Lyrical connoisseur and Heritage Harbor dweller senior Franklyn Inniss is certainly no stranger to Steinbrenner, and neither is his music. However, it wasn’t until his final year of high school the local rapper by the name of Leach released his extremely popular and relatable mixtape, Haven.

 

“Progress”

Starting off the mixtape is the track, “Progress,” a perfectly blended mixture of simple piano chords and snare drum beneath lyrics that will be stuck in your head for the rest of the day. This track is the perfect introduction to the rest of his mixtape, stating that he’s “making progress,” but I feel as if that may be an understatement with the 2,000+ listens on Soundcloud of this track alone.

“Lullaby”

A twisted, Franklynized version of Charlotte’s Web, yet somehow not nearly as creepy as I phrased that, Haven’s tape “Lullaby” actually takes the cake for likely being one of my favorite on the mix. And being the second most frequently played track on his Soundcloud, it appears others seem to agree. It is here Franklyn shows off his impeccable skill in mixing beats and in transcending a specific theme with each song released. An ending chorus of “Daddy’s home” not only serves as an intriguing contrast of sound, but really finalizes and reinforces his message. Seeing himself as a rising star, and rightly so, he includes verses like “Call me Louis Armstrong cause I’m with that jazz” and “Everybody too pretentious to see I’m underrated,” which all serve to play into the finale’s chorus claiming Franklyn to be none other than Lutz’s “Daddy of rap.”

Senior Franklyn Inniss contemplates his career. “I’ve been making music since freshmen year,” said Inniss, “and am considering continuing it as a career, but anything in art would be cool.”

“Harbor”

A more personal side of the mixtape, Franklyn describes his wishes for the future while mixing his perspectives with how his present life status is. The usage of simplistic beats allows the listener to easily find themselves gravitating towards the lyrics which are easily relatable to anyone with a view of the bigger picture.

“Wait”

As for Haven’s fourth installment, “Wait,” if Heritage Harbor had a coffee shop, I’d envision Franklyn sitting on the steps leisurely sipping a mug of Early Grey (possibly with a tambourine) singing this song in particular. With the beginning interlude invoking a calming cadence of beats, one can’t help but feel immersed in the smooth rhythm of his words. “I’ll wait it out, see you there, that’s what I pray about.”

“Always”

The final track of Haven leaves listeners with a new perspective on the life they’re living in Lutz, or wherever Franklyn’s broad spectrum of supporters may live. Along with these lyrics, the song includes an intriguing instrumental with a heavy bassline that sets the mood from the start. There is, however, about a 10+ second instrumental break encompassing clips of near psychotic childlike laughter which grooves so well with the rest of the track one can’t help but wonder if Franklyn swiped the recording from his own childhood nightmares.

Five radical songs later, you’ve reached the back gates of Haven. And while it’s unfortunate with the final curtain call of that last lyric you’re forced to return to the realities of Lutz, have faith that Franklyn’s tunes aren’t ceasing any time soon.

Hannah Crosby & Gabby Shusterman // News & Centerspread Editors

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