So far, to say that this year has been going exceptionally well for MkX would be an understatement of immense proportions, as his last two releases – an original cut of “Highlights” and a Planet X remix – have sizzled through the underground and received a warm reception from one side of the country to the next. However, this September MkX is looking to up his game again with another single in “right place, at the right time,” which takes a step away from the industrialized rhythm of “Highlights” and moves towards the smoothly melodic hip-hop influences that helped launch his career in the first place.
“right place, at the right time” is a lot more deliberately pendulous in its tempo than some of the other slow ballads in MkX’s discography, but it’s nowhere even close to exhibiting the sluggish drone that a lot of other indie vocalists have been toying with this summer. There’s an underlying urgency to his delivery that counters the stomp of the percussion, and even when the drums are dragging the synth elements asunder with their thunderous crash, the bassline is fighting back against the current and keeping everything in this track bonded to the vocal.
MkX could have spared a little more depth in the bass during the chorus, but I can absolutely appreciate what he was trying to accomplish in going with this efficient look instead. If he didn’t want anyone comparing his sound to the alternative R&B style that has been coming out of the woodwork in Memphis and Jacksonville this year, avoiding the pitfalls that come with a brutish bassline would be the first important decision any intelligent artist could make. I get the impression that repping scenes is the last thing on MkX’s mind in this song; “right place, at the right time” is bursting at the seams with musicality, not mundane marketing cues.
From a lyrical standpoint, this track is a lot more cutting than I would have expected it to be after taking a closer look at some of the material that he submitted in 2018. He’s not pulling punches with us here – there’s a Confessions vibe to the narrative, as though he’s admitting his guilt whilst not totally copping to crime as it’s been described by his accusers. It’s definitely the most relatable string of verses I’ve heard in a minute, and that’s saying a lot considering the realist trend blowing up in pop songwriting recently.