A Meditation on Space with King Krule: “Space Heavy” Reviewed

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by Luke Modugno

We have a peculiar relationship with the concept of space. As vague in definition as it is in reality, space can signal overwhelming novelty. Novelty of location, people, community and circumstance. In the same vein, space can separate, destroy and alienate.

Since the 2010’s rolled around and, by consequence, rolled past, few individuals in music have matched the sheer despondence harnessed by Archy Marshall’s artistry, better known as King Krule. Meticulously crafting a discography that sits on a foundation of despair, heartbreak, romantic failures and the cruelty of the universe, Marshall illuminates the drab, dismal and visceral aspects of the human condition. If his earlier work like 2013’s 6 Feet Beneath the Moon and 2020’s Man Alive! are reductions of Marshall’s outlook on the negative aspects of his life, his latest masterpiece Space Heavy is fixation on the metaphysical hands that pull our lives apart from one another.

Archy Marshall, aka King Krule. Shot by Billboard.

Written between 2020 and 2022, Space Heavy follows Marshall’s psyche through a period of frequent migration for the British native. Constantly travelling between his homes in Liverpool and London, Marshall became obsessed with the concept of physical space. During his commutes, he became fascinated by the space between, which often coincides with grappling with change, forced or natural. Coupled with the dread of “losing people and situations to the guillotine of the universe,” Space Heavy’s sonic landscape is as desolate and crushingly lonesome as Marshall’s mind at the time.

The duality of space is mirrored by Space Heavy, as it snaps in-and-out of focus with the plethora of negatives and positives distance has brought about in his life. Atmospherically jazzy throughout, sound acts as Marshall’s transistor for conveying the raw emotions attached to his disjointed lyrics. Assigning genre to Space Heavy is tricky, it can be best summed up as a quintessential King Krule experience. Marshall’s screams and shrieks layer harmoniously with the jarring guitar sections, wailing saxophone solos and harrowing violin on tracks like “Hamburgerphobia,” “Pink Shell,” and most notably, the title track.

Marshall’s songwriting on Space Heavy is brilliantly dense. Inventive and alluring at every turn, the spiritual gateway between Archy’s soul and his pen is unbarred. From reflecting on the fickle beauty of cities we pass through while travelling on “Seaforth” to enduring the tortuous splitting seams of a relationship on “Tortoise of Independency,” Marshall’s delivery in tone and chosen verbiage throughout Space Heavy exhibit one of the most coveted traits an artist can possess: humanity.

Whether he’s releasing a blood-curdling groan over a guitar solo or utilizing his penmanship to emulate heartbreak in a mind-splitting manner, a microcosm of the record’s success comes on its title track. Albeit a brief reflection on a failed relationship, Marshall’s writing and sonic capabilities come together here, creating a clear standout. Without trying, Archy’s mind wanders back to his lost flame, “I had no thought about it, she appears from nothing, out the blue.”

“I sink in full armor, the lake is oil of misery, get ready slurp it up,” harmonizes Marshall. The decaying state of their relationship forces Marshall to engage his own defense mechanisms, putting up his armor. He knows this will inevitably end the relationship, sinking him deeper into a depressive pit. He won’t perish from separation, he knows that (oil to water), but the overbearing weight of his psyche will surely try. Marshall continues “I refused to be saved, my plastic straw.” Belting out, akin to nails on a chalk board, “my plastic straw” over a growing guitar and drum, Marshall is consumed by misery in his effort to trudge on minus his lover. Considering its designation as the title track, the space between him and his ex is weighing heavily.

King Krule has always had an inherent ability to connect to the essence of human experience. Space Heavy represents an obvious persistence of that talent, except on this effort, it’s focused, contained and a bit more poignant. Space shapes our lives in immense ways that are often indelibly defining. Music of the utmost quality such as Space Heavy does the same.

favorite tracks:

From The Swamp

Space Heavy

If Only It Was Warmth

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Luke Modugno is the editor-in-chief.

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Controlled Chaos: JPEGMAFIA & Danny Brown Split Heads on "SCARING THE HOES"

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by Luke Modugno

What makes both Danny Brown and JPEGMAFIA’s artistry durable is their unrivaled devotion to the bumps and bruises of their own music. The two have mastered the art of employed imperfection, giving their records an unmistakably rugged finish. Within that artistic direction, Peggy and Danny have cultivated distinguishable styles, Peggy’s driven by beyond obscure production and Danny’s by off-kilter rhymes and delivery. The marriage of these two uncontrollable minds could be a considered a dream by some, and nightmarish by others (the hoes).

A collection of 14 volatile and abrasive tracks, SCARING THE HOES represents a caustic combination of rap’s most audacious forward-thinkers.

Jaggedly stitching together soul and gospel samples, iPhone text notifications, Lady Gaga and Ski Mask the Slump God cameos, Peggy’s work behind the boards on this record is best described as an unmitigated commitment to contrariness. As with the rest of Peggy’s work, SCARING THE HOES has distinct punk undertones, both in attitude and sonic style. Simply put, a lot of the things Peggy is trying here shouldn’t work. But they do, and they fit Danny’s unnatural tonality and rhyming superbly. Whether he’s fusing a somber jazz piano loop with hyperactive drums on “Jack Harlow Combo Meal,” borrowing a melody from a K-Pop song to blend with bouncy trap bass for “Kingdom Hearts Key,” or crafting a fidgety union of hyperpop and hip-hop on “Fentanyl Tester,” SCARING THE HOES’ uncompromisingly avant-garde nature is nothing short of incredible.

While the production is remarkable, SCARING THE HOES really comes into its own when it’s met with the duo’s clever and witty pens. Perhaps the most fitting example of the sheer power of their team-up comes in the form of “Burfict!” Draped with triumphant horns and thumping 808s, Danny’s cagey rhyme scheme and catchy hook emit pure electricity. Paired with Peggy’s raucous adlibs and closing verse, not only is “Burfict!” one of the standout songs on SCARING THE HOES, but additionally an undisputed song of the year candidate.

Neither Peggy or Danny are flooring listeners with their technical rapping ability on this tape, rather their one-liners steal the spotlight and more than a few laughs. “I feel like Papa John (insane),” raps Peggy on “Lean Beef Patty.” On the biblical “God Loves You,” Danny raps “Her with my dick like David and Goliath.” True to its humorous title, Peggy and Danny keep things lighthearted and comical throughout. Even though Peggy and Danny aren’t sharing any “Otis”-esque moments of bar trading on SCARING THE HOES, their rapping techniques are ideal foils to each other, something that is visible from one end to the other.

While this record represents a victory lap for the pair, SCARING THE HOES presents its own challenges and shortcomings. The LP sees Peggy is pushing genre boundaries while simultaneously pushing his own ability to mix the record properly. While Danny Brown mocked the criticisms of the album’s mix on Twitter, it is an entirely fair critique of the album. Danny’s verse on the opener “Lean Beef Patty” is practically unlistenable as the sidechaining essentially mutes Danny’s verse on every kick hit. Similarly, “Steppa Pig’s” brutal percussion and jumpy electronic elements nearly overpower both emcees. Conversely, looking at the mix as a stylistic choice also makes sense as well. With the title track having a similar mixing problems, the issue is certainly tangible.

But what are critiques if not perceptions? Sure, you can choose to perceive the mix as a flaw, or another calculated imperfection. Does either matter to Danny Brown or JPEGMAFIA? Do any perceptions of their music matter to them? Not in the slightest, and that’s what has allowed both to blossom into an artistic space where making such a staggeringly bold record is possible.  When collaborative records match the gravity and talent their duos command individually, the outcome is a substantial, as is the case with this album. A continuation of two brilliant careers, SCARING THE HOES is a record we’ll be talking about for quite a while.

Favorite Tracks:

Burfict!

God Loves You

HOE (Heaven on Earth)

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Luke Modugno is the editor-in-chief.

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An Indomitable Spirit and Hunger: “Beware of the Monkey” by MIKE Reviewed

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by Luke Modugno

Art will always be a haven for the ambiguous and the obscure. No matter the medium, art provides grounds for creatives to test the status quo, borrow from the past and amalgamate it with a progressive future. From the onset of his career, Brooklyn’s resident underground hip-hop vanguard MIKE has found himself at home within his experimental niche.

Bursting onto the underground scene with the elusive New York collective sLUms, MIKE’s undisputable mic presence fused with a uniquely warped production style has turned heads since day one. Augmenting his pen, wordplay, introspection and skill as a producer with each release, MIKE has silently become one of the most talented acts in rap’s avant-garde sector. Beware of the Monkey, his latest project, only solidifies the emcee as one of his generation’s most powerfully forward thinkers.

Courtesy of HYPEBEAST

Preluding the release with a slew of notable singles and a three-track EP with Wiki and The Alchemist, those who were paying attention to MIKE’s trajectory could see what lens Beware of the Monkey was peering through before its arrival. A continuation of so many of the idiosyncrasies that made 2021’s Disco! a dense and head-swirling composition, Beware of the Monkey picks up the pieces of MIKE’s despair and refigures them, recontextualizes them, harbors them in his pen and hands them off to the listener in the form of 13 comprehensive tracks.

While usually borrowing a page of Some Rap Songs’ burned and tattered blueprint of confessionary, gut-wrenching writing focusing on crumbling, crushing depressive states, MIKE has a unmistakable hunger for more on this record. Sure, his drab tonality and lyrical content are here, but there’s an ambition and boldness to Beware of the Monkey. If MIKE was asking questions on projects like MAY GOD BLESS YOUR HUSTLE and War in my Pen, he’s moving significantly closer to the answers on Beware of the Monkey. The result of astute solitary observation and theorization, MIKE’s growing up with his music. “Live like it’s my all, gotta give a bunch/Sit tight through the fog it be bigger floods” he spits on the stunning opener “nuthin I can do is wrng.” MIKE’s moved past allowing the vapid dystopia he occasionally inhabits affect his outlook on life, a sentiment that’s backed by the follow-up track “As 4 Me.”

Stating his intention to showcase why he should be consider amongst the greatest rappers in the world, MIKE lays down a viscous flow over a intoxicating beat. This craving is demonstrated by his clever one liners, existential psychology and technical ability throughout Beware of the Monkey. Perhaps the most potent illustration of MIKE’s intricate commentary comes in the form of “Tapestry.” Struggling to make a distinction between complacency, success and converting his passionate hobby into a lucrative business, MIKE’s mind state leads him right back to his greatest asset as a writer: asking alluringly pertinent questions about himself and the world around him. “We in the crib making classics/It be hard making a living in catastrophe/At our darkest this shit be hidden in fallacies,” MIKE raps. “Tapestry” and the commentary it makes regarding MIKE’s past, present and future as a rapper is an absorbing example of his maturation as a writer and human being.

Sonically, Beware of the Monkey is utilizes a decisively brighter palette. Sticking to the use of distorted vocalizations as the backbone of his production, MIKE’s skill behind the board is boundless. MIKE uses this inherent skill to convey a broad range of feelings and moods. Utilizing his features in the same vain as a sample, “Stop Worry!” is pushed along by a head bopping chorus from dancehall legend Sister Nancy. From the determined and nearly motivational horns of “No Curse Lifted (rivers of love)” to “Ipari Park’s” haunting piano loop, MIKE has continually proven that the some of the most inventive production from this batch of avant-garde rap producer emits from his discography.

With Beware of the Monkey, MIKE has proven that he has all he needs. He has the raw feel of a contemplative writer. He has the ear and mind of a producer capable of baroque sonic tapestries. And he certainly has the ability to merge it all into a sweeping hip-hop masterpiece. At this point, all he needs is your attention, and more importantly, your respect.

favorite tracks:

nuthin i can do is wrng

As 4 Me

Ipari Park (feat. Klein)

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Luke Modugno is the editor-in-chief.

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Counting Down the Top 20 Albums of 2022

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by StereoVision Staff

The end of a calendar year marks new beginnings. The rapid approach of new goals, new situations and new beginnings force us to look back on what we built in the year we just experienced. For music fans, the end of 2022 is an ode to the household names who reminded us of their brilliance, the meteoric rise of originative artists bursting onto their respective scenes, records with such gravitational attraction and quality that they derail Twitter discourse for days on end, and everything in between. Here at StereoVision, the final flip of a page on our yearly calendar just wouldn’t feel complete without counting down our favorite projects of the year. Without further adieu,

Honorable Mentions of 2022

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“Luv 4 rent” — Smino

Hints of: Southern Hip-Hop

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“Bar & Grill” — Royel otis

Hints of: Indie Rock

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“Its Almost dry” — Pusha T

Hints of: Coke Rap, Hip-hop

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“kiss the ring” — Rome streetz

Hints of: Coke Rap, Avant-Garde Rap

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“Get Fucked” — The Chats
Hints of: Punk

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aethopies — billy woods

Hints of: Avant-Garde Rap

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the 20 best albums of 2022:

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20. god dont make mistakes — conway the machine

Conway the Machine has always been the darker rapper of the founding Griselda Records members, but God Don’t Make Mistakes takes it up a notch. GDMM is a reflective album that details the effects of grief and guilt on an otherwise “successful” life, giving listeners an up-close look at the darkness that’s invaded Conway’s world. His most personal record to date, Conway explores the relationships and isolation that comes with fame while remaining true to his boom-bap, New York roots.

From the dedicated Conway shown in “Drumwork” to the lonely and depressed Conway in “Stressed”, GDMM is a courageously holistic look into Conway’s life, proving that even the darkest topics cannot distract from Conway’s raw musical talent.

Spotlight Track:

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19. fair exchange no robbery — boldy james & nicholas craven

Boldy James is a machine. The Griselda standout doesn’t compromise quality, but stills produces impeccable records with quantity. His team-up with rising producer Nicholas Craven is a continuation of what Boldy has built over recent years. With luxurious coke raps laced over inventive sampling, Fair Exchange No Robbery is an amalgamation of the Detroit emcee’s strengths. Craven keeps the record compelling and Boldy looks to expand his sonic palette here as well, taking on surprising beat selections and sliding over them more smoothly than ice.

Boldy’s consistency on Fair Exchange No Robbery is just another reason why he’s one of the best rap artists in the game today.

Spotlight Track:

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18. intros, outros & interludes — domo genesis

Since the inception of Odd Future, Domo Genesis has continually proven to be one of the preeminent traditional emcees out of the collective. In his first LP since 2016, Intros, Outros & Interludes, Domo recommences that narrative.

Executively produced by Evidence, Domo explores contemporary underground hip-hop’s distorted landscape to listeners’ excitement. The LA rapper’s wordplay clearly grew by leaps-and-bounds during his hiatus, as he navigates Evidence’s delectable choice of chopped soul samples and drum-less loops. Tracks like “Victories & Losses,” “Trust the Process” and “Don’t Believe Half” showcase a hungry and viscous version of Domo, something that been missing on prior records. Not only is Intros Domo’s highest quality album behind the boards, it’s comfortably one of the best-produced hip-hop records of the year.

Spotlight Track:

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17. ramona park broke my heart — vince staples

Over the past two years, Vince Staples has hit his stride artistically. Following up his glittering eponymous LP, RAMONA PARK BROKE MY HEART is an extension of Vince coming into his own. Dabbling in his west coast influences, blending in atmospheric production and revisiting his laid-back delivery, Vince created yet another quality record in 2022.

While RAMONA PARK BROKE MY HEART lacks much of the concision that made his last record so potent, multiple tracks harken back to the energy harnessed on his last record (“DJ QUICK" for example), landing him a spot on this list.

Spotlight Track:

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16. cheat codes — Black thought & danger mouse

In case the world forgot, Danger Mouse knows hip-hop. His first hip-hop record since 2005’s THE MOUSE & THE MASK, Cheat Codes is the culmination of two decades of collaboration between Danger Mouse and Black Thought.

Their comfort with each other is clear, as Black Thought remains sharp throughout the album over Danger Mouse’s heavy rhythmic style. Danger Mouse’s ability to adapt to his artists shows with the features, giving A$AP Rocky and Run The Jewels a fast-paced intense beat on “Strangers” and Conway the Machine a more boom-bap, classier style rhythm on “Saltwater.” 

Spotlight Track:

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15. cocodrillo turbo — action bronson

Cocodrillo Turbo is a quintessential Action Bronson album — not for one second will you forget who created this masterpiece. Simply put, the avant-garde “Cocodrillo Turbo” is a psychedelic-fueled Indiana Jones adventure condensed into a 30-minute album.

From the action-packed intro song “Hound Dog” down to Yung Mehico’s saxophone closing out the album, Bronson keeps listeners entertained throughout. The artists featured on the album maintain their artistic authenticity while still rapping over distinctly Bronson beats, like Conway’s gaudy and relaxed verse on “Tongpo” and Mayhem Lauren’s bougie and confident feature on “Turkish.” Throughout the album, Bronson bodies beats that don’t even sound like music, holding his footing over snarling crocodiles, growling jaguars and squealing pigs like it’s nothing.

Spotlight Track:

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14. WHat yall mad about today — chris crack

Chris Crack’s What Y’all Mad About Today is just one of countless reasons to start paying attention to the rising 32 year-old.

Employing many of the underground elements of avant-garde rap, Chris Crack’s iconic delivery and witty wordplay takes a page from Griselda’s playbook and makes it completely his own. On What Y’all Mad About Today, Chris Crack shows why his listeners regard him so highly when it comes to his pen. You cannot have a discussion about the emcees with the most canny one-liners without including Chris Crack. The result is a grimed record filled with personality and witty piece of music that shows flashes of supreme artistic refinement.

Spotlight Track:

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13. the elephant man’s bones — roc marciano & the alchemist

Unstoppable force meets immoveable object. Goliath of the underground teams up with a producer whose name is etched into the very fabric of hip-hop history. Roc Marciano and The Alchemist’s collaborative tape had immense expectations to live up to. Only possible with artists of this duo’s magnitude, The Elephant Man’s Bones is able to simultaneously fall short and impress in the same vain.

Boasting songs such as “Quantum Leap,” “Stigmata,” as well as the title track, calling The Elephant Man’s Bones disappointing would be entirely unfair. On the other hand, the production here just isn’t quite as ground breaking as we’ve seen from Alchemist. Opting for understated production to allow Roc’s wordplay to take center-stage works in places, but not across all 14 tracks. While also possessing several song of the year and verse of the year candidates, The Elephant Man’s Bones’ inconsistent bright spots alone propel it past many rap records this year.

Spotlight Track:

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12. sos — sza

Considering it’s thoroughness, thoughtfulness and craftmanship, its hard to believe SOS is SZA’s second studio album. You simply cannot begin to have a dialogue regarding contemporary R&B without mentioning the angel-voiced TDE member and this record reminded everyone why.

Borrowing the addictive song writing and structuring employed on 2017’s CTRL, SZA expands on her signature blend of R&B and hip-hop undertones here in an intriguing way. SZA’s rapping ability noticeably improved during her 5 year hiatus, allowing her to create standouts such as “Forgiveless” and “Smoking on my Ex Pack SOS has something for every listener, making it a versatile, impeccable and glorious return to form for SZA.

Spotlight Track:

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11. no thank you - little simz

The age-old saying “better late than never” couldn’t be more accurate when regarding Little Simz’ belated entry to the 2022 album of the year contest with NO THANK YOU. Simz is in a similar space mentally here as her previous standout record: she’s tired of hip-hop fame and the indignation that comes with it. But on NO THANK YOU, Simz isn’t just tired, she’s angry.

Felt through her razor-sharp delivery and cunning writing such as “f**k the politics I’m going Meghan on you neeks,” Simz has evidently grown as both an artist and emcee at an expeditious pace. With varied and enjoyable production throughout, the sole issue with NO THANK YOU is that it dropped in the twilight of 2022.

Spotlight Track:

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10. the forever story — jid

The most definitive way to describe JID’s The Forever Story is that it’s the unblemished and rounded record that we all knew JID was capable of creating.

Everything presented here is at the absolute peak of JID’s capabilities as an artist. From the abstract and captivating beat selections, to the intricate double entendres sprinkled across the record, The Forever Story is by far JID’s most complete record to date. With a jaw-dropping list of guests including Yasiin Bey, Lil Wayne, 21 Savage, EARTHGANG and more, The Forever Story does more than just hold the listener’s attention throughout its one hour runtime, it ensnares.

Spotlight Track:

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9. tana talk 4 — benny the butcher

Following up an unquestionably classic mixtape like Tana Talk 3 is no small task, and Benny the Butcher was clearly here for the challenge.

Tana Talk 4 was a shining star in Griselda’s marvelous calendar year. With the production duties split between the legendary Daringer and Alchemist, the beats served up for Benny are prodigious, allowing Benny to reach new heights as an emcee. From song of the year contender and J. Cole collaboration “Johnny P’s Caddy,” to the opulent “Weekend’s in the Perry’s” with Boldy James, you’d be hard pressed to find a single skip on Tana Talk 4. Benny isn’t doing anything necessarily groundbreaking here, however, elongating his ridiculous run of consistently enjoyable underground rap records is certainly remarkable.

Spotlight Track:

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8. wasteland — brent faiyaz

Since Brent Faiyaz burst onto the modern R&B scene in the mid-to-late 2010’s, listeners have marveled at his gifted singing voice. While dazzling on features and singles, Brent struggled to put together a comprehensive and thoroughly composite LP. That is, until the release of his 2022 effort WASTELAND.

WASTELAND sees Brent pull together the various components of his musical talents and employ them properly. The songwriting is as catchy as ever, his occasionally rap verses are well written, and, of course, his vocalization is spot-on. Brimming with silky tracks from head-to-toe, WASTELAND is an actualization of the potential Brent has displayed over the years. In conjunction with a central narrative about his toxic ways causing tragedy, WASTELAND is both Brent’s highest-quality record and the best traditional R&B record of 2022.

Spotlight Track:

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7. no fear of time — black star & madlib

One word tends to come to mind when discussing the Madlib-produced Black Star reunion we hip-hop fans were blessed with: retrofuturism. Madlib’s patchwork production symphonies offer Black Star a complete escape from their previous boom-bap driven sound. From the shades of bouncy reggae present on “Sweetheart. Sweethard. Sweetodd.,” to the high energy masterpiece that is “So Be It,” Madlib has continually found a way to be at the forefront of innovation behind the boards in hip-hop.

26 years since releasing their first record as a duo, Yasiin Bey and Talib Kweli have yet to lose their hip-hop chemistry, a fact that’s evident on No Fear of Time.

Highlight Track: Sweetheart. Sweethard. Sweetodd.

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6. mr. morale & the big steppers — kendrick lamar

Since 2012, Kendrick Lamar has been anointed as the savior of rap music. An immense pressure that informed his generational pen for the vast majority of his career, Lamar spent the last 10 years digging and searching for ways to live up to the burden placed on his shoulders.

But Mr. Morale & The Big Steppers turns the mirror away from that duty, and inward at the man Lamar has become, for better and for worse. Kendrick’s 2022 project is his most confessionary record to date. Exploring his own childhood trauma, toxic tendencies and mental state, Mr. Morale & The Big Steppers tells the story of a flawed man who has taken his focus away from being other people’s savior. An endearing journey through Lamar’s personal journey as a human being ignited by his inherent talent as a musician, Mr. Morale & The Big Steppers is yet another superb addition to a catalogue littered with classic records.

Spotlight Track:

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5. dawn fm — the weeknd

The Weeknd possesses an immensely rare skill as an artist: he’s a bonafide master of concept albums. Dawn FM showcases Abel’s ability to tell an intriguing story, one that builds off of the same conceptual mastery displayed on After Hours.

Journeying into the beyond after his narrative death in After Hours, Dawn FM is a purgatorial pitstop in his trilogy, one made possible by a exciting exploration of 80’s synth-pop. Paired with his distinguishably unique voice, the production on this record is groovy and superb throughout. Hit making comes easy to an artist of Abel’s magnitude, as his fills Dawn FM’s track list with hit after hit (“Out of Time,” “Is There Someone Else?,” “Take My Breath).

Spotlight Track:

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4. 10 — westside gunn

Despite only having two solo songs, Westside Gunn never loses the spotlight in 10. Gunn maintains his signature high-class style throughout, surprising listeners by bringing in legends like Ghostface Killah, Busta Rhymes, Black Star and more to close out the “Hitler Wears Hermes” series.

In true Gunn fashion, each song brings a unique beat to back up equally attention-grabbing lyrics without sounding like it’s doing too much. Elegant and clean-cut, 10 is a culmination of the skill Gunn has honed throughout his HWH series. Plus, the second track spotlights his son, FlyGod Jr., as a producer. The father-son artistic connection benefits both Gunn and Doe Boy, as they thrive on the cold-blooded beat in “FlyGod Jr.”

Spotlight Track:

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3. melt my eyez see your future (deluxe) — denzel curry

The maturation of an artist is a stunning phenomenon to witness. While it’s been evident for a number of years that Denzel Curry was one of the astute writers of his generation, Zel has been trying to find consistency in his sonic approach for some time now. Melt My Eyez See Your Future is an entirely aimed record, one’s that individual components are wrapped tightly and produce a comprehensive body of work.

Melt My Eyez See Your Future is a personification of Zel and his relationship with the world he exists in. Across the album, Zel is inquisitive, pessimistic, optimistic, candid, calculated and contemplative. Focusing on both his own personal faults and the inadequacies of modern life, Zel displays a level of pellucidity that is simply not available on his prior LPs. The production here is scattered in the best way possible, pulling in JPEGMAFIA, Thundercat, Kenny Beats & Kal Banx to blend their wildly unique sonic styles with his own. Paired with a innovative deluxe album release, 2022 was Zel’s year.

Spotlight Track:

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2. sick! — Earl sweatshirt

If one truth has been proven to be self evident about Earl Sweathsirt and his artistry, it’s that he is nothing short of a brilliant poet whose greatest strength is his ability to convey feeling. SICK! is a bit of a departure from Earl’s gruesomely bleak, visceral avant-garde sonic aesthetic, yes. But it’s far from a departure from the unmitigated honesty in his pen.

At times, SICK! is light-hearted, allowing Earl to expand artistically and challenge himself as an emcee. Tracks like “Lobby (int),” “Visions,” and “Titanic” have an unmistakable trap influence, a sound we have sparingly seen from the Odd Future alumni. Simulatenously pushing his sound forward (“God Laughs,” “Tabula Rasa”), SICK! allows Earl to grow and explore his own talents. For an artist as gifted as him, it’s not a surprise SICK! was one of the best rap records of 2022.

Spotlight Track:

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1. gemini rights — steve lacy

Each year, music fans anticipate a release so superb, it commands the attention of music enjoyers of all varieties. Turning heads, directing trends and dominating the perpetual musical deliberation, albums as superlative as Steve Lacy’s Gemini Rights etch an indelible mark on the musical year itself.  

A 35-minute romantic catharsis doubling as a funky R&B, pop fusion exercise, Gemini Rights has all the elements of clear-cut album of the year candidate. Lacy’s endearing and relatable storytelling mixed with his undeniably generational song writing ability allowed tracks like “Bad Habit” to explode as a megahit. Lacy finding the precise and proper combination of experimentalism and hit making produce a track list to be littered with song of the year candidates (“Sunshine,” “Helmet,” “Mercury”). 2022 was a superb year musically, but it will ultimately be known as the year of the Gemini.

Spotlight Track:

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An Exhibition in Consistency: Freddie Gibbs’ “SSS” meets expectations

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by Luke Modugno

Artistic complacency is a term that has an unjustly poor connotation. When you’re as consistent and dependable as Freddie Gibbs, being smug and content about the prestige of your career is, really, quite easy.

Such is the story of Freddie Gibbs’ latest record $oul $old $eparately, as Gibbs revamps his signature blend of typically transcendent coke raps over avant-garde trap and alternate hip-hop production. However, the “Alfredo” follow-up is relatively unsurprising in both positive and negative aspects.

Few artists can match the album run Gibbs has produced in the time frame of 2014 through 2022. Crafting two classic records with help from hip-hop’s most fabled producer Madlib, receiving a Grammy nomination for his brilliant collaboration project with The Alchemist, Alfredo and delivering a steady supply of high-quality music in between, Gibbs is a well-oiled machine at the art of album curation.

While this record is a revisitation of the chemistry constructed between Gibbs, The Alchemist and Madlib, $oul $old $eparately opens the door behind-the-boards to some intriguing producers. James Blake, KAYTRANDA and DJ Dahi all bring their incredibly diverse sounds to this record, allowing Gibbs to tinker with the experimentation of his usual formula.

While Gibbs wanders outside his comfort zone for a portion of the record on tracks like “Dark Hearted,” Gibbs is simply a master of his craft and he utilizes that to generate the clear standouts of the track list.

“Blackest in the Room” is pushed along by a silky and luxurious Alchemist loop and accompanied by a beat switch that display Gibbs’ versatility as an emcee. Switching flows multiple times throughout the track, it seems almost too easy for Gibbs to craft intriguing and memorable verses. “Space Rabbit” and “PYS” featuring DJ Paul are aggressive trap bangers showcasing his dizzying flow and clever word play. Madlib provides an angelic horn loop for the closer “CIA,” recalling the same brilliance produced on “Gat Damn” off of 2019’s Bandana. All-in-all, $oul $old $eparately’s bright spots are a quality union of the works that have propelled Gibbs to rap prestige.

Following suit of the elite producer credits on this album, Gibbs’ recruits for $oul $old $eparately’s feature list don’t disappoint. Anderson .Paak’s suave graces “Feel No Pain” in his catchy hook joined by a Raekwon verse that harkens back to the excellence of his early Wu-Tang days. Pusha T adds to his catalogue of flawless features on Gold Rings, and Rick Ross easily blends with the opulence emitted from the production on “Lobster Omelette.”

While Gibbs’ usual subject matter, sonic aesthetic and technical superiority are all in attendance on $oul $old $eperately, it’s hard to overlook the fact that the record produces a mere iota of the grandness we’ve become accustomed to with new releases from Gibbs. In Layman’s terms, $oul $old $eperately is watered-down in some ways.

It’s not unfair to call $oul $old $eperately unambitious. We’ve grown accustomed to Gibbs dropping boundary-pushing art consistently. Records like Alfredo, Pinata and Bandana have placed the bar extraordinarily high for new releases from Gibbs, a bar that simply isn’t surpassed on $oul $old $eperately. Gibbs isn’t getting any more creative with his pen here, he isn’t flexing his vocal range as much as anticipated, and the beat selection, while admirable, isn’t unique to his catalog.

Instead, $oul $old $eparately is a victory lap for an artist who deserves all the flowery praise he receives. Speckled with intriguing and ear-catching tracks, this record is a microcosm of the successes Gibbs has enjoyed throughout his tenured career. Freddie Gibbs has nothing to prove, and still raps his weight in bricks on $oul $old $eparately.

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Luke Modugno is the editor-in-chief.

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Back and Better than Ever: "Intros Outros & Interludes" reviewed

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by Luke Modugno

Domo Genesis has always occupied an evocative lane of the Odd Future assemblage. Since their split and subsequent pursuit of solo work back in 2015, each member of the former collective has journeyed deeper into their experimental absorptions, morphing their artistry into something that hardly resembles their original work. However, Domo’s latest record Intros, Outros & Interludes is more of the same from the 31-year-old emcee, in the best way possible.

Clocking in at 11 tracks spanning 25 minutes, the concision and precise identity lyrically, sonically and aesthetically of Intros, Outros & Interludes is what propel this to be Domo’s most outstanding individual work to date.

Executively produced by Evidence, a sapling stemming from The Alchemist’s tree of influence, the record is a product of contemporary alternative hip-hop: soul vocal loops, antique drums, stumbling horns, pianos and other instrumentation splattered and dragged through the dusty, brilliant producer’s mind of Evidence. The direction behind-the-boards pairs smoothly with Domo’s delivery, which retains its intrigue via his unique intonation. 

As the record static cuts in on the opener “Don’t Believe Half” and the accompanying horn loop joins, Domo’s pen and delivery makes it blatantly obvious that he’s been working on perfecting his craft during his nearly five year absence from music. “I'm probably out the way, but I’m exactly where to be at/the energy where we at/and the home where my feet at/the road is what I drive on, the chrome where the seat at” shows Domo’s retention of his witty pen from his Odd Future days. Mixed with his especially nasally inflection on this track and across the record, Intros, Outros & Interludes properly displays Domo’s full potential as a solo rap artist. 

The ever promising Navy Blue joins Domo on track two, “Skeletons,” with a beat tailor-made for Navy’s obscure braggadocio and clever word play. Remy Banks, Griselda’s-own Boldy James and Evidence join Domo as featured artists, all with exceptional verses in their own right. Beside Intros, Outros & Interludes representing Domo’s most complete and remarkable body of writing, this record is easily his most distinguished sonically. 

Every beat on Intros, Outros & Interludes emits its own exclusive aura, affording Domo a diverse palette of experimental flavors to work with on this project. The heading nodding vocal chop on “Trust the Process” is simply filthy. A clever soul sample paired with a skilled emcee has rarely failed, and “Stay One More Day” and “Running, Running” are no exception to that trend. The luxurious piano and grimy drums on “Victories & Losses” provide a lush backdrop for Domo and Evidence to trade bars. Boldy and Domo’s relaxed deliveries pair well with the lo fi production on “December Coming.” All-in-all, Intros, Outros & Interludes is in the conversation of being the best produced hip-hop record of the year.

With next to zero skips, drastic improvements lyrically, artistically and directionally from Domo Genesis, Intros, Outros & Interludes is a premier release in hip-hop during 2022. A glorious return to form, Domo has proven here that he is definitively back and here to stay.

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Luke Modugno is the editor-in-chief.

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A Glamorous Return to Form: “2000” by Joey Bada$$ reviewed

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by Giovanni Recinos

It’s crazy to think that ten years ago much of the world was first exposed to the witty wordplay of Joey Bada$$ and the Pro Era crew through his cult-classic debut project, 1999. It is even more wild to think that it has been five years since we saw Joey drop an album with 2017’s All-AmeriKKKan Bada$$. All-AmeriKKKan Bada$$ introduced us to Joey’s venture into more radio-friendly singles and his stray away from much of his boom-bap inspired rhymes. While Joey’s fascination for catchier tracks initially made me fear his artistic direction for the future, 2000 is in no way a miss. 2000 is in many ways a mixture of these two projects, with it being a return to his 1999 form, while also acknowledging the major changes of Joey’s lifestyle, sound and the changes in the genre over those years.

If 1999 is Joey’s Ready to Die, then 2000 is his Life After Death, in the sense that Joey’s hunger really shines on 1999, whereas on 2000 Joey loses a lot of that hunger and instead recognizes a much more comfortable rap space that he can call his own. Songs such as “Make Me Feel” and “Zipcodes” really showcase the strengths of most of the project, as the individual songs often stand on their own as aux-cord friendly with its fly style and smooth instrumentation. Many of the songs include co-signs from artists like Nas, and Diddy that at first felt a bit forced, but I have grown to appreciate them. Considering Joey was only 17 when he dropped 1999, it gives the album a nice coming-of-age feel.

Another highlight on the album for me was the song “Brand New 911”. After hearing Joey’s contributions on Westside Gunn’s, “327” I had hoped Joey would nod more to the new Griselda style as it suits him well. This song definitely recognizes some of those changes in the New York style and the two do the song justice.

While the project sounds great, beyond that surface level it can feel a bit disappointing. The album may strive in Joey's captivating style, but its greatest weakness in my eyes is its noticeable feel of lacking true heart in its lyricism. What made 1999 a repeat listen to many fans was its complex lyricism with layers of double and triple entendres, whereas with this project the lack of substance (or even character) makes me less compelled to do a deep dive into Joey’s lyrics.

Ironically, a new “era” has definitely arrived for Joey with the project noticeably lacking any of the Beast Coast or Pro Era crew (outside of production) and that also swipes a lot of my personal interest. A new era may not be a bad thing, but Joey has lost a lot of his brand personality with the loss of the Beast Coast momentum, and friendly competition brought in the past by peers like Meechy Darko, Nyck Caution or Kirk Knight. “Survivors Guilt” is a definite highlight and exception, being the one song that really compels me to follow its lyricism. Other than that most of the album just feels like a collection of songs of braggadocio and glamour. While this is not necessarily a negative in its own, when compared to the level of lyricism on the predecessor, 1999, it could definitely disappoint some of Joey’s fanbase.

Overall the project is super solid, especially when hearing it in pieces. But the real disappointment is Joey taking too long to drop new music. In the future, hopefully Joey will drop music more consistently even if it means less wordplay or depth involved in the projects. Joey’s bold claim, “who the best emcees? Kenny, Joey and Cole” may not be wrong, but he hasn’t dropped enough music to the public to prove that claim. Considering the relationship between Westside Gunn and Joey Bada$$, I have high hopes that Joey could drop more projects. Maybe even a Westside Gunn curated, Joey Bada$$ album at some point. I definitely would recommend this project, but it would be hard to call it my favorite of his.

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Giovanni Recinos is a staff writer.

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Prophetic and Intricate, Lupe Fiasco’s “DRILL MUSIC IN ZION” Incites Reflection

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by Asher Ali

Chicago is musical ground zero for how it has innovated sound through time, with key figures giving new meanings to music that matches the city’s eclectic nature. Muddy Waters created “Chicago blues” giving the southern-based music a more industrial sound, DJ Frankie Knuckles started house at Chi-town establishment The Warehouse, and drill could stand as its own personality for how it popularized a whole city’s rap scene in the early 2010s.

Drill gave birth to some of modern rap’s most generational talents like Lil Durk, Fredo Santana, and perhaps the genre’s most prolific figure in Chief Keef. Popular rappers up to that point promoted dangerous behavior with a sort of contemplation that demonstrated the duality of these actions, while Sosa and his peers in drill enthusiastically gloated about their indulgence in illicit behavior over high-flying drill beats. 

Wasalu Muhammed Jaco, known worldwide as Lupe Fiasco, comes from Chicago’s Westside, and rose to prominence in the late-20002/early 2010s for a very different sounding version of rap than what Chief Keef helped cultivate. Around the time of Sosa’s first hit, Fiasco had just ascended to a No. 1 Billboard 200 album spot with Lasers, an album that pandered to radio plays for its oversaturated electronic sound with up-tempo pop bars thrown on top. 

Instead of remaining in this unimaginative state which afforded him the limelight, the Chicago native innovated his sound greatly starting with 2015’s Tetsuo & Youth. From the systemic effects of slavery on Black people to the peculiarities of religion, Fiasco became unafraid to take on complex issues that he felt a deep connection with.

And on Fiasco’s latest project, Drill Music in Zion, the hip-hop veteran brings his most sonically and thematically centered piece of art yet, with poignant messages coming hand in hand with serene beats and rhythms. As the title alludes to, the album is a philosophical analysis of the dual effects that drill, and the dangerous lifestyle of the modern-day trapper have had on Chicago’s youth. 

In Drill Music in Zion, Fiasco’s voice is meant to be mentoring and critical toward up-and-coming rappers. The seasoned veteran’s sagacity and intellect widely allows him to do this as his bars often ring true and well thought out, and he only comes off as excessively didactic a handful of times on the album.  

Fiasco sets his narrative to the backdrop of benevolent synth jazz rhythms, creating a juxtaposition between his sound and the very genre of music he’s addressing. 

Wasting no time, the album begins with “The Lion’s Deen”, a two and half minute spoken word piece delivered by Fiasco’s sister, Ayesha Jaco. The opening stanza from Ayesha echoes, “Drill music, pop that pill music, kill music, desecrating the temples and the ghettos, funeral processionals increase their frequency because we can’t break the spell of Geppetto.”

The poetic verse decries the glamorization of the dangerous lives that drill artists and their associates lead, stating that its popularity has only fed into a false narrative about this livelihood’s perceived grandiose. It clearly paints contemporary rap as an issue that has kept up a cycle of instability in some communities as younger musicians became infatuated with becoming a rapper who poses as a trapper, instead of a true artist. 

This twisted cycle is something Fiasco takes aim at on back-to-back tracks “Precious Things” and “Kiosk” — two tracks that address how material obsession has changed rap for the worse. Led by an angelic chorus from Nayirah, “Precious Things” candidly describes how the pursuit of a faux nefarious lifestyle can create more problems than opportunities for rappers. “Kiosk” meanwhile is a metaphorical story set in a mall, where the jewelry bought by rappers and trappers are fraught with perils that outweigh the image of affluence that the customers are trying to chase. 

Quickly, Fiasco is keen to back up his philosophy on those two songs with his philosophy behind the message on “Ms. Mural”. This five-and-a-half-minute diatribe addresses a myriad of closely related topics that revolve around what Fiasco clearly sees as the degeneration of rap.

The song is adept in its ability to fluidly transition from one topic to another, tying them together to paint a complete picture of why Fiasco is so morose about the state of rap. He expresses that nobody in today’s game dares to be too different, where instead of trying to be more creative than one another, the competition is driven by who has more clout, stating that “the velocity of trends is what referees the pace.”  

With a track that contains so much verbiage over an extended period, Fiasco does throw out some head-scratching misses in his bars such as “it’s not really a beat but conceptually at stake, like genitals and gender roles, they successfully conflate.” The song also leaves very little breathing room which would allow listeners to chew on the material for long enough to get a full picture, which ultimately makes some of the lines that stick out more seem perplexing.

“Naomi” by contrast is a smooth jazz riff that Fiasco is a much lighter presence on. While the bars aren’t as hard hitting as before, Fiasco is still able to get his religious perspective off his chest here as he finds modern culture in general, not just the rap world, to be trending toward more devilish habits. 

The album’s title track keeps up with the jazzy flow where Fiasco’s bars pop with vibrant rhythm behind it. Even in his rhythmic tuning, Fiasco delivers arguably his most deep concept of the entire project, delivering the idea that rap used to be a celebration of the Black conscience, but has now been weaponized for the sake of capitalism. He even calls it “copper Ebonics” relating how like the raw material, Black verse has become a tool, co-opted for profit.

Finally, after painting around the direness of a clout-chasing rap lifestyle, Fiasco opens the closer on Drill Music in Zion with the deadpan, but hard-hitting verse, “rappers die too much, that’s the verse.” As euphoric synths hum in the background of “On Faux Nem”, Fiasco proceeds to go all in on the egregiously monetized structure of drill, rap, hip-hop and everything in between.

He calls out the greediness of the streaming area while denouncing the overuse of posthumous music for the sake of squeezing every last drop of money out of artists. His analysis is all laid out in verse that is elaborate, sensible and digestible for listeners. 

The angelic and infectious sounds of Drill Music in Zion are overall an asset that will allow listeners to return to the album with ease for multiple listens. Even with the subject matter, which while prophetic and wise, can be so philosophical at times that it’s hard to chew, the harmonies of jazz wrapped around Fiasco’s rhymes create a project well worth a listen and a larger discussion about where rap stands in the modern zeitgeist. 

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Asher Ali is a staff writer.

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Letting Go Of Love With Steve Lacy: “Gemini Rights” Album Review

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by Luke Modugno

Duality is a quality that seems to plague the entirety of humanity. In a reality constructed on subjective truths, an immeasurable amount of perspectives and an incalculable abundance of contexts, perceiving with consistency has been an ageless challenge to our species. That challenge is clearly amplified for people like Steve Lacy. 

The Compton native has returned from a two-year hiatus, bringing with him his second studio album Gemini Rights. Lacy isn’t embracing the role of an activist for a specific astrological sign on this record, as the title may suggest. In fact, he’s precisely and loudly presenting the stereotypical, infamous vice of a Gemini: indecision. 

We’ve seen rap megastars (and fellow Gemini) Kanye West and Kendrick Lamar illustrate their own internal strife as it relates to social issues, their world views and ego’s. However, Lacy’s chronic issue with irresolution has put him in an unfavorable spot on Gemini Rights. 

From track-to-track, Lacy is decidedly over his ex-lover. Then, in a whiplash of an instant, he’s head-over-heels for them. Because of Lacy’s flawless and skilled songwriting, Gemini Rights conveys a flurry of romantic feelings. With regret, sorrow, passion, lust and anger snapping into focus across the record, Lacy gives listener’s emotional motion sickness in a way only a bonafide poet could. While Lacy has never struggled to touch on romantic subjects throughout his discography, Gemini Rights approaches the subject with unprecedented nuance and thoroughness. 

“Static,” the opening track, sets the table for Gemini Rights, as Lacy serenades his ex with such elegance that it’s almost as if he isn’t vilifying them and their transgressions against their shared love. “If you ever had to stunt your shining for your lover, dump that fucker” is sung with a particularly intense vitriol that makes it seem that Lacy is finally over them. 

The funky distraction from post breakup depression that is “Helmet” sews the seeds of doubt in the listeners head that Lacy may be an unreliable narrator. Although trying his best to seem unphased and unbothered by their split, when Lacy feels down, his instinctual reaction is still to lean on this person. The cheery guitar plucks paired with cleverly foreboding writing makes “Helmet” a clear standout of the tracklist of Gemini Rights.   

Both “Mercury” and “Bad Habit” stand to support the thesis of Lacy’s lingering love for his ex. As he stares blankly at his ceiling while “writing an ‘i’m sorry’ text” and asks his ex-lover “you think i’m two-faced? I can name 23,” Gemini Rights exudes the crushing anxiety that comes with feeling stuck, inactionable and alone. 

The record culminates with its penultimate track “Sunshine,” featuring the silky-smooth Foushee who plays the part of Steve’s ex in a conversation between the two. Steve let’s us know that it’s been a couple months since their split. Hastily engaging a defense mechanism, Lacy becomes combative, adding “safe to say after me you peaked.” Foushee enters on a high-horse, telling Lacy that she’s taken the highroad despite his criticisms, imploring him to stop attempting to fabricate the intensity of their love with other people. Mutually agreeing to drop the hostility, Foushee asks “why can’t we just get along? Or at least get it on?”

Ending with the two harmonizing in unity “I still love you,” “Sunshine” is just one of many backtracks, reconsiderations and flip-flops on Gemini Rights. Although presenting the complication with this breakup through the lens of the ever-conflicted Gemini mind, Lacy knows his listeners are empathetic to the struggle.

If you were to reorder the tracklist of Gemini Rights, you would likely be able to formulate what a traditional grieving process of a romantic split is supposed to look like. But what Gemini Rights presents is a more authentic illustration of the unpredictability of human emotion, especially an emotion as potent as love. Feelings aren’t linear and they’re fickle. While Steve may not think so, the Gemini’s uncertainty isn’t to blame here.

Sonically, Gemini Rights is a soulful blend of the experimentation of Lacy’s 2020 effort The Lo-Fis, the groovy chord progressions of Apollo XXI and the early knack for engaging songwriting displayed on Steve Lacy’s Demo. In other words, Lacy brings together the whole of his assets as an artist to deliver his highest quality production on Gemini Rights. Additionally, Lacy’s pen is on an entirely different level here. Crafting hooks, progressions and vocal harmonies that stick in your brain like plaster (“Bad Habit,” “Mercury,” “Helmet”), Gemini Rights is the best R&B record to release this year. 

In a year filled with smash records like Dawn FM and WASTELAND by The Weeknd and Brent Faiyaz respectively, Gemini Rights simply outclasses it’s R&B contemporaries. Despite the conflicted nature of man, the superbness of Gemini Rights will ensure discussion of this record and its deserved inclusion in the album of the year conversation. 

Favorite tracks: 

Helmet

Bad Habit 

Sunshine (feat. Foushee)

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Luke Modugno is the editor-in-chief.

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Curating Consistently Remarkable Raps: “Peace ‘Fly’ God” by Westside Gunn reviewed

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by Luke Modugno

The role of a curator is that of immense importance. They are tasked with manifesting a feeling, manufacturing a profound message and fashioning a space, project or exhibition to radiate a specific cognitive sensation. 

Westside Gunn embodies what it means to be a distinguished curator of rap music, something that was made palpably clear on his latest record Peace “Fly” God. 

The Griselda boss’ rapid output has slowed to halt in 2022, with the majority of his focus likely on his forthcoming studio album Michelle Records, set to be released at some point this year. Before the arrival of Michelle Records, Gunn has decided to bless fans by digging into the vault to unleash some loosies. 

Peace “Fly” God is a classic Westside Gunn experience. A star-studded lineup of producers assisting him in locating his signature grimey, rugged sonic palette, grandiose raps that are personified by esoteric luxury and streetwear brand flexes, and who can forget the famed Westside Gunn adlibs?

Juxtaposing flipping packs on the corner with now “looking like a Margiela model at the Guggenheim,” perhaps the track “Big Ass Bracelet” is the quintessential model of a flawless Gunn record. Pushed along by a dusty 70’s soul sample that suits his eccentric delivery, wordplay and adlibs swimmingly, “Big Ass Bracelet” is a clear standout on Peace “Fly” God. The song is also vastly benefited by its guests, Keisha Plum and Griselda newcomer Stove God Cooks. 

Appearing on four of the ten tracks, Stove God continually shows throughout Peace “Fly” God that he is undoubtedly destined for underground stardom. On the Madlib-produced “Horses on Sunset,” Stove God’s menacing, drably delivered hook drapes smoothly over the gloomy piano and drum loop. His tone injects energy on “Derrick Boleman,” sprucing up Madlib’s drumless, contorted violin loop. Stove and Gunn have evidently formed a chemistry, as their pairing across this record produces excellence. In some instances, Stove God completely steals the show (“Horses on Sunset”). Along with Peace “Fly” God being a thrilling preview for Michelle Records, it simultaneously acts as yet another reason to keep your eye on Stove God Cooks. 

With Peace “Fly” God, it seems that Gunn has found a fortuitous balance of experimentation and consistency. While he’s keeping his foot on the pedal, moving the needle in terms of molding the sound of the underground on tracks like “Danhausen,” Gunn also understands and plays to his strong suits on songs like “Big Ass Bracelet.” 

Perhaps the only two reasons to be a detractor of Peace “Fly” God comes with the project’s opening tracks. “Jesus Crack” is a bloated mess made worse by a subpar feature from Estee Nack that spans three minutes. “Ritz Barlton’s” stumbling piano sample paired with Nack’s off-beat delivery fits like a square peg in a round hole, creating a nearly unlistenable song.

Additionally, in favor of fast-tracking the release of the project, Gunn elected to forgo mixing and mastering Peace “Fly” God. While this is abundantly clear during the forever-humorous Cussing Pastor’s outro on “Derrick Boleman'' and “Flip V. Phil,”  Gunn doesn’t sacrifice much here by skipping that part of the process. After all, Griselda has built an empire on that same trademarked jagged-edged sound. 

For now, Westside Gunn has presented yet another quality body of opulent coke rap music with Peace “Fly” God. Defined by its peaks and valleys that ultimately restrain it from being considered among elite Gunn projects, if Peace “Fly” God, is constructed of the throw-aways of Michelle Records, we are in for a treat when Gunn chooses to drop it.

favorite tracks:

Big Ass Bracelet (feat. Keisha Plum & Stove God Cooks)

Horses on Sunset (feat. Stove God Cooks)

Derrick Boleman (feat. Stove God Cooks)

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Luke Modugno is the editor-in-chief.

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Despite Notable Cast, The “Minions” Soundtrack is GRUesomely Underwhelming

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by Sydney Fluker

For the past 12 years, Gru and his minions have had a chokehold on nearly all aspects of American media. Starting with “Despicable Me,” a movie centered around the protagonist-villain, Gru, and his relationship with three foster children while they attempt to steal the moon, the minions have slowly but surely stolen the show for themselves. From memes to clothing items, the minions have created a brand name for themselves, becoming more popular than Gru himself.

Prior to the release of “Minions: The Rise of Gru,” pop culture had a field day with hundreds of minion-themed memes. Jokes about attending the premiere in full suits as “gentleminions” led to teens actually doing so, disrupting the movie targeted at children ages 11 or younger and their parents by yelling Minion gibberish at the screen throughout the film. 

With a children’s movie centering around the quest for villain hood amid bright and happy cinematography, there are a lot of themes that require attending to on behalf of the creators to pull off such a film. As with every movie, the soundtrack plays a key role in holding all of this unexpected chaos together. 

This time around, Illumination Entertainment brought in Jack Antonoff to handle the album’s production, creating a soundtrack that acts more as a pop hits cover album than an original. 

This album is so similar to the previous soundtracks that it would be hard to distinguish if not for the names who litter the track. From Thundercat to St. Vincent, it’s the way these big names remake the tracks that makes this album special. 

Produced almost exclusively by Antonoff with help from RZA, Heitor Pereira, St. Vincent, and Ex Reyes, the soundtrack covers 70s era funk, pop, and soul hits in a fresh manner. In an exclusive interview with Billboard, Antonoff explained that the idea was “to take modern artists that are really in some way in the tradition of the great music of that time and then record them with this half modern technique, half super analog technique. Animation in kids’ movies is pretty trippy, so you can f–king get away with a lot.”’

You can hear it in the soundtrack — this album is a psychedelic trip. Every song sounds like an acid-dipped version of its original, invoking visuals of bright flowers and roller rinks and ringing 70s imagery loud through the mind, even for someone who hasn’t yet seen the movie (me). 

It’s no surprise Antonoff could tackle such a project. With his history of working with Lana Del Rey (with whom he created “Norman F—cking Rockwell”), Taylor Swift, P!nk, Lorde, and more, Antonoff has what it takes to recreate older hits of the same genre he does so well. According to Billboard, his goal is that the soundtrack introduces these songs to the new generation, but feels their place in history is solid enough to last on their own. 

“I think there’s certain songs that live in the moment and then certain songs that kind of live forever,” he says. “I think the songs that I chose, regardless of this project, live forever. So this can just be another point in the long story of all the songs which are going to go way into the future of mankind.”

“Turn Up The Sunshine” is the lone original on the album, bringing disco to the modern era with deep bass from Tame Impala and Diana Ross’s iconic voice. The song broke onto Billboard’s Adult Contemporary chart, landing at No. 21 and making it Ross’s first hit on any Billboard chart since 2006. “Turn Up The Sunshine” is the exact song I would expect to come from the Minions soundtrack — interpret that however you like. 

Brittany Howard’s “Shining Star” and BROCKHAMPTON’s “Hollywood Swinging” both handled the original versions with respect, balancing their own artistic styles with the original. Unfortunately, the track they sandwich, “Funky Town” by St. Vincent, is horrible. The autotune takes away from the vocals that make the original so iconic and instead hurts the ears, making this song the lone instant-skip on the soundtrack. 

Kali Uchis beautifully remakes João Gilberto’s “Desafinado”, but the translation of the song to English makes it harder to find the resemblance. The 70s-eque remix of a bossa nova classic doesn’t translate too well in terms of instrumentals, but Uchis’s voice carries the song in a beautiful way.

Polachek’s cover of “Bang Bang” is hauntingly beautiful, using the western theme to her advantage and vocally bodying the track. Thundercat’s “Fly Like An Eagle” puts his skills as a bassist at the helm, using his trippy vocals to make it feel like a Thundercat original. 

Phoebe Bridgers’s cover of “Goodbye To Love” and Weyes Blood’s “You’re No Good” show their power as vocalists. “Vehicle” nails the Despicable Me vibe, with Gary Clark Jr. doing an excellent job of holding his voice above the instrumentals without overpowering them, giving the whole song a balance that lacks throughout the album. 

The second half of the album doesn’t stand out like the first half does. Tierra Whack’s “Black Woman Magic” was something I never thought I’d hear but have always unknowingly wanted, but the autotune felt strange over Santana’s guitar. “Cecilia” is a celebratory Minion song, making it quite annoying as the Minions are bad vocalists. However, the jazz solo is surprisingly enjoyable and I found myself tapping along throughout. 

While the soundtrack can feel like it is trying too hard to do something it can’t, every single song is easily identifiable as a Minions-esque song, which is really all that a soundtrack is meant to have. The “Minions: The Rise of Gru” soundtrack will carry these songs into the new generation, for better or for worse. I can only hope they find the originals.  

favorite tracks:

Bang Bang - Caroline Polacheck

You’re No Good - Weyes Blood

Vehicle - Gary Clark Jr.

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Sydney Fluker is a staff writer.

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Boldy James is strictly business on new album “Killing Nothing”

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by Sydney Fluker

Boldy James does not waste time. 

Six months after dropping “Super Tecmo Bo” with frequent producer The Alchemist, James is back with the full length project “Killing Nothing.” Produced entirely by Los Angeles clothing and production collective Real Bad Man, “Killing Nothing” shows that even after over a decade in the underground game, James is still continuing to rise. 

While James’s most notable works come from The Alchemist, “Killing Nothing” is his second project with Real Bad Man after finishing out his four-project run in 2020 with “Real Bad Boldy.”

“Lyrically, a lot of rappers are so caught up in what everything thinks they’re supposed to be doing, that they don’t kill records anymore,” James said on his new record. “I feel like even though I don’t make the biggest energy records, or club records, for girls to shake their ass too, I feel like I got the most consistent flow in the game… There are others who try their hardest, but they ain’t killing nothing or letting nothing die.”

Everything he said can be felt through the record.

Echoing D.J. Premier’s production on “N.Y. State of Mind” on opening track “Water Under the Bridge,” James wastes no time setting up the album for what he’s known for — tight, almost punch-like bars about drug trade. Despite lacking the vocal range found in rappers like Childish Gambino and Drake, James’s monotonous vocals are still notable. 

No time is wasted throughout the album  — James keeps it short and sweet, ending songs early when the story is told and relying on lyrical flow to deliver his message. Staying true to himself, there are no overly flashy choruses or background beats, making his music feel personal to him and with each song taking the listener on a journey through various successful drug trade experiences.  

While there are no outright earworms, some tracks are catchier than what one would expect from a previous James album. “All the Way Out,” one of the two singles from the project, feels more upbeat than a normal Boldy beat, but he holds it down with bars like “Airing shit out only way I know how to vent.” On “Ain’t No Bon Jovi,” James tackles it alone, spitting over the soulful Madlib-esque beat with a smooth flow that’s riddled with hip hop references. 

“Medellin” features an unexpectedly catchy chorus and jazzy background instrumentals, with CRIMEAPPLE almost outshining James with his Spanglish feature. “We the Medellín, while these n***** just be medellin,’” will probably get stuck in your head for hours, but the subtle reference to the Medellín Cartel led by famous drug lord Pablo Escobar is a true Boldy move.  

On “Cash Transactions,” the chorus is catchy but simple and just about sums up James’s entire discography — “I’ll probably never love this rap shit more than these cash transactions/I got a passion for sellin’ drugs.” James leaves no room for confusion about what he does, owning the good, bad and ugly that comes with drug trade. 

The second half of the album brings it back to Boldy, where he goes solo for the final six tracks. Real Bad Man’s diverse production keeps it lively, providing steady beats for Boldy to body alone. Despite not having a ton of records out, Real Bad Man and Boldy James have apparent chemistry that will hopefully return in the future. The mysterious beat on “Sig Sauer” is the perfect background for James to deliver sharp bars about his version of success, with “Amiri denim with the clip hanging/See the strap pokin’ in my Chrome Heart.”

“Killing Nothing” shows the beauty of Boldy James — despite the rate at which he releases mixtapes and albums, nothing ever feels repetitive or reused. Throughout his discography, he holds his own against impressive features and notable producers, building a name for himself as an active rapper addicted to the game. Forever original, James will continue to surprise and thrive in the underground. 

favorite tracks:

Medellin (feat. CRIMEAPPLE)

Cash Transactions (feat. Knowledge The Pirate)

Sig Sauer

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Sydney Fluker is a staff writer.

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A Closer Look in the Mirror: “Mr. Morale and the Big Steppers” Reviewed

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by Luke Modugno

Kendrick Lamar is a natural born leader. When he speaks, people listen, and for good reason. Since the release of his 2015 magnum-opus To Pimp a Butterfly, Lamar has positioned himself to be the quintessential voice of insightful social commentary in contemporary rap. Focusing on attacking systems of institutional racism in America and across the globe, Kdot seldom used his Pulitzer Prize-winning pen to explore the complexities of himself. That is, until the recent release of the Compton rappers fifth studio album Mr. Morale and the Big Steppers.

After a grueling 1,855 day hiatus, Lamar has finally made his return with a 18 track collection of reflective ballads focusing on his childhood, identity formation, insecurities and the vastly broad spectrum of the human experience. 

From the first seconds of the record's cinematic opener “United in Grief,” it’s clear that Lamar is ready to take yet another step off of the preacher's soap box and shift his musical focus to himself, a journey of inward meditation that began with DAMN. Lamar's dizzying flow accompanied by frantic drums allow Kdot to divulge about his struggles with mental health, the pitfalls of fame and his reliance on religion to get him through a turbulent five years of solidarity. “I went and got me a therapist I can debate all my theories and sharing it, consolidate all my comparisons, Humblin’ up because time is imperative, I’m starting to feel like there’s only one answer to everything,” Lamar raps on the track.

Over the course of his career, Lamar’s discography has been used as an educational reference point in the rap community. Whether he was analyzing African American life and culture on To Pimp a Butterfly, or allowing listeners a glimpse into life in Compton on records like good kid, m.A.A.d city, Lamar’s music sparked meaningful dialogue on topics other than himself. The mirror has been decidedly turned toward Lamar on Mr. Morale and the Big Steppers, allowing the record to be by far his most vulnerable, brave and well-written. 

Instead of anointing himself as the leader of a generation as seen on To Pimp a Butterfly, Lamar makes it clear that his flaws, blemishes and vices simply make him a representation of “all of us,” a message plastered across his recent standout single “The Heart Part V” and even his alias for this record: oklama. In the Native American dialect of the Choctaw, “Okla” means people, while the definition of “ma” in the language is utilized when addressing someone, such as “my lord,” leaving the combination of the two to mean “my people.” Tying this motif together is the cover art of the record, showing Lamar sporting an iced-out crown of thorns, a biblical reference to the crucifixion of Jesus Christ. In Christian dogma, Jesus was sent by God as a holy mediator between the heavens and humanity. Christ was both human and God, allowing him to relate to human experiences and identify with all of us. Kendrick is using his God-given ability as an artist to represent humans, their perspectives, insecurities, flaws, and relating to the human condition in a similar vein to Christ. It’s a level of writing, attention to detail and nuanced insight we’ve never seen from the emcee.

Across the rest of the record, Lamar dives deeper into what it means to be of flesh and blood. From his brilliant reframing of childhood trauma and “daddy issues” on tracks like “Father Time” and “Mother | Sober,” poignant and brutally honest representation of the duality love on “We Cry Together” and “Purple Hearts,” to his attack on virtue signaling and idolization of celebrities on “Savior,” Mr. Morale and the Big Steppers is Lamar’s most universally relatable album to date. 

Sonically, this record is a deeper exploration of the visceral trap aesthetic that dominated much of DAMN. It’s clear Lamar’s cousin, Baby Keem’s ascension and carved-out experimental trap niche has influenced Lamar’s artistic direction here, producing brilliant moments as well as derivative ones. The guest list on Mr. Morale and the Big Steppers assists Kdot in his trap ventures effectively, as appearances from Kodak Black, Baby Keem, Sampha, Summer Walker, Blxst and Amanda Reifer enhance their respective songs. With production credits belonging to The Alchemist, Pharrell Williams, Keem and Sounwave, experimentalism is dabbled in but never fully produced behind the boards, leaving something to be desired.

Kendrick Lamar’s artistry has progressed past the point of a one week, 800 word review. Over the coming weeks, months and years is when we will truly be able to unpack the complex piece of art that is Mr. Morale and the Big Steppers for its deeper themes. For now, it’s safe to say that Lamar has delivered yet another distinguished body of rap music that will be cherished, studied and held in high regard. 

favorite tracks:

United in Grief

Father Time (feat. Sampha)

Purple Hearts (feat. Summer Walker & Ghostface Killah)

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Luke Modugno is the editor-in-chief.

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Diving Into the Swamp of El “Cocodrillo Turbo” with Action Bronson

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by Sydney Fluker

Crocodiles, squealing pigs, wrestlers and an out-of-this-world protagonist — what else should we expect from the creative mind of Mr. Baklava?

Action Bronson has established himself as one of the greatest creators of this time, tying together the worlds of food, fragrances, acting, writing and self-improvement. Hailing from Flushing, Queens, the city’s influence on Bronson rings clear through his music as he stays unafraid to take risks and live his truth. Cocodrillo Turbo is the result of Bronson being in a place where he can be himself creatively, bringing to life an action-filled album that still features his classic allusions to all sorts of athletes and New York sports teams.

Summoning a range of producers to execute the mission, Bronson’s experimental Cocodrillo Turbo plays out like a psychedelic cowboy film in audio form. While the background noises set the scene, Bronson’s absurd characters live the story with an unapologetic style that dares to be skipped.

“I love to get experimental,” Bronson said in an interview with Complex. “I feel like I’m known for that. One of my attributes is beat selection and off-kilter rhythms, and being able to flow and fucking finesse anything to make it sound crazy.”

Cocodrillo Turbo is proof that Bronson is a master of his craft, as he makes and then glides over gaudy beats that don’t seem much like beats at all.

Bronson welcomes more features onto this album than its predecessor Only for Dolphins, bringing back Mayhem Lauren and Hologram and welcoming Conway the Machine and Roc Marciano. Yung Mehico of Bronson’s live band “The Special Victims Unit” lends him another killer saxophone piece, helping Bronson sign off the album with “Storm Of The Century.”

The movie-like album starts with a bang as “Hound Dog” focuses on setting the scene for the psychedelic Indiana Jones character Bronson emulates. With more crocodile screams and high-pitched crashes than words, producer Daringer helps set the vibe for what’s to come: a roller coaster of action underscored by a mix of beats ranging from traditional country to Arabian instrumentals.

Cocodrillo Turbo weaves in and out of action, moving from gloriously chaotic “Tongpo” to the more reflective “Estaciones.” Bronson’s experimentalism screams through “Tongpo,” one of the two Bronson-produced tracks, as monstrous growls and a whining saxophone highlight Bronson and Conway’s laid back delivery. The two tracks also feature conversational riffs that give “Cocodrillo Turbo” a cinematic feel. Conway matches Bronson’s notorious wittiness in “Tongpo” when he delivers “I feel like Cuomo, I see titties, I'm like, "Let me grab it" (Come here)/Then I said I'm not a pervert, I'm just half Italian (Hahaha)/Aye, why y’all laughin?” before Bronson goes on to interrupt Hologram’s initial delivery in “Estaciones.”

As what feels like the mirror for “C12H16N2” of Cocodrillo Turbo, The Alchemist’s production on “Estaciones” gives a sense of maturity to the album while staying true to the absurdity of the theme. “Estaciones” is the reflective portion before the protagonist begins his true journey, as Bronson opens in third person with “and now coming down the aisle/Accompanied by no-motherfuckin'-body, it's young Bronny.”

El Cocodrillo’s adventure kicks off after “Estaciones”, dropping bars in “Jaws” and “Subzero” over Alchemist beats that feel like video game background music for country and aquatic themed mini-games, respectively. Despite the funkier background, Bronson’s lyrics are more reflective and progressive than previous albums, rapping on Jaws “All my family immigrants/Mixed with cinnamon and allspice” and on Subzero “Easily triggered by old trauma (true), motherfucker/And you know I voted for Obama.”

In “Zambezi,” Bronson and Roc Marciano glide over Stephen Gray’s “Bulldozer,” making use of its heavy percussion and Santana-like guitar to nudge the album to a close. Followed by the upbeat piano of Eddie Floyd’s “Lay Your Loving On Me,” “Ninety One” brings the fun adventures to a close before “Storm Of The Century” wraps up the album with a beautifully tied shiny gold bow. Produced by Daringer and Yung Mehico, El Cocodrillo’s journey comes to an end here, as Bronson delivers confessional-style bars accompanied by Yung Mehico’s incredible saxophone solo.

El Cocodrilo stays consistent throughout the album, maintaining flow and theme over a cacophony of sounds that sometimes shouldn’t work, but does. Cocodrillo Turbo is Bronson at his rawest self — ingenious and electric, holding nothing back in the name of ultimate artistic exploration.

favorite tracks:

Estaciones (feat. Hologram)

Zambezi (feat. Roc Marciano)

Storm Of The Century (feat. Yung Mehico)

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Sydney Fluker is a staff writer.

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A Chemistry Unbound by Temporal Constraints: “No Fear of Time” Reviewed

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by Giovanni Recinos

After 24 years, the famous rap duo Black Star returns with their new project, No Fear of Time, which is exclusively on the Luminary Podcasts Platform. The duo consists of Brooklyn’s Yasiin Bey (previously known as Mos Def) and Talib Kweli, but this time around they are joined by the legendary producer, Madlib. The two are recognized legends for their contributions as both a group and as solo artists. With Mos Def’s Black on Both Sides, being a great highlight that introduced a lot of experimentation into the hip-hop realm that would have an obvious influence on experimental artists such as JPEGMAFIA and Mach-Hommy. Both Talib Kweli and Yasiin Bey have remained fairly relevant in the industry, venturing into other forms of entertainment over the years such as: podcasts, and acting. The project is a great example of reinvention over recreation, with the two venturing into much different territories of sound when compared to their self-titled last effort.

As always, the duo delivers quality in all realms, whether it be in their lyricism, in their complex flows or in their creativity. No Fear of Time is vastly different from their other effort, avoiding a lot of the issues that can be associated with trying to reach a new height with a sequel or follow-up project. The project as a whole feels lost in time, in ways that work in their favor and in others that don’t necessarily. At times, they make recognition of both their ancestry and the continuous movement of space and time, even beyond our livelihood. As the duo would say, the project delivers that, “time is relative and the truth is everlasting.” Playing on this, the album feels spacious, yet isolated, as if you're floating through time and space.

The two as usual cover topics with unique vocabulary and an obvious thirst to teach the truth with their often stream-of-conscious style of rapping on the project. This is represented in lines such as, “atrocities committed in the name of owning property, monopolies.” Though gems of this knowledge are spread throughout the entire album, they are delivered in a somewhat messy fashion, with most songs feeling like the two are just freestyling great verses without a set destination or vision in mind. This feels like underutilized potential considering the massive growth of the two artists since their debut project.

The duo contrasts well both sonically and topically, with Yasiin Bey being great at abstract performance and often switching from singing to rapping seamlessly. Talib Kweli on the other hand, provides a more traditional balance to this chemistry, as he’s still rapping to the same standards of other New York legends such as your Jay-Z’s, your Prodigy’s and your Nas’. This quality remains relatively consistent throughout the album, with “Yonders” being a particularly standout and chilling performance from the two with lines like “Scarface chainsaw Miami got drapes drawn. Halloween, egg yolk, mustard gassing their face off.” Though this chemistry remains true, the limits of the duo seemed to not be pushed and kept in a very safe spot. Especially when considering the amount of experimentation, we’ve heard from Yasiin Bey over the years. 

The project also recognizes some of those vast changes in their artistry and in the industry over those twenty-four years. Similar to Madlib’s last collaborative effort, Bandana, the project often feels stylistically bare and simple in its production, with an often heavy and raw vocal delivery. To add onto this, Black Star’s sound this time around seems closer in relation to artists such as Mach-Hommy, Earl Sweatshirt, and Westside Gunn. This comparison is especially relevant when considering the track “My favorite band” is actually the same beat used for Westside Gunn’s “Ferragamo Funeral.” Though these are not bad comparisons, in many ways Black Star lacks a lot of its own self-identity when venturing into these new sounds. 

Though this project still has the high-quality production, sequencing, and use of samples, it lacks a lot of Black Stars’ own unique charm and complimentary with Madlib’s production. It almost feels like the beats were pre-made, and not made specifically with the Black Star brand and themes in mind. This separates the level of the project from that of other Madlib produced classics such as Madvillainy or Piñata. I would still say that this is still a very strong project for Black Star fans, Madlib stans, or those who may follow experimental artists such as Mach-Hommy.

Favorite Tracks:

Sweetheart. Sweethard. Sweetodd.

Yonders

No Fear of Time (feat. Yummy Bingham)

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Giovanni Recinos is a staff writer.

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Continuation of Excellence or Lack of Innovation? “It’s Almost Dry” Review

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by Asher Ali

Pusha T’s status as one of the most preeminent figures in “cocaine rap” has been in the work since he went under the moniker of Terrar as one half of the duo Clipse. Layered over beats almost exclusively produced by none other than Pharrell Williams, Terrance Thorton and his brother Gene slang bars like they were on a street corner.  

Push then caught the eye of Kanye West, and after signing with GOOD Music label in 2010, Thorton was promoted to company president two years later, and has been guided by Ye’s production and industry insight to a fruitful solo career. Push’s “DAYTONA” in 2018 was an elaborate composition arranged by West that took Push’s sound to new heights far and above what other coke rappers were doing then.  

Now, the duality of Push’s past career has conjoined on his newest project “It’s Almost Dry,” featuring six songs produced by Pharrell and six songs produced by West. The two hip hop maestros go toe to toe bringing some of the most solid beats heard this year, but outside of a few of tracks, this album doesn’t advance Push’s sound, much less the sound of contemporary coke rap.  

Pharrell immediately kicks it back to the Clipse days with “It’s Almost Dry’s” first track “Brambleton.” A smooth kick drum driven beat comes with Push’s malfeasance bars that cover his young life in Brambleton, Virginia where his mother worked and his adverse feelings toward ex-Clipse manager Anthony Gonzalez, who aired some dirty laundry with Push in a recent interview Gonzalez did with VladTV.   

Push immediately jumps onto another, more bombastic Pharrell beat with “Let The Smokers Shine The Coupes” where Push paints himself as the “coke game’s Dr. Seuss.” 

The first Ye backed track is introduced third on the track list with “Dreamin Of The Past” which is both lifted and brought down by Kanye. The track soars thanks to a well-pulled sample from Donny Hathaway’s “Jealous Guy” that lifts Push’s fluid drug-laced bars to a euphoric plane. As Push’s final verse fades, listeners are bombarded with an unwelcome verse from West, an awkwardly mixed 30 second feature the West rounds out with an uncomfortable line about how his family is currently unsafe.

Ye once again manages to be the greatest advocate and detriment for Push on “Rock N Roll” the alleged final song with Kid Cudi and West. Once again, a beautifully assembled beat on Ye’s end comes with a heinous guest verse from him, this one sounding more like the nonsensical bars that Kanye gave on the first rendition of DONDA 2. Cudi’s hook sounds muffled and over-produced as well, while Push delivers some strong verses about his premiere status at the top of the rap and the drug-dealing game.  

At his best on this album, Pusha T is elaborating on the narrative of authenticity, or lack thereof, in a world of glamor and fame. The two singles on the project, “Neck & Wrist” and “Diet Coke” address the lengths that people will go to fabricate a glamorous drug lifestyle in order to avoid actual hardships.  

“Neck & Wrist” sees Push and feature Jay-Z spitting over a whining synth and sharp piano key beat while they boast about a lifestyle they live but others pretend to have. HOV’s cutthroat line, “y’all spend real money on fake watches shockingly,” getting to the core of the absurd lengths people will go to construct facades.  

“Diet Coke” then expands on why people aspire to have a certain kind of life but aren’t willing to assume the risks.  

It seems on the latter portion of this project that Thorton lost motivation to push any boundaries however, which is disappointing when listeners come to expect that from him and his pen constantly. Not only did Push lose interest, but it appears Pharrell did too on “Call My Bluff” which is completely dry of energy and motivation.  

“Scrape It Off” is definitely this album’s attempt at a top charting club banger, featuring Don Toliver on the hook and Lil Uzi Vert. Toliver is as reliable as ever giving an ethereal hook, but Uzi phones in his verse and Push doesn’t bring an interesting flow to spice up the track on its back end.  

The final three songs on the albums are decent in their own right, but all come off as watered-down versions of more innovative cuts Push had earlier on the album. Even the final track “I Pray For You” doesn’t do much despite a beautiful intro and a Malice feature to rekindle a Clipse cut.  

“It’s Almost Dry” comes out strong to show that Push is still among the one of the most elite in the game, but a weak back half of the project doesn’t propel him to the new heights that people wanted to see. 

Favorite tracks: 

Just So You Remember 

Neck & Wrist (feat. JAY-Z & Pharrell Williams)

Dreamin Of The Past (feat. Kanye West)

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Asher Ali is a staff writer. Follow him on Twitter.

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Dj Khaled - KHALED KHALED Reaction/Review

DJ KHALED IS BACK! Today Miles and Spencer listen to the star-studded KHALED KHALED album. Will it live up to the hype that the tracklist created?

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A Flawless 3-Peat: 'Almost There' Mixtape Review

By Courtney Fields

On the heels of Lucki’s last two flawless projects, Freewave 3 and Days B4 III--his latest drop proves that the Prince only gets better with time. Almost There is the one Lucki tape that fully embodies the fast-paced life that he swears by. 

Immediately, we see why Lucki donned himself as “FBG Tune”. On track 1, “Tarantino”, Lucki is basking in all of the insecurities he displayed in his songs on Freewave 3. Just like Future, the FBG President, Lucki is unafraid to profess his love for drugs. ”She jealous that promethazine was my first love, I can't help, uh / Codeine never get the best of me and I swim in it like Phelps”. It actually seems like Lucki has found a healthy balance with his drug use. Since he doesn’t necessarily have the same vocal ability as Future, a lot of Lucki’s claims come off less dramatic, and more sincere.

“Unlimited” (as soon as Lucki says “We get high, we get fat” I rewind the song) and “Runnin With'' are one in the same for me, two tracks that make me proud to be a day one Lucki fan.

“I really delete hoes, my love in a past tense”- “Unlimited” / “She really wants me wrapped up that’s some sucka shit”- “Runnin With”, I felt that.

Track eight is titled “Prada Tune''. For anyone who’s ever heard the Lil Uzi “Proud of You'' snippet and was as disappointed as me when it didn’t end up on EA, you need to play this song back a good 10 times so you can stop feeling resentment towards Uzi for never dropping it. 

“Prada Tune'' has enough lines to give me captions for my next ten posts. Lucki’s now chalking up his losses and moving on, which is something the rest of the “I want the old Lucki back” folks need to do. It’d be selfish of us to want Lucki to be sad just for the sake of a few songs. Lucki sounds reinvented, he’s brimming to the rim with confidence, and his raps just feel different on his beats. It’s great to hear someone who actually cares about rap, getting better with every release. Every Lucki song feels like a sermon, a sermon for the ill-fated person who still manages to feel alright despite their losses, “No reward for the real, we don’t get plaques” / “Who gon play the fake role, who gon have my back when I need it”. He’s making being alone sound cool, I’m not sure how he’s doing it but it’s exactly what I needed. “Pure Love - Hate” is top 3 on the mixtape.

“Nigo”, I’ll be the one to say this is Lucki’s best song if no one else will. From a fan’s perspective, there’s one line in this song that points to what makes Lucki, Lucki. 

There’s a line for his love for cars, toying with twelve by taking them on high speeds; along with how he never has to worry about anything when he’s with people closest to him; his love for codeine, how he’d rather be himself than try to look cool, and he even gives props to his elders for making it easy to be real. 

“Almost There” isn’t even an album, but it’s easily one of the best drops this year. It’s the first time we’ve seen the King of the Underground in a content state in a while. Hopefully, fans that claim they’ve been there from the jump can let go of the sad Lucki, and embrace him...As he is nearly flawless now.

Favorite Tracks

Unlimited

Runnin With

Nigo

Rating: 10

Listen to Almost There here:

Almost There, an album by LUCKI on Spotify

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Kota the Friend is Still Dodging Bad Vibes: 'EVERYTHING' Album Review

By Amaya Lorick

A year after his debut album, FOTO (2019), Brooklyn native Kota the Friend encourages his listeners to realize the power within enjoying the present in his new album. Released on May 22, 2020, EVERYTHING is comprised of 12 feel-good tracks that appropriately affirm what it means to be a human being. With features ranging from Joey Bada$$ to Tobi Lou and two interludes by actors Lupita Nyong’o and Lakeith Stanfield, EVERYTHING is a brilliant compilation of varying perspectives that discuss the purpose of life. With the current reality, the timing for this project could not have been more satisfying. While many have already been engaging in an abundance of self-reflection, EVERYTHING poses two arguably abstract questions: “What means everything to you?” and “What does it mean to have everything?” 

In a lyric explanation video for track one, “Summerhouse,” Kota describes the introduction as the “saddest song” on his album. Kota addresses his reality of having to balance being a musician, a father, and other demanding responsibilities. In an attempt to highlight the beginning of his spiritual progression, Kota urges each listener to “open your mind, turn on the vibe and get off the internet.” As the song progresses, we can hear Kota slowly leaving his worries behind. “Summerhouse” ends with a positive message backed by an isolated trumpet both emphasizing that “love is everything.” Kota wastes zero bars and successfully epitomizes EVERYTHING within the three and a half minute track.

Having professional cinematography experience, Kota’s ease of recreating special life moments is not surprising. With nostalgic songs like “B.Q.E.,” Kota strategically called upon New York City artists, Joey Bada$$ and Bas. Being included in a list of greats such as Nas, Jay-Z, Notorious B.I.G., and more, all three artists are known to possess styles unlike what you would expect from rappers from their hometowns. Named after the New York highway, “B.Q.E.” accentuates the impact geographic location has on one’s experience. The presence of Joey Bada$$ and Bas attest to the power of genuine relationships. Fans, especially those from New York, will appreciate this collaboration because it showcases how their growth as artists has not affected their down-to-earth manifestations. 

EVERYTHING is a loose guide to achieving a tranquil state of mind. The majority of the world’s most influential texts teach by personal testimony. Reading about someone’s journey to attain success, instills hope that one can overcome their struggles and reach their goals. The inclusion of both “Lupita’s Interlude” and “Lakeith’s Interlude” serve as blatant testaments to Kota’s goal of telling a greater story than his own. Representation matters and Nyong’o and Stanfield are the epitome of Black excellence within Hollywood. Academy Award-winning actress Lupita Nyong’o contributes a much needed feminine energy to the project. Positioned as track five, “Lupita’s Interlude” forces listeners to begin to consciously reflect on the small moments that largely impact them as beings. Track 11, “Lakeith’s Interlude” appears to be more philosophical beginning with, “It means to me to have everything to simultaneously have nothing.” Some may view Stanfield’s words as “dark,” but I interpret them as an alternative way of asserting the importance of feeling complete while free from external forces. After all, we are simply reflections of our experiences as they do not define us. 

Kota the Friend put his all into EVERYTHING. From producing almost the entire album himself, to the incorporation of an insightful analysis from his interview with The Lunch Table, Kota proves that we can all find joy within any reality. I would encourage everyone to get on the Kota the Friend train before you are forced to join the bandwagon. EVERYTHING is everything and deserves a listen.

Favorite Songs:

Summerhouse

B.Q.E. (Feat. Joey Bada$$ & Bas)

Long Beach

Rating: 9

Listen to EVERYTHING here:

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June and Cardo Reunite For The Project of the Summer: ‘Cruise USA’ Mixtape Review

By Carter Fife

Earlier this month San Francisco native Larry June released a mixtape with producer heavyweight Cardo titled Cruise USA. This project is just one of half a dozen records June has released over the past year, including an additional effort with Cardo on the record Game Related, which released this past January. Just in time for summer to begin, Cruise USA is a short and sweet mixtape that sees Cardo producing Bay Area flavored hits for one of the most promising artists active in the area right now. June brings his A-Game as well, providing listeners with a solid 8-tracks that feature Dom Kennedy, Black C, and even June’s own uncle.

Though only 25 minutes long, Cruise USA is a masterclass in combining A-list production and Bay Area energy. June’s charisma and humorous lyrics pair well with Cardo’s upbeat and nostalgic-sounding mixes, making listeners like myself upset that they are stuck inside instead of at a party with this playing. Every audible element oozes a laid-back confidence that is amplified by June’s own sardonic wit - as it is hard not to laugh at tracks called “Green Juice in Dallas”, “Organic Tokens” or “Rolex Truffles” that juxtapose new-era health habits with trapping. Cruise USA is a fun and summery vacation away from the quarantine that has dominated our lives for the past two months, so though it is easy to wish you were anywhere else listening to this record, it is certainly a welcome distraction.

With June and Cardo collaborating together it is hard to pinpoint Cruise USA’s many highlights. The opening song “Green Juice in Dallas” is a bouncy and spacious track with quotable lyrics like “I was just gon’ do one verse, but Cardo, this beat too clean. I got some extra house shoes baby, so take them shoes off your god damn feet (NUMBERS!)”. As of writing this I am still unsure if this project is intentionally funny, or if I am just interpreting Cardo and June’s combined swagger and confidence as some sort of political statement. Maybe the whole record is about the monotony and corniness of the upper-class gentrified suburbia that many parts of San Fransisco and Oakland have turned into over the past few years. Maybe Cruise USA is just a funny project made by two funny and talented guys. No matter their intention, one thing is for certain: this project is really fucking good. 

Another standout moment on the project is the track “Meet Me in Frisco” featuring Black C, which is currently my top contender for song of the year. Larry June meditates on a girl he used to be involved with, and Black C makes a reference to Mac Dre’s iconic track “She Neva Seen” with lyrics about smoking weed, relaxing, and “sipping champagne mimosa with that organic juice”. While they trade lines effortlessly, Cardo’s cathartic and upbeat mix provides the foundation on which June and Black C thrive. June also showcases his versatility on tracks like “Rolex Truffles” and “Organic Love” which are more laid-back and chill - while “Organic Tokens” and “Highway 5 Chronicles” provide based and hyperactive anthems that will be sure to stay in your rotation all summer long. There are even energetic and high-octane bangers like “Orange Juice wit Dom” featuring Dom Kennedy and “Still Learning” with June’s uncle Herm Lewis, both complete with string samples curated by Cardo himself. Though this project is relatively brief, Cruise USA is full of incredibly enjoyable tracks that properly showcase the immense talent of both June and Cardo.

Though it is unfortunate that it may be a while until we can all go out, socialize and blast music together again, Cruise USA will definitely be the soundtrack to my summer. Each of the project’s 8 tracks are equally gratifying and memorable during this time where it seems like every artist has a project to drop. In a perfect world, the mixtape would be a bit longer and feature additional Bay Area guests, but those are small things to criticize when presented with such a great piece of music. If you haven’t checked it out already - give Cruise USA a listen. You won’t regret it. 

Favorite Tracks

Green Juice in Dallas

Meet Me in Frisco

Organic Tokens

Rating: 9

Listen to Cruise USA here:

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