With hungry MCs in the game, fans have been propping up independent rappers for years before their evidential rise to prominence within the world of pop. Though not everyone aspires to reach these heights, pushing aside notoriety for identity, rappers have been able to define themselves instead of being defined by archetypal trends within their genres. Armani Caesar stands out amongst her contemporaries, bringing natural flows and virtuoso dirty rap lyricism with cadence while disregarding any chance to hit celebrity. Her growth has been subtly grand from the mixtape Hand Bag Addict to The Liz. And The Liz 2 is no joke. Continuing that veracity, Armani Caesar continues to flex, weaving beautiful melodies in between ruthless lyricism over crafty boom-bap-inspired gritty beats that embolden whichever style Caeser evokes through her flow and words.

Inspired by the bravado and influence of Elizabeth Taylor as an auteur, Armani Caesar evokes similar sentiments, taking us through these varied turns that establish her art in the same vein. Evident through oil painting album covers, The Liz 2 sees Armani Caesar feeling rejuvenated after delivering a hard-hitting intro with The Liz. The bars are raw, and the content and styles shift, allowing Caesar to flex in varying ways, like with raw and emotional singing on “First Wives Club,” where she expresses her ways of living with relationships and having control instead of vice-versa. It’s part of the bigger picture that predominantly sees Caesar talking her shit. Caesar makes sure it’s known with the intro, which incorporates an interview with Elizabeth Taylor done by Barbra Walter; the audio clip centers on Taylor’s lack of care for the public opinion of her based on attire–think “never enough shoes” mindset, except with jewelry. 

[Intro: Elizabeth Taylor & Barbara Walters]

“Elizabeth, I have never seen anything so magnificent as all of this jewelry.

It’s just staggering, not to mention what you’re wearing

I acquired this about a month ago; isn’t it the most gorgeous?

Really?

That— it’s unbelievable

You bought this for yourself?

Yeah

How nice of you, you’re so good to you

Well, there’s not anyone else around

Do people still go out and wear jewelry? Do you still wear this?

Well, honey, I do.”

After the intro, Armani Caesar reminds us of her ferocity, followed by a luscious, melancholic beat that complements Caesar and Kodak Black’s luxurious flexes on “Diana.” Rapping through these darker, intimidating beats and more intimidating verses keeps you engaged, whether the track is two minutes with one verse and a sick intro or a longer construct that explores unique structures and delivery. “Liz Claiborne Jr. 1 & 2” comes fiercely as a nuanced extension of “Survival of the Littest.” The latter explores Armani Caesar’s growth from working as a stripper to becoming a rapper, throwing modest shade at Cardi B and how she sold her past. “Liz Claiborne Jr. 1 & 2” establishes these contrasting perspectives, one that explores the ferocity she has to gain respect amongst her peers, and the second shows us Caesar understanding her worth.

Though these flexes have inherent value, themes get coded deep within the confines of the album’s progression. After the crisp duality of “Liz Claiborne Jr. 1 & 2,” “Meth & Mary” continues to establish Armani Caesar’s person, defining her loyalty for those she’s been close with for ages. Furthermore, Armani Caesar delivers content related to success, materialism, and differentiating mentalities. It’s pertinent with tracks like “Big Mood,” “Mel Gibson,” and “Snofall.” We hear Caesar express how extended that clip is as she walks with a bag she copped from Saks Fifth rather frequently. Despite its shift in thematic approach, at times, there is no denying that The Liz 2 contains some repetitive bars; however, that doesn’t always constitute a dip in quality, as The Liz 2 is quality.

The Liz 2  continues to show Armani Caesar’s wicked talents through various beats, elevating her lyrical craft further. It’s a testament to the consistency in the Griselda collective/label, and I’m here for it. I’ll be spinning this as frequently as others from the area, like Che Noir, and I hope you hop on this train too, as these artists have something artists like Cardi B and Drake don’t, raw lyrical prowess beyond the boujee.