curtis mayz triple diziac

Curtis Mayz aims for you to see the world how he does on Triple Diziac.

When Curtis Mayz’ Triple Diziac was originally proposed some months ago, it was an EP. “5:38 a.m.” was the lead single, a bruising bout of paranoia with late night, real-life issues. Then there was “Joose” and “Nike Cortez.” To top it off, Mayz finally found a breakthrough single in “Ain’t No Love” with Deniro Farrar. Sure enough, the same vices and mindset that led to the creation of Real Life Raps last September had become only bigger.

Curtis Mayz had to make Triple Diziac something even bigger.

Gone is the EP concept and in its stead is a full-blown album about the Southern experience. It isn’t tied strictly to Mayz’ stomping grounds of Dallas, Texas but that infectious twang feels like Anywhere Southern U.S.A. The angst and pressure to achieve something greater are there. To capture it, there’s the rugged bounce and shrill chimes of a synth note or hi-hat. There’s the love of a trunk and a certain subwoofer. And then there’s the conductor, Mayz who can’t help but inject his life lessons, both high and low into the 16-track opus.

Every single from Triple Diziac leads to a breadcrumb of Southern defiance down the road. “Vehicular Homicide” is a verbal sparring session between Mayz and the Triple Digital duo of Paris Pershun and Tunk. “Trunk on bang like I’m killin’ the hoes / Trunk on bang like onomatopoeia,” Mayz raps as his voice snakes around on the chorus, repeatedly chanting “Ve-hi-cular homi-cide.” Paris P and Tunk trade lines like two brothers who’d done it forever and Mayz maintains his own.

Sleepy and hugging to particular drum arrangements, Triple Diziac stretches its feet out about frustrations and maintains an ethos first formed by one Chad Lamont Butler. “Everybody wanna ball.” Period. Mayz’ full-length is a proper dissertation of that very belief, raspy and hungry enough to grab at any and everything.

Stream Triple Diziac below.

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