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

By Courtney Fields

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

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

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

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

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

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

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

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

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

Favorite Tracks

Unlimited

Runnin With

Nigo

Rating: 10

Listen to Almost There here:

Almost There, an album by LUCKI on Spotify

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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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G Herbo Has Transitioned From Wishing for a “Peace of Mind '' to Working to Attain It - "PTSD" Album Review

This Herb project is unlike any other. If you don’t get it, that’s okay… it wasn’t meant for you.

By Amaya Lorick

Raised on the Eastside of Chicago, rapper Herbert “G Herbo” Wright III gained national attention in 2012 when the video to his song “Kill Shit” featuring Chicago rapper turned music executive, Lil Bibby, went viral. Between 2014 and 2016, the 24-year-old, previously known as “Lil Herb,” released four mixtapes, dedicating two (Welcome to Fazoland, and Ballin Like I’m Kobe) to his close friends who lost their lives to gun violence. In September of 2017, G Herbo released his first studio album Humble Beast followed by two additional full length albums, Swervo (2018) and Still Swervin (2019). 

The drill-inspired artist has often been criticized for his “off-beat” verses. Now, less than a decade into his professional career, PTSD may have shocked some listeners with its relaxed flows. In February 2019, fans were excited for PTSD since Herb initially announced it was in the works shortly after his LP Still Swervin, which received many negative reviews.

In hopes to satisfy his demanding fans and put an end to commentary about various leaked tracks, G Herbo released five singles between August and December of 2019, which were later combined with additional songs to create Sessions (2019). Prior to the release of Sessions, fans were confused when the PTSD tour was announced before the album dropped but it was evident that the project would have to be released before the first leg. Sure enough, on January 31, 2020, the PTSD tour lineup was altered to accommodate a late-February release. 

On February 12, 2020, G Herbo previewed the PTSD single “In This Bitch”, which stands as one of the more vigorous tracks on the album, on Instagram Live hours before its official drop. The next day, Herb released the album artwork by Chicago local TeeJay Spencer and announced the project would drop on the 28th.

PTSD was released by Epic Records and Chicago indie label, Machine Entertainment Group with 14 tracks equating to 47 minutes. The album includes features by well-known artists such as A Boogie wit da Hoodie, Lil Uzi Vert, and 21 Savage. 

G Herbo surprises his listeners with three samples from early 2000’s rap music, also known as Hip Hop’s “Golden Age” beginning with his first song, “Intro”. Producer DJ Don Cannon sampled the iconic “Intro” track from Jay-Z’s fifth studio album The Dynasty - Roc La Familia 2000. The record parallels Hov’s track as it is also a broad guide to navigating the street presented in the form of a reflection. Like Jay-Z’s declaration, Herb doesn’t want to forget the traumatic past that shaped him but rather wants to continue to use it to fulfill his desired goals. This song encapsulates PTSD at its essence. 

Track number three, “Gangstas Cry” featuring BJ the Chicago Kid, serves as the most underrated song on the album. The slow, simple beat and chorus is straightforward enough to allow listeners who relate to Herb’s experience to understand his new ability to process his feelings. The importance of this track lies within his blatant confessions. Herb speaks on his past lean addiction and addresses using it as a coping mechanism to numb his emotional pain.

Considering its calm yet fast-paced tempo, special attention should be given to track number five, “Death Row”. The beat produced by DY Krazy is unlike any in G Herbo’s formal discography. The song’s placement within the album and catchy chorus captures the attention of  listeners who may have begun to lose interest in the project.

PTSD’s most popular track is named after the project. Having collaborated with Chance the Rapper, Juice WRLD, and Lil Uzi Vert before, Herb invites them back to paint a diverse and vivid story for his audience. G Herbo expresses how his excitement for his level of success is hindered due to the loss of his loved ones. While still unable to make sense of Juice WRLD’s unexpected passing, his lyrics of “I don’t belong. I see my past everywhere. Don’t stand too close to me. Eternal PTSD” punctures the slowly healing scab his fans have been attempting to mend. It is evident the success of this track derives from the heavy hearts of those still mourning the Chicago superstar.

While Chance the Rapper’s current sound is favored by fans of hip-hop/pop crossovers, the verse highlights an experience that is often overlooked. The story of the outsider that is still affected by the neighborhood crime while not being directly involved in it. Chance shares a childhood memory of having to suppress his feelings after witnessing someone being shot and killed with his mother. At that moment, both Chance and his mother were either unable or chose to not fathom the tragic event. This addresses the reality of the Chicago experience that includes growing up fast. The reality of being placed in situations your parents cannot assist you with and being forced to navigate the troubling experience on your own. 

As for Lil Uzi Vert’s contribution to the record… It was nothing special and does not add new content to the song. The verse was catchy and directs his fan base to the album itself.

Unlike previous projects where G Herbo can be heard defending his anxiety driven lifestyle, he seems to have a grip on his feelings. On Track 8, “By Any Means” featuring Atlanta native, 21 Savage, Herb begins his reflection with “I used to be trippin like a motherfucker. That’s cause I ain’t listen to a motherfucker.” While still young, G Herbo now sounds like a Vet in the rap game. 

Herb does his due diligence in his track “Feelings”' which samples Jadakiss’ “Still Feel Me”. On the track, G Herbo confesses that he longs for a better relationship with the mother of his child. Listeners observe a new sense of maturity within Herb as he acknowledges his life-commitment to her to a positive manner for the sake of their son, Yosohn.  

The project’s concluding track, “Intuition” featuring up and coming artists, Sonta and 2PRETTY, is an appropriate ending to PTSD because G Herbo redefines what it means to be a gangster. The outro, which samples Beanie Sigel’s “Feel It in the Air” is the final example of how Herb successfully demonstrates his ability to master old school classics with his witty flow. 

Chicago’s youth needed Herb to acknowledge his Post Traumatic Stress Syndrome to encourage them to confront the paranoia that convinces them to believe they are unable to relax. While G Herbo received positive reviews for his fun and catchy tracks “Pull Up”, “Swervo”, and his popular freestyled remix of Three 6 Mafia’s “Who Run It” in the past… they are almost depthless.

Diehard Chicago Herb fans have been asking for “Lil Herb” to return but we shouldn’t want him back. Herbert “G Herbo” Wright III is continuously evolving and it seems to be for the better. Not even a week after its debut, PTSD charted third on Apple Music behind Lil Baby and Bad Bunny with tracks that share his discomforting reality. If G Herbo is smart, he will continue to do just that.

Favorite Tracks

Intro

Death Row

Feelings

Listen to PTSD here:

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Mick Jenkins’ Flows & Attitude Take the Spotlight on His Transitional EP “The Circus”

By Owen Tait

Over the past few years, Chicago native Mick Jenkins has made a successful lane for himself in the underground hip-hop scene, fusing spacey, lo-fi instrumentals with elements of jazz and introspective lyrics. With mellow hits like “Jazz” and “Vibe” leading his repertoire since 2014, longtime fans may have been pleasantly surprised to hear the tonal switch-up he executes on his most recent EP, “The Circus,” released under Cinematic Music Group.

Across the breezy nineteen minute runtime, Jenkins takes on a slightly harder-hitting set of instrumentals, delivering countless attitude-filled bars about the current state of the rap industry (likely the inspiration for the project’s title) and the expectations people hold him to—none of which he intends on meeting. With only seven tracks, minimal hooks, and a lone feature from Atlanta duo EarthGang, Jenkins’ flows and smooth rhyme schemes truly get a chance to shine. 

The intro track, ironically titled “Same Ol,’” opens with a rusty, filtered lead that sounds rundown and sinister, much like a twisted circus after sundown. Soon after, Jenkins aims intimidating lines about his status and power at his adversaries and doubters, dropping shots such as “Couldn't hold me back if they tried, I'm six-five / Steppin' twice your stride if I marched in place.” Jenkins understands his security in his lane, and uses it as power to silence those who question his permanence. As we get closer to the hook, Jenkins sounds hungrier than ever, and his deep, growled delivery compliments the freaky instrumental extremely well.

Veteran fans get a more recognizable sound on the tracks “Carefree” and “The Light,” the latter of which features EarthGang fresh off of their successful record Mirrorland. The former sounds exactly as the title implies, with reverberated keys and atmospheric guitars laid over a super chill drum beat. However, the lyrics seem to go in a different direction. The hook sees Jenkins reminiscing on the times he actually was carefree, contrasting them with his struggles with police violence and social pressure in the verses. It makes for an interesting dynamic, even if it does revert to the sound of his earlier material.

“The Light” is an interesting track in that it seems more like an EarthGang ballad than a Mick Jenkins cut, given that the duo takes not only the hook, but also two out of the track’s three verses. Both Doctor Dot and Johnny Venus give great poetic performances on both of their respective verses, but the airy hook carries an odd rhythm that doesn’t quite stick the landing, and it comes off as clunky and awkward. Jenkins also gives a decent performance on his verse, but overall, the chorus made this track a difficult one to come back to.

Luckily, the project’s pace picks right back up with a round of three subtle bangers titled “Flaunt,” “The Fit,” and “I’m Convinced.” All three of these tracks back Jenkins’ hungry, fed-up attitude from the opener, with “I’m Convinced” and “The Fit” making a point to feature more “in-your-face” production. Even more shots are thrown, and Jenkins manages to come across sounding more angry than bitter, which is to his benefit. Furthermore, these tracks all feature immaculate flows and hooks, making them the most well-rounded songs on the project. The spoken/sung hook on “The Fit” is likely the catchiest and most charismatic on the record, with Jenkins dropping asides such as “Needed paper, I got paper, need a stapler / I got habits, I got problems, got enablers” in between his more aggressive jabs. Meanwhile, “I’m Convinced” features some of Jenkins’ best wordplay on the project, with the second verse in particular being quite striking.

The final track, titled “Different Scales,” serves less as a traditionally-structured cut and more as a closing cypher, with Jenkins exposing betrayal and people who aren’t real with him over a laid-back, nocturnal, lo-fi beat. The narrative he tells on this track is certainly loose—meaning that there isn’t necessarily a definite “story” at all—but as Jenkins bounces from one topic to another via word association, it’s just as compelling as if there was one. It’s a fitting tonal end to the record and expertly combines Jenkins’ classic sound with the more aggressive mood found throughout the rest of the EP.

All in all, “The Circus” is an interesting piece of material from Mick Jenkins, to say the least. The production is less lush than that in his previous outings, and while it is certainly an intentional push for Jenkins to sound more hostile, it’s nothing to write home about. With that said, those who come into projects primarily for the production might be turned off by the instrumentals on here; it doesn’t sound too far off from the production found on most other independent rap albums.

However, those who are looking to hear Jenkins’ technical skills and charisma on the mic will certainly have a field day here: what personality many of the beats lack, Jenkins definitely makes up for. Long time fans will love bobbing their heads to the sleek flows and unpredictable rhyme schemes Jenkins brings to the table. In addition, new fans may enjoy the more aggressive sound that Jenkins embodies and even find these tracks more accessible than his previous, jazz-fused works (proving that the more mainstream instrumentals are not entirely a bad thing). 

This means that, even though this might not be the most conceptually or sonically thrilling project of the year, it serves as a great bridge between Jenkins’ older works and whatever he has planned next. Furthermore, I think there is an argument that there is something here for everyone, and if Jenkins is able to maintain this insistent and assertive on future projects, then I look forward to hearing them.

Favorite Tracks:

Same Ol’

The Fit

I’m Convinced

Rating: 7

Listen to The Circus here:

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Sin, Salvation, and Sacrilege: Jesus Is King Album Review

By Carter Fife

Photo from shoot with GQ

Yeezy season is upon us once again, as last Friday Kanye West finally released his greatly-anticipated ninth solo studio album, Jesus is King. After numerous delays, tracklist changes, leaks, and radio silence from the Chicago rapper, the album finally hit streaming services to mixed reviews from fans and critics alike. 

Initially announced as YANDHI in the Fall of 2018, West’s newest record has gone through a multitude of extreme changes since its earliest inception. When YANDHI failed to release after several missed release dates in September and November, it seemed as if the album was scrapped entirely for reasons outside of fans’ control. In January of 2019, West began arranging exclusive events called ‘Sunday Service’, which featured a mix of church music, sermons, and acoustic gospel interpolations of tracks spanning the past fifteen years of West’s discography. Every Sunday, West would invite a small handful of Hollywood’s elite to witness a relaxed performance by him and an ever-growing choir directed by James White, until he brought the event to Coachella in April. Dressed in faded earth tones and accompanied by artists like DMX, Kid Cudi, and Ty Dolla $ign, Kanye performed at Coachella on top of a large grassy mountain that invoked themes of nature and grace (like YANDHI).

In the months that followed, YANDHI in its entirety leaked online in various forums that made users participate in a “group-buy”, a process that would lead to the well-known leaks of songs like “New Body” and “The Storm”. Despite this, in September West tweeted a new tracklist and a new release date for his ninth album, which had been renamed to Jesus is King. After another failed release date, radio silence and Sunday Service events in New York, Chicago, Detroit, Salt Lake City, and even Kingston Jamaica, Kanye West reappeared to finally release the album coinciding with the release of his newest IMAX film Jesus is King: A Kanye West Film at the end of October. 

Jesus is King clocks in at just-over 27 minutes across the record’s eleven tracks, and features what many outlets are describing as the most dramatic Kanye change yet. While Kanye West has always been a very religion-oriented rapper, this is his first record that is absent of profanity. While some argue that this is the next step in the rapper’s career, it seems much more likely that this album is simply reactive to the past 1-2 years of Kanye’s life. Between West’s mental illness diagnosis and increased presence in “church”, Jesus is King is a love-letter to the force that West attributes his ‘saving’ to: God. In interviews with Zane Lowe and Big Boy, West notes constantly about how he feels like he has been a slave to hip-hop culture, and this record is a catharsis from the person he was a year ago, attending the Pornhub awards and rapping with Lil Pump about sex on the track “I Love It”. Today, West stands liberated from the culture that he has been consistently redefining for the entirety of his career, though whether or not Jesus is King will withstand the test of time is yet to be seen.

The album begins with “Every Hour” featuring the Sunday Service choir. While the track is a beautiful gospel arrangement with bright and powerful piano melodies, it seems to begin out of nowhere, abruptly beginning the album by dropping us into the middle of church. This is a small complaint however, as the track is enjoyable while it’s on, though the chance it will see play at the next party you attend is probably unlikely. The track precedes “Selah”, an ambient and cinematic track with ominous pad harmonies and West both rapping and citing Bible verses. The citations paired with West’s line “If you woke don’t wake up” may roll eyes, but this track has a very strong emotional register that persists throughout the album as a whole. There is a religious message here that wasn’t present on the version of Selah that leaked online weeks prior, one that is almost critical of the fans and culture that he perceives as limiting to his own growth. 

Though there is a seed of truth in this observation, West is trying to send a well-intentioned personal message using a comically poor universal metaphor of religion. This is not the first time he has fallen victim to putting his foot in his mouth like this, as he has been guilty of this exact sentiment numerous times whether it arises from supporting a poor political candidate in order to preach tolerance, or by drawing parallels between the behavioral limitations of the status quo and *actual* slavery. It is important in these instances that we go beyond the initial shock of these poorly phrased statements in order to extract a deeper message for several reasons, most notably to gain some insight inside West’s commentary that the media may not provide. 

Next on the record is “Follow God”, a formulaic Kanye West banger that synthesizes soul samples and hip-hop percussion. West criticizes his relationship to hip-hop culture with the lines “Only ever seeing me / Only when they needed me ... Searching for a deity / Now you wanna see a freak”, and in doing so provides an interesting look at what it is like to be the person that has been the centerpiece of hip-hop for over a decade. Though this may seem like an exaggeration to the listener, it forces a kind of mindfulness into the relationship between consumer and artist, as the song title perhaps mirrors West’s desire for the consumer to follow God instead of a celebrity. There are a few glaring shortcomings with this track: the tone and delivery of West’s rapping does not deviate too much throughout the track, and the mixing seems to be fairly poor as the 808s and kicks get drowned out by the soul sample. Despite this, “Follow God” is an energetic and fun track that features West doing what he does best.

Very few tracks on the record have received criticism like “Closed On Sunday”, a beautifully composed track whose Achilles heel is found in the pseudo-humorous lyricism. The fated chorus “Closed on Sunday / You my Chick Fil-A” attracted a huge amount of attention during the public listening events held before the album’s release, and though many reduce the song to that one irony, there is something about this track that reads as entirely new. While it could be the dramatic aural profile bestowed upon the song by its haunting gospel choirs, acoustic guitar, and synthesizers, it could also simply be the Jezebel and Chick Fil-A references in tandem. Though West is almost certainly being tongue-in-cheek with this one, it is strange to hear “No more living for the culture / We nobody’s slave” in one moment, and “You my number one / With the lemonade” together. The impressive production features guest efforts from legend Timbaland, and the track ends as quickly as it began with A$AP Bari yelling “Chick Fil-A!”.

The fifth track on Jesus is King is “On God”, a futuristic and sleek track produced by none other than Pi’erre Bourne. The song features rapid arpeggiated synths and chiptune melodies existing in harmony alongside sparse percussion and West’s rapping, as he begins the track by rapping "‘How you get so much favor on your side?’ / ‘Accept Him as your Lord and Savior’ I replied”. The track is a fairly straightforward, and though West’s verses feature clever one liners, like “Follow God” the flow rarely features any variation.

“Everything We Need” follows, featuring Ant Clemons, Ty Dolla $ign, and even production from Ronny J. Though the track was leaked long ago as “The Storm” which also featured a verse from the late XXXTentacion, this version feels much more coherent. West has an additional verse, the lyrics seem much more consistent, and though Kanye’s vocals come off as a little rough, the track is much more consonant with the theme of Jesus is King. 

The following track, “Water” featuring Ant Clemons, was first debuted at Coachella, and though many fans were worried, it managed to make the final cut of the record. Ant Clemons’ vocals sound amazing, the instrumental and gospel harmonies are beautiful, and the track’s unique vintage feel gives Jesus is King some much-needed variety. For whatever reason, it seems like West and camp decided to squeeze in a new verse last-minute which sits on the track unmixed, poorly written, and monotonous on an otherwise powerful emotional track. West’s begging to Jesus for strength and wealth makes their relationship seem much more toxic and overly dependent, and stands at odds with the message of their mutualistic relationship that is found in so many other moments on the record. Though this new verse is as unwelcome as it is confusing, a CDQ version “Water” was worth the wait.

“God Is” is a bouncy and upbeat track laden with Pharrell-esque 808s and heavy choir usage. There is not too much to note about this song, as West’s line “I know Christ is the fountain that fills my cup” encapsulates the entire theme of praise on this three and a half minute performance. While enjoyable, “God Is” feels like filler because there is not too much on this track that is not able to be found elsewhere, and the timbre of West’s vocals feels rough and poorly-executed. “Hands On” featuring Fred Hammond and Francis and the Lights is similar in this respect because though the track helps provide a window into West’s mind, it does little more than highlight West’s messiah/victim complex. The track features vocoder vocals and lurching synth melodies, both of which serve to convey a dejected and menacing emotional tone. Neither of these two tracks take away from the record, but neither of them contribute too much to Jesus is King either. 

The penultimate track “Use This Gospel” is one of the highlights of the album for many. The song is a handful of random elements: Kanye sings about God on the hook, Clipse reunites with both Pusha T and No Malice delivering great verses, Kenny G has his own saxophone solo, and the instrumental even samples a car chime sound with West’s classic transposed vocoder-esque vocals along with it. Despite this, the track actually comes together pretty well, though the weak link is definitely West’s unmixed hook about gospel music. This track initially leaked as “Chakras / Law of Attraction”, and featured a much stronger hook by Ty Dolla $ign. Though Clipse did not appear on that earlier YANDHI demo, West did have an erratic and hype verse where he yells about “Grand Theft Auto, Grand Theft Auto! / We in the game, we in the game!... / Money ain’t real! / Time aint real!”. Though some prefer the older version, the updated vocals during No Malice’s verse were beautiful and the additional drums on the closing moments of the track gave the song a much more enjoyable feel to it. 

The album ends with “Jesus is Lord”, a brass heavy track where Kanye sings about Jesus and how he is lord. At under a minute, it ends quickly, and Jesus is King is over. 

Many of the complaints of this album stem from it feeling ‘unfinished’ (an intentionally vague term that I hate to use), but there is truth to this judgement. Some of the verses are unmixed, and feature weak writing full of religious platitudes and moments that feel dissonant with the album’s coherent message. It seems obvious that this record went through a strong period of rushing to get it finished on time, and because of that many fans are left unsatisfied wishing that they had received YANDHI, and tracks like the leaked “New Body” (featuring Ty Dolla $ign and Nicki Minaj) instead. While those criticisms are all valid, it seems apparent as well that many of the negative judgements surrounding this album exist in the realm of comparison and hypotheticals. It does not take a Kanye West apologist to stand back and appreciate the album for what it is, as many of the tracks on this album are still largely enjoyable despite having glaring flaws. Overall, this record marks what could be a strong turning point in Kanye’s career, and though this album will likely receive mixing updates (it has already received one, mere days after its release), many tracks still stand strong and leave many optimistic for what Kanye has in store for the future.

Favorite Tracks:

On God

Everything We Need (Feat. Ty Dolla $ign & Ant Clemons)

Water (Feat. Ant Clemons)

Rating: 7

Listen to Jesus Is King here:

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Kanye West’s Powerful Sunday Service at The Forum in Los Angeles

By Carter Fife

Last Sunday Kanye West provided Los Angeles with its very own Sunday Service event, the first since the release of his ninth solo studio album Jesus Is King. Hosted by The Forum, the faded gloss of the vermillion floors was obstructed by a multitude of different flora and in its center: a large grassy circular platform surrounded by lush and colorful flowers, all directly underneath a rounded screen. Astounding scenery aside, it was as if the diverse crowd of hypebeasts and older LA natives had accidentally come upon a secret oasis in the middle of Inglewood. 

This event was the first time West had performed many of the tracks off Jesus Is King live, and after following the rocky release schedule over the past year, there seemed to be an air of relief in the venue. Since West announced the release date for his latest project (then called YANDHI) in September 2018, the album went through multiple delays and transformations, many of which were attributed to West not feeling satisfied with the sound or progress of the record. As the year ended, many fans speculated that YANDHI had been scrapped, but feelings of hope began to rise when in January 2019 West began to privately host “Sunday Service” events, where he and a choir would dress in similar white garb and perform soulful gospel tracks for a select audience of the industry’s elite. Many of these tracks were softer and more religious interpolations of West’s previous work, which made these private events a joy for fans to track. After bringing his Sunday Service to Coachella, and a summer full of YANDHI leaks trickling out of the G.O.O.D music camp, West would later announce a tentative release date and tracklist for his new album Jesus Is King in the fall of 2019. 

Despite having Sunday Service / listening session hybrid events in Detroit, Salt Lake City, New York, Chicago, and even Kingston Jamaica, the album failed to arrive when West promised, and fans’ hopes were dashed again. At these events West also premiered portions of Jesus Is King: A Kanye West Film, an IMAX film created at the Roden Crater featuring performances from the Sunday Service choir, which received mixed reviews from attendees. A month later, ticket sales for the IMAX film appeared seemingly out of nowhere, West tweeted a new tracklist and release date for the record along with its new cover art, and as quickly as the promotion started, it ended Friday morning when Jesus is King released on streaming services. 

Sunday’s event was in part a spiritual successor to the events that preceded it: Sunday Service at the forum was part sermon, part Sunday Service choir performance, and part Kanye West show. Merchandise was available for purchase, including a garment that was designed in collaboration with AWGE, and a multitude of expensive garments that made some cry sacrilege. What set this event apart, however, was the sheer cinematic power that West’s performance had on its attendees. This was not a private gathering of Hollywood’s elite witnessing a shotty mess of hardware and plastic chairs, this was a public multimedia event that was West’s first show of the JIK era, complete with elaborate costuming, sound and stage design, guest artists and a setlist that had a little bit for everyone.

To put it lightly: the event did not disappoint.

Surrounded by around 50 performers including vocalists, percussionists, keyboard and brass players, West performed powerful renditions of his newest material, including beginning the event with an incredible performance of ‘Closed On Sunday’. Since Jesus is King’s release, this track has been under a large amount of scrutiny from critics and fans alike for the seemingly vapid hooks about Chick Fil-A and lemonade. While lyrically the humor in the song may be at odds with its other layers, there is no denying that this song has some powerful melodies that are accentuated heavily by the presence of a choir. The harmonic conversations created by West’s impassioned singing juxtaposed against the choir’s haunting aural register made my jaw drop, as before then I had given little attention to this song. 

This was not the only moment that West’s coordination of choir, instruments, and song choice captivated the crowd, as over the course of the two hour performance fans were treated to rare performances of church classics like “How Excellent”, improvised beat sampling by Kanye West, and even a religious themed rendition of Damian Marley’s legendary reggae anthem “Welcome to Jamrock”. This Sunday Service also featured the first live performance of “Saint Pablo”, guest appearances from Francis and the Lights (performing “Take Me To The Light”), and perhaps most notably, an unforgettable reunion of Clipse on “Use This Gospel” which also featured two solos from the legendary Kenny G on his soprano saxophone. 

Clipse and Kenny G join Kanye on stage for an awe-inspiring performance of “Use This Gospel”

Sunday Service at the Forum was visually striking as well, with each member of the choir being draped in bone-colored garments that featured the occasional splash of faded pastel coloring. Women danced in unison with long and beautifully decorated braids underneath a circular screen that projected different colored lights, and even a cloudy sky at various moments in the show. It was refreshing to see a stage that was in many ways an inverse of Kanye West’s stage design on 2016’s Saint Pablo tour. Before, West stood alone on the panopticon stage, hovering above his fans performing to them. On Sunday, West was under his fans performing for them, and aside from his performances of the tracks, there were many moments in the production where West was far from the focal point. Jason White, the service’s choir director, took the spotlight for the majority of the show while West would simply blend in with the performers. 

Whether or not one believes Kanye West to be a ‘true christian’, or a real supporter of the conservative party, or whether or not one boxes West to a caricature of a misguided celebrity plagued by mental illness and a growing distance between himself and reality, there is no denying that this event was powerful. Though the merchandise was expensive (LA Apparel / Yeezy Blanks cost far more to produce than Gildan Tees), entry to the event was only 15$ a person, as it was clearly designed to be a spectacle for the public to not only consume, but to be a part of as well. Audience participation was encouraged and never before have I been to a show where there had been such a tangible sense of elation both social and spiritual. Between seeing Kanye’s daughter playfully sing while on Kanye’s shoulders, and witnessing the reunion of one of hip-hop’s most powerful duos, Sunday Service at The Forum was an event I will not soon forget.

Listen to Kanye West’s new album Jesus Is King here:

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