Music as Utility: Donda Album Review

By Luke Modugno

Kevin Mazur/Getty Images

While most view music as a form of artistic expression, others use it as a means to an end.  Kanye West’s latest studio album “Donda” is perhaps the most potent example of music as utility. Ye finds himself again at a low-point in his life with 27 beautifully cathartic, solace-seeking songs which see the 44-year-old confronting the death of his mother and a failed marriage with Kim Kardashian. 

Since the death of his mother in 2007, Kanye has hardly had time to cope with her passing. Around the same time, Ye and his fiance Alexis Phifer split dramatically. About a year later, Kanye was thrusted into what was one of the most infamous periods in his career after interrupting Taylor Swift’s acceptance speech at the VMA’s. For the next several years, Ye fought an uphill battle to stay in the good graces of the public. Later entering into the fashion industry, meticulously building a multi-billion dollar business and returning to religion, Kanye’s life has been running at nothing short of lighting speed since his ascent to stardom. 

Perhaps the fact that the pandemic forced everyone (yes, even Kanye West) to slow their lives to a staggering halt is why 2021 is the year we receive a cathartic tribute to Donda West, nearly 14 years after her passing. 

Coming off what was widely considered Kanye’s weakest project, JESUS IS KING, Ye takes many of the gospel-inspired elements and fuses them with avant-garde trap-soul sound he honed in projects like “The Life of Pablo” and “Yeezus.” However, the project has influence from nearly every other album in Ye’s discography. 

“New Again” sounds as celebratory and futuristic as something scraped off of 2007’s “Graduation.” 

The guest appearance of Kid Cudi on the alluringly spacial “Moon” sounds like the sonic brother of “KIDS SEE GHOSTS.”

The visceral soundscapes employed on “God Breathed” are akin to many that can be found on both “The Life of Pablo” and “Yeezus.” 

​The track “Junya” with Playboi Carti represents a creative and somewhat stunning trap gospel fusion, a sonic direction that seems to guide much of “Donda.”

Duality has been a continual motif in Kanye’s music and “Donda” is no exception to the rule. During the first half of the project, Ye seems to be basking in sin. “I’ll be honest, we all liars/guess who’s going to jail tonight?” Ye sings on the second track featuring Jay-Z titled “Jail.” Donda's first twelve songs are reactionary, they paint a picture of a broken man who gave way to sin in the face of grief and despair. “I was out for self, I was up for sale but I couldn’t tell/Made the best tracks and still went off the rail” harmonizes Ye on “Hurricane.” 

Sonically, the first twelve tracks on “Donda” are uptempo, energetic and boast some of the most notable guest appearances on the record. “Off the Grid” and “Junya” see Ye recruit Playboi Carti’s infectious trap intensity, while Baby Keem and Travis Scott deliver aggressive features on the trunk-rattling “Praise God.” 

“Donda” noticeably pivots starting with track 11 titled “24.” The ever-impressive Sunday Service Choir joins Kanye as he mourns the passing of a close friend, Kobe Byrant. Kanye opened up about the shock of his sudden passing in an interview with GQ Magazine, “He was the basketball version of me, and I was the rap version of him,” West said. “We came up at the same time, together. Kobe was one of my best friends.” The grandiose organ requires a high-level signing performance which Kanye delivers. The track represents a paradigm shift of how Ye approaches the rest of “Donda.”

Instead of numbing his pain through sinful deeds, Kanye surrenders to Christ in order to heal himself following the string of traumatic events that have left an indelible scar on his soul. The shift in perspective also comes with a shift in the musicality, as gospel influence seeps into tracks like “Lord I Need You,” “Keep My Spirit Alive,” and the angelic closer “No Child Left Behind.” 

Although the tracklist is littered with what will become timeless Kanye West songs, the definitive penultimate track “Come to Life” encapsulates the “Donda” era both sonically and philosophically.  

With a spine-tingling piano and roaring synth played by Tyler, The Creator gracing the background of the record, Kanye expresses his regret and sorrow in the face of losing his ex-wife Kim Kardashian, asking “Ever wish you had another life? I’ve been feelin’ low for so long.” Singing about how he wished he had listened closer to her dreams, aspirations, wants, and needs, Kanye feels empty in her absence. “I'm free,” Ye sings repetitively in the closing seconds of the song. It's an expression we’ve heard from him before (“Ghost Town”). However, this time feels decidedly different. Kanye has overcome the death of his mother, best friend, and the loss of his family. Somehow, someway, he has continually found peace in religion despite how low life tends to bring him. He’s willing to put his ego and pride aside for his family, a realization clearly years in the making. “Come to Life'' is vulnerable, despondent, telling, gorgeous. 

While mostly polished, Donda is not free of criticism. Ye’s latest project is by far his longest, clocking in at one hour and 48 minutes. At times, the album is bloated, insisting upon itself on multiple occasions. The outro of “God Breathed,” is dragged on far too long, while the remix versions of four of the tracks don’t offer much, simply extending Donda’s runtime. Additionally, the mix on plenty of songs sounds incomplete, including “Tell the Vision,” “Pure Souls,” and Kanye’s verse on “Hurricane.” 

Donda is the acceptance of duality for Kanye. The conflicted Gemini, Kanye is willing to move past his former life, leaving behind the pain, hurt, and struggle of it in order to preserve the peace he has found through his family. “New me over the old me,” sings Ye on “24.” Somewhat unsurprisingly, Kanye West has produced brilliance yet again.

Favorite Songs:

Junya pt. 2 (feat. Playboi Carti & Ty Dolla $ign)

Lord I Need You 

Come to Life

Rating: 8.5

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Armani Caesar: 'THE LIZ' Album Review

By: Luke Modugno

The Griselda crew has had nothing short of a historic year in rap. From Westside Gunn’s eccentric debut Pray For Paris turning heads and newly inducted member Boldy James blessing his fans with a collaborative project with The Alchemist, to the group announcing the release of four albums in the coming month (Westside Gunn, Benny the Butcher, Conway the Machine and Armani Caesar), Griselda has completely stolen the show. But it's one the groups most omitted members that has shined the brightest. At just 11 tracks spanning a tight 26-minute runtime, Armani Caesar’s debut record, THE LIZ, cements her spot as the group's hidden gem.

The first and most poignant attribute that stands out on THE LIZ is the beat selection. Sounding awfully similar to her Griselda counterpart’s beats, Armani Caesar’s brassy voice fits flawlessly with the dusty, drum-heavy production. Let's be clear: these are some of the hardest beats to rap on. Often wonky, dreary and low-energy, the onus is on the MC to deliver verses worth listening to. And Caesar does just that, time-after-time on this project. Not only does she deliver verses worth listening to, but she also competes with the likes of Benny, Conway and Westside Gunn on multiple tracks, trading bar-for-bar, and verse-for-verse with the top dogs of Griselda. 

On “Mac 10s for Everybody,” Griselda head-honcho Westside Gunn steps aside as he provides a catchy, proficient hook for Caesar and of course, his signature ad-libs. But THE LIZ really begins to shine toward the halfway point. Within a 3-track-span, Caesar completely outraps Conway on “Gucci Casket,” trades bars with Benny the Butcher on “Drill a RaMA,” and goes toe-to-toe with Benny again on “Simply Done.” Not even Westside Gunn can say he clearly had the best verse on every song on his project, but Caesar absolutely can. Toward the end of the project, Caesar rides a dreamy, luxurious beat on “Palm Angels,” making for a clear highlight on the project. 

However, Caesar’s versatility is something that the MC neglected to display on THE LIZ. On her previous projects like Pretty Girls Get Played Too and Caesar’s Palace, her sonic aesthetic is geared more toward a Nicki Minaj fan. What this project lacked was exactly that: a wider array of beats to compliment Caesar’s considerably large skill set. For example, Griselda teammate Conway The Machine displayed his musical versatility earlier in the month when he dropped From a King to a GOD, as he delivered melodic hooks, rapped over trap production cooked up by Murda Beats, and still killed any dusty drum sample passed his way. Caesar was actually a feature on the project, and showed her knack for flowing impeccably over a trap beat, as she did on “Anza.” Especially with debut albums, a MC’s full range of artistry should be present, and Caesar’s just isn’t all there on THE LIZ. 

While the concesity of the album is mostly a positive attribute, it leaves the listener wanting more from Caesar. Nevertheless, in the 11 tracks she did provide, Armani Caesar impressed me thoroughly. Over the coming years and while the Griselda crew continues their meteoric rise to fame, Caesar is most definitely one to watch and one to be respected.  

Favorite tracks

Mac 10s for Everybody (feat. Westside Gunn)

Drill a RaMA (feat. Benny the Butcher)

Palm Angels 

Rating: 7

Listen to THE LIZ here:

Listen to THE LIZ on Spotify. Armani Caesar · Album · 2020 · 11 songs.

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Jaden Smith, Sunset Sovereign - CTV3 Album Review

By Carter Fife

We all have guilty pleasure artists that we like to put on when nobody’s around, right? Maybe if you’re a guy, you like to throw some Ariana Grande into your workout mix so nobody at the gym can tell you’re listening to Sweetener when you’re doing crunches in a pool of your own sweat. If you’re a girl maybe you like to put on the occasional Toby Keith song driving home from work - and you know your friends would roast you if they knew but in a way, it makes the experience that much better. A little secret between you and your choice of music streaming service. For a long time I thought that for me, this was my affinity for Jaden Smith’s music (but now he just goes by Jaden). I knew he wasn’t the most innovative or original artist out there, but I couldn’t help but enjoy his laid-back flow and his ear for a good instrumental. I was first put-on to his music back when Syre came out in 2017, and I remember feeling amazed that this was the same Jaden that released the poorly-aged hip-hop remix to Foster The People’s “Pumped Up Kicks”. 

Years later Jaden has only grown as an artist, trying out new sounds with every project while honing his craft in the process. He’s been featured on tracks with Young Thug, Brockhampton, and A$AP Mob, and has explored genres like punk, pop, alternative, rock, industrial, and trap in the process. His newest record, Cool Tape Volume 3 (stylized as CTV3), is the third installment in a series that hasn’t had a new release since 2014, despite Jaden’s consistent release schedule always keeping fans well-fed. The project is much more laid-back than his 2019 release Erys, with acoustic-heavy mixes that occupy an aural register closer to an alternative or indie-rock album, despite hip-hop’s influence still being heavily present throughout. It is on CTV3 that Jaden’s expertise in melody writing proliferates to a point where almost every track, while admittedly formulaic, is incredibly catchy and inoffensive. While he may play this record a little too safe, writing new tracks that parallel some of his most memorable moments over the past few years, he is still able to deliver a solid record occupying a space that few other rappers are able to exist in. 

Like I said previously, it is easy to clown on Jaden for being occasionally derivative of his peers, or for writing bars that could only sound great on paper, as fans may recall his anti-choking pun from the opening tracks of Syre. With that being said, it is hard to deny Jaden’s talent, candor, and consistency when it comes to songwriting and delivering projects that come close to being universally enjoyable. In many ways this is one of my favorite things about Jaden’s music - that despite persisting in an industry that rewards emulating whatever is the newest trend, there are still elements in his tracks that are unapologetically him. I mean, who else would try to emulate the Beatles’ genre-defying Sgt. Pepper’s 50 years later?

CTV3 itself is full of many high-points that capitalize well on Jaden’s melancholic aesthetic of perpetual euphoria and heartbreak. The record’s leading single “Cabin Fever” is an ambient metaphor for quarantine’s romantic frustrations, with hard-hitting percussion and a infectious bass-line. It is a difficult song to describe - it’s something that you would play with a special someone driving at sunset, but you also wouldn’t mind hearing it at a house party. “Bad Connection” is similar in this respect with a more low-fi mix and less-indie rock, more-hip-hop vibe. “Deep End” features watery guitar chords that sound like they could have been taken from the Tame Impala chopping block, with Jaden’s faded vocals starting out soft before erupting “LET’S NOT WAIT UNTIL THE WEEK-END” on the chorus. If you thought I was exaggerating about the Beatles’ inspiration before, cuts like “LUCY!”, “Muted Sunrise”, and “Drops of Sun” are just a few tracks that definitely try to capture the same magic of an endless summer like the Beatles did a lifetime ago.

Fans may be disappointed over the lack of harder-hitting tracks on CTV3, as the track-list definitely hangs on the softer side of Jaden’s repertoire, but this shouldn’t be too shocking as much of his discography, especially the Cool Tapes that preceded this one, shares similar vibes to this one. Frankly, all you have to do is look at the album cover to know what this record is about. While I would have enjoyed Jaden to take a few more risks on this album, like he did with his last few projects, I’m not complaining about new music of his anytime soon. His consistent work ethic makes me feel bad that I ever felt self-conscious for liking his music. In 2018 I saw Jaden’s performance at Camp Flog Gnaw, and while my friends didn’t seem to enjoy it much, I pretended like I didn’t like it either - though I had gone to Jaden’s tour months prior. Hopefully we’ll all be able to hear these songs live sooner rather than later, but until then this is a solid project that will be sure to keep fans at bay. Here’s to then!

Favorite Tracks

Cabin Fever

Bad Connection

Deep End

Rating: 7

Listen to CTV3 here:

Listen to CTV3: Cool Tape Vol. 3 on Spotify. Jaden · Album · 2020 · 17 songs.

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Community Is Care - Detroit 2 Album Review

By Carter Fife

Earlier this September Detroit rapper Big Sean released his fifth solo studio record Detroit 2. This album follows his last project, a collaborative record with Atlanta super-producer Metro Boomin titled Double or Nothing, by almost 3 years, and we haven’t heard much from Sean Don since. A handful of loose tracks were released in 2019, but luckily fans were treated to a full-length project this year, with two of the album’s 21 tracks teased on Travis Scott’s .WAV radio in the late summer. After a long wait, the album dropped, and as fans had their first listen of Detroit 2 it became apparent that Big Sean made a few noteworthy changes to his formula this time around.

Compared to Sean’s last solo studio record, 2017’s I Decided, this record is a lot less personal with a heavier focus on performance and production. This is a good thing, as I’ve always admired Big Sean’s sincerity in spite of how lackluster and inconsistent some of his writing and mixes have been in the past. The themes on this tape revolve around success, power, battling demons while at the top of your game, and perhaps unsurprisingly - community. In many ways, this is something that is woven into every song and every feature, of which there are many; the idea of cultivating energy and wellbeing through personal spaces and family. This is at first apparent when looking at the title and cover of the project, which features Sean literally placing Detroit street performers above him, but this is also seen in the camaraderie of the people involved with the project. Behind the scenes, producers like Hit-Boy, Boi-1da, Travis Scott, No I.D., Mike Will Made-It, and even Take a Daytrip are all over this thing. On the surface, Sean pulls out all the stops to get guests like Dwele, Diddy, Jhené Aiko, Lil Wayne, Anderson .Paak, Ty Dolla $ign, Post Malone, Travis Scott, Young Thug, Eminem, and even the late Nipsey Hussle on the record. There are even little interludes from people like Stevie Wonder, Erykah Badu and Dave Chapelle peppered throughout Detroit 2 as well. While I was worried that they would collectively overshadow Big Sean on an album that clearly has been a long time coming, each one does a great job at not overstaying its welcome, and lending its energy to help amplify Big Sean’s. This time around, Big Sean also seems to be doing a lot better than we last heard in 2017, as his self-doubt has seemingly turned into a sage kindness despite the fact that we’re all trapped in quarantine for the foreseeable future. 

One of my favorite things about this record is how well Big Sean seems to adapt to this new energy - new energy that is reflected in both the album’s themes as well as its writing and mixes. On a boisterous and victorious album opener “Why Would I Stop?”, Sean says “I don’t complain about life, I adapt” after delivering my personal favorite line of the record, “I don’t jump, I dive in it”. With this new energy, Sean’s raps are more aggressive, more well-thought-out, and composed, carrying a confidence not before seen from the Michigan native. The following track “Lucky Me” has Sean casually flowing over a classic sample before the beat dramatically changes into a fast-paced trap banger akin to Huncho Jack’s Black and Chinese. The intriguing and uncommon nature of many of the mixes is what makes me enjoy this record, mostly because Big Sean makes his job look so easy as we’re being introduced to these tracks for the first time. Something must also be said about the variety of tracks on Detroit 2 as well, as one moment Sean’s steady flow is accompanied by thundering 808s on “ZTFO”, and then the next he’s confidently spitting game with Travis Scott over desolate and metallic guitar and lurching bass signals. Though there are too many tracks to write about each individually, the album has its softer moments on “Body Language” and “Guard Your Heart” that offer a nice contrast against tracks like the nine-minute “Friday Night Cypher” which features a host of Detroit natives trading bars over different beats.

Detroit 2 was a welcome surprise from the GOOD Music rapper, as I honestly did not think that Sean would come as hard as he did on this tape. Between the long list of guests and the overall positive themes of community and love for Detroit throughout the record, this was a welcome change following his last projects. Though it is admittedly easy to criticize Sean for the chronic oversharing and pseudo-intimate moments that have plagued earlier entries in his discography, this time around there really isn’t too much to pick apart with this project. Detroit 2 features Big Sean at his best, or at least the strongest he’s been since his reign in 2015 following the release of Dark Sky Paradise, and with 21 tracks there is certainly something here for everyone. Though the album could have benefitted from being half as long and more consistently subversive with its mixes, I’m glad that we were able to get some new music from Sean before the year was up.

Favorite tracks

Why Would I Stop?

ZTFO

Lithuania (ft. Travis Scott)

Rating: 7

Listen to Detroit 2 here:

Listen to Detroit 2 on Spotify. Big Sean · Album · 2020 · 21 songs.

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27 Summers Later: King’s Disease Album Review

By Carter Fife

This week Brooklyn MC and hip-hop legend Nas returned to release his twelfth solo studio record King’s Disease, following the release of his 2019 mixtape The Lost Tapes 2 and 2018’s NASIR, executive produced by Kanye West. Known best for his first two projects, 1994’s genre-defining Illmatic and 1996’s It Was Written, Nas has spent most of the past decade out of the limelight, returning only just a few years ago to return to rap’s center stage. While The Lost Tapes 2 wasn’t much to write home about, 2018’s NASIR was packed with hard-hitting political raps over pristine production. It was a record full of opportunities most rappers only dream of, and since then many have been wondering when Nas would return to form like that. Thankfully King’s Disease sees the NY rapper join forces with CA rapper/producer heavyweight Hit-Boy, who you likely know from his smash hits like Travis Scott’s “SICKO MODE”, Kanye West’s “Clique” or “N****s in Paris”, Kendrick Lamar’s “Backseat Freestyle”, or even from older A$AP Rocky cuts like “1 Train” or “Goldie”. Together, the two journey through verse and beat alike to create one of the most memorable hip-hop albums of the year.

If you’ve heard a Nas record before then the lyrics on King’s Disease won’t come as much of a surprise to you. Nas has an exceptional affinity for the political as well as strengths in hip-hop’s usual lyrical cornerstones like braggadocios flexing and menacing narrative-weaving. This truth becomes incredibly apparent on tracks like “The Cure” and “The Definition” featuring Brucie B, the latter of which features Nas delivering powerful punches over an overstimulating but victorious instrumental. It is also on this track that Nas interestingly gets political about the threat of global warming, which came as a surprise to me because I didn’t expect him to believe in the danger of greenhouse gases after his outspoken anti-vax beliefs on NASIR. Nevertheless, Nas’s writing is effortlessly overwhelming and brilliant as usual, and the songwriting on this project is far more cohesive and logical than the projects that preceded it. On The Lost Tapes 2, many enjoyable tracks were hindered by how at times they felt like a word soup of politics, trauma, and fame, but luckily this is not the case with King’s Disease. 

Though Nas’s lyrics don’t necessarily reinvent the wheel, what he lacks in innovation he makes up for with consistency, flow, delivery, and tone. These elements paired with Hit-Boy’s incredible production ability makes for some solid tracks that immediately were replayed on my first listen. The record’s first two tracks flow from a classic and laid back composition to a beautiful and intense combination of lurching 808’s and snares that juxtapose the track’s delicate piano melodies. I remember leaning back and thinking, “How did we go from A Written Testimony (which Hit-Boy also produced for) to Port of Miami so quickly?” I didn’t really have an answer but that was beside the point. Three tracks later and “27 Summers” was probably one of my favorite mixes from Hit-Boy so far. I’m not kidding - put on the song now. Hear the punchy snares and the 80’s synthesizer that transitions into those glittering melodies? The composition and rhythm of the beat, especially towards the end, is so weird and memorable I couldn’t help but text my friend to let him know that this album already had potential- there are moments like this across the album.

King’s Disease isn’t all politics and fame though - there are intimate and tender moments that are rare for a rapper like Nas to have on his records. “Til The War Is Won” is a beautiful meditation with Lil Durk about the relationship between men and women in the face of violence. It is a somber but uplifting track about unity and strength where Nas praises the strength of single mothers. “All Bad” with Anderson .Paak is a more intimate break from the record, where Nas and .Paak trade performances about failed relationships and good memories. It’s a sweet moment that is amplified by Hit-Boy’s jazzy drum loops and nostalgic piano chords. Other moments that are worth mentioning include Charlie Wilson’s performance on “Car #85”, a cut that sounds like a more like a chill 70’s R&B classic than a Nas song, and A$AP Ferg’s verse on the bonus track “Spicy” with Five Foreign, where he closes the album and gives a little shout out to Pop Smoke in doing so.

Overall King’s Disease is a nice return to form from Nas and Hit-Boy, and though the album definitely could have taken more risks, it was still an enjoyable project from two artists I didn’t realize how much I had missed. Nas and Hit-Boy both veer across multiple styles of hip-hop on this project, from the boom-bap on “10 Points” to the raw ambience of “Full Circle” with a host of guests including The Firm, AZ, Foxy Brown, and Cormega. The modern and the nostalgic intersect well on this project, as King’s Disease will likely remain in rotation through the coming weeks. Fans of both eras will surely find something to enjoy on this record.

Favorite Tracks

27 Summers

King’s Disease

Replace me (Feat. Big Sean and Don Toliver)

Rating: 8

Listen to King’s Disease here:

Listen to King's Disease on Spotify. Nas · Album · 2020 · 13 songs.

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It's Flo Milli Season: Ho, Why Is You Here? Album Review

By Kaila Cherry

If you have been on Twitter anytime between last summer and now, you have undoubtedly heard of Flo Milli. The twenty year old Alabama rapper blew up last year when she released her remix of the song “Beef” by Playboi Carti produced by Etheral. On the original track, Carti drones over the beat for two minutes in classic Atlanta Soundcloud rapper fashion. Flo Milli takes the track and turns it on it’s head. Her voice is bratty and demanding. Her attitude is on 110%. And her lyrics? Iconic. The opening line “I like cash and my hair to my ass” still lives rent free in my head to this day. The “Beef FloMix” and her following single “In the Party” saw massive success not only on Twitter, but Tik Tok as well. 

Flo Milli has continued to sustain her momentum over the past year, her efforts culminating in her first mixtape Ho, why is you here? released in July. Flo Milli’s debut project is a catchy, sassy, and bold introduction into the rap scene. On the tape, Flo Milli is not afraid to brag about her high standards for men, immense popularity at such a young age, her love of parties, and her willingness to step to any ho that tries her. Ho, why is you here? is without a doubt one of the best releases of the summer. Flo Milli shows everyone that she is not just a one hit wonder who will fade into obscurity. She is here to stay, and will talk her shit as she does it. 

The mixtape opens with the short intro track “Mood Everyday.” Clocking in at around 50 seconds, Flo Milli spits over a Dirty South inspired beat heavy with piano and bass eight bragadocious bars about how much confidence she has in herself. In classic rap fashion she acknowledges her haters, shrugging them off because, as she says, “When you shine like I shine you get a whole lotta hate.” She also takes a jab at clout chasers who just wanna befriend her for her fame, telling them that “it’s a little too late.” Although the abrasiveness of “Mood Everyday” is not indicative throughout Ho, why is you here? the sentiment is. If you don’t vibe with the introductory track, it’s likely you won’t be a fan of Flo Milli’s image in general. If you do, however, you are in for a treat for the rest of the mixtape. 

Ho, why is you here? includes the tracks “Beef FloMix” and “In the Party” that initially shot her into stardom. However, these aren’t even the strongest songs on the project. In fact, they may even be the weakest. This is a testament to Flo Milli’s musical growth over such a short period of time. On her mixtape, she explores a range of different flows and vocal styles. On “Like That Bitch,” Flo Milli goes from spitting like a based Southern gangsta to her adaption of the rapid fire rap style popularized by artists like Busta Rhymes. Flo Milli further experiments with her sound on the chorus of “Pockets Bigger.” She constricts her vocal cords in order to give her voice a gritter, grimier quality. This pairs perfectly with the abrasiveness of the bass boosted track. 

Flo Milli is not the only stand out aspect of Ho, why is you here? The production of the project from hip hop legends FATBOI, J-Bo, and J. White Did It, among others, give the mixtape its undeniably Southern sound. The beats ebb and flow between classic R&B stylings of songs like “Weak”  and modern mainstream sound of songs like “Not Friendly” with Flo Milli able to adapt to anything thrown at her. And just like with the “Beef FloMix,” Flo Milli makes every beat and every style her own. 

Ho, why is you here? is a strong introductory project for Flo Milli. On the mixtape she shows that she is not afraid to experiment with production, vocal inflections, and flows. As someone who stated in an interview with Genius that her main goal with her songs is to have fun, Flo Milli truly sees rap as a blank canvas for her to go buckwild on. This is only the beginning for Flo Milli. With all eyes on her, I can’t wait to see what she puts out next.

Favorite tracks

Pockets Bigger 

In the Party 

Send the Addy 

Rating: 7 

Listen to Ho, why is you here? here: 

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A Unique Rap Legacy: No Pressure Album Review

By Luke Modugno

If any phrase could sum up the 10-year career Logic has crafted, it would be “roller coaster ride.” Although Logic has decided to retire to focus on his family, including his newborn son Bobby, his career and all of its bruises and blemishes will not be forgotten soon. With plenty of solid mixtapes under his belt and a catalog of albums made up of peaks and valleys, Logic is leaving the rap game with no second thoughts, no regrets and No Pressure.

In his sixth and final studio album, Logic seems at peace with how his legacy is going to be remembered. The project is a follow-up and nod to his debut album Under Pressure, which partly focused on the struggles of being a major label artist at Def Jam and VMG, record labels he’s now more-or-less the face of. No Pressure focuses on life as a father and husband, as Logic composes witty punchlines about changing diapers and just how much his current life juxtaposes his early life. 

The project is executively produced by Logic’s friend and mentor NO I.D., the mind behind the sound of Under Pressure and the producer Logic credits the bulk of his artistic development. From the opening moments of No Pressure, the beat selection and production immediately captures the ear of the listener. The beats are light, buoyant, rosy and sample heavy. Logic’s rapid-fire rhymes and clever wordplay fit perfectly on most if not all of the beats. But the production is varied enough to give No Pressure a colorful pallet for Logic to use as he pleases. The project has hype tracks like “Perfect” and “Celebration,” while also possessing smooth, atmospheric songs like “man i is” and “DadBod.” Logic’s close friend and producer 6ix makes valuable contributions to the tracklist as well,  as he flips OutKast classics “Elevators (Me & You)” and “SpottieOttieDopaliscious.” Alongside NO I.D.’s production on Under Pressure and 6ix’s on Bobby Tarantino, No Pressure is one of Logic’s most well produced albums. 

Along with rapping about teaching his newborn son his ABC’s, Logic is rather introspective and meditative on his unorthodox and unlikely journey in the rap game. While with his full length projects he’s always gravitated toward rapping about social issues, it's no longer the focus of his subject matter. However, the outro is a speech from late actor Orson Welles about racial inequities in America. Logic never shies away from discussing pertinent contemporary issues on No Pressure, especially on tracks like “Dark Place” and “Open Mic//Aquarius III.” Unlike recent projects, Logic’s pen game is in rare form, as his intricate flows and wordplay are intriguing and often impressive. “DadBod” is one of the most creatively written songs to come out this year, as Logic takes the listener through the not-so-exciting daily life of being a married father. Logic flows effortlessly and with a sense of swagger over the lavish 6ix and NO I.D. production on “man i is” and “No Pressure (Intro).” Purely referring to the technical side of rapping, this album is only second to The Incredible True Story within Logic’s discography. If you didn’t like Logic before No Pressure, it surely won't act as a revelation to your opinion of him. From the occasional monologue from his fictional artificial intelligence robot Thalia, to nods to his favorite bars from them, Logic is still wearing his influences on his sleeve on No Pressure. There are still the painfully corny lines appearing from time-to-time. But this project is Logic doing what he has made a career of: spitting lightning quick bars with witty word play over top tier production. 

Hip hop has never seen something quite like Logic’s career arc and wildly changing trajectory. From his polished mixtape catalog featuring the Young Sinatra and Bobby Tarantino series, to his great albums like The Incredible True Story, and his not-so-great albums, Logic has truly left his mark on the genre. No Pressure functions as a surprisingly graceful exit for the 30-year-old. He leaves behind a unique rap legacy for a life of solitude, fatherhood and family, a life with No Pressure.

favorite tracks

No Pressure (Intro)

DadBod

man i is

Rating: 7.5

Listen to No Pressure here:

Listen to No Pressure on Spotify. Logic · Album · 2020 · 15 songs.

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Kacy Hill, Actualized: 'Is It Selfish If We Talk About Me Again' Album Review

By Carter Fife

The past few years have been quite strange for Kacy Hill.

Three years have passed since the release of Hill’s 2017 debut record Like A Woman, which was not only executive-produced by Kanye West but also released by his label, G.O.O.D Music. At the time of its release, Like A Woman was a lightning rod for critical acclaim as it established Kacy Hill both as a powerful force in pop music, and as a contemporary mainstay that masterfully occupied opposite emotional registers of delicacy and power. Even today, sifting through her Instagram comments always yields a few hopeful fans asking Kacy to make another “90210” with Travis Scott, or to work with Kid Cudi or Cashmere Cat again. In 2019, Kacy Hill decided to leave G.O.O.D. Music, citing a desire to regain creative control without having to be flexible to those from the label. Independent and driven, the past few years have seen Kacy starting training for Olympic weightlifting, collaborating with Cashmere Cat on his 2017 record 9, and dropping 5 singles before last week’s release of her sophomore record, Is It Selfish If We Talk About Me Again. 

Is It Selfish If We Talk About Me Again sees Kacy Hill both at her most pensive and vulnerable self, as well as her most inspired and uplifted. This is a welcome reflection of growth considering how on Like A Woman, we heard the Phoenix songwriter delve into her own desires, whether it was to be loved, to find love, to seek fairness in relationships, or to be strong, respected, and powerful. Ultimately the 2017 record was a reflection of Hill’s struggle of self-actualization in the midst of emotional and romantic turmoil. This was even reflected in the wake of the record’s release, as several headlines identified her only by her proximity to her label, or as Kanye West’s protégé. While at the time this may have seemed harmless, it seems likely that his treatment led Kacy Hill to develop a sense of Impostor Syndrome instead of earned confidence after graduating from Yeezus Tour dancer to established industry talent. Even when her label departure was covered by HotNewHipHop, the writer mistakingly included an image of a redhead woman that wasn’t even her. Thankfully years later Hill has no need to find her identity, as now she has found serenity with herself and what she wants. Both of these things are illustrated in the album’s 11 tracks, where Kacy Hill navigates self-doubt and relationship anxieties alongside her own fears of time and everything temporary.

Kacy Hill’s sophomore record completely shattered my expectations, as it is rare that a record like this balances narrative cohesion, profound writing and lyricism, and subversive musical styles that achieve soaring highs and relaxed lows at every turn. The album begins with two songs that grapple with the past, as Kacy Hill looks within and faces her own self-doubt on tracks like “To Someone Else” and “Much Higher”. The former is full of steady and rhythmic moments where Kacy is forced to bravely look to the future, before the chorus breaks through with layered vocal and little falsetto melodies that aid in transitioning to the next track. The latter song, “Much Higher”, is both catchy and glitchy, synthesizing older and newer styles of pop music as Hill looks to the past and accepts her past romances for the good, and the bad.

Hill’s narrative stays on a clear trajectory throughout the project, as the next few songs are concerned with a newer and more positive relationship. On tracks like “I Believe In You” featuring Francis and the Lights (who was a writer and producer for many of the songs on this record), Hill’s optimism and confidence shine as she sings about quelling hopelessness with positivity, love, and mindfulness. She sings “I believe in you / and you are my proof / that everything gets better and / that love can be true” over a space track whose minimal ambiance serves as a foundation to elevate the performances of Kacy and Francis. The song “Porsche” is a glittery and indie-pop banger about unlearning past behaviors and thoughts about oneself, getting a fresh start, and learning to love another person, and in the process, yourself. The whole time this is happening, Is It Selfish If We Talk About Me Again never comes off as indulgently saccharine or emotional, instead providing Hill’s signature touching approach to a broad emotional register.

While there is certainly much to love about Is It Selfish If We Talk About Me Again, the album is not without its moments of weakness. Upon seeing the brief tracklist for the first time, it was strange to see that over half of the record was made up of previously-released tracks, including Dinner that, while a great track, came out almost two years ago. This record may also be too laid-back for some people’s tastes, as many of the songs adopt a much softer aural register than Like A Woman’s, perhaps to more intimately convey their message and meaning. This, however, is done at the expense of making a more universally consumable pop record, and although I have a great deal of respect for every song the album, it is unlikely that I will play “Told Me” next time I get aux in my friend’s car. Despite the fact that these songs are much more relaxed and minimalistic than we may be used to, this is more than made up for with tracks like “Everybody’s Mother” and “Unkind” that are more intense by comparison. 

Is It Selfish If We Talk About Me Again is one of the strongest records of the year so far, and though the album may have benefitted from a handful of additional tracks, it was definitely worth the wait. Kacy Hill once again has established herself as a powerful force in pop music, and I sincerely look forward to what she makes in the future. 

favorite tracks

Everybody’s Mother

Palladium

Unkind

Rating: 9

Listen to Is It Selfish If We Talk About Me Again here:

Listen to Is It Selfish If We Talk About Me Again on Spotify. Kacy Hill · Album · 2020 · 11 songs.

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Freddie Gibbs and Alchemist Serve Up a Potential Album of the Year: 'Alfredo' Album Review

By Miles Hagan

When was the last time Freddie Gibbs missed? He is the type of person that could accurately be described as your favorite rapper's favorite rapper. Bandana was arguably the best rap album of last year, and might have even had a legitimate case as best project regardless of category. Alchemist has basically taken over 2020 from a producer standpoint. From collabs with Boldy James and Conway the Machine he has proven this year that he is still at the top of his game. This is an allstar pairing that almost seems like it should have happened before. Freddie and Al both have illustrious careers and are vets in the game. They have both also managed to remain extremely relevant and relatable with the music they are creating. It almost seems like a perfect storm for these two to create something great.

What Alchemist provides Freddie with is a blank canvas. Every song has production that immediately captures you as a listener, but also allows Freddie to flow over it in so many different ways. This is what differentiates Alfredo from projects like Bandana or Piñata. The styles of production between Madlib and Alchemist are different. While both are excellent in their own right, Madlib often creates beats that are so intricate that, while they are still amazing, that we can almost get caught up trying to figure out where the beat will go next. Tracks like “1985” and “Scottie Beam” immediately grab your attention, but leave so much room for the rappers to work. Most importantly, Alchemist makes sure that all of the little details are perfect. While the beats may be simpler at times, even the most critical listener would be hard pressed to find a flaw in the production through the entire run time. Alchemist has this sound that sets the stage for what to come and then more so reinforces what Freddie is rapping about. It adds the perfect punch everytime because the beats and rhymes are working together.

From a technical standpoint Alfredo is bulletproof. Coke rap is a legitimate genre at this point, and we are watching the kingpin at the height of his powers. “Something to Rap About” is the epitome of what this project is attempting to do. Freddie sounds expressive and hungry even after all the success he has amassed. The whole concept of his verse is that God made him sell dope so he would have something to rap about. He found a way to make light of selling drugs, almost like he is seeing the comedy in it all. Not only that, but then he goes and gets one of the most colorful voices in music right now, Tyler, the Creator, to deliver yet another flawless feature this year. Throughout the album Freddie and Alchemist find new ways to tell the tale of a drug rapper in a refreshing way, and they get a host of great features to help them tell that story.

“Skinny Suge” is another very telling moment on Alfredo. The album plays like a reflection on a life in the game. It is similar to the film The Irishman. Freddie owns up to all of the things he has done and accepts all of his flaws, because that is what comes with the lifestyle. He seems almost unapologetic about everything, because look at everything he has achieved because of it. Yet on this track he takes a step back and acknowledges the pain. The life that is described seems exhausting, unsustainable, and maybe most notably of all, lonely. 

The album ends with “All Glass”, which is a complete change of pace in every way. We are right back into the action and it is very strategic how he does this. Just like in real life people who live this lifestyle take time to reflect on what it took to get here, but at the same time there is still the reality that they can spend too much time here, no matter what realization they come too. The game will continue with or without them, so the only way to stay relevant is to go right back into moving work which is what he describes on the final track.

Overall, Alfredo is an experience to listen to. This music doesn't feel like you are listening to it, but rather it engulfs you for about 35 minutes, and you only lose focus once the story ends. Very few people could come up with the line, “Bitch, I'm in this shit, like Burberry shirts at baby showers”. Freddie sounds so free on this project. His subject matter remains similar for the most part, but it is how he goes about telling his story that makes it so compelling. He also knows who to work with both from a producer and feature standpoint. Alchemist was the perfect choice and he came through on Alfredo with something serious. The OG in the game still recognizes that he has to revamp his approach, and that is why Freddie will remain successful no matter how long he chooses to rap. He is the definition of an old dog with a new trick every time he produces a project and that should not be ignored.

Favorite Tracks

Something to Rap About (Feat. Tyler, The Creator)

Skinny Suge

Scottie Beam (Feat. Rick Ross)

Rating: 10

Listen to Alfredo here:

Alfredo, an album by Freddie Gibbs, The Alchemist on Spotify

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Return of the Jewel Runners: ‘RTJ4’ Album Review

By Carter Fife

Last week Run The Jewels surprised fans by dropping their highly-anticipated fourth record RTJ4 days before the free mixtape’s anticipated release date. The rap duo, comprised of Atlanta’s Killer Mike and Brooklyn’s El-P, announced the fourth entry in their decorated discography almost two years ago, marking this project their first in almost 4 years. 

Mike and El have not been exactly silent since the long-awaited release of Run The Jewels 3, however, as since then they embarked on the global “Run The World Tour” in addition to releasing tracks and collaborative videos for various outlets. With their fourth record, abbreviated as RTJ4 instead of ‘Run The Jewels 4’, the two rappers find themselves in the midst of perhaps one of the most divisive sociopolitical climates yet. The U.S. is four years into the Trump-era, and over the past two weeks, tensions between citizens and the police have reached a boiling point as many protest for their right to exist. In a plutocratic society full of dictator-esque authoritarians, racial discrimination, and disenfranchised citizens, RTJ4 is an incredibly passionate and righteous body of work. With a complex emotional register, every element this record has that could be interpreted as inspiring also leaves the listener melancholic about how RTJ’s pleas for justice are just as relevant as they were seven years ago.

I remember after the release of Run The Jewels 2, watching Killer Mike and El-P walk slowly on-stage at Treasure Island to Queen’s ‘We Are The Champions’. Dressed in all-black sweatsuits, it was hard for the uninitiated to decide whether or not they were actually a rap group, or instead two sound guys enjoying their brief moment of fame. As the song came to an end, Run The Jewels abandoned their humorously victorious poses, with Killer Mike powerfully telling the audience, “We about to burn this stage to the mothafuckin’ ground!’. Their tracks about racial justice, police brutality, and paranoia seemed appropriate given that at the time we were living in the wake of the Ferguson protests, and even presidential nominees like Ben Carson were calling movements like Black Lives Matter “silly”. These issues at the time were not new, but with the upcoming election and national attention these issues were receiving, we remained hopeful that tangible legislative change would come.

In many ways, this is the core of what Run The Jewels is, a rap group whose composition is just as subversive and iconoclastic at their message. Both members are now in their mid-40’s, but their devotion to political action, progressive values, and writing bangers has made them one of the most powerful hip-hop duos since Mobb Deep, UGK, or Outkast. RTJ4 continues this theme with 11 tracks of social insight, though this time around they demonstrate a versatility that when paired with their candor is almost unmatched. Mike and El have perhaps the strongest chemistry of any rap group in recent memory, and whether they’re aggressively trading bars on the disjointed ‘ooh la la’ featuring performances from Greg Nice and the legendary DJ Premier, or meditating on death and hegemony on the album’s closer ‘a few words for the firing squad (tradition)’, the two cannot seem to make a bad track between them. Even their beat switches, seen on ‘holy calamafuck’ result in no stilted awkwardness or lost energy from the two rappers. 

The majority of RTJ4 is produced by El-P as expected, and within the record’s < 40-minute runtime the duo fills up every moment with all-star guest appearances, aggressive bars, cultural references and beats that rival the most iconic cuts from their first two records. On the aforementioned ‘ooh la la’ the two rap like icons in their prime, with Killer Mike delivering lines like “First of all, fuck the fucking law, we is fucking raw. / Steak tartare, oysters on the half-shell, sushi bar / Life a bitch and the pussy fish, still fucked her raw / I’m a dog, i’m a dirty dog, hahahahaha” over an uneasy piano sample and booming snares. Moments of humor like this are emphasized and amplified when on other tracks the subject matter veers into capitalism’s valuation of money and justice. On ‘JU$T’ icons Pharrell Williams and Zack de la Rocha join the mosh to suggest that America’s condemnation of racism is shallow, as many racists are still allowed to thrive in corrupt systems that preserve their power at the expense of others’.

The seriousness of tracks like ‘pulling the pin’ and ‘walking in the snow’ - featuring the inevitable second collaboration between RTJ and Gangsta Boo - is tangible. While many artists fear speaking their mind on political issues, instead opting for platitudes and corny pseudo-political corporatized Instagram posts, Run The Jewels fulfills their civic and celebrity duty by refusing to shy away from uncomfortable topics like white supremacy and modern slavery. By pairing sobering instances of political realness with moments of humor, Mike and El show their sage grasp on humanity and the understanding that simply living is political. The two capture a profoundly dynamic human experience through the interaction between their own ideologies, references, and moments of vulnerability. Even during moments where 2Chainz makes hot-dog related puns on ‘out of sight’ when talking about trying to be “frank”, these brief sections on the album serve to unite listeners, understanding fully that specializing in what some would call ‘political rap’ is inherently alienating to many people. Killer Mike and El-P handle this issue well, as RTJ4’s carefree humor is done tastefully and intentionally.

Like the three records that precede it, RTJ4 is a progressive and defiantly anti-authoritarian masterclass in hip-hop production and songwriting. If you’re a fan of Run The Jewels, this album is definitely for you, and if you are not, then it is still worthwhile to give the record a listen. It is a rare moment when two 45-year-old musicians from different backgrounds can collaborate, knowing that they may be out of touch with their fan base, and create a universally inspiring and emotionally complex album. It was definitely worth the wait, and though it may be a while before we’re graced with a Run The Jewels 5 (if ever), I will certainly be keeping this record in my current rotation for the foreseeable future.

Favorite tracks:

JU$T (Feat. Pharrell Williams & Zack de la Rocha)

walking in the snow

holy calamafuck

Rating: 8

Listen to RTJ4 here:

RTJ4, an album by Run The Jewels on Spotify

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Gunna Gets Even Further in His Birkin: 'WUNNA' Album Review

By Miles Hagan

We have to address the album covers off rip. Drip or Drown 2 got a pass, and the WUNNA cover is something no one could have expected. I just wanna know who is coming up with the ideas. Gunna has built a reputation through slick flows and creating an unmatched vibe with his music. Outside of music he has a well documented affinity for designer clothes and accessories. The energy and swagger that comes along with this bleeds into almost every one of his tracks. While him and several other members of the Atlanta rap scene have been dubbed as Young Thug’s children, they have begun to separate themselves. Gunna looks to build upon the interesting sounds he began to experiment with on songs like “Who You Foolin”. In the documentary he published along with the album he talks about traveling when making this body of work, and needing to get out of Atlanta for a little. WUNNA stands for “Wealthy Unapologetic Nigga Naturally Authentic”. I would be lying if I said I understood what he fully meant by labeling himself as this. What I can say with certainty is that heavy money talk should be expected.

The appeal of Gunna is what has made us fans of so many Atlanta artists that came before him. He simply doesn't care about what anyone has to say. People across the internet talk about the pants this man wears, his album covers, and everything in between. Through it all he delivers music that exudes this unmatched confidence. Along with this, he has this ability to surf over beats at his own pace, never seeming rushed. While he is spitting, we are in his world. Look no further than a song like “COOLER THAN A BITCH” with Roddy Rich. This is about 2 minutes of Gunna switching between flows seamlessly while he lets the listener know they will never have as much money as him, be around the same women as him, and there is nothing we can do about it. Similar to “Numbers” on A Boogie’s last album, Roddy slides over these perfectly placed spanish sounding guitars on his way to one of many excellent guest features on the project. While this may be the most energetic and versatile Gunna has ever sounded on a full length release, he recognizes that to keep an 18 track album sounding fresh he needs quality features to switch up the sound and pace of the album. He does this beautifully and while still carrying the majority of the rapping workload on WUNNA. 

Even from the first track “ARGENTINA” it feels like Gunna is able to be so comfortable on this project, because he really found the sounds that work for him. The entire album is filled with these laid back beats, that almost allow Gunna’s voice to become a part of the production. Rather than going on top of one another they work hand in hand. The drums are hard enough on every song to still give WUNNA that traditional trap feel. The instrumentation on this project is what makes it different from the traditional trap album. “SKYBOX”, which was the single released before this, is another example of this. The bass is booming but the synths in the background give it a glittery feel, it almost feels like we are in the clouds. While the lyrics may be “hard” the only way that this music could be described is as a wave or a vibe that is absolutely infectious. 

Gunna calls back to the production that got this to this status a few times. At this point “Sold Out Dates” has been remade three times with the addition of “MET GALA”. While not the most experimental during the album’s run time, it’s far from bad. This is in contrast to a song like “TOP FLOOR”, which features Travis Scott and has similar horns and drums to “Hot” off Young Thug’s So Much Fun. While similar to that track this song completely has an energy of its own, and sounds hand made for both Gunna and Travis right down to the ad libs.  

Gunna earned his flowers on WUNNA. Anyone who was already a fan of Gunna heard him with an allstar production team and some new sounds. Those who were not fans of the Atlanta rapper should give this album a listen just to hear “NASTY GIRL”, and if they still don't like his music I’ll let them be. It is great to see that Gunna has taken this early success in stride, and continued to improve his craft. Too often artists get caught chasing trends, or trying to be something they aren’t. Gunna over the years has just gotten further in his bag and this is the culmination of his efforts. 

Favorite Songs:

DOLLAZ ON MY HEAD (Feat. Young Thug)

NASTY GIRL / ON CAMERA

COOLER THAN A BITCH (Feat. Roddy Ricch)

Rating: 8

Listen to WUNNA here:

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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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Polo G, Chicago’s Youngest MVP: 'THE GOAT' Album Review

By Courtney Fields

Since its birth in the early 2010s, Drill music has been used to fuel negative stereotypes on Black men. 

Artists such as Lil Durk and Chief Keef are believed to be glorifying a life of violence and criminality. The connotation that Drill music has had, is honestly unfair; the violent lyrics and music videos are purely forms of artistic expression. It’s a genre dominated by the Black community’s disadvantaged youth, who strive to tell their stories the best way they can. This way of life was not a choice for these young men, the root of why Drill music exists in the first place is a whole new article in itself.     

However, the conversation at hand is about Polo G, an artist who shows that Chicago Drill may be the most socially aware genre in rap. 

In track 1 “Don’t Believe The Hype”, Polo raps about drug addiction, lost loved ones, and the lack of support he’s dealt with in his life. We hear Polo admit it’s hard for him to find the line between his old life and a new life (“He want all them niggas dead, it's sad to say, but I feel him / If I ain't had so much to lose, I'd be riskin' it with him”). Mostly though we hear Polo brag about his fame, and how he persevered to get there (“They weren't with me through my struggles, all this shit I sacrificed / I climbed out the darkness, now my Patek shinin' bright”).

Track 2 is the certified gold single “Heartless” featuring Dj Mustard. The first half of this song describes Polo in his essence: a ladies man, a proud Chicago native, and an aspiring businessman (see Polo break down the meaning of the hit single for Genius). 

Track 6, “21” is one of the best on the album. It’s Polo’s 21st birthday, and what may have him reminiscing on this track so much is how many people he’s known who haven’t made it to 21. He mentions the passing of another Chicago G.O.A.T Juice Wrld, whose untimely death reminds him to not fall back into the habit of abusing drugs. “Can't relapse off these drugs, man, R.I.P. to Juice / We was tweakin' off them Percs, I popped my last one with you.” Polo’s raps are often all over the place, but it’s delivered in the best possible way. Almost every line in the second verse refers to a different point in Polo’s life, and the lives of those he loves. Polo raps about being successful ever since he started rapping and never being satisfied with his achievements, to then commenting on how Chicago’s streets resemble battlefields at times. Every bar Polo delivers paints a picture into the listener’s head on this track. My favorite line by far is “Took losses in these streets, shit got me singin' gang blues”. “Gang Blues” might be the best description of Drill music I’ve ever heard. 

Track 8 is “I Know”, an extremely emotional song. In the chorus Polo raps about losing the life of a dear friend, it seems as if he lost the friend while he was famous. He shared drugs, good times, and bad times with this friend; but still they lost their life. “How the fuck I wake up from a dream to a nightmare?” Is this line an indication that Polo may feel some guilt for being able to escape his past lifestyle? If the line is what I think it is, this may be why Polo struggles to see the advantages of fame since all of his friends can’t live like him. The track also features how hard it was to grow up in Chicago, and how it’s hard to find a girl who wants him for a reason other than his fame. 

Track 15 “Trials & Tribulations”, leaked on Soundcloud the day the album was set to release and I’ve got to admit… I probably replayed this song for an hour straight. “Trials and Tribulations” starts off with another great chorus from Polo, he might have the best hooks in the game right now. Almost all of Polo G’s songs revolve around life in Chicago, which is pretty funny considering people from other places say Chicagoans never stop talking about Chicago. The streets of Chicago are what made Polo the man he is today, and he learned early on that no one could save him but himself. People who aren’t accustomed to life in the streets often make it seem like you always have a choice, or that getting help is an easy task, but Polo knows this isn’t true. “Them streets'll turn a good kid into a cold lil' savage / No point in church 'cause the preacher can't keep them poles from clappin' / It seem like evil and my soul attractin'”. As soon we wiped our eyes from hearing that chorus, midway into the first verse we hear Polo say “Hood on my back, was bustin' two-fours like Kobe Bryant / Sometimes I think like what's the likelihood of Kobe dyin'?”. I don’t think I’ll EVER get used to Kobe’s death. This song is one of Polo’s “tell-alls”, he’s always honest with fans, and he could care less about haters cause he knows his message will reach those who need to hear it.

Finally, we’re at the last track, “Wishing For A Hero” featuring BJ The Chicago Kid. The song samples 2Pac’s song “Changes” and at first, it gave me mixed feelings. There’s always something off about hearing artists sample 2Pc tracks to me, but now it’s my favorite from the whole album. The song proves that Polo is the most socially aware rapper from Chicago since Kanye (don’t @ me). He raps about how his Blackness puts him in a constant emotional, and physical battle with himself and others. He raps about Black on Black crime being a direct result of racism. He even hints at self-hate and drug addiction. Hearing a man who was conditioned to hate himself, rap like this puts a smile on my face.

The originators of Drill Music are Chicagoans, so it makes sense that now in 2020, Polo G and other Chicago artists are taking the genre to new heights. In my opinion, Drill is a genre that describes daily life in the streets; all of the violent and dark details are embedded in the music. Now that many of our favorite Drill artists are no longer in the streets (Chief Keef, G Herbo, Lil Durk, and Polo G), much of their music describes past ordeals and the struggles of putting the street life behind them. Is this an evolution of what Drill once was, or are the artists mentioned no longer a part of the Drill scene? 

favorite songs:

21

Trials & Tribulations

Wishing For A Hero (Feat. BJ The Chicago Kid)

Rating: 9

Listen to THE GOAT here:

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The Voice of the Streets: 'Just Cause Y’all Waited 2' Review

By Courtney Fields

Lil Durk, Durkio, Smurkio, No Auto Durk… I’m sure you can tell by all of his different monikers that he’s a man who often seeks change. I mean, there are enough nicknames to match all of his different hairstyles over the years. For an artists who is always switching up his look and musical styles, one thing has always remained the same: Durk’s love for the people. 

“The Voice” is by far my favorite nickname of Durk’s, and if you listened to his music and interviews you’d know why. He’s always true to himself, his friends, family, and his fans. Although Just Cause Y’all Waited 2 is just a project to hold us over until the release of Durk and Metro Boomin’s No Auto, Durk shows glimpses of being The Voice. 

Now, before we even dive into a few of the songs, one thing should be made clear: this was released to hold fans over, read the title! I didn’t particularly appreciate the harsh critiques of this project simply because I know that this wasn’t released with the intention of changing the world. So with that being said, let’s get into it. 

Without songs like “Trifling Hoes”,  “Gucci Gucci” featuring Gunna, “Chiraq Demons” with G Herbo, and “3 Headed Goat” featuring Lil Baby and Polo G, we’re left with a 12 track project filled with violence, confusion, and valiant efforts to save one’s self and their community. 

Track 2, “Street Affection” shows Durk the lack of love that the streets of Chicago have for gang members and civilians alike. Durk speaks on police brutality with the line, “They ain’t doing they job, they ain’t serve and protectin’”, as well as the lack of guidance many young men in the streets have with the line, “Big homies not big homies, they ain’t tryna give direction.” This makes for one of the most emotional Durk songs ever, it describes a young man who came from nothing, who now has all he ever dreamed of, yet he still can’t escape the setbacks he faced in Chicago.

“Viral Moment” and “248” are two more highlights of the project. What makes these songs so special is that Durk borrows from the experience of not only himself but also some of the people around him. Durk is such a great rapper because he’s able to relate to everyone. In an interview with Genius, Durk said, “I try to hit certain points when relating to people, even if it’s pain, talking shit, gambling, as long as you can relate to it, I wanna produce it to you.” Durk is a very personable rapper, he always connects with his fans, the streets, and really anyone.

As a whole, this project is full of pain, and honesty. Durk talks about relationship issues, battling addiction, missing lost loved ones, even simple disputes among friends. There is surely a song for every rap fan on this project. One of Chicago’s “Young OG”s” sound is still consistent with the catchy, dark, violent pretenses Drill music first showed us in the early 2010s. But, more than any other rapper Drill from Chicago, I’d say Durk is the “gatekeeper” so to say for the genre. Not to say he created it, or what have you, but out Chicago’s Drill scene, no one has been as consistent as Durkio.

Durk my favorite artist from my hometown’s “Drill Era”. He’s always honest, and I mean always. Like many Chicagoans, emotions aren’t something that Durk often shows on the outside, or even on social media but if there’s ever any doubt about whats going on in his life, you’ll find it in his songs. Although this project isn’t my favorite release of Durk’s, it has me more excited than ever for No Auto.

Favorite Songs

Street Affection

Viral Moment

248

Rating: 7

Listen to Just Cause Y’all Waited 2 here:

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Master of His Craft: ‘High Off Life’ Album Review

By Carter Fife

Last week Atlanta rapper and trap icon Future announced and released his eighth studio record, High Off Life. This album follows the release of three of Future’s older mixtapes onto streaming services over the past month, making 2020 a great time to be a Freebandz fan. High Off Life is a 90 minute record that spans 21 songs, making it one of the longest Future projects in a while. Unlike last year’s Future record The WIZRD, this album sees Future adopt a more familiar sound, though there are certainly moments of greatness to be found in the record’s enormous track listing.

High Off Life follows a similar formula that many of Future’s prior records have adhered to over the past half-decade. Like 2017’s FUTURE and HNDRXX, High Off Life is an incredibly expansive catalog of Future tracks that have likely been recorded over the past year. There are definitely tracks that could have been left on the cutting room floor, but in true Future fashion he leaves nothing back as he delivers a 90 minute performance. His vocal register is consistent, his tone alternating between aggressively energetic and confidently laid back, embodying the ‘toxic masculine’ for better and for worse. It is easiest to argue that this is for the better, however, as his fans (myself included) subscribe to his music because of how consistently good it is. After arguably delivering two of the past year’s best features (“Sup Mate” with Young Thug and “Wassup” with Lil Uzi Vert), and entertaining rumors of a second collaboration with Drake - the hype was tangible going into this record. The results were less than surprising.

Most Future records, like High Off Life, seem to be structured around around approximately half a dozen tracks that are clearly meticulously crafted. These hits are then surrounded by around a dozen enjoyable but admittedly less-than-memorable moments. Think back to Migos before the release of the near-perfect Culture - with every mixtape hip-hop’s canon would be graced with a track like Versace or Pipe it Up despite their records having minimum 12 tracks each. In High Off Life, there are several tangible moments of brilliance that parallel his infamous “King’s Dead” verse, though finding them requires a fair amount of work. 

In the ~11 times I have listened to this record this week, I have managed to isolate the tracks where I feel Future to be at his best. Future’s delivery and signature vocal timbre on High Off Life is much stronger than his past few releases, so even though some of the mixes may leave you eying the ’skip’ button, they still remain ultimately enjoyable tracks that surround the hidden gems. “HiTek Tek” is a gem that sees Future’s powerful melodic delivery and “yeah yeah!” adlibs reach new heights as he effortlessly flows over ATL Jacob’s thundering 808s, mechanical hi-hats and glittering synth patterns. 

Though “Solitaires” featuring Travis Scott seems like it would be a clear standout track after the Houston rapper’s incredible verse on Future’s last record, the first 4 tracks immediately get overshadowed when playing High Off Life’s fifth track: “Ridin Strikers”. The ominous-yet-catchy banger features a unique arrangement including a Guzheng-adjascent track that artists like Future helped popularize in modern hip-hop music. After two minutes of bars about trapping and organized violence, a beat switch takes place that emphasizes and amplifies the track’s status as an eerie banger. Every instrument feels out of key, the drums off-kilter, and the 808s decelerated to a lurching slowness. Keeping it all together is Future, rapping a narrative about bank robbery where he says “Hold on, smokin' on pressure / Hold on, straight out a pound / Hold on, crazy-ass shooter / Hold on, sprayin' in the crowd”. The track ends quickly, in its wake leaving one of the most memorable Future tracks released since his career began almost a decade ago.

High Off Life features so many more memorable moments embedded in its hour and a half runtime. “Harlem Shake” sees Future link back up with fellow SUPER SLIMEY collaborator Young Thug, and unfortunately it is not a remix of Bauuer’s EDM anthem. “Too Comfortable” is a refreshing and upbeat moment where Future raps over an acoustic guitar that is vaguely reminiscent of Migos’ 2018 hit “Narcos”, and Lil Uzi Vert’s appearance on “All Bad” showcases the two rapper’s incredibly infectious chemistry. Tracks like “Accepting My Flaws” and “Last Name” with Lil Durk show rare moments of Future’s emotional complexity, making the untouchable and omnipresent rapper reflect in a rare moment of vulnerability. Though “Life is Good” has been out since last winter, it is still a solid track and ending the record with its remix (sporting additional features from Lil Baby and DaBaby) felt like a fitting way to conclude this record.

Though High Off Life is pretty consistently enjoyable with several key moments, it is not without its unfortunate flaws. Future seems to have played it safe with this one, and it is unfortunate that Future doesn’t venture outside of his wheelhouse more often like he did with 2019’s The WIZRD or the following EP SAVE ME. Some of the tracks like “Up The River” or “Hard to Choose One” do not make much of a lasting impact as their beats sound like they were made using the same soundfonts every other producer today is using trying to craft the next big trap anthem. How long will fans have to wait before another Pharrell or Zaytoven collaboration? The answer is unclear. Finally, though it is nice to see Future elevating the next generation by featuring NBA Youngboy, their lack of chemistry and dissonance of styles makes his decision seem like an odd one, though their track together could have been worse. 

Though technically High Off Life is Future’s eighth studio record, this release is just one of over 16 projects that the Atlanta rapper has released over the past 10 years. It is clear in Future’s writing and persona that he clearly understands that he is a significant cultural icon, though hopefully in upcoming years fans are graced with music with less bars about coronavirus, and more thematic risks. I had the pleasure of meeting Future at the Grammys in 2019, and the the only thing more memorable than his elegant and minimalistic suit was the aura of untouchable celebrity confidence he carried with him. High Off Life is this in musical form - highly enjoyable, but it leaves you curious about the missed potential from the routes untaken. At the end of the day, Risks or not, this album will certainly be kept on heavy rotation for the foreseeable future.

Favorite Songs:

Ridin Strikers

Too Comfortable

All Bad (ft. Lil Uzi Vert)

Rating: 8

Listen to High Off Life here:

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Crafting an Introspective Sugar Rush: 'how i’m feeling now' Album Review

By Owen Tait

Charli XCX is no stranger to the experimental. Her 2017 project Pop 2 boasted numerous tracks that ventured into glitchy, noisy territory, and last year’s Charli certainly had its weird side, with cuts such as “Click” and “Thoughts” providing plenty of crushed drums and overblown climaxes for fans to chew on. When Charli announced an upcoming record made entirely in isolation due to the COVID-19 pandemic, I was expecting pretty much just more of the same (which, keep in mind, wasn’t necessarily a bad thing). However, as Charli began to release singles through a collaborative process that kept her fans involved, I was blown away by what I was hearing. 

While her music still definitely falls under the pop umbrella, Charli delivered singles pitched through a lens of noise, distortion, and electronic music. “Forever” and “claws” featured lyrics about both the melancholy and blissful moments within romantic relationships, while “i finally understand” focused on Charli’s battle with her own mental health and self-doubts. Very quickly, I felt as if I was getting a good picture of what the album was going to be about and sound like, and for the most part, Charli delivered as expected—all while exceeding my every expectation. Perhaps her most intimate and close-quarters project yet, how i’m feeling now is an air-tight sugar rush consisting of songs about love, isolation, and the desire to live one’s best life.

Considering that Charli wrote the majority of this album while quarantined with her long-time boyfriend, it’s no surprise that many of the tracks here revolve around their relationship, and some even comment on the way social distancing has impacted their understanding of each other. For example, the song “7 years” looks at how far Charli and her boyfriend have come and the emotional progress they’ve made with each other. Lyrics such as “I used to live inside a lie with you / And now we’re honest and it feels so good” demonstrate Charli’s honesty with herself about how her relationship has evolved, and it’s a refreshing moment that made me genuinely happy for her. Meanwhile, the songs “detonate” and “enemy,” analyze Charli’s struggle with her emotional and physical proximity to her significant other with the latter serving as a definitive high point on the tracklist.

“enemy,” a track led by a nostalgic synth bass and an arsenal of soaring, fleeting synths, plays on the saying “keep your friends close but your enemies closer.” Lyrically, Charli realizes that her emotional vulnerability with her boyfriend could become her downfall should their relationship ever turn hostile, implying that he’s so close to her that he could do serious damage to her heart. She spends the rest of the song exorcising these anxieties, and the closing lyric “Can you reach me?” beautifully sums up her dilemma; on one hand, she wants someone close enough to count on and love, but on the other, she worries they might get too close and break down the emotional barrier she’s put up. 

It’s introspective moments such as these that make the album so emotionally captivating, but that doesn’t mean the project is without its bangers. The intro track “pink diamond” is a hard-as-nails, nocturnal cut that pulls no punches and reflects the nightlife that people enjoyed prior to the pandemic. Screaming synth chords and lasers fill the back half of the instrumental, and a crushed-to-hell drum breakdown closes it out in style. “c2.0,” a wonky reimagining of 2019’s “Click,” sees head producer A.G. Cook chopping singer Kim Petras’ contribution to the original track into a cute, dreamy set of background vocals. Meanwhile, Charli laments about missing her friends and the memories they have together—a sentiment that plays into how most people are feeling right about now. 

As yet another track containing elements of noise and EDM, “anthems” easily lives up to its name, sounding like something out of a college party movie or a promotional video for a music festival. Charli once again reminisces about the way life used to be, comparing it to the mundane nature of quarantine and how it has affected her personal drive. She also shares hope that her friendships will benefit from the time apart, arguing that “when it’s over / we might be even closer.” It’s a reassuring thought, and the high-stakes nature of the track left me in a state of euphoria (which was only heightened by the surreal trip presented by “visions,” the following and final track).

To be honest, there aren’t any major problems I have with this album. In my opinion, there is one minor dud in the tracklist that never quite reaches a satisfying climax (I’ll let you figure out which track I’m referring to, considering it’s the only one I haven’t mentioned so far). Regardless, the project as a whole is super tight and flows really well, the lyrics are catchy and carried by earworm melodies, and the production fully embraces the strange, pushing Charli’s pop songwriting towards pure innovation. It’s a truly inventive, one-of-a-kind project, written from physical isolation yet engineered digitally by a powerhouse team. The emotional moments hit, the bangers certainly don’t miss either, and Charli seems to be as vulnerable as ever, making how i’m feeling now my current frontrunner for album of the year. I can only hope that the future of pop music is this imaginative, forward-thinking, and downright fun.

Favorite Tracks:

forever

enemy

anthems

Rating: 9

Listen to how i’m feeling now here:

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Introducing Atlanta’s Next Superstar: ‘Angelic Hoodrat’ Album Review

By Spencer Lobdell

Photo by Nasser Boulaich

Meet Kenny Mason, the Atlanta newcomer who is undoubtedly next up in the long line of hip-hop greatness from down south. While the majority of the world was introduced to Kenny last October when his break-out single “Hit” was released on streaming services, his debut album Angelic Hoodrat has actually been in production for three years. The fact that Kenny was willing to spend that much time on his debut album reflects an uncommon self-belief that is the first of many signs of greatness Mason displays on his debut record.

At its core, Kenny Mason’s Angelic Hoodrat is a story of duality, a slightly more sinister version of the good kid m.A.A.d city archetype entailing an individual who desires more than anything to do good but is constantly pushed to their limit and forced to act based on their overly toxic environment. The story is one told before, but one Kenny tells with more conviction and authenticity than his predecessors. Not only is it clear that Kenny has already seen more in his 25 years of life than most were meant to in their entire earthly journey, but he posses the rare ability to articulate these emotions in such a palpable way creating a deeply moving experience for those who have lived through similar tribulations and invaluable perspectives for those who haven’t even come close.

Listeners are alerted of Mason’s potential greatness from his very first quatrain as he opens his album with a line about the gut-wrenching paranoia that constantly coincides with being black in America (Sorry mama, I can not show weakness/Niggas walkin' round macho, my thoughts on defense/Paranoia make me talk slow, freezin' on the walk home/Freezin' when the cops show heaters, go figure).

Right from the jump it’s obvious that listeners need to fasten their seatbelt for the wild ride Kenny is preparing to take us on. Lyrical excellence is far from an anomaly on the tape as we are presented with deeply poetic and enticing songwriting at every turn on Angelic Hoodrat. On the fourth track “Lean” Mason concludes his first verse with a dazzling display of introspective wordplay (Speaking spiritual/I see a mirror and see a miracle when I reflect/I think of where I was at a year ago/Knowing where it’ll go/Still be wishin that I was at wherever you at). Kenny’s pen is years beyond his age and he’s already doing things on his debut album that are far beyond the threshold of many people making millions rapping.

Mason is far from a one trick pony though as the way he delivers these lines is equally as impressive as what the bars actually say. Whether Mason is relaxed and rapping in a somber and almost apologetic tone (“Firestarter” & “Once Again”), doing his best Denzel Curry impression and assaulting your ears through an aggressive in-your-face style (“PTSD” & “Metal Wings”), or living out his rock band dreams through a punk rock inspired sound that Mason credits to the legendary Pixies, on each song Kenny consciously picks a different style that fits the track. Not only does this deviation of style keep things super interesting, but it allows Kenny to connect with his lyrics on a deeper level resulting in each song being delivered in a way that makes you believe every word that Mason sings and raps.

Throughout the Angelic Hoodrat, Kenny uses his convincing delivery to disseminate two main emotions to his listeners: perpetual sadness and chaotic terror. Only once on the album does Mason depart from these themes and the result is my favorite track on the album, “Chevron”. This bright track showcases all of Mason’s aforementioned strengths along with potentially his best hook on the record. This song carries the same triumphant energy as much of the music of fellow southerner Big K.R.I.T, an energy that is hard to match and impossible to follow.

The wide array of influences that Kenny cited on his recent press run is apparent on Angelic Hoodrat as very few songs are able to be categorized as one specific genre. Taking genre-mashing to the extreme, Kenny mainly incorporates aspects of rap music of the 2010s and the post-punk movement of the 1990s in his music while sprinkling in bits of R&B and punk rock as well.

Mason doesn’t simply explore punk influences to be different though, as the 25-year-old artist showcases a serious vocal range that isn’t seen in his rap music. Some of the more rock-influenced tracks shine through as his most personal tracks on the album leading me to wonder if Mason actually plays the guitar and wrote these chords as well. Due to Kenny’s lyrical ability, his capacity to transmit emotion, and his post-punk sound, it’s impossible not to wonder if Angelic Hoodrat might be our best guess at what the rumored rock-influenced upcoming Kendrick Lamar album might sound like.

While Angelic Hoodrat is great, it’s not perfect. With this being his debut project, it’s a given that the 25-year-old is still trying to exactly find his sound. This leads to him flying too closely to the styles of others for my taste on a couple tracks. On the third track “PTDS” I swear Kenny Mason is actually Baby Keem at 1:14. “Metal Wings” is a little too Denzel Curry for me in the first verse. The ad-libs on “U in a Gang” are so Trippie Redd it distracts me from what is otherwise an excellent song. With this being said, Kenny is extremely good at impersonating these artists making these moments enjoyable, but with potential like his, he’d be a fool to imitate anyone but Kenny Mason.

In my opinion, Mason’s debut album is the second true break-out project of the year (the first being Take Time by Giveon), launching Kenny into the highest tier of new artists. Angelic Hoodrat will leave you feeling like you know Kenny Mason, sympathizing with those in a position similar to him, but respecting him to the point that where you understand your sympathy would offend him. With Angelic Hoodrat being one of the best releases of the year, it’s officially time to welcome Kenny Mason to the big leagues.

Favorite Tracks

Chevron

Angels Calling // My Dad

Hit

Rating: 8.5

Listen to Angelic Hoodrat here:

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400 Million Dollars Worth of Game: ‘Pray for Paris’ Album Review

By Courtney Fields

Westside Gunn. Photo: Gilbert Carrasquillo/GC Images

The Harlem Renaissance was a black intellectual, social, and artistic explosion in Harlem, Manhattan, New York City, spanning through the 1920s. After four long years of hard work led by Westside Gunn, Benny The Butcher, and Conway, it has become evident to the rap world that Griselda has started their own Renaissance.

On April 17th, 2020 Pray for Paris was released independently through Griselda Records. The Album Art is a story in itself being that it is based on the painting David with the Head of Goliath by Italian painter Caravaggio, who is considered to be “The Second Michelangelo.” Like Caravaggio, Westside Gunn is a product of some of the greats like Raekwon and Ghostface Killah. Said influences are exactly what makes Pray For Paris a gritty, graceful, imaginative, and ambitious album.

The album begins with an intro titled “400 Million Plus Tax'' which is an excerpt from an auction; which is a testament to the confidence of Westside Gunn.

The album then shifts to “No Vacancy”, a track that embodies the true grit and grace that the album’s artwork achieves on its own. The track is an anecdote of Gunn’s drug, crime, designer clothing, luxury car filled life; played over some of the most beautiful keys you’ll ever hear. Nothing is more heartwarming to a rap fan than hearing menacing lyrics over such heavenly production.

Griselda’s big three, Westside Gunn, Benny The Butcher, and Conway take us to “George Bondo”, A track where we see the three men not even try to “acclimate” to their new surroundings. If anything, this track is an explanation for Gunn’s entire career, a man that can say something like “Just shot a nigga on the anklet”, but then go hang out with Virgil Abloh at a fashion show. We even get to hear Benny The Butcher say, “I get you whacked at The Venetian for blasphemous speakin’ ”. Basically, on “George Bondo” we get a glimpse at the intersection point between the streets of Buffalo, NY and the three rappers’ newfound elitist status in the world of music - two worlds that are equally as crooked as they are beautiful.

On “327” Gunn, Joey Bada$$ (it feels good to be able to say we’ve gotten a new Joey verse), and Tyler, The Creator brag about the lifestyles their fame has allowed. I’m sure we can all agree that hearing Gunn brag about keeping a gun in the armrest of his Benz, Joey hanging with Diddy and Jay-Z, and Tyler bragging about his glittery fingernails is pretty worthwhile.

Tracks 8 and on is where we get to see the true grit of Gunn and his friends.

“$500 Ounces'' is a standout track of 2020, let alone the album. In just one verse, Freddie Gibbs sums up what makes him Freddie! He details friends looking out for him, selling drugs, and having trust issues; to then just chalk it up to the way God set his life out to be. Freddie even sneaks in the bar, “Kobe died, I swear a nigga might cry when I watch the Lakers, damn”. I’m not sure if anyone was ready to hear that line. Roc Marciano absolutely destroys the track with his melanin bar, “The MAC-11 hit your melon and crack it” A double entendre that had me pause the track if I’m being honest. Roc’s MAC-11 bullets are cracking skulls (hit your melon and crack it), but the words “melon and” also serve as the word “melanin” insinuating that black don’t crack.

 This review can’t end without mentioning track 10, “Claiborne Kick” which features Boldy James. Boldy sets a scene like no other, hearing him rap about his past is almost like watching a slideshow of his life. Boldy’s lyrics are cold and harsh, you don’t just hear what he’s saying, you feel it. His lyrics literally pop off of your phone as you’re reading the lyrics on Genius.

In its essence, Pray For Paris is, in my opinion, art at its purest form. This album is the truth, really. It perfectly embodies what it’s like to be black in America. We take our past with us everywhere we go, most of the time we try to escape it; but Gunn and the rest of Griselda want us to embrace all avenues of our blackness wherever we are. I mean, he had Virgil Abloh put diamond chains on a painting of David and Goliath. Gunn takes his true self wherever he is, whether it’s at Paris Fashion Week with Virgil Abloh, whacking guys at The Venetian with Benny The Butcher, or listening to Tyler, The Creator choose the next color of glitter for his fingernails.

Favorite Tracks

327 (Feat. Joey Bada$$ & Tyler, The Creator)

$500 Ounces (Feat. Freddie Gibbs & Roc Marciano)

Claiborne Kick (Feat. Boldy James)

Rating: 8.5

Listen to Pray for Paris here:

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The Summer of the 6 God: ‘Dark Lane Demo Tapes’ Mixtape Review

By Spencer Lobdell

Drake, photo courtesy of Republic Records

Rap’s biggest commercial superstar, Drizzy Drake, has been making lots of noise in 2020 as he prepares for the release of his 6th commercial album this summer. While hip-hop fans alike were aware of Drake’s recent spike in activity due to the viral hit “Toosie Slide” as well as recent SoundCloud freebies like “Chicago Freestyle” and “War,” no one was quite expecting Champagne Papi to announce the release of a surprise mixtape of leaks and throw-aways that would be available on all streaming platforms less than 24 hours after the announcement post.

Drake released Dark Lane Demo Tapes on May 1st, 2020 through OVO Records. The mixtape contains 14 songs with features from Playboi Carti, Young Thug, Future, Chris Brown and others.

Before diving into the music, it’s important to note where each track came from so we can conclude what this tape tells us about Drake’s sixth album. Four of the 14 tracks (“When To Say When”, “Chicago Freestyle”, “Desire”, & “War”) were released on SoundCloud over the past six months well one track was officially released by Drake on Spotify (“Toosie Slide”). Tracks “Deep Pockets” and “From Florida with Love” were initially recorded for Drake’s 2018 album Scorpion but didn’t make the final album and were eventually leaked in April 2020. Besides the two aforementioned tracks, we have every reason to believe that the rest of the music on Dark Lane Demo Tapes was recording for lucky album number six giving us a glimpse into what to expect this summer.

The first major takeaway from Dark Lane Demo Tapes is that Drake sounds hungrier than he has in recent memory. Something about Drake’s delivery sounds more urgent than it has in years - a welcomed deviation from the slew of complacent mid that he packed on 2018’s Scorpion. He displays this new drive on tracks like “When To Say When”, “Landed”, & “Losses” while also reminding us why we use to refer to Drake as a great rapper and not just a popstar. It seems like Drake is bringing back his long-winded, freestyle-esque tracks where verses are separated by brief pauses in the reflective bars if they’re separated at all. These instances where Drake accepts the challenge of bodying an entire song with no hook truly showcase Drizzy at his best as we remember that most of Drake’s most impressive tracks over the course of his career normally throw conventional song structure to the wind.

Photo: Splash News

Although Drake reminds us why he’s a great rapper through this tape of demos, he makes sure not to neglect his R&B fans on Dark Lane Demo Tapes. “Not You Too” features Chris Brown and showcases the two A-list artists trading sensual melodies over smooth ambient instrumental that are aided by a breath-taking synth slide halfway through the track. The song is classic singing Drake and is going to be played in idle cars with foggy windows for years to come. Drake doesn’t only make R&B for the bedroom though as the 7th track “Time Flies” sounds primed to be his next melodic hit and has the same addictive qualities as his 2018 viral smash “In My Feelings” without being half as obnoxious (please don’t turn this song into a viral trend).

Besides a very underwhelming Playboi Carti appearance, features pull their weight on Dark Lane Demo Tapes and even out perform Drizzy on certain songs, the first of which is the haunting “Chicago Freestyle”. On the track Drake calls on R&B’s next superstar Giveon who delivers a chilling hook that steals the spotlight and sets the tone for the track. Drake doesn’t go down without a fight though as the track showcases some of his most captivating writing and fascinating melodies. Every time I press play on “D4L” my day is made by Future’s “money counter” sound effects. “D4L” sounds like it was so much fun to record and the energy shines through making it one of the most infectious tracks on the tape. Fivo Foreign and Sosa Geek pop in for awesome guest verses on “Demons” adding something to the track that Drake simply couldn’t: Grit.

One of the most promising signs from Dark Lane Demo Tapes are the producers Drizzy chose to work with on the project. One of my biggest issues with Scorpion was boring production from Drake’s favorite in-house producer Noah “40” Shebib. Gone was the magic that the two shared during the Take Care days and all that was left was bland instrumentals that Drake tried to make work. It seems like Drake is taking a different approach to album number six as Dark Lane Demo Tapes has production credits from some of the most innovative producers in the game including Pi’erre Bourne, Southside, Cardogotwings, and OZ. The variation of production styles really seems to bring Drake’s music back to life in ways that I haven’t heard before. Hopefully Drake also embraced this collaborative attitude on album six, utilizing the surplus of gifted producers he has in his network to help lift him out of critical mediocrity and elevate back to the level he was on during the first half of his career.

It would be impossible to talk about producers on Dark Lane Demo Tapes without shining a light on veteran producer OZ who is having a moment in 2020. The beat maker already has three number one songs this year (“Life Is Good”, “Toosie Slide”, & “The Scotts”) and produced some of the best tracks on this new mixtape (“Time Flies” & “Losses”). OZ’s signature is a dreamy instrumental anchored by extensive hi-hat use, a style that gives Drake ample room to explore ear-worm melodies (“Time Flies”) or rattle off an emotional verse dripping in disdain (“Losses”). Oz’s outro on “Time Flies” is transcendent and gives the song a beautiful cherry on top that solidifies it as one of the best tracks on the mixtape.

The last two tracks on the mixtape house Drake flexing his versatility as he kills 6-minutes of UK inspired hip-hop that he’s dabbled with in the past but never fully dove into. As Drake successfully interpolates a European accent on “War” it’s hard not to see the potential for UK-Drake to become the multi-dimensional artist's third persona.

For being a mixtape full of loose freebies, Dark Lane Demo Tapes flows extremely well. Drake opens with three songs that flex his pen game and aim to intrigue fans of Drake the rapper before going into a four-song R&B run. Using “Time Flies” to fade back into rap, Drake then hits us with classic Drake bangers for the next five tracks before concluding the tape with his take on UK rap. Everything about the sequencing is perfect leading to Dark Lane Demo Tapes being more cohesive than the average mixtape.

Overall, Dark Lane Demo Tapes is a win for Drake fans everywhere. Not only did the six god gift us with a bunch of great new music to hold us over until his new album comes out, but even our favorite song on the project was consciously left off the album communicating that we should see an uptick in quality from this mixtape to the upcoming album. It’s hard for me to picture an album where songs like “D4L”, “Time Flies”, and “Demons”, are tossed to the side in favor of other tracks but believe me, that’s an album I’m VERY excited for.

Favorite TRacks

Chicago Freestyle (Feat. Giveon)

Time Flies

D4L (Feat. Future & Young Thug)

Rating: 8

Stream Dark Lane Demo Tapes here:

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Nothing In-Between Us: A Muse In Her Feelings Album Review

By Carter Fife

It has been almost three years since dvsn released their sophomore studio record Morning After. After their world tour in 2018, the OVO Sound duo comprised of vocalist Daniel Daley and producer Nineteen85 were immediately back in the studio, hard at work preparing their newest record. After releasing a few singles over the past few months and keeping details to a minimum, A Muse In Her Feelings finally released earlier this month. Unfortunately, many fans realized that this album may not have been worth the long wait they endured.

A Muse In Her Feelings sees the Canadian duo churning out sensual and glamorously-produced R&B anthems over the course of just under an hour. The record provides distinct moments that harken back to their previous projects, with many of the tracks (like the powerful opener ‘No Good’ which finds our heroes more dejected than usual) sounding like they could have been left over from early recording sessions for their 2016 debut SEPT 5th. Other tracks that carry a slower and more acoustic feeling to them (like the impressively serene ‘Pray For You’) sound like they could be B-Sides from their last record. If one were to collect all the tracks that break new ground for the group, one would be staring at only 5-6 tracks. This is not necessarily a bad thing, however, as even though the majority of the album shares many sonic similarities with dvsn’s music that preceded it, the music is still made incredibly well with powerful vocal and production efforts from two of the industry’s best. Even if one were to be disappointed that this record does not have a complete musical shift, like the one seen between dvsn’s first two records, there is no denying the talent and allure of this album as a whole.

Where dvsn breaks new ground, they find themselves actually diverging into two totally separate realms within their perfected area of R&B. The first realm is admittedly the safer one, as heard on tracks like ‘Friends’ featuring PARTYNEXTDOOR., and “Flawless’ Do It Well, Pt. 3’ with Summer Walker. It is here that dvsn strays into the conventional and pop-oriented side of R&B, with powerful kicks and mechanical hi-hats dominating the percussion tracks of each song. While ‘Friends’ is more reserved and melancholic meditation on love, ‘Flawless’ is a powerful and outspoken anthem that could just as easily be a club hit as it could be a track one listens to on the way home. ‘For Us’ is another track like this, and with it comes perhaps my favorite mix that dvsn has created since I became a fan years ago. While the song starts out as soft and low-fidelity, it evolves into a 90’s-esque power-ballad with production that sounds like an insane mix between House of Balloons-era The Weeknd and The Backstreet Boys. 

The second realm they stray into is more subversive- as they borrow from reggae and dancehall styles on tracks like ‘Dangerous City’ with the legendary Buju Banton and Ty Dolla $ign, and ‘So What’ featuring Popcaan. ‘Dangerous City’ carries a unique combination of dvsn’s intoxicating heavy R&B style with Jamaican reggae, and the instrumental sounds like something one would find on a Matisyahu album, but why Ty Dolla $ign was included on the track is a bit of a mystery. His presence doesn’t detract from the song, though the choice to pair him with Banton is certainly a strange one. ‘So What’ does what many artists have tried to do: properly harness Popcaan’s incredible talent and delivery without trying to hop on a trend or a wave. This track rhythmically aligns much more closely with dancehall music than most of the other songs Popcaan has been featured on over the past several years, and his performance with dvsn was well-done with the timbre of his deep voice contrasting well with Daley’s. It would be great if fans got more tracks like this, or like ‘Keep It Going’, a song that plays with several musical styles and has one of the most unique vocal performances on the record. It should be said, however, that it is a bit odd to have 3 partly reggae/dancehall songs on a record that is majority trap-influenced R&B.

The biggest problem with this record is that the incredible 2019 single ‘In Between’ was replaced with a remix featuring Snoh Aalegra. The original was a minimalistic, and shimmering acoustic banger that sounded like the lovechild between Jodeci and N*SYNC, so it was a shame it was it was replaced by a weird radio-friendly track featuring a poor performance by a guest vocalist. This is fairly easy to forgive as dvsn was likely trying to capitalize off of the hype from that single, and it is not hard to simply delete the newer version from one’s library.

Although A Muse In Her Feelings does not musically reinvent the wheel, it is still a solid album with close to an hour’s worth of content for every dvsn and R&B fan alike. There is a little bit of something for everyone, and though I wish the OVO duo would have doubled down on their newer dancehall-inspired music, I am still satisfied with what we were given. Was it worth the 3 year wait? Maybe not, and not to sound like an apologist, but few albums are. A Muse In Her Feelings has certainly given me plenty of songs to add to my current rotation, and I am excited to see how this record grows on me in the coming months.

Favorite Tracks

No Good

Keep it Going

For Us

Rating: 7

Listen to A Muse In Her Feelings here:

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