How did he allow this: Image from the brutal humiliation that Ledri Voula and River B makes Djikos

It's not about fascsimism... after all, we've always known that Ledri Voula has lines, but his conviction (based on the projects he publishes) and the insistence on publishing songs with horrible verses, seems to be most of the time victorious before the battle with the rest of himself when he's actually trying to say something a little bit more éslicü and something that doesn't make us feel offended.

Sometimes, two forces seem to fight each other inside Ledre's body for dignity, and the other for fucking everything, to make some money by publishing terrible music.

This time, it seems, the force of dignity won the war after a long time. But, you don't know, for every impressive line on the album "10/10," it made us pay twice as much for the songs that he published next, like the "Dalee" and "Don Mo".

So many bars, I put these in my prison (burg) and my bon still version of boundrombar like Bonsteel, are obviously improvement from the good, m... m...m... Why are they fucking kidding me, right?

You're an accident. What makes Ledrin not do such things more often?

It's like he's convinced that these things don't work out, but if that's the way it is, he's got to stop reflecting over and over, or take a look at the foreign market... Drake is admired by children, young, stoner to real hip-hop, how do you do it? We firmly believe that you do it by respecting the audience and combining the sound and clever rule for all. But hey, we don't expect the Voula to be Drake, yet it's a manual for address.

The B River also attempts to reverse the old fuss with metaphors in order like "hi" they have, hello they have, here's the pope, V ATIKAN, and a climate, seen as aid, when I hit 16, it changes as a season.

However, the excitement about him and his projects has been in free decline at some point, mostly as a result of the intuition to make songs with anyone making an offer... (or that impression of leaving it), as it is always second in a project and rarely or ever first, only if it's his single. Although, for discussion it's his position in this latter head-to-head for the first place with the artist who once told his name every year, V. IETNAM.

Whether you believe it or not, the river once picked up heavy social issues like: Never see me see what I see, don't talk to me about people I know behind my back, when they learn what I'm saying don't tell me where. Now he thinks it's to be accepted sugar, sugar, eating immediately.

Admittedly, the weakest point of this project is Gjiko. We heard his part about ten times, trying to figure out if we've ever had a dignified line on our head, but even after ten times, his line was stuck and beyond.

After the arithmetic crime he did at the Ay Caramba. This is a continuation of poor performance.

However, just like Voula, Gjiko once enjoyed great respect on the hip-hop cultural stage. How'd it go from B*** you're a lot more fake than five lines in the media, tobe ashamed when the pair of bass, scommunk eyes but I know what's going on, what happens in n hip-hop is left in the hip-hop, call LAS V EGAS, we just got a little bit taller, but it sounded shorter when we thought about it at the fish hyena when Ermal comes in, it's about my desk, it's about study.

In a song where Voula and River B clearly try to spit in lines, it is difficult to understand how Gjiko humiliated himself in this way with those verses.

In general, despite attempts by the Ledri Vula and the B River that have really worked out, the song has little reawakening value mostly because of the uniform flight that uses trends across the entire song, and a refrain that is clearly designed to be easily taught and sung by the audience's interference, but we strongly suspect there will be great impacts.

The production is fine, with a dignified leg and clip ok, for their standards but extremely weak for general standards. /Periscope. com/