Trinidad’s Rebel Sixx: ‘Last Son Of Pharaoh’ Posthumous Album Review

In what has come as the reawakening of Trinibad’s promising young catalyst, Kyle George, a.k.a. Rebel Sixx, is the release of his new album, Last Son Of Pharaoh. The new collection debuted on January 8, featuring 10 tracks courtesy of production house, Bompton 6ixx Records.  Rebel was affiliated with the Montego Bay-based 6ixx crew led by Squash.

In the summer of last year, Rebel’s untimely death in an apparent gang-related shooting would appear to be the end of more of his inventive sounds. Little did many know, the young talent was relentlessly spitting out unreleased music and fervently honing his craft on his downtime. This would see the release of several new tracks after his passing, and now their reentrance along with others on his first album, Last Son Of Pharaoh.

Rebel’s management team revealed the Trinidad artiste began working on the album shortly after the release of his first EP Shock Value in March. His associate, Kye West disclosed to LoopTT, “Shortly after building his home studio, he began working on a full-length album, recording songs daily.” The team decided to showcase Rebel’s mastery so fans could ascertain for themselves just how passionate he was about his music.

Kye went on, “We want them to get from this album that Rebel had something bigger planned, that he had enormous ambition and dreamt of a world that heard him. That he put his all into his music and craft because he wanted to be remembered as one of the greatest of all time, but most importantly he did it from his heart.”

Putting all 10 tracks under the microscope, there are elements that reveal an enthusiast of melodies and a true artiste baring what were his aspirations and a resolve to take on the world.

The intro track Midas Touch celebrates Rebel’s success tapping into a genre arguably still coming into its own. “Midas touch cah mi nuh miss yet. Ah me got da Midas touch, any way the King turn ah turn gold…Ask St. Paul, ask Bompton, whole ah me hand … me only write hit songs,” he verses on the hook.

Winning goes on to vaunt his dominance in the game, inviting audiences to “Come play for the winning team,” as he calmly asserts that he’s not going anywhere and is here to stay – – a promise he never had the chance to keep.

Tour Bus follows with the deejay expressing his unrealized aspirations of touring the world and “living the star life.” This he says was a mere dream as a child but attributes his current progression in fame to a passage enduring “determination and focus” along with the prayers from his mother and aunt. Pushing the haters aside, he continues, “The whole world wah see mi pon tour … might jump on a tour bus,” to show his tenacity to keep pushing for his dreams.

The next tracks How and Heavenly , take on a different swing, one flexing his haughty version of an irresistible gyallis submersed in a ghetto story of duplicity, while the other unveils a sweltering and indecent sexcapade.

The bad man tunes emerge afterward, wrapping up the second half of the album.

Getting his feet wet for his evident prowess in the capacity of a gangster, the single KRISS  dictums intimidations by the trigger of his KRISS Vector firearm. “Kriss vector beat pon rapid … hundred in yuh face … and yuh blood a race out,” Rebel sings on his signature easy lyrically delivery.

K Go Off is an extension of his gruesome exploits of slaughter with what is clearly his firearm of choice, the ‘K’ along with a list of various different weapons in his collection. In the next track, the Dancehall deejay continues to recount stories of deathly encounters this time around with his Big 40 while issuing warnings to those who dare to cross him and his crew.

In March Out , Rebel summons members of the “BI6” to battle. Without wavering, he declares a victory that leaves their victims “chalk out” on the figurative burial ground. Twisted Thought, the final track follows to unleash Rebel’s very twisted thoughts. With the devil on his shoulder and the K on his person, he goes on a wicked spree as he harbors “demon thoughts” – an embodiment one should not mess with.

This ends a listening experience of 10 tracks spanning 28 minutes. The Last Son of Pharaoh is mixed and mastered by Noble Touch, and executively produced by Bompton Sixx Records.

Stream the album below.