Album Review: King of the Mischievous South, Vol. 2 by Denzel Curry

Denzel Curry continues his musical evolution with his latest project, blending Southern hip-hop sounds with influences from Memphis and legendary groups like Three 6 Mafia.

Courtesy of Loma Vista Recordings.

Denzel Curry’s distinctive delivery, characterized by an escalating intensity and raw emotion, helped shape the South Florida SoundCloud rap scene. However, his most unforgettable tracks often diverge from that high-energy style. Following the introspective tones of his 2018 album TA13OO and the richly crafted homage to South Florida rap in 2019’s ZUU, Curry’s 2022 release, Melt My Eyez See Your Future, showcases a shift toward reflection and vulnerability.

King of the Mischievous South, Vol. 2 revisits Curry’s earlier work under a new persona, Big Ultra. Initially conceived in 2012 from his Raven Miyagi persona (named by Raider Klan founder SpaceGhostPurrp), Volume 2 brings a braggadocious and celebratory vibe to Curry’s decade-long career achievements. Although his earlier efforts evolved into other albums, such as Imperial (2016) and 13LOOD 1N + 13LOOD OUT (2017), this new project materialized more organically when Curry stopped forcing its creation.

Denzel Curry returns to familiar inspirations with this record. However, Curry's significantly expanded his musical references over the years. Vol. 2 feels fresh, as if Curry is seeing Memphis through a new lens, despite drawing from recognizable sources. The album opens with an introduction and co-sign from Kingpin Skinny Pimp, a Bluff City legend as he shows throughout the album. "Ultra Shxt” then bursts in, its cracking, booming drums and smeared, stuttering loop recalling DJ Paul and Juicy J's early, lo-fi production.

While "Ultra Shxt" is the sole song with Curry and Key Nyata, a fellow Ultraground member, adeptly imitate Lord Infamous's distinctive triplet flow, which directly references early Three 6 material, the rest of Vol. 2 honors the stadium-sized, trance-inducing work found on early and mid-‘00s albums if you like Project Pat's Mista Don't Play, Three 6 Mafia's When the Smoke Clears, Da Headbussaz, and Hypnotize Camp Posse. Curry's ear for the hypnotic remains sharp, whether crafting pulsating Miami trap or atmospheric East Coast boom bap.

Honoring the Southern hip-hop heritage—from Memphis to Houston to South Florida—the album features legendary artists from these regions alongside those who have drawn inspiration from Southern music traditions. By including figures like Rocky (“Hoodlumz” with PlayThatBoiZay) and Ferg (“Hot One” with a fire verse from TiaCorine), Curry aims to demonstrate what might have been possible had past collaborations with SpaceGhostPurrp continued harmoniously. With “Black Flag Freestyle,” Curry and ThatMexicanOT delivered one of the best bangers in recent years, delivered by 187.

Every track on Vol. 2 is a hit. Curry demonstrates a keen understanding of the subtle elements that can elevate a song. The undeniable chorus of “G’z Up” transforms the repeated phrase “G’z up, G’zs up/ Gotta get my cheese up” into an anthem. The thrilling production on “Sked” strips away all excess, leaving only earth-shaking sub-bass and driving synthetic drums. Curry's expanded budget allows him to feature both contemporaries and progenitors. Project Pat and Juicy J deliver some of their best recent performances, while notable artists like Maxo Kream (“Set List”), 2 Chainz (“G’z Up”), Ski Mask the Slump God (“Hit the Floor”), and Armani White (“Wishlist”) also contribute. A decade-plus of experimentation informs Vol. 2, making it a fresh take on classic Memphis sounds.

With his last few conceptually driven albums exploring different thematic elements, King of the Mischievous South, Vol. 2 focuses on spontaneity, technical skill, and the sheer enjoyment of making music. This collection highlights the characteristics that have cemented Denzel Curry as one of rap’s most sought-after talents over the past decade.

Great (★★★★☆)

Favorite Track(s): “Ultra Shxt,” “Black Flag Freestyle,” “Come Pimp”