Phylle: Mack Down

Philadelphia’s own, Phylle (pronounced Philly), is inspired by music that is therapy for the soul. “The One” represents real love from the beginning to the end.

As the sound and allure of once hard-edged and in-your-face Hip Hop morphs into more radio-friendly tunes with a pop crossover appeal, new artists such as Phylle (pronounced “Philly”) have suddenly appeared and begun to assume their position in the game. Larry “Phylle” Carter, whose stage persona represents his hometown’s (Philadelphia) nickname as well as a hybrid of his parents’ names, presents his debut project The One. The album features half-hustler lyrics and half-crooner style melodies for those willing to enter the psyche of a semi-schizophrenic entertainer’s two toned spectrum of ideas. As the founder/CEO of Real Talk Music, LLC and the first artist to be signed under the imprint, Phylle’s also developing his entrepreneurial hand as well as presenting the world with something to whet its appetite for the young artist’s slow-burning career.

Reminiscent of a few of the top-selling rappers and producers of the last decade who’ve taken on a happier, more sing-along style of lyricism (of course in an attempt to broaden their consumer fan base), on The One Phylle awkwardly straddles the fence between two vastly different fields of music. Boasting with the type of bravado evident in the male dominated world of Hip Hop, Phylle’s imperfect phrasing seems to fall short of inspiring and rides steadily into a less combative subgenre. Instead, his topics of discussion mostly dwell on overt sexual innuendo with records like the lead single “Making Love,” “Wet Dream” and “Digital Sex” – the latter of which climax with total runtimes that indicate interludes rather than potential radio singles. Each are attempts to suggest Phylle’s yearning for intimacy in song, but like the old saying, Phylle must remember that less truly is more.

When he’s not trying to grab your attention with a clever rhyme scheme, Phylle’s right hand is stuck in nostalgic R&B. Singing in an underdeveloped tenor’s tone, an often pitchy projection and that “mack daddy” attitude, Phylle may have a hard time persuading a global market of whether or not he’s an up-and-coming R&B vocalist from yesteryear (think Ginuwine and Bobby Valentino) versus the star rapper of tomorrow. Yes, the vocal arrangements and a few harmonies are indeed creative, but they lack the strength and continuity of past hits and the catchy compositions we’ve come to know and love from rappers/singers of this sort. One might even suggest Phllye choose which side of the game he prefers before the next offering. In fact, it seems Phylle hasn’t completely convinced himself whether he wants to make you two-step in the clubs by “singing over Hip Hop beats” or if audiences are expected to be enlightened by what he has to say.

Memorable tracks from the album include “Let Me Love You” for its blustering horn arrangement and the throwback “Oh Sheila” featuring guest rapper Al King. The most random part of the effort is Phylle’s “Santa Please” – a sampled request written and sung to Old St. Nick for the girl of Phylle’s dreams which really just seems out of place with the stuttering momentum of The One. Either way, whatever he decides to do, Phylle’s in a vulnerable place and might soon be forced to abandon Hip Hop altogether and increase his study of R&B in order to perfect the next project. In the meantime, listen to The One with open ears, but get ready to experience a mack down.

Connect with Phylle and check out more music by visiting www.phylle.com and www.twitter.com/phylle.

By Terron D. Austin

Terron D. Austin is a contributing editor and music writer currently residing in Cincinnati, Ohio.

Photography by Ryan G Photography