Atlanta might be best known for the Young Thugs, Futures, Gucci Manes, and other artists in a similar vein, but the underground scene there is the part of the city that truly fascinates me. Ever since I can remember getting into some more up-and-coming acts within ATL, Pollari was an artist who I simply couldn’t get enough of, and I feel like the rest of the industry felt the exact same way.
He was honestly the first person I remember experiencing who used autotune as an extension of the production, not using it as a crutch for subpar vocals but rather using it as an instrument to accentuate his lyrics, and this was a trend that I feel he started, and even to this day, there aren’t many emcees out there who can do it quite as we as he could. While I feel like I haven’t paid nearly as much attention to him in recent memory as I should have, my admiration for Pollari was more than rejuvenated thanks to his latest project called Heaven Only Knows.
On this album, we are gifted 12 songs that last almost 22 minutes long, and while it boasts only one guest in fellow ATLien Tony Shhnow, it was a feature that I think was completely appreciated for me, personally. As you listen through this album front to back, you’ll realize exactly how versatile Pollari is, because he easily goes from upbeat, fast-paced, synth-forward instrumentals to slower, more genuine, melodic cuts without even batting an eye or catching his breath.
He has never been one to hide his skills or personality from the world, and once you finish each of these songs consecutively, or even a single track for that matter, you are able to comprehend just how incredibly dexterous he is with not only his flows, but his vocals and delivery as well. All in all, Pollari is simply an iconic veteran who will never lose in my opinion, and Heaven Only Knows is the perfect example of how powerful he is behind a microphone.