Was a 6pc Enough?: “6pc Hot EP” Review

By Courtney Fields

R&B’s favorite crooner is finally back. Fresh off of a 2-year hiatus (as far as projects are concerned), 6lack has delivered his new “6pc Hot EP” fresh at our doorsteps. The Atlanta native has returned with his smooth, reverb-ridden vocals, with a side of bars. A set of songs that’s perfect for those late, summer night drives, with the windows down… I know you know exactly what I mean. 

“ATL Freestyle” was the EP’s only single, it sort of got lost in the whirlwind of events that were happening on, and prior to the songs release date: May 28th, 2020. Along with the song, 6lack gave us yet another reason to stan, providing fans with a message that clearly stated his stance on what his people, Black people face day in and day out.

6lack wrote: “A few words… With the amount of pain & anger, I feel in my heart, releasing a new song at this very moment doesn’t feel like a great priority.Nothing ever prepares you for how to feel when you’re constantly faced with the last dying breaths of Black people, my people, on your television or phone screens every day.”

See the rest of 6lack’s message to the people here. “ATL Freestyle” is one of my favorite songs of the year, it’s a mirror of exactly what I think perfect music is; slow, a mixture of singing and rapping, sad and brash lyrics. It is a “B-side” track, like most of 6lack’s music. The song could fit on Tha Carter II, an album full of B-sides… it’s also one of the few perfect albums if you weren’t aware. 

“Long Nights” is the EP’s second track, and it’s a perfect description for all those sneaky link ups you freaks were doing during quarantine. At its core, “Long Nights” is about a relationship that could last one night, or many. Ari Lennox’s background vocals take the track to a whole new level.

Track 3, “Float” may just be one of the best songs that sum up 2020 so far. Generally, everyone is trying to “stay afloat” but 2020 has been one of the more ruthless years in the 21st century. 6lack speaks on all of the adversity he’s faced in his life up to now. “I gotta put my shit back on track / Been down bad too many times / Know that it’s bad, but it’ll be fine”. He even mentions the racial tensions in America, “It's a big war goin' on outside / Grab your lover, time to slide”. In the midst of COVID-19, civil unrest, and his own personal struggles; all 6lack asks of his presumed partner on this song is for her to love him through it all “Make sure you love me ‘fore the world go out in flames”.

“Know My Rights” ft. Lil Baby is one of those songs that makes you recall the days when 6lack was a battle rapper. The two Atlanta natives rap about the extraordinary amount of fame, and riches they’ve managed to get. They make sure to remind us that they’re self-made men as well, so they tend to shy away from the opinions of others. It’s not often you hear 6lack flex on his songs, so this type of track fit perfect with a Lil Baby feature. 

In “Elephant In The Room”, 6lack is having an argument with a significant other who’s questioning his motives within their relationship, and they’re not sure the rapper’s priorities are in check. Rather than get nowhere with small talk, 6lack lays it all on the line, “You ask me if I'm choosin' my dreams over you, I said, ‘Hell, yeah’ / “I got so much love I can show, but I got so much shit left to do” / “Say what's on my mind don't make me choose, I might piss you off”. The “Elephant” is the issue the two of them have clearly been avoiding for some time now, and it seems to be 6lack’s music career, something he’d never give up on since he’s been chasing it all his life. 

I never thought there would be a way to make the end of quarantine (COVID-19) sound romantic, but sure enough here 6lack is with a post-virus ballad. 6lacks sings about going outside to play again in almost every other bar on track 6, ”Outside”. He reminisces the days where he was able to be with his lover physically, with no fear of getting each other sick. 

So, was a 6pc enough? I’d say so, the project is short but the quality of the tracks makes up for the lack of tracks. 6pc Hot EP may be the only project out right now that sums up almost everyone’s lives at the moment. Quarantine has many of us fairly lonely, not seeing our friends and significant other as much as we want (“Outside”), the civil unrest in America has kept anyone with a single shred of compassion spending days thinking about how fucked up this country is, and in turn trying to find a way to find some peace within all of the chaos (“Float”), and by spending most of our days at home, coupled with everything going on with the world there have been ample opportunities for the door to be opened to some tough conversations (“Elephant In The Room”).

Favorite tracks

Float

Long Nights

Know My Rights (Feat. Lil Baby)

Rating: 8

Listen to 6pc Hot EP here:

Listen to 6pc Hot EP on Spotify. 6LACK · Single · 2020 · 6 songs.

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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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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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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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Childish Gambino Creates His Own Sound on His Excellent Release "3.15.20"

By Miles Hagan

Where to begin with Donald Glover. The true definition of a renaissance man, Childish Gambino has built one of the most respectable and diverse discographies in music. Critics and fans alike were pleasantly surprised with the deviation from rap in 2016 that was Awaken My Love. Gambino had previously never released an entire R&B record, but the public reception was excellent. For most of his career he has displayed his versatility as an artist, and this record forced people to pay attention. A week before the official release of 3.15.20 Glover had a website titled “Donald Glover Presents'' where he actually released the project for a short amount of time before the commercial release. It created buzz, but was promptly removed after being up for a couple hours. 

3.15.20, Gambino’s fifth project to hit streaming services, was officially released on Sunday, March 22nd. The album houses 10 tracks and runs for just under an hour. Now with the album officially being released the public can enjoy the next musical endeavor from one of the greatest minds in the music industry.

The meaning of the song titles has to be mentioned. While at first this may seem a bit confusing this just simply indicates the timestamp within the albums run time where that track starts. 

Childish Gambino has given us a diverse array of sounds throughout his career and 3.15.20 is no exception. “Time” and “12.38” take care of the feature work early on with appearances from Ariana Grande and 21 Savage. “12.38” should be the radio hit of the year. It has everything someone could ask for in a song in 2020. What it adds is compelling and relevent lyricism such as, “Most these niggas wanna run around with these SZAs (Yeah) I prefer to just stroll the park with this Chaka”. Bino sounds angelic and Savage slides over the beat perfectly for his verse. The production evolves from start to finish and keeps the listener engaged, it feels like the song is growing with time (The background vocals are stunning too).  His language on the entirety of this project may be the biggest takeaway. This is one of the highest profile releases of the year, yet he doesn't make the listener feel like the content is going over their heads. Instead he is speaking to them and trying to find a way to keep them engaged with the content.

The way Childish performs both vocally and as a producer is like nothing else being produced right now. The first half of 3.15.20 is a sonic rollercoaster. “Algorhythm” and “Time” both sound futuristic utilizing a lot of autotune and synths. Apple Music classifies this as a Hip-Hop/Rap album and in terms of what Gambino is doing vocally that may be justified, as there were several moments on this album where he is flowing, but sonically this sounds nothing like an average hip-hop/rap project. There are several instruments at play in every track and when the music first starts it is impossible to tell what he is going to do with it. “24.19” sounds like the modern day version of a 70s track, with autotune that would make Stevie wonder using a voice box proud. He seamlessly flows between rapping and singing not even just track to tack, but within the same song. Something that also carried over from Awaken My Love is his impressive vocal control. 

3.15.20 is a densely packed album with a lot to understand conceptually. What must be applauded from Glover is the way in which he makes his statements. Time and time again he ups the ante and forces the listener to take a step back from the pleasant sounds they are hearing and actually focus on what he is saying. “35.31” is a perfect example. First of all it comes after a song in “35.22” that sounds like the most raw demo stolen from a Kanye Yezzus session before the words were written. This is an upbeat, folky, country sounding song a little past the midway point on this R&B and Hip-Hop record. In a high pitched innocent voice Gambino spends the next 4 minutes singing about serving coke to fiends and toting guns. Stereotypical Trap lyrics in a country sounding song, yet when coming from the mind of Donald Glover this works perfectly. This is the last thing I was expecting to hear and if someone described what it was going to sound like before I listened to the track I probably would have been hesitant. That is the genius of Childish Gambino, not only is he aware of this but he takes that challenge head on. Something as obvious as what he is actually saying can go right over the casual listeners head, because it sounds pleasant. The cultural awareness of 3.15.20 is strategic and subtle. In an era of genre bending where the biggest star in the world gets accused of biting almost on a daily basis ( *cough cough* Drake), is it not refreshing to have someone at the forefront of that movement morph it into something of their own?

“42.26” is actually the still so impressive and so meaningful “Feels Like Summer” from almost a year ago. While already incredible on its own, in the context of the entire project it fits perfectly. 

What has been a source of discontent from some fans is the extra things that Gambino added to the project. The first three minutes of the album the same electronic voice just repeats the phrase “we are”. The ending of “19.10” sounds like the lochness monster hopped in the booth for the last 30 seconds of recording. 

It may be a cop out to say art is subjective but that has to be done in certain cases. It is difficult to pinpoint what Glover was exactly attempting to say with this project, but it is clear that there is a message and a wealth of knowledge to uncover. Reading deeper into the lyrics feels like an honest experience. Childish doesn't shy away from the flaws and shortcomings of people in any of the songs on the album. “19.10” is the most outwardly happy sounding song on the entire album but also contains the lyrics, “to be happy really means that someone else ain't”. He spends the majority of the next song wondering why the woman he constantly hurts still loves him. He is critiquing society in the most digestible way possible. The stories don't continue from song to song, and there is no moment near the end that ties everything together. Donald Glover just tells us to “do what we wanna do” to close the project. 

This album felt very similar to how it feels to watch Donald Glover’s show Atlanta. It is an undeniably enjoyable experience even though you know you are not catching everything the first and probably not the second time going through. The beautiful crisp production and skillful singing and rapping captivate the audience while the lyrics underneath paint a darker image. Atlanta is a comedy but then there is an episode like “Teddy Perkins” that reveals the more ominous overtones to the series. While the show is outrageous at times, the brutally honest and realistic depictions of life situations is what keeps people coming back. 3.15.20 does a great job at depicting the harsh and beautiful reality we live in.

Favorite Tracks

12.38

35.31

47.48

Rating: 9

Listen to 3.15.20 here:

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