her more personal releases. In the opening track, "Roaches Don't Die," she lacerates the father of her children—who she has outed as a pedophile before in interviews—blacklisting him along with men who look down on women on food stamps. "Bbymutha This, Bbymutha That" puts judgmental commentators in their place, opening with "I know bitches wish I was basic and less scrappy/Yea/I know niggas wish I was lighter and less nappy/Yea." "Not For Caucasians" is a self-assured anthem for people on the various rungs of marginalization; this includes women with under-arm hair, drop-outs and "black gum-having bitches." As someone who calls herself the devil, Moore still hasn't strayed far from her devious ways. While her likety-split verses pair finely with bouncy production, her molasses-thick Southern drawl is also the perfect match for stark and moody beats. On "Spirit of Suzie," she details through dense storytelling how she played an unlucky suitor. Her pursuit for fun and mischief is coddled in the effervescent trap of "Holographic," as well as tracks like the pop-leaning "Cocaine Catwalk," where she famously raps, "Easy breezy ghetto bitch/Coke all in my pinky nail/Stacks all in my Telfar just in case I need to pay for bail." The album is also brimming with exciting features, including her trusted collaborator Kindora ("Pink Poop Emoji", "Baltimore") and Atlanta rapper Young Baby Tate ("Nice Guy"). The one damaging feature appears on "Baby Mama," which starts off with potential, but is unfortunately marred by an unsightly, offbeat verse from Zelooperz following the chorus. On Muthaland, Moore is as sensual as she is smart, and she's grounded in her reality as much as she relishes her own fantasies. Fingers crossed that it won't be her last.
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