Artist Spotlight: Tanerelle

By Cori Carpenter

Tanerelle is an independent artist whose music is sure to take you on a journey. Her music embodies seduction, desire, and space. Space, as in outer space. If you want to know what I’m talking about, go listen to her 2019 single “A Trip Through Space to Clear My Head”. She blends R&B, Rock/Alternative, and Dance/Electronica music genres with ease, encompassing a sound that is one of a kind. Her aesthetic captures the influence of 1970s disco queen, Donna Summer, with an added space element. Referring to herself as “Mama Saturn”, also the title of one of her singles released in 2019, the independent artist masters that aesthetic in every way possible. Her Instagram is nothing but series of different photo shoots mostly with intergalactic overtones, that have many infatuated.   

Tanerelle (pronounced tuh-nair-ree-elle) is born and raised in Atlanta, GA and moved to Los Angeles when she was 18 to pursue a career in music. In 2015, she released her first single titled “Siren”. With a more upbeat, rock/alternative sound, “Siren” shows off Tanerelle’s versatility and how a voice like hers can transcend across a wide range of production. In 2017, she released an EP titled “11:11”. The seven tracks carried a similar tune as “Siren” while also introducing a newer sound that I and many other fans have fallen in love with. On track 4, “Dali”, Tanerelle repeats the line “I don’t do drugs, I am them”. Her seductive voice over a slowed alternative beat leaves one in a feeling of ecstasy. The releases that would follow would hook me and many others. “Dreamgirl”, a single released in 2018 is my personal favorite. The track embraces a tale of seduction and temptation all over a production that travels through space. The experience, to say the least, is otherworldly. 

Releasing a few singles a year, Tanerelle gives her fans just enough to fulfill them while keeping them wanting more. As we wait for another EP or perhaps a debut album, we appreciate the newfound recognition she is receiving. In 2020, Tanerelle reached new heights in her artistry. Prior to the pandemic and quarantine, the independent artist kicked off the year going on tour for the first time, opening for Ari Lennox in Australia and New Zealand. Her 2020 single “Nothing Without You” made it onto the season 3 soundtrack of HBO’s Insecure and was also given consideration for a 2021 Grammy nomination. She was also named Playboy’s December 2020 Playmate making history as the 40th African-American Playmate. And lastly, she had nearly 9 million streams on Spotify over the course of the year.  

As an artist just beginning to scrape the world of mainstream, Tanerelle is going to shake the world very soon and like the rest of her fans, I can’t wait. Mama Saturn is coming.

Listen to 11:11 below:

Listen to 11:11 on Spotify. Tanerélle · Album · 2017 · 7 songs.

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A Storied History of Racism at the Grammys

By Luke Modugno

Have you ever wondered what a physical manifestation of systemic racism looks like? Look no further than the Grammys. 

Winning a Grammy is undeniably considered the pinnacle of musical artistry. Being recognized by a reward as distinguished as the Grammys is surely an honor any artist would kill for. But for some artists, getting acknowledged by the Recording Academy is much more complicated than others. 

The Grammys has a storied and ugly history of racial bias in giving awards, nominations and determining genres in which albums fall under. Don’t believe me? Frank Ocean, Kanye West, JAY-Z, Beyonce, Sean (Diddy) Combs and countless others in the music industry have refused to attend the Grammys due to its clear favoring of music made by white artists. Michael Jackson and Prince’s all-time classic records “Off The Wall” and “1999” were not even nominated for album of the year. Kendrick Lamar’s 2012 project “good kid, m.A.A.d city” lost rap album of the year to Macklemore’s “The Heist,” a decision that left every fan of rap music scratching their heads. 

In her piece about racism’s presence at the 2017 Grammys, NPR staff writer Ann Powers writes, “When artists of color only win awards that are not included in the telecast — the only artist other than Beyoncé to get behind the podium on Sunday was Chance the Rapper — that's systemic racism, buried so deeply within the structures of an institution that it can be read as inevitable.”

Two years later, we are in the same place as we were before. After winning rap album of the year for his 2019 effort “IGOR,” Tyler, The Creator pointed out the Grammys’ tendency to categorize music based on race. "It sucks that whenever we — and I mean guys that look like me — do anything that's genre-bending or that's anything they always put it in a rap or urban category. I don't like that 'urban' word — it's just a politically correct way to say the n-word to me. Why can’t we just be in pop?"

To anyone who listened to the album front-to-back, “IGOR” was far from through-and-through rap. Incorporating elements of neo-soul, jazz, synth pop and funk, the only reason the album is considered anywhere close to rap is because it was created by a black man, who has been categorized as solely a hip-hop artist. 

Based on its continual favoring of music made by white pop artists, the Grammys seems to operate under the assumption that real music comes from standing-still, and playing an instrument, rather than the sample-driven, grungy nature of a genre like hip-hop. The Recording Academy’s dogma surrounding genre placement has led to pop or country music to dominate the album of the year category, as it's more accessible for their idea of what authentic music sounds like.  The last time a project that was not pop, country or rock won album of the year was 17 years ago, when OutKast won the award for their double album Speakerboxx/The Love Below. Furthermore, no black artist has won album of the year since 2008. Since then, landmark albums such as Kendrick Lamar’s To Pimp a Butterfly and Kanye West’s My Beautiful Dark Twisted Fantasy have left indelible marks on music, yet were spurned by the Grammys for album of the year. 

At this point, it's no coincidence that mostly black art in music (like rap, R&B, soul) is pushed to the side by the Grammys. Just days before the 2020 Grammys took place, reports surfaced of vote-rigging and even sexual misconduct. In addition, no one besides the Academy itself actually knows how the nomination system and voting even works. It remains an ambiguous process The Academy has some serious soul-searching to do ahead of the 2021 awards. In order for it to be “music's biggest night,” all of music has to be included, especially the talented and well-deserving black artists. Introducing a system of voting that is inclusive, transparent and more-genre blind is something the Grammys desperately needs. 

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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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The Increasing Disposability of New Music in the Digital Age

By Luke Modugno

President of Top Dawg Entertainment (TDE) Terrance Henderson Jr., aka Punch, took to Twitter last month to make a very blunt, yet sobering statement on the music industry today. “Music is very disposable right now,” his tweet read. As ambiguous and vague as the statement may appear, the tweet went semi-viral, sparking debates and vitriolic arguments in the comment section. Punch’s take on the music industry poses the age-old question for label executives like himself to determine how their brand does business: with quality, or quantity?

Since the music world has slowly migrated to and has become fully dependent on the internet, the industry moves at a bullet train pace. Albums release quicker and in larger quantities, artists go viral, make it big and fall off in the matter of months, and the average listeners attention span is dwindling year by year. 

Just like any other business, at the end of the day, the music industry is designed to siphon as much revenue from its customers. And with listeners getting increasingly conservative with their time, the industry has adapted to survive. Albums that have a runtime greater than one hour are virtually extinct, when that was widely considered the norm to be considered a LP years ago. For example, to be considered for album of the year, the Grammy’s only require a project to be 15 minutes long. Record labels are more aggressive in recruiting talent that will satisfy a niche need for the time being rather than a generational talent that might require years of attention and work to produce a singular album. These two noticeable changes in the industry seem to be direct consequences of the dwindling of our collective attention spans, leading to the growing disposability of music. 

But the conversation couldn’t have been started by a more perfect foil to the aforementioned trend. As the president of TDE, Punch directly influences the infamously sparse release schedule of the label. Although TDE is home to multiple once-in-a-generation artists, they rarely release music at the rapidity of their contemporaries. Kendrick Lamar, SZA and Isaiah Rashad all have not released new projects in nearly 4 years. A grand total of zero TDE artists have released an album this year. Additionally, the label is notorious for a lack of communication with its fans, another foil to the transparency required to keep up with the hurried nature of the industry. Despite their refusal to comply with the new norms of music, TDE is widely considered the best rap label in the world. And with founder Anthony “Top Dawg” Tiffith having a net worth of approximately $100 million, TDE is having absolutely no trouble financially. 

So, is music becoming increasingly disposable, or are we simply unwilling to lend a genuinely attentive listen to new music anymore? Is the art of music slowly being replaced by a more disposable product that is made to sell, not inspire? When your parents throw on one of their old classic records, and claim “music died long ago, this is real music,” they might actually not be entirely incorrect, and science may also agree with them. In 2012, the Spanish National Research Council conducted a study analyzing 500,000 songs ranging from the years 1955-2010. Using a complex algorithm, the council measured the harmonic complexity, timbral diversity and the loudness of each of the songs. Unsurprisingly, through the advancements in technology and the rise of genres such as house music and dubstep, timbral diversity steadily decreased in the selected timeframe. Additionally, via technological advancements in music recording, loudness has increased. However, the most interesting statistic of the three was harmonic complexity, which constantly decreased, showing the songs have increasingly less diversity. This trend perfectly fits the narrative that music is being more of a product, one made to sell rather than to be original pieces of art. 

So, music as a whole may be losing creativity and in turn quality, but what about the music that still excites and innovates? 

In a subsequent post, Punch asked his fans to give him specific sets of time that fans would sit with an album based on its quality. One of the top replies read “Meh - 3 days, Mediocre - 1 week, Good - 1 month, Excellent - 3 months, Classic - 1 year.” Clearly, the term “timeless classic” doesn’t hold nearly as much weight as it did in the past. Although classics are fewer and far between nowadays, we still may not have the ability to give them the attentive ear they deserve. According to a study conducted by Microsoft in 2018, the average human being now has an attention span of eight seconds. This is a sharp decrease from the average attention span of 12 seconds in the year 2000. 

Unsurprisingly, the main culprit of the decline is the emergence of streaming platforms. With an artist's entire catalog of music available at the touch of a button, the phenomenon of a new single or album releasing is undeniably diminished. As much as new music from one of our favorite artists may excite us, the temptation to find the next new thing is just too strong due to the accessibility of streaming. For that same reason,  pop star Adele is notably against the disposability of the music medium, discouraging her fans from streaming her music and encouraging them to buy physical copies. 

But the real music will never fade. Sure, more artists will have meteoric rises and falls, releasing music quicker than you can keep up with. But the Frank Ocean’s of the world, the Kendrick Lamar’s of the world, their music will still be analyzed, appreciated and consumed no matter how short our attention spans may be. 

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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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StereoVision’s Top 25 Albums of the First Half of 2020

By StereoVision Team

Although 2020 seems to be the year of the L so far with a deadly pandemic, civil unrest, and murderous hornets (that have been ominously silent since they were last reported on weeks ago), it is still hard to deny that this has not been a great year for music. With new projects from The Weeknd, Childish Gambino and Charlie XCX, countless ‘surprise drops’, and deluxe albums that double the size of the original record, there has never been a better time to be a hip-hop fan. When life is tough and hope is lost, we can always count on music to be a righteous force that bring us together even in the harshest times. With so many new projects being released weekly, many might wonder where to start when catching up with the year’s biggest releases. Look no further, as our writers have ranked and compiled our favorite records and projects from the year so far, starting from January 1 to the release of Pop Smoke’s posthumous album. We should note that to keep things fair, we counted the “deluxe” versions of certain records separate from the original, as many of them (like Uzi and Nav) intended on them being separate projects released in one package. Hopefully you spot some albums you recognize and some you don’t in our top 25 Albums of the Year list (so far)!

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25. ptsd - G herbo

Chicago rapper G Herbo shocks listeners with his new level of maturity. After seeing a therapist following a charge for gun possession, the 24-year-old was diagnosed with post-traumatic stress disorder upon unpacking his painful past. His goal with P.T.S.D. was to bring awareness to the severe effects of growing up in a city like Chicago. Within songs like “By Any Means” featuring 21 Savage and “High Speed,” G Herbo validates the lasting emotions that accompany the trauma many experience. -Amaya Lorick

Favorite Tracks

Intro

Death Row

High Speed

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24. Dark lane demo tapes - drake

Drake's surprise mixtape of leaks and throwaways gives every kind of Drizzy fan something to latch onto and reminds us why he’s one of the most successful rappers ever. From R&B tracks too smooth for their own good (Toosie Slide, Desires, etc.) to classic Drake bangers (Chicago Freestyle, D4L, etc.) Dark Lane Demo Tapes checks every box. The six god is far from complacent though as he continues to experiment and draw inspiration from other camps in hip-hop. He showcases this at the end of the album where Drake clearly calls on sounds and styles from UK and New York hip-hop which continues to keep his sound fresh and to give his already lengthy career even more longevity. Also, it’s important to remember at the end of the day that the tape is full of throwaways meant to hold fans over for the time being. 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. -Spencer Lobdell

Favorite Tracks

Chicago Freestyle (Feat. Giveon)

Time Flies

D4L (Feat. Future & Young Thug)

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23. My turn - Lil baby

If you admire Hip-Hop in the slightest, I’m certain you already know all about Lil Baby’s hot new album My Turn. Lil Baby has been in the scene for some time now and he is proving he is here to stay, after this release, I am certain he has plenty more #1’s left in the tank. This album has been running the charts ever since its release in February. Even just by looking at the features on his track list before the release, I knew he wasn’t going to miss. This album has been steady in my rotation and I hope everyone is bumping it when we all get to go back outside. This tremendous project deserves nothing less. -Colson O’Connor

Favorite Tracks

Heatin Up (Feat. Gunna)

We Paid (Feat. 42 Dugg)

Emotionally Scarred

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22. the price of tea in china - Boldy James x alchemist

There’s something intoxicatingly grim about Boldy James’ apathetic, lackadaisical delivery. The Detroit MC’s flat, monotone vocals have been helping him kick ill bars so smooth, a passive listener might gloss over the haunting tales about dead friends, drug trafficking and the mental trauma that comes with life in the underbelly of society. If anything has been a constant in Boldy’s relatively overlooked discography, it’s that he’s a master of utilizing minimalistic tones. But for his latest LP, The Price of Tea in China, Boldy has once again linked up with raps most distinguished minimalist: The Alchemist. While The Alchemist couldn’t be more of a sonic foil to Boldy’s usual beat selection centered around hard-hitting trap production, he welcomes the challenge with open arms, as Boldy kills each and every one of the beats cooked up for him on this project. Luke Modugno

Favorite Tracks

Surf & Turf (Feat. Vince Staples)

Slow Roll

Speed Demon Freestyle

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21. take time - giveon

Well most fans were introduced to Giveon when he was featured on Drake’s “Chicago Freestyle” at the start of 2020, the Long Beach singer will be remembered for far more. On his debut project TAKE TIME  he graces us with his beautifully unique baritone voice that will undoubtedly carry him to R&B stardom. While the 8-track EP only runs for 24 minutes, that’s plenty of time to get to know Giveon as he masterfully walks us through a recent relationship from the promising start full of excitement and potential all the way to the painful end full of heartbreak and jealousy. TAKE TIME should have every R&B fan begging Giveon for new music, it’s so rare for an artist to not only have a generational voice that is aggressively authentic but also be a genius songwriter. There's no doubt that Giveon is going to be one of the biggest stars in music, the only question is when. -Spencer Lobdell

Favorite Tracks

THE BEACH

FAVORITE MISTAKE

HEARTBREAK ANNIVERSARY

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20. ungodly hour - chloe x halle

Grammy nominated sister duo, Chloe x Halle, received an abundance of attention after appearing on the Freeform sitcom, Grownish and singing its theme song. Their second studio album, Ungodly Hour, arrived after the nationwide protests demanding justice for the many Black people murdered by police. Advised by Beyoncé and given creative freedom from Parkwood Entertainment, Chloe x Halle encapsulated the many realities Black women face surrounding personal identity, relationships, and young adulthood. -Amaya Lorick

Favorite Tracks

Forgive Me

Do It

Ungodly Hour

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19. fuck the world - brent faiyaz

If Brent Faiyaz is a name you are unfamiliar with, now is the time to get familiar. Brent slid under my radar for too long, and I soon realized he featured on some of my favorite songs and I just didn’t know it. His new album ‘Fuck The World’ is full of incredible, spacious layering that paint pictures in excruciating detail. This is the perfect album to throw on during a late night drive, you are simply bound to catch a vibe. I enjoy his sound because he just doesn’t sound like anyone else. Not to mention, homie can SING! The R&B scene is in good hands as long as Brent Faiyaz stays in the game, and based off his progress so far, I think his next project will somehow be even more captivating. -Colson O’Connor

Favorite Tracks

Fuck The World (Summer in London)

Clouded

Been Away

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18. unlocked - Denzel Curry x kenny beats

Over the past couple of years, Denzel Curry has become one of the most discussed artists in the current generation of rappers, breaking out of the underground due to his slick flows, high-energy delivery, and clever—often goofy—lyrics. Meanwhile, Kenny Beats has become one of the most sought-after hip-hop producers, largely due to his collaborations with Vince Staples, Rico Nasty, and JPEGMAFIA. With that said, it only makes sense that a joint project between the two would’ve gone this hard. Throughout its tight eight-track runtime, Denzel delivers some of his most aggressive and rowdy performances yet, taking inspiration from legends such as Ol’ Dirty Bastard and DMX. On the production side of things, Kenny arranges an extremely intricate blend of boom-bap, experimental hip-hop, and jazz rap; the tone he sets is immaculate, and it perfectly compliments Curry’s combination of dark and cartoonish bars. The duo truly proved how well they could work together, and I hope to hear more collaborations from them in the near future. -Owen Tait

Favorite Tracks

Take_it_Back_v2

DIET_

‘ Cosmic ’ .m4a

---

17. High off life - future

High Off Life is the best project Future has put out since Beast Mode 2. While not perfect, the highs on this album are very high. The production is dark and booming putting you right in the middle of Future’s world. Above all else he sounds hungry and motivated again which is dangerous if he has more music to come this year. -Miles Hagan

Favorite Tracks

Ridin Strikers

Too Comfortable 

Accepting My Flaws

---

16. everything - kota the friend

The timing of Kota The Friend’s new 12-track album couldn’t have possibly been better. By the time of his release, I was very cooped up due to the pandemic, and the negative vibes were catching up to me pretty quick. I liked Kota’s previous work, but I wasn’t necessarily a major fan. That all changed after one play through of EVERYTHING. I have probably bumped this project every day and its positive and wholesome energy has really help me stay grounded and calm in a time full of uncertainty. My favorite thing about this album is that Kota has nothing to prove. He is solely trying to catch a vibe and doesn’t care what anyone thinks. This reminds me a little bit of J. Cole in that sense. If you haven’t checked it out, I highly recommend you do so. EVERYTHING has easily made its way to my top five albums this year. Big props to Kota for killing it on this one. -Colson O’Connor

Favorite Tracks

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

Always (Feat. KYLE & Braxton Cook)

Summerhouse

---

15. it is what it is - thundercat

A few weeks into many of our quarantines, Thundercat blessed us with his fourth studio album It Is What It Is. Thundercat continues to show the best of his new age jazz and RnB sound with tracks such as “Funny Thing,” “Dragonball Durag,” and “King of the Hill” (feat. Steve Lacy). It Is What It Is has everything you would expect from a Thundercat project: bass, humor, and unrequited love. On this project, however, Thundercat gets more introspective and philosophical than ever before. His ability to hold the space for laughs, grooves, simping, and curiosity all within the scope of a single album is nothing short of an incredible feat. -Kaila Cherry

Favorite Tracks

Funny Thing

Dragonball Durag

King Of The Hill (Feat. Steve Lacy)

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14. 3.15.20 - Childish Gambino

Childish Gambino is a vet. He has earned the right to be trusted in basically all of his artistic endeavors. It seems almost blasphemous to say that 3.15.20 seems to have flown under the radar. This album sonically sounds like nothing else to drop this year. Gambino once again expands his vocal range track after track, never allowing the project to become stagnant or stale. While the production can be off the wall, it makes it equally if not more refreshing than the sharpest albums this year. -Miles Hagan

Favorite Tracks

12.38

47.48

35.31

---

13. how i’m feeling now - charli xcx

Following the seamless blend of pop and experimental aesthetics that appeared on her 2019 outing Charli, fans were definitely eager to see where UK pop artist Charli XCX’s sound would venture next. Trapped in self-isolation, she took the time to reflect on her relationships with her significant other, her friends, and herself—a process that resulted in her most intimate and innovative project to date. On how i’m feeling now, Charli pushes further into the strange more than ever before, as the majority of the tracklist is saturated with glitchy percussion, distortion, noise, and busy synths that perfectly compliment Charli’s heavily-manipulated vocal delivery. Additionally, Charli manages to bring one powerful performance after another to the table, delving into a variety of introspective topics such as her love life, friendships, and mental health. If you’re searching for the future of pop music, look no further than this one-of-a-kind album. -Owen Tait

Favorite Tracks

forever

claws

enemy

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12. wunna - Gunna

In the accompanying documentary that was released with Wunna, Gunna talks about needing to leave Atlanta to quiet the noise and find new inspiration well crafting his latest wave. This tactic pays off tenfold on Wunna as the album successfully transports listeners to the Caribbean from the first swirling guitar bend on “ARGENTINA”, the addicting intro to the album. Gunna flexes the best writing of his career on WUNNA meaning there isn’t a single throw away across the 18-track album. More than ever Gunna also steps back and shines the spotlight on YSL’s team of superstar producers (Wheezy, Turbo, Taurus, etc.) resulting in one of the most cohesive projects of the year that is undeniably fun. -Spencer Lobdell

Favorite Tracks

DOLLAZ ON MY HEAD (Feat. Young Thug)

SKYBOX

NASTY GIRL / ON CAMERA

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11. eternal atake - lil uzi vert

The drama this album caused is honestly what makes it one of my favorite drops this year. The wait for this album was insane, but when it finally dropped, it literally shook the industry. Uzi’s journey to get this project to drop is one of the best stories in music this year. It was just a great moment for music as a whole, Uzi beat the label! Drama aside, it’s just a fun album, it’s impossible to be in ai bad mood well playing Eternal Atake. -Courtney Fields

Favorite Tracks

Homecoming

Prices

Secure The Bag

---

10. rtj4 - run the jewels

Four years after the release of their last studio LP Run The Jewels 3, the rap duo of Killer Mike and El-P return once more for a healthy dose of their subversive style of hip-hop in what may be their best album yet. El-P’s tangible in-your-face production paired with the aggressive rap styles and political register makes this record perhaps more relevant than the ones that preceded it. The free mixtape’s release timing was perfect, delivering iconoclastic and status-quo shattering bars in a time we needed it most. -Carter Fife

Favorite Tracks

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

walking in the snow

holy calamafuck

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9. chilombo - Jhené Aiko

For an album with 20 tracks, every song on CHILOMBO beautifully transitions into the next. Longtime fans will notice Jhené is happier especially in songs like “Happiness Over Everything (H.O.E)” and “Love.” With features ranging from Future to John Legend, Jhené successfully cultivates a project that appeals to various audiences. The simple yet detailed production shows Jhené’s commitment to the process itself. -Amaya Lorick

Favorite Tracks

Triggered (freestyle)

Tryna Smoke (feat. MicahFoneCheck)

10K Hours (feat. Nas)

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8. pray for paris - Westside Gunn

The resurgence of the grimey boom-bap roots of New York hip-hop in recent years can almost solely be accredited to Westside Gunn, the head-honcho of Griselda Records. Pray For Paris exemplifies the greatest aspects of the boom-bap renaissance, as Gunn’s ever-unique inflection and ad-libs paired with his beat selection make for one of the best debut albums in recent history. With a star-studded line-up of rappers, producers and a few of the best cyphers of the year, Pray For Paris is amongst the elite albums of 2020. -Luke Modugno

Favorite Tracks

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

George Bondo (Feat. Benny The Butcher & Conway The Machine) 

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

---

7. shoot for the stars aim for the moon - pop smoke

Long Live The Woo! Pop Smoke’s debut album gives me a jaded feelings; I’m never sure if I’m happy or sad when I’m playing it. The songs on this project prove two things:

1. I’ll never get tired of Pop Smoke’s signature sound (many dub this as making the same song over and over again), but Pop is the one artist I don’t mind that from. I was actually disappointed that there weren’t more “Dior” or “Welcome to the Party” sounding tracks on there. 

2. Pop Smoke was a STAR. Tracks like “Enjoy Yourself”, “What You Know But Love”, and “Diana” prove that Pop was far from a one-dimensional artist. He clearly had so many different sounds in his bag, and he was destined for stardom.

RIP Woo, a young legend gone far too soon. -Courtney Fields

Favorite Tracks

Enjoy Yourself

Got It On Me

Diana

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6. she already decided - smino

It’s been a minute since we’ve gotten a complete project from St. Louis rapper Smino. Fortunately, Smino is another artist this year that treated fans to a surprise release, though in Smino’s case it was a free mixtape that was partially composed of both original tracks and remixes to the past year’s most iconic hits. On She Already Decided we see Smino at the top of his game, proving himself to be one of the most dynamic and versatile artists in hip-hop today. Synthesizing elements of soul, hip-hop and R&B, this record is full of hits that are certain to stay in rotation. -Carter Fife

Favorite Tracks

Already

Good Ol Julio

2MuchFronto

---

5. after hours - the weeknd

There isn’t an album I appreciate more this year than After Hours. Being in the industry for almost 10 years, I’m glad Abel took a step in some uncharted territory. It’s always refreshing to see such a big star sift into new genres and sounds. The Weeknd’s take on 80’s Synth Pop easily makes this my favorite album of his. This album shows Abel’s love for music; he didn’t have to shift his entire identity and sound to sell this project, but he did. He took a huge risk that reaps huge rewards in my books. -Courtney Fields

Favorite Tracks

Snowchild

Escape From LA

Save Your Tears

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4. LUV vs. the world 2 - lil uzi vert

If someone were to ask me what the most fun album of 2020 has been so far, I would likely respond with this project, a deluxe album that Philadelphia rapper Lil Uzi Vert saw fit to drop only a week after the colossal success of his highly anticipated record, Eternal Atake. On the sequel to his 2016 mixtape, not only did Uzi meet the bar he set for himself a week earlier, but completely he flew past it, exceeding everyone’s expectations. The tracklist was tighter, the mixing was cleaner, and Uzi’s vocal performances were far more dynamic, leading to an album with far fewer skips than Eternal Atake and a lot more replay value. Meanwhile, a star-studded list of features and catchy production only added to its appeal, making it one of the most enjoyable and infectious listens of 2020. -Owen Tait

Favorite Tracks

Yessirskiii (Feat. 21 Savage)

Strawberry Peels (Feat. Young Thug & Gunna)

Moon Relate

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3. circles - mac miller

In what may be his final album, Pittsburgh producer, singer, songwriter, multi-instrumentalist and rapper Mac Miller crafts a tear-jerkingly beautiful ending to his discography. Produced and arranged by legendary producer Jon Brion, the project is amongst the most well-produced in Miller’s catalog.  The album serves as both a tribute to Mac’s life and a beautiful love letter to his fans and loved ones. Circles is the final step in a sonic and artistic revolution of one of the music world's most brilliant minds. -Luke Modugno

Favorite Tracks

Circles 

Good News 

Right 

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2. a written testimony - Jay Electronica

After almost a decade of waiting for Jay Electronica’s debut record, fans were rewarded for their patience earlier this year with a surprise release from the man himself. A Written Testimony is a masterfully produced exercise in top-notch writing, production, and lyricism. Over the course of the record’s ten tracks, created in a span of only 40 days and nights, Electronica and the equally mythological Jay-Z trade bars on success, self-doubt, and religion. Together the duo produced a project that was truly worth the wait. -Carter Fife

Favorite Tracks

A.P.I.D.T.A

The Blinding (Feat. Travis Scott)

Fruits of the Spirit

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1. alfredo - Freddie Gibbs x alchemist

Alfredo is the perfect storm. Freddie Gibbs and Alchemist have both been crafting incredible music individually over the past year. It seems strange that such successful artists seem to be getting better as they age, yet this is what we have. Alfredo is coke rap done at the highest level. Alchemist utilizes such unique instrumentation on each track yet still allows Freddie to navigate every beat with ease. There are so many levels to this project, and with each listen another one is revealed. It may be early, but this will not be an easy project to top. -Miles Hagan 

Favorite Tracks

Scottie Beam (Feat. Rick Ross)

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

Skinny Suge 

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88rising Is Connecting Asian and Western Culture

How the mass media company is bridging the gap between the two worlds through music and more.

By Matthew Herin

88rising's logo.

What Is 88rising?

88rising, stylized as 88⬆, is a mass media company founded by Bay Area native Sean Miyashiro in 2015. Before starting his company, Miyashiro was working for VICE Media on a project called Thump, a site dedicated to electronic dance music. This wasn't his passion, so he left VICE and founded 88rising. VICE is a multicultural mass media company, and Miyashiro wanted to make a "VICE for Asian culture." (4) The meaning of the number 88 comes from the Chinese character "囍," meaning "double happiness," (14) which happens to be the name of 88rising signee Rich Brian's 2020 tour. The number 8 is also considered to be a lucky number in China, symbolizing fortune and wealth. 88rising is a hybrid record label, talent management, marketing, and media production company all fused into one. Miyashiro was inspired to start the company during a dinner with friends in Los Angeles. He states, "I looked around the table and everyone was a dope Asian motherfucker — the best Asian designer, a next-level Asian chef, a rapper. There were all these fucking incredible Asian creatives killing it in their own fields, and I realized we didn't have a home to tell our stories. Something sparked and it just felt like the right time to build something." (3) Miyashiro took his skills he learned at VICE and used them to create 88rising, bridging the gap between Asian and Western culture. Today, 88rising has over 70 employees and offices in New York City, Los Angeles, and Shanghai.

"Our whole goal and mission is to represent the Asian minority and fight under-representation or misrepresentation." (3) – NIKI, 88rising artist

Dongheon Lee, “Keith Ape”

Keith Ape

Keith Ape, born Dongheon Lee, is a pioneer of connecting both Asian and Western cultures. Born in Seoul, the South Korean rapper made waves in the United States in 2015 following the release of his breakout single "It G Ma," which featured fellow Korean rappers JayAllDay and Okasian, as well as Japanese rappers Loota and Kohh. The song is roughly 50% Korean, 40% Japanese, and 10% English. (13) Keith Ape is heavily influenced by American trap music, so it's no surprise that "It G Ma" features hard-hitting 808s, an eerie melody, complimented by aggressive rapping and garnished with ad-libs and sounds of gunfire. The hook is catchy, very simply just: "It G Ma! (Whoo!)" No matter where you are from, you are able to rap along. The song went viral worldwide; people genuinely liked the song, even though the majority of people are not able to understand most of it. Not only was Keith Ape bridging Korean and Japanese cultures, but now, he was bridging these cultures with the West. Before "It G Ma," any song that really penetrated the West was usually a K-Pop song or a song that perhaps isn't taken too seriously like PSY's "Gangnam Style." Keith Ape's hit was a straight trap song. "I focused on making it sound like music from the West," (2) he states.

Sean Miyashiro reached out to Keith Ape after Dumbfoundead, a rapper that he was managing at the time, showed him the video for "It G Ma." Miyashiro describes his feelings after watching the video, "It was like a what the fuck moment, you know?" (2) Miyashiro called Keith Ape via FaceTime and got him to come to the South by Southwest Music Festival in Austin, Texas. Soon after, Miyashiro became Keith Ape's manager. (4)Following this move, Miyashiro was able to land familiar American rappers A$AP Ferg, Father, and Waka Flocka Flame on the "It G Ma Remix," further pioneering Asian rap culture into the West. To this date, the original music video for "It G Ma" and the video for the remix have over a combined 90 million total views, and the remix has over 38 million streams on Spotify. It didn't stop with "It G Ma." In 2018, Keith Ape went on to work with double-platinum and five-time gold American rapper Ski Mask the Slump God on a track titled "Achoo!" which currently has over 23 million streams on Spotify and almost 30 million views on YouTube. Ski Mask the Slump God has a cult fan base, and through this collaboration, Ski's fans were introduced to Keith Ape, if they hadn't heard of him already with "It G Ma." Keith Ape serves as an inspiration to all Asian hip-hop artists, as he was the first to make it big in the United States rapping in his home language.

"I've always liked American culture, but there is cool Asian culture too, so I try to mix them up." (2) - Keith Ape

Brian Imanuel, “Rich Brian”

Rich Brian

Born Brian Imanuel in Jakarta, Indonesia in 1999, Rich Brian has made a name for himself in hip-hop as the most prominent Asian rapper. Homeschooled most of his life, Brian taught himself English through watching YouTube videos on how to solve a Rubik's Cube and by listening to American rap. (6) Brian became obsessed with America and American culture, and spent most of his time online. "I had more friends on the Internet than I did in real life," (2) he states. Brian would stay up all night, talking to his American friends on Skype, and ordering cheeseburgers via McDonald's delivery. (7) He would watch music videos of American rappers and loved listening to aggressive trap music and hip-hop.

Dat $tick

On February 22, 2016, Brian released a music video for a song titled "Dat $tick" under his old alias, Rich Chigga. The music video currently has over 148 million views, and the song has over 133 million streams on Spotify. The video features Brian in a pink polo (a nod to Kanye West?) and a fanny pack rapping about guns, foreign cars, and killing police officers. The song and video went viral due to many factors. First, it went viral due to just how unorthodox of a rap song and video it was. Brian did not look like who you would expect to be rapping like this. Surely a scrawny Asian boy can't be rapping about killing cops and toting guns, can he? Brian was. Second, the song is actually good! Its catchy hook over an eerie instrumental, similarly to Keith Ape's "It G Ma," complimented by Brian's smooth flow, caught the attention of many listeners, sounding like something we would typically hear put out by an American rapper. Brian says, "When I was making the song, I was listening to all this trap music...listening to them talk about scary shit, I just love it so much. So I was like, I kinda wanna recreate this. I wanna have like some, scary ass lines." (10) Sean Miyashiro, who had been following Brian on Vine, the beloved six-second video sharing service, called Brian upon the release of "Dat $tick" and wanted to fly him out to the South by Southwest Music Festival to perform. Unfortunately Brian, who was only 16 at the time, was unable to get a visa, but took on Miyashiro as his manager. (4)

The Controversy

The song and video also went viral due to Brian's rap name at the time, Rich Chigga, and the fact that he says the N-word in the first verse. Brian explains that at the time while he was recording the song, he wondered, "If this song blows up, and I say the N-word, would people be like 'Holy shit, this song is so cool I'll let it slide'? That's what I was thinking. I was basically just trying to make people less sensitive to the word and take the power out of it, but then I realized I'm totally not in a position to do that. I fucked up." (10) He has since promised to never say the word again. Many people felt like Brian was making a mockery of American hip-hop music and Black culture. Luckily for Brian, Miyashiro was able to flip the bad press about his racially insensitive name and his use of the N-word in his song. At the same South by Southwest in 2016 that Brian was unable to attend, Miyashiro interviewed a handful of already established rappers, having them watch and listen to the "Dat $tick" music video. All of the rappers endorsed Brian. Instead of a follow-up single, Miyashiro uploaded this video to 88rising's YouTube channel, in hopes that it would lessen the controversy around Brian. Multi-platinum recording artist Tory Lanez calls Brian, "the hardest n***a of all time" Rap legend Cam'ron says, "I see the comedic side...but what he was spittin' was dope, though." Grammy-nominated rapper Goldlink says Brian should "never change." (8) At the end of the video, Wu-Tang Clan member Ghostface Killah volunteers to do a remix of "Dat $tick." You can hear Miyashiro in the background who is absolutely puzzled, asking Ghostface if he's serious or not. He was 100% serious, and in October of 2016, the 'Dat $tick Remix' was released, (9) featuring Ghostface Killah and underground rap legend Pouya, further exposing Brian to the rap game. It was evident that American hip-hop artists welcomed Brian, an Indonesian rapper, into their world, so we the fans should, too.

Name Change

"I didn't want to put myself in a box. I didn't want people to be like, 'Yo, Rich Chigga is that dude that just doesn't care about hip-hop and just shits on it, right?'" (2) - Rich Brian

Upon the announcement of his debut album Amen, Brian started getting more slack for his rap name than ever. He first got Twitter when he was just ten years old, (12) and all Brian knew of America was through YouTube. At the time of coming up with his name, he was just a kid from Indonesia who did not know any better. "I do regret it," (12) Brian says. People were not taking Brian and his music seriously, and Brian really wanted to develop as an artist. So, in 2018 to start off the new year, Rich Chigga announced that he will now be going by Rich Brian. He says, "It's best decision I've ever made, and I'm glad I did it." (2)

Brian officially changes his rap name to start off the new year.

Growth

Since the release of "Dat $tick," Brian has become the most relevant Asian rapper in the United States. He's traveled across the world, selling out shows everywhere he goes. In 2017 he, alongside fellow 88rising star Keith Ape, released a track titled "Gospel," with the late XXXTentacion, a pioneer of the aggressive trap movement in the United States. With X's cult-following of a fan base, this collaboration took off, getting more than 130 million streams on Spotify, and 42 million views on YouTube. The song went Gold, selling over 500,000 copies worldwide. Brian released more singles, working with Atlanta rappers 21 Savage and Young Thug, introducing himself to these fan bases. Brian has since released two albums, Amen, in 2018 and The Sailor, in 2019. These albums have a combined total of over 500 million streams, just on Spotify. By giving these albums a listen, it is incredible to see how far the Indonesian rapper has come. Brian has turned away from rapping about weapons and cars, and is now focused on telling his own story through his catchy melodies and passionate verses. The albums feature not only fellow 88rising artists like NIKI, Joji, and AUGUST 08, but they also feature established American rappers, like RZA, leader of the Wu-Tang Clan, and Offset, a member of the multi-platinum rap group Migos. One thing Sean Miyashiro and 88rising knows is that collaborations with already established artists is a surefire way to gain credibility and exposure in the rap game. In 2018, Brian was selected as a XXL Freshman. XXL is an American hip-hop magazine who selects a "Freshman List" of popping up and coming rappers. XXL freshmen alumni include rappers like Kendrick Lamar, Travis Scott, and the late Mac Miller. Most hip-hop fans believe that once you reach the XXL Freshman list, you've "made it" as an artist. More recently, Brian released a heartwarming video for a new song entitled "BALI" featuring American rapper Guapdad 4000. In the video, with the recent quarantine situation due to COVID-19, Brian uses a drone to deliver gifts to some of his friends, including American rappers Lil Yachty and Denzel Curry, as well as fellow Indonesian 88rising singer NIKI. Everyone who received a gift paid it forward, sending the drone back to Brian with money. Towards the end of the video, Brian uses the same drone to deliver these envelopes of money to those in need, including a catering service that was able to use the money to donate over 150 meals to healthcare workers, and to a woman whose family has started to make masks amid the pandemic. Rich Brian's growth as an artist is truly respectable, and it's all because 88rising believed in the kid from Indonesia. Check out Rich Brian's video for "BALI" below:

"I want Asian kids to look at me and say, 'Holy shit, if he can do that, then so can I.'" (2) - Rich Brian

George Miller, “Joji”

Joji

Born George Miller in Osaka, Japan, Joji was already well-known before becoming the soft-ballad singer we know today. He was an extremely successful YouTuber by the name of Filthy Frank, with over 7 million subscribers. He went on to become a viral meme sensation by creating the Harlem Shake dance in 2013. His Filthy Frank videos were filled with vulgarity and crude humor, commonly ridiculing those obsessed with Japanese culture on the Internet. He also released music under the name Pink Guy, a Lycra humanoid in a pink morphsuit, releasing meme-worthy songs like "Please Stop Touching My Willy," and "I Will Get A Vasectomy." (6) Unknown to his fans, George was getting tired of creating this content. He was "going through the motions" (4) and was turned off by the toxicity of the Internet, which seemed to only be getting worse. He credits Sean Miyashiro for getting him out of this creative lapse. George was meeting with Sean at the 88rising offices to collaborate on viral video ideas, but when Sean heard George's demos of the somber music he was recording, he thought it was best to focus on George's music career. (4) In December 2017, George, or Filthy Frank, announces on Twitter that he will be quitting comedy, explaining how he does not enjoy it anymore. He tells his fans he will continue making projects he is passionate about, and it is up to them if they want to come along for the ride. He signs off on the message: “-Joji.”

Filthy Frank explains his retirement from comedy in a post on Twitter.

Making History

88rising takes to Twitter to celebrate Joji's major accomplishment.

As a follow up to his first EP, In Tongues, Joji released his debut studio album, BALLADS 1, in October of 2018. The album debuted at number 1 on Billboard's Top R&B/Hip-Hop Albums Chart, making Joji the first Asian artist to ever do so. (1) The album's cover pays tribute to Joji's past as Filthy Frank, with Joji adorning Frank's iconic crazed smile. The 12-track album featured guests like extremely popular American rapper Trippie Redd, and established hip-hop producer Clams Casino, who has worked with the likes of American artists A$AP Rocky, and the late Lil Peep. BALLADS 1 went Gold in January 2020, and currently has over 1.1 billion streams on Spotify. Joji's most popular song, "SLOW DANCING IN THE DARK" has over 372 million streams alone, and has recently gone viral on TikTok. Born in Japan, being of half-Japanese and half-Australian descent, penetrating the West in such a huge way, Joji embodies what it means to connect different cultures. Joji's success serves as living proof of 88rising showing the West that Asians are just as talented as them.

"Be proud of who you are and rely on your strengths. Identity is very important but always remember who you are." (3) – Joji

Not Just A Record Label

GUESS x 88rising "GUESS Rising" Collection Promo

Through the course of this reading, we have seen how 88rising is bridging the gap between Asian and Western cultures through musical talents like Keith Ape, Rich Brian, and Joji, but 88rising is doing so much more than just music. In August of 2019, to celebrate their 2nd annual Head in the Clouds Music and Arts Festival in Los Angeles, 88rising collaborated with popular American clothing company GUESS, releasing their "GUESS Rising" collection, featuring t-shirts, hoodies, jackets, hats, and more. The promotion campaign featured international 88rising artists like Joji, Rich Brian, NIKI, and the Higher Brothers adorned in the new collection in true yearbook photo fashion. The collection sold out online within just twenty minutes. (11)

Furthermore, 88rising also uploads non-musical content to their YouTube channel, like their "The Greatest Japanese Bartender" series, which stars Kayama San, Japan's Greatest bartender, ever so elegantly craft a variety of drinks, over calming music. The video offers ASMR-like qualities. There is also a series entitled "Eighty ATE" which shows viewers how to make iconic Asian food, such as boba, dumplings, and kimchi. 88rising clearly has respect for Asian culture, and wants the rest of the world the ability to experience it, too.

Sean Miyashiro, 88rising founder

88rising is working. But why?

88rising was never set up to be a music company. It was set up to be a cultural company, showing the world "that Asian people are fire," (2) as founder Sean Miyashiro says. The main reason that 88rising is successful is because they aren't doing Asian culture from a business perspective. Sure Miyashiro and his team at 88rising manage artists, but they are their friends first. "This is what we want to do, it's in our DNA and blood, and when you do that properly, people feel it," (5) Miyashiro says. Another reason 88rising is working is because of the Internet. With the Internet, we are able to go worldwide and reach millions of people we never could've fathomed reaching 20-30 years ago. Lastly, Miyashiro attributes the world being more open and accepting to 88rising's success. (2) Hip-hop nowadays is more than just hip-hop. What started as a place for social commentary has evolved into an incredibly diverse genre of all lyrical content, sounds, and styles. When you make good music, people will listen. It doesn't matter your race or what language you're speaking in.

“They’re creating a big sense of pride for a community that I don’t think has had as much representation on the global scene.” (5) - Nicolai Marciano, director of brand partnerships at GUESS, on 88rising

Artwork from 2018 Head in the Clouds Music & Arts Festival flyer.

What's Next?

In 2018, 88rising hosted their Head in the Clouds Music & Arts Festival in Los Angeles, making history as the first festival in the United States with all-Asian headliners. The festival was a hit, with over 20,000 fans in attendance. This festival has become an annual event, happening this past 2019, and a Head in the Clouds Indonesia festival was supposed to happen in March of 2020, but was postponed due to COVID-19. 88rising has released two albums, Head in the Clouds, and Head in the Clouds II, which feature songs from 88rising artists with collaborations from American artists, as we would expect from 88rising. These songs have gathered millions of streams, including "Midsummer Madness" with 175 million on Spotify, and has since been certified Gold. Sometime later this year, 88rising will be launching its own Sirius XM radio channel, making history again, as the first major Asian radio channel in North America. (5) On May 6th, 88rising is hosting a 4-hour global online music festival called Asia Rising Forever, which will celebrate exciting Asian talent from all around the world, including 88rising's artists like Rich Brian and NIKI, as well as non-88rising talents like K-pop group CLC, and Malaysian singer Yuna. By the looks of it, 88rising is here to stay. With extremely successful movies like Parasite and Crazy Rich Asians breaking barriers in the film industry in the United States, 88rising is breaking barriers in the West in the music industry and other highways. In the future, more things will be made, and there will be some misses, but there will also be some hits, and it's these hits that will continue to push boundaries and move the culture forward.

“I’d rather die than not continue this. I feel like I’m high all the time, even though I’m sober.” (4) - Sean Miyashiro

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References

(1) Anderson, Trevor. “Joji's 'Ballads 1' Debuts at No. 1 on Top R&B/Hip-Hop Albums Chart.” Billboard, November 5, 2018. https://www.billboard.com/articles/columns/chart-beat/8483269/joji-ballads-debut-no-1-top-rb-hip-hop-albums-chart.

(2) Asia Rising. How The Next-Gen Of Asian Hip Hop Is Taking Over The Music World. RedBullMusic/88rising, 2019. https://www.youtube.com/watch?v=_vC2hvHa9T0. 

(3) Dao, Dan Q. “How 88Rising Raised the Bar for Asian Representation.” PAPER. PAPER, June 3, 2019. https://www.papermag.com/88rising-asian-representation-2638625195.html.

(4) Hsu, Hua, Joshua Rothman, and John Seabrook. “How 88rising Is Making a Place for Asians in Hip-Hop.” The New Yorker. The New Yorker, March 26, 2018. https://www.newyorker.com/magazine/2018/03/26/how-88rising-is-making-a-place-for-asians-in-hip-hop.

(5) Ifeanyi, KC. “How Music Label 88rising Brought Asian Rap Culture to the United States.” Fast Company, April 30, 2020. https://www.fastcompany.com/90491415/how-music-label-88rising-brought-asian-rap-culture-to-the-united-states.

(6) Kuo, Fong. "Asian Resurgence in Western Memetic Culture." Chief Copy Editor: 66. http://tinnalam.com/wp-content/uploads/2019/06/focus2019layout_FINAL_2.pdf#page=76

(7) Oktavia, Resky. "Immigrant’s Cultural Intelligence In The US As Depicted In Rich Brian’s Chaos Music Video." PhD diss., Diponegoro University, 2019. http://eprints.undip.ac.id/68635/1/Resky_Oktavia-Thesis.pdf

(8) Rappers React to Rich Brian Ft. Ghostface Killah, Desiigner, Tory Lanez & More. 88rising, 2016. https://www.youtube.com/watch?v=-KMBELyZ_sM.

(9) Rich Brian - Dat $tick Remix Feat Ghostface Killah and Pouya (Official Video). 88rising, 2016. https://www.youtube.com/watch?v=Z4eARl9omVs.

(10) Rich Chigga "Dat $tick" Official Lyrics & Meaning | Verified. Genius, 2017. https://www.youtube.com/watch?v=qAyjL868Ytc.

(11) Ruiz, Derick. “88rising x Guess ‘Guess Rising’ Collection.” Modern Notoriety, August 14, 2019. http://www.modern-notoriety.com/88rising-guess-rising-collection-release-date/.

(12) Tchou, Wei, and Andrew Marantz. “Rich Chigga and the Difficulties of Keeping It Real.” Culture Desk. The New Yorker, June 7, 2017. https://www.newyorker.com/culture/culture-desk/rich-chigga-and-the-difficulties-of-keeping-it-real.

(13) Thomas, Dexter. “‘It G Ma’ Made Asian Rap History (In Addition to Sounding Like OG Maco's ‘U Guessed It’).” Vice. Vice, February 2, 2015. https://www.vice.com/en_us/article/r3znav/keith-ape-jayallday-loota-okasian-and-kohh-it-G-ma-korean-u-guessed-it.

(14) Zhang, Haoran. "A Study of ‘88rising’and their YouTube Approach to Combine Asian Culture with the West." https://www.scss.tcd.ie/publications/theses/diss/2018/TCD-SCSS-DISSERTATION-2018-065.pdf

Images

Cover photo, "Why 88rising is the Future of Music Labels": https://cdn.asiatatler.com/asiatatler/i/th/2019/08/15113316-88rising_cover_1024x683.jpg

88rising logo: https://upload.wikimedia.org/wikipedia/commons/thumb/4/41/88rising_logo.svg/1200px-88rising_logo.svg.png

Keith Ape, "A Rare Interview with Korean Rap Radical Keith Ape": https://dazedimg-dazedgroup.netdna-ssl.com/2000/azure/dazed-prod/1210/0/1210236.jpg

Rich Brian, "Rich Brian Learned How to Rap from YouTube": https://media.gq.com/photos/5a7470ddb0b6765f8c255b67/master/w_1600%2Cc_limit/rich-brian-web-alex-reside10.jpg

Rich Brian name change Tweet: https://twitter.com/richbrian/status/947889914225422336?s=20

Joji, "Closer to the Road: Joji Interviewed": https://www.clashmusic.com/sites/default/files/field/image/111_%20OnlineImage13.jpg

Filthy Frank retires Tweet: https://i.kym-cdn.com/photos/images/original/001/327/338/9b3.png

88rising's Tweet celebrating Joji: https://twitter.com/88rising/status/1059552823468285960

GUESS Rising Collection Promo: https://www.modern-notoriety.com/wp-content/uploads/2019/08/YEARBOOK.png

Sean Miyashiro, "88rising Is Giving Asian Musicians Proper Representation": https://coveteur.com/wp-content/uploads/2020/02/SEAN_MIYASHIRO_DESKSIDE-9-835x1253.jpg

Head in the Clouds Festival Flyer: https://res-4.cloudinary.com/dostuff-media/image/upload//c_fill,g_faces,f_auto,w_800/v1535742155/event-poster-9387697.png

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

By Carter Fife

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

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

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

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

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

Favorite Tracks

Green Juice in Dallas

Meet Me in Frisco

Organic Tokens

Rating: 9

Listen to Cruise USA here:

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The Cascading Effects of Rap Regionalism’s Growing Absence

By Luke Modugno

We as rap listeners are comfortable compartmentalizing music based on regional differences. From the infamous East vs West Coast beef of the late ’90s and the recent rise of the South, to the growth of international sounds in hip-hop, territorialism in hip hop has been around since the conception of the genre. But these autonomous circles of rap are slowly growing closer. From the rise of social media to the invention of the smartphone, the rapid pace at which technology has evolved has made the world an undeniably smaller place. The music world, of course, has followed suit. No proverbial stone has been left unturned, as the way we consume music has changed with streaming services. Artist-fan relationships have never been tighter through avenues such as Twitter, as well as a complete transformation of production processes. Even one of hip-hops defining and fundamental characteristics is fighting a losing battle to the internet: regionalism.  “It’s a switch they can turn on and off,” said author Murray Forman, author of The ’Hood Comes First: Race, Space, and Place in Rap and Hip-Hop. “The Internet has facilitated a sense of placelessness.” Is the song West Coast, East Coast, Southern, or does it even matter anymore? 

Instead of your local record shop getting regionally relevant albums weeks ahead of other cities, it can be accessed worldwide via streaming platforms or countless other sites like YouTube, DatPiff, SoundCloud, and AudioMack. The elimination of the slow migration of physical records has undermined many of the unique characteristics of each region, as full discographies can be analyzed and consumed elsewhere at the touch of a button. Isolation, due to a lack of a comprehensive communication system like the internet, allowed these individual sectors of rap to flourish. 

Of course, the West Coast and East Coast had their own distinctive and legendary hip-hop scenes. But other areas cultivated their own exclusive and independent movements. Memphis developed a darker, more aggressive brand of hip-hop than the rest of the south with groups like Three 6 Mafia. New Orleans was dominated by “bounce” music, a type of hip-hop focused on energy and call-and-response style parties (Drake’s hit “Nice For What” incorporates elements of bounce). 

But the internet has changed rappers' views on the idea of regionalism, as instead of defending their turf's sound, they borrow elements from their technological neighbors.

Not all of this is bad news, whatsoever. In fact, the growing utilization of technology in hip-hop has allowed for a sort of rap renaissance of both the sound and philosophy of regionalism. The genre is more collaborative than ever, allowing for a compelling blend of styles and sounds. Take, for example, the two most recognizable labels in contemporary rap music: Top Dawg Entertainment and Dreamville. Both J. Cole and Kendrick Lamar, head honchos of their labels rosters, are heavily rooted in their respective regions both sonically and topically. But the rest of their labels hardly follow suit. Dreamville artist JID represents a fascinating fusion of Atlanta trap and the old-school soul aesthetics of the south.  Isaiah Rashad of TDE is a through-and-through southern trip-hop guru. And LA based artist Cozz hardly fits Dreamville’s line-up of Southern/East Coast artists. 

Lamar is surely in favor of the post-regionalism of hip-hop,  “It’s not about the coasts, it’s not about what side we’re on. It’s about being as great as Biggie, as ’Pac,” he said in an interview with Power 106. “People trying to make it a rivalry—that’s old school, homie. We’re black men out here trying to uplift the culture.”

Lamar's sentiments on regionalism reflect a growing trend. Transcending the conformity of space has become something applauded in contemporary hip-hop, rather than something scrutinized. Tyler, The Creator, Kanye West, and Earl Sweatshirt, some of the most celebrated minds of rap today, hardly follow their region's designated soundscape. On the other hand, some of the unique idiosyncrasies  of the separate territories of hip-hop have survived the transition from old-school to new-school. Joey Bada$$ and the Griselda crew have upheld the East Coast’s boom-bap brilliance. Traces of the smooth, G-funk inspired golden age of the West-Coast can be found in artists like Nipsey Hussle, Jay Rock, and Lamar himself. While the South has undergone the most considerable transformation of the three with the immensity of trap music, the sounds of Isaiah Rashad, Smino and Big K.R.I.T. harken back to the days when Outkast, Lil Wayne and T.I. captivated the rap world. Artists like Denzel Curry and Travis Scott put their respective cities on the map. Rap is left in an odd place, one situated quite precisely in the midst of an overhaul between an old-school and new-school mentality toward regionalism. 

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But none of this is to say collaborative efforts between the sonic qualities of regions was nonexistent during the golden age of stubborn territorialism. Outkast’s second and third records, ATLiens and Aquemini  had almost every sonic quality of the then budding G-funk revolution that enthralled much of the West Coast hip-hop scene. New York legend Nas was unafraid of mingling with the influencers of the West, as he was the first rapper from the Big Apple to appear on a Dr. Dre beat on the classic cut “Nas Is Coming.” It’s widely known that A Tribe Called Quest’s legendary project The Low End Theory was heavily inspired by the masterclass of production present on N.W.A’s debut album Straight Outta Compton. While collaborative efforts between these distinct regions were entirely more taboo during the 90’s, the result were landmarks, classics and imaginative pieces of music. Today, we’re still enthralled by regional teamwork. Whether it’s when the distinct styles of a Drake and Future produce a legendary record like What a Time to Be Alive, or Migos, Run The Jewels or Kanye West adopting Memphis’ patented triplet flows, we’ll always have an affinity and appreciation for hip-hops regional roots. It differentiates our experiences from one another, but allows listeners a window into another life. A life that happened elsewhere and at an entirely different time, when sound had geography. 

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Songs of Solitude - ‘She Already Decided’ Mixtape Review

By Carter Fife

While fans waited patiently for the release of Smino’s third record, the St. Louis rapper decided to drop a semi-surprise mixtape on Soundcloud this week. Titled She Already Decided, this project finds Smino synthesizing neo-soul and hip-hop elements seamlessly over 40ish minutes of casually-produced tracks. It is safe to assume this is at least a partial product of Smino’s time spent in quarantine, as fans received an email from him saying, “S.A.D. MIXTAPE OUT NOW! … I made dis shit at the krib fr tryna stay sane and Inspired as much as I can mane… REAL FREE MUSIC.. AINT NUN PERFECT ALL UNMASTERED N ROUGH RAW WTF EVER for y’all…”. A blessing to be sure for those of us who are going stir-crazy ourselves- thankfully it is hard to complain while safely in quarantine with new music.

For a project whose aesthetic is intentionally casual and ‘rough around the edges’, She Already Decided is an excellent showcase of not only Smino’s versatility - but his command of multiple styles of rapping and singing. On the project’s opener, ‘Fronto Isley’, Smino starts by singing over a classic sample from The Isley Brothers. On the chorus he says “I rap good, smoke good, fuck good, Look good, shit good”, and the next minute he’s delivering lines like “I made a call to bae and told her breakfast on the way / I'm so elated, pussy bald like Charlamagne”. This is just the first of many tracks on the project that make the listener realize that even Smino’s “ROUGH RAW” tracks have an incredible amount of thought and talent poured into them. An example of this is even seen in S.A.D.’s production credits - as though there were not too many hands involved in the tape’s creation, Chicago’s L10MixedIt (Acid Rap, NØIR, Telefone) is involved with every track. 

Tracks like ‘Kotton Kandy’ with Sevyn Streeter and ‘Good Ol Julio’ are great examples of Smino thriving while singing in a variety of different styles. The former is a sultry hi-hat laden R&B track, whose rhythm and chemistry between Smino and Streeter work in tandem to make an infectiously catchy banger. The latter is a much more percussive and jazzy track that requires an insane performance from the St. Louis rapper. For almost three minutes, Smino continuously sing-raps over an intense drum and bass arrangement, and he does not disappoint. The point of these tracks, and their criticism, is not simply to show how versatile of an artist Smino is. What is present here is not just versatility, as to be versatile merely just implies a wide range of ability. What Smino shows on She Already Decided is dynamism - an adaptive mastery of multiple styles of both singing and rapping, and this is shown all throughout the project.

Some of the most stand-out moments on She Already Decided come from Smino’s remixes of other popular songs. On ‘Cabbage’, a remix of Megan Thee Stallion’s TikTok anthem ‘Savage’, Smino captures the true theme of this project while casually adlibbing “I'm having so much fun in this motherfucker right now”. ‘Blac Soda’, an interpolation of Baby Keem’s hit ‘ORANGE SODA’, has Smino delivering clever lines in a cadence that is just a touch too similar to Keem’s, though perhaps that is just a testament to Keem’s iconic flow found in the original track. Smino even gets the opportunity to remix Roddy Rich’s ‘The Box’ on ‘Jamie Boxxx’ towards the end of the project, though not before remixing his own track ‘KLINK’ with T-Pain. 

One of the most notable qualities of She Already Decided is how irregular and subversive many of the mixes and beats found on the project are. ‘2MuchFronto’, ‘Gotta List’ and ‘Chips & Juice’ all occupy opposite ends of the hip-hop instrumental spectrum, but somehow Smino is able to dominate on each one. Even on the track ‘Already’, Smino graces listeners with a strangely hypnotic banger with transposed vocals edited past the point of recognition. Despite how utterly odd many of these tracks are, I cannot help but admit that Smino’s baby-voiced “Big gyal, rock the boat, oh baby! Big gyal, rock the boat, so crazy!” is equally infectious and enjoyable.

She Already Decided is a mixtape that will likely help hold fans over until the eventual release of Smino’s third record, or at least until the quarantine is over. With sixteen tracks to highlight Smino’s own talent in both rapping and singing, it is easy to get lost in the rapper’s wordplay, humor, and sheer weirdness. I would definitely recommend this to anyone looking for a distraction, or at least something new as spring turns to summer.

Favorite Tracks

Gotta List

Already

2MuchFronto

Gotta List

Rating: 9

Stream She Already Decided Here:

http://www.SmiTransfer.com sumn for da ones who been holdin shit down from jump.. FREE MIXTAPE

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Duality Takes Center Stage in Thundercat’s Fantastic New Record ‘It Is What It Is’

By Luke Modugno

If a human being were to be the direct personification of the word “duality,” it would most certainly be Stephen Bruner, aka Thundercat. From harmonizing over soulful instrumentation about wishing he could be a cat, to gripping with loss of a friend, to aging and socioeconomic disadvantage, Thundercat’s juxtaposition of painfully human emotions and scenarios can truly make you laugh and cry all at once. But his fourth studio album It Is What It Is is perhaps Bruner’s greatest display of his artistic versatility. 

Building off of the genre-melding sounds established by his 2017 project Drunk, Thundercats signature velvety melodies and funky production allow him to really come into his own sonically on this album. While Thundercat seems to pin down his soundscape on this LP, It Is What It Is is far from predictable. Alternating between toned down, nearly lofi production (“Lost in Space / Great Scott / 22-26”) and upbeat, jazzy tracks, (“Black Qualls,” “Dragonball Durag”) the project ticks all the boxes of a typical Thundercat release without sounding musically complacent. With help from friend and co-producer Flying Lotus, Thundercat takes considerably more sonic risks on It Is What It Is, allowing the album to be far more experimental than prior projects. But each risk pay off, creating standouts like “Innerstellar Love” and “Existential Dread.” The result is a cacophonic ride through Thundercats various emotional states, pushed along with inherently intriguing instrumentation and production.

Mood and sound are ever changing on It Is What It Is, as Thundercat attempts to come to terms with the death of his close friend Mac Miller. The title itself is a reflection of the lessons learned from the Pittsburgh musicians passing, “It’s just part of it, part of the story,” said Bruner in an interview with Apple Music. “That’s why the name of the album is what it is -- [Mac’s death] made me put my life in perspective. I’m happy I’m still here.” His happiness is reflected through his utilization of humor throughout the record, as it extenuates his grieving. No matter how good, bad, happy or sad the situation, Bruner always seems to find room for comedy. His lighthearted approach to misfortune saves the project from focusing too hard on philosophical reflection of the morality and fragility of life, something Thundercat is far too hilarious for. Instead, It Is What It Is exists somewhere else; somewhere between grieving and happiness, laughter and tears, the meaningful and the meaningless, life and death. Duality takes center stage in It Is What It Is, as Bruner must begrudgingly accept the highs and the lows of life because, quite simply put, it is what it is. 

In addition to humor, good company seems to uplift Thundercat during the rough patches in life, and they also happen to make this guest list on this record star-studded. Steve Lacy, Louis Cole, Pedro Martins and Flying Lotus add to the already soulful aesthetics of a Thundercat record, while Ty Dolla $ign and Childish Gambino put in valuable vocal performances on notable cuts “Black Qualls” and “Fair Chance.” The tracklist is full of melodic, atmospheric songs that inspire a wealth of emotions. From floating through space on “Lost in Space / Great Scott / 22-26” to being thrust into the saturated uptempo “Innerstellar Love,” the album is a bumpy, yet endearing musical ride. The funky guitar gracing “Black Qualls” make for a truly soulful track, with a valuable and thought-provoking emphasis on black education and confidence. “Fair Chance” is spacey, glossy, beautiful goodbye to Mac from two of his closest friends (Cat and Ty Dolla $ign). “Dragonball Durag” is hilariously catchy and provides an exuberant counterpart to Bruners introspection. But the crown jewel of the tracklist comes last, in It Is What It Is’ title track, as Thundercat succumbs to his pure devastation in the wake of the death of Mac Miller. “My best just wasn’t enough/ It couldn’t be helped, the end/ The things I would do for you/ So many things I wanna say/ This is the end,” sings Thundercat over a melancholy guitar solo. The song acts as Bruners final goodbyes to Mac, as he grips with the apex of guilt, pain and mourning he’s felt in the two years following Miller’s death. The unbridled despair in Thundercats voice is raw, endearing and heartbreaking. Combined with the intimate, somber production, “It Is What It Is” is a tear-jerking, brilliant memorial to Miller. About halfway through, the track fades and is followed by Thundercat and Pedro Martins trading bass solos. Interweaving with Martins, Thundercat spends the closing moments of It Is What It Is playing the same instrument that sparked his friendship with Miller, which clearly blossomed into something incredibly dear to Bruner. 

It Is What It Isis, through and through, a fantastic record. Its irresistibly funky, genre-fusing instrumentation combined with its playful, yet devastating subject matter make for a truly intriguing project. 

Favorite Songs

Lost in Space / Great Scott / 22-26

Black Qualls (feat. Steve Lacy, Steve Arrington & Childish Gambino)

It Is What It Is (feat. Pedro Martins) 

Rating: 9

Listen to It Is What It Is here: 

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Giveon Proves He’s R&B's Next Superstar on Debut Project, TAKE TIME

By Spencer Lobdell

It’s only the first week of April, and 2020 has already been an insane ride for music fans. From the release of some of the most highly anticipated projects in recent memory (Eternal Atake, A Written Testimony, etc.), to polished records from industry heavyweights (After Hours, The Slow Rush), 2020 has given us absolutely everything—well, that is almost everything. 2020 has yet to present us with an unknown voice who explodes onto the scene. A young artist who has a different way of doing things and sounds like none of their predecessors. A rare talent that has the ability to force an entire genre to pivot directions to follow this exciting new star. A future superstar who’s innate ability is indisputable and longevity undeniable. 2020 has yet to give us a true break out moment—that is until March 27th when R&B newcomer Giveon dropped his debut project, TAKE TIME.

Originally from Long Beach, Giveon fell in love with songwriting long before he ever thought about singing seriously. In an interview with DJ Booth, he explains how he used to start by writing short stories, then once complete, turn them into songs. Take one listen to the vivid imagery and introspective narrative in any Giveon song and it’s obvious that exercises like this paid off tenfold.

At the end of February, Giveon received his first major industry cosign. Making an appearance on Drake’s one-off freebie “Chicago Freestyle” was equi-part surprising and magical as the young vocalist delivered a chilling hook that brings the song together. The video alone generated 24 million views in one month—talk about a cosign.

Three weeks ago I had the pleasure of meeting the 25-year-old artist when he came into my office space to play the then unreleased TAKE TIME for a group of us. “I had known I could sing, I just didn’t like my voice,” he told us. “I listened to Frank Ocean and Miguel, I thought that that’s how people were supposed to sound, and if you didn’t sound like them, you probably sounded weird.” Giveon carried this misconception until he had an epiphany listening to a Frank Sinatre record. “It was the very first time I heard a baritone singer,” he told us. “That was when I realized there might be an audience for my voice.” This influence is what makes Giveon so unique. The way that he effortlessly combines classic melodies, his breath-taking baritone voice, timeless song writing, and modern R&B production allows Giveon to create an entire world in his music that somehow feels familiar while simultaneously sounding like no one you’ve ever heard before.

Prior to the meeting I had heard his angelic single “HEARTBREAK ANNIVERSARY” so while I was already ecstatic to meet the young creative, I was in no way prepared for what I was about to hear.

On March 27th Giveon released his debut project, TAKE TIME. The eight song EP runs for 25-minutes and contains no features.

The project starts with a recorded voicemail from the artist’s mother, “Giveon, I don’t know if it was fireworks or gunshots but the birds is in the air.” Referring to helicopters as birds, the single sentence perfectly captures the constant essence of danger that exists in his hometown and is a perfect intro for the first track “THE BEACH.” On the track, Giveon sings about how it feels to bring a girl he likes back to Long Beach for the first time (“See, your mom told you about this side/It can get ugly/I'm just a boy from the east side/Do you love me?”). While he is clearly hesitant to expose this girl to the dangers of LBC, she tells him she’s not scared and is ready for whatever may unfold. Sonically, the track is wavy, anchored by a groovy baseline and a beautiful rhythm guitar.

The second track “WORLD WE CREATED” is graceful cut that accurately depicts the bliss that comes at the beginning of a relationship when everything seems to be perfect (“I just wanna stay in the world we created/I just wanna sink in the plans that we makin'/When I leave I'm not lookin' for a replacement for what I got”). The horns section in the back of the mix really compliments Giveon’s voice and the chorus on this thing feels so damn good.

Giveon’s euphoric relationship begins to turn sour on my personal favorite, “FAVORITE MISTAKE.” Clearly not in the same headspace as he was on “WORLD WE CREATED,” Giveon is now entertaining a women on the side and loving the lustrous affair (“Is my secret safe?/Safe with just you and me/We can't leave a trace/This is my favorite mistake”). Giveon’s staccato melody on the hook is backed by heavenly background vocals and creates an addicting effect that’ll have you constantly coming back to this track. 

On the fifth track “THIS AIN’T LOVE” Giveon is clearly fed up with his “favorite mistake” although he’s still indulging the affair. He spoils her to get what he wants but is more frequently realizing that she is far inferior to his girl at home (“Know you ain't the same/in that Saint Laurent/Help you take it off/can't get too involved”). “THIS AIN’T LOVE '' is also the first time we are exposed to Giveon’s beautiful falsetto which he flexes on both verses.

The inevitable break-up happens somewhere between the end of track five and start of track six and “HEARTBREAK ANNIVERSARY” is the verbalization of the melancholy mood that plagues Giveon for months after (“Just like the day that I met you, the day I thought forever/Said that you love me, but that'll last for never/It's cold outside like when you walked out my life/Why you walk out my life?”). The slow and simple piano chords are one of few tracks in the wide open mix shining a bright spotlight on Giveon’s gorgeous vocals really showcasing his ability to carry an entire song on the strength of his voice alone.

The album’s first single, “LIKE I WANT YOU” appears next on the tracklist. Plenty of time has elapsed since the break-up and Giveon and his ex are now on speaking terms. More than anything he wants her to come back to him, but he hides these feelings because he fears she’s already moved on (“Sometimes I wish you knew/But I disguise the truth/I say I'm happy but I'm still stuck on us”). Giveon pours his soul into this slow jam and while the message is one of pain, it’s hard not to love this song.

The project concludes with “VANISH” a reflective track where Giveon relives the time leading up to the break-up. An outwardly distraught Giveon experiences first-hand that nothing stings like regret as he stews over things that were said in the final days of the relationship (“Sayin' things I don't mean/To someone that means the world to me/You see what I mean?”). The song ends with a heartbreaking voicemail from Giveon where he tells his now ex that he’s sorry, they are going to make it work, and that he loves her.

While only seven songs (eight if you count the 45 second interlude), Giveon’s debut project TAKE TIME is phenomenal and leaves you desperate for more. He seamlessly introduces himself and showcases the versatility of his voice while simultaneously taking us on a journey that was his last relationship. Giveon’s combination of genius songwriting, technical singing ability, and an eminently unique voice make him an extremely rare talent that truly is the whole package. Thank you Giveon for creating a world that listeners can escape to in a time where that’s exactly what people need.

favorite songs

THE BEACH

FAVORITE MISTAKE

HEARTBREAK ANNIVERSARY

Rating: 9

Listen to TAKE TIME here:

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The Sada Baby Interview: Detroit Rap, His Upcoming Debut Album, & Running His Own Basketball League

“A lot of us [in detroit] don’t like each other and we don’t have to like each other for our music to stand out as a whole. Everywhere else besides Chicago and Detroit likes to paint a picture that their whole city fucks with each other and that’s just not true, and here, we know it’s not true.”

By Spencer Lobdell

Photo By Sam Leviton

Listen to our favorite Sada Baby songs while you read this article with our complementary playlist available on Apple Music and Spotify:

Putting on for Detroit is a responsibility that 26-year-old rapper Sada Baby doesn't take lightly, wisely choosing to stay true to both his unfaltering individuality and the city that made him. 

Born Casada Sorrell, the Michigan native first discovered a penchant for experimenting with wordplay and switching up his flow by perfecting the art of freestyling; an aspect of his craft he now reserves for rare occasions. As a teenager growing up in the mid-2000s, Sada Baby gravitated towards the taste-making output from the Cash Money roster, as well as other acts dominating the burgeoning Atlanta scene, such as Lil Jon, the Yin-Yang Twins, Pastor Troy and Gucci Mane, among others. From expanding his palate to include iconic West Coast influences such as E-40 to taking notes from the versatile, unorthodox ways of expressive artists such as Future and Kodak Black, Sada Baby was quick to realize his strength lies in his authentic eccentricities and aptitude for fearless risk-tasking. 

In 2016, he began cutting his teeth as a featured artist with his first noteworthy collaboration—a guest appearance on Danny Mellz's "Megaman X"—laying the groundwork for what would swiftly evolve into an expansive resume. The following year, he hit the pavement hard, dropping an onslaught of loose singles and working with a variety of other artists from Detroit, such as Tee Grizzley, FMB DZ, Tooda Man, Motown Ty and Oba Rowland, to name a few. In 2017, he released two mixtapes, Skuba Steve and D.O.N.: Dat One Nigga, both of which showcase his eclectic style and increasingly renowned charisma. In the fall of 2017, Sada joined Tee Grizzley on his Ain't It A Blessing tour, an opportunity that allowed him to showcase his natural capacity for high-energy, dance-laden performances.

With a combination of elements starting to bend in his favor, such as his consistent work ethic and willingness to experiment vocally on funky, bass-heavy instrumentals, his presence as a regional leader in the Midwest began to translate to a wider audience with his music videos radiating across WorldStarHipHop and racking up millions of streams. In 2018, his Drego-assisted "Bloxk Party" emerged as a definitive breakout single with the accompanying visual garnering 24M+ views and counting since its release. Soon thereafter, Sada Baby became the first signee to ink a deal in partnership with Tee Grizzley's Grizzley Gang imprint and Asylum Records. He went on to receive a monumental co-sign from E-40, who later featured him on the 2018 Gift of Gab cut "The Pack Attack,” with the collaboration doubling as a motivational full- circle moment to work with someone who influenced his artistry directly. 

In early 2019, Sada Baby released his critically acclaimed mixtape Bartier Bounty, which landed on Billboards “Best Albums of 2019” list for obvious reasons. The high-energy project features Sada at his absolute best, displaying his unmatched charisma through a sharp pen. Bartier Bounty cuts like “Bonnie & Blyde” (which features his cousin Ashley Sorrell) showcases Sads’s promising crossover potential. Skuba Steve starts the only verse with an addicting melodic flow that gradually gets more intense until, before you know it, Sada is locked into his patented yell-flow that could make my docile grandma want to get activated. Sada Baby continued to build momentum through 2019 dropping two more mixtapes for fans on SoundCloud (The Whoop Tape and Brolik), both of which were met with positive reviews.

While you could certainly call 2019 a breakout year for the rising rapper, Sada Baby has no plans on slowing down in 2020. On March 20th, he dropped Skuba Sada 2, a compilation of all his biggest YouTube hits over the past year. Although fans of Sada were already familiar with the tracklist, it’s beyond nice to have menacing cuts like “Aktivated” & “Bully Ball,” as well as hits like “Slide” & “Pressin (Feat. King Von)” on streaming services. With his highly anticipated debut album expected to hit streaming services sometime this year, everything seems to be lining up for 2020 to be the year Sada Baby becomes a household name.

From making obscure cultural references to pushing the boundaries of trap music to holding his own while teaming up with other artists, Sada Baby is here to entertain, inspire and encourage others to balance life's seriousness with moments of much-needed lightheartedness and humor. I had the pleasure of chatting with Skuba Steve earlier this week. Our conversation, lightly edited for content and clarity, follows below:

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Photo by CT FILMS

Spencer Lobdell , StereoVision (SL): What have you been doing to keep yourself busy during quarantine?

Sada Baby (SB): Playing video games and smoking weed. Three to Five grams of cookie in an original backwood.

SL: In 2018 you signed with Tee Grizzley’s imprint label, Grizzly gang. I understand you aren’t working with them anymore. What happened and what’s your relationship with Tee like now?

SB: Just bad business that’s all. We didn’t share a common interest. Basically, they were shelving me, without me knowing what being shelved felt like or what it meant. Me and Tee don’t have a relationship. We don't talk, I wish him the best though.

SL: Your newest release Skubba Sada 2 is a compilation tape made up of the best songs you’ve dropped on YouTube over the past year. What do you like about frequently dropping music on YouTube opposed to a more traditional DSP drop?

SB: I feel like I’m the only person that does it because I’m the only one who has the ability to do it without my music getting watered down. When talking about my music you don’t hear someone say shit like “I only liked one of the last ten songs he dropped,” like no, that’s not possible hahaha. I like to think you’ll never hear a Sada Baby song that sounds like the last one you heard.

SL: What can you tell me about your debut album rumored to be dropping this year?

SB: Not shit hahaha. The virus has obviously thrown our timeline off a little but it’s coming and it's got Yachty on it, Skilla Baby on it, and FMB DZ on it for sure. Chris Brown might be on it and G Herbo might be there as well.

SL: Who’s an artist you’ve always dreamed about collaborating?

SB: Probably Bad Bunny. I don’t recall a lot of rappers collaborating with him and I know a large portion of my fan base is hispanic and mexican. Also, he’s fucking bad bunny, even if you’ve never heard his music or know who he is, you've seen him somewhere important. Ya, a song with Bad Bunny would be fire.

SL: I read that before winning a rap contest you were planning on going to culinary school. Do you consider yourself a chef?

SB: For sure. I don’t have a signature dish cause I can make anything. Whatever I want to taste, I drop in the pot. I used to cook on Instagram a lot, steak, lobster, pasta all that. Ideally, I’d like to open my own restaurant while I’m still rapping. Get locations all over the US, one in LA, one in Atlanta, one in Detroit, and one in Chicago.

SL: From “2K20” & “Driple Double” to being featured on Damian Lillard’s latest release, it seems obvious that basketball has impacted you in some way? Do you play?

SB: Yup I used to play in high school. I had scholarships and all of that but went to jail my senior year. I still play frequently though, my game’s like Melo, no defense, all offense, deadly shooter. I’ve done some basketball camps over the past couple years, one with Kyle Kuzma. I played in the bleacher report all star game and a few of my family members play/played professionally. I actually have my own basketball league too, it’s called the P-League. Unfortunately the gym we use just got shut down because of the virus.

Check out some Sada Baby highlights here:

SL: What do you think your Pistons need to do to get back into the playoff  picture?

SB: Man, I’m a Pistons fan by heart and blood and I’ll tell you we need to fire the entire front office. That Andre Drummond move was terrible. I understand he’s going to be a free agent next year, but I know Andre personally and I know he wanted to stay here and would’ve stayed here. They even told him they weren’t gonna trade him then they went and gave him away for a bunch of nothing. It doesn’t help that we don’t know how to draft either. 

SL: What makes the Detroit rap scene different from anywhere else in the world?

SB: A lot of us don’t like each other and we don’t have to like each other for our music to stand out as a whole. Everywhere else besides Chicago and Detroit likes to paint a picture that their whole city fucks with each other and that’s just not true, and here, we know it’s not true. There’s for sure separate factions too. Like the motherfuckers that are with me like DZ [FMB DZ], Skilla [Skilla Baby], & John Boy, we fuck with Big Sean where as a lot of the other motherfucks lean towards fucking with Eminem even though Em don’t acknowledge no one from Detroit.

SL: Who are some low key Detroit rappers who could make a big splash in 2020?

SB: Obviously there’s the guys in my camp who go crazy. FMB DZ and Skilla Baby are poppin in the city but aren’t nation wide yet. As far as guys who aren’t under me, Nook is super cool, Baby Smoove could pop off this year, Veeze is fire, and this young cat Lil Buddy. He has a singing joint on his last tape that was scary good.

SL: Is there anything else you want StereoVision readers to know about Sada Baby?

SB: Man, just tell them I’m the best rapper they don’t know.

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  Apr 15, 2020, 5:59 PM
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  Apr 15, 2020, 12:07 PM

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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  Apr 15, 2020, 12:07 PM

Jay Electronica: Man or Myth? “A Written Testimony” Album Review

By Carter Fife

If you were to try and name the most anticipated hip-hop record you could think of, one with the most mythology or secrecy surrounding it, what records would come to mind? Some may be quick to talk about Kanye West’s rocky release of 2016’s The Life of Pablo, or maybe his 2018 opus YANDHI. Others may mention Dr. Dre’s record Detox, where after years of changes it was inevitably scrapped for his 2015 release Compton. Most would likely regale you with tales of waiting for Lil Wayne’s The Carter V, an album that was withheld by labels and rap figures, and even at one point owned by big pharma mogul Martin Shkreli before eventually hitting streaming platforms in 2018. What most of these records have in common - save for a select few - is that they were eventually released. For about a decade, fans awaited the release of Louisiana rapper Jay Electronica’s debut album, only to be met with year after year of frustrating silence. This all changed earlier this month, where previously solemn and reluctant acceptance turned into overjoyed optimism and fulfillment when Jay Electronica finally released A Written Testimony, his official debut album.

While A Written Testimony has not been in production since 2008 like one might expect, it was actually recorded over a 40 day and 40 night interval. The religious symbolism does not end there, as on the record itself Jay weaves religious references from Islam to Christianity into his writing in order to address topics of life, death, white supremacy, and the relationship between celebrity and public. When you have a background as illustrated as Jay Electronica, it seems only natural that your debut album serves more as an induction into the hip-hop stratosphere. Therefore, it is fitting that Jay Electronica is not alone on many of these tracks, accompanied by the legendary Jay-Z as they trade bars effortlessly over masterful mixes and prodigal production. 

The album begins with “The Overwhelming Event”, a track featuring Louis Farrakhan delivering a passionate speech over tragically beautiful strings. As his words of racial uplift and deliverance fade into the instrumental, pounding kicks begin to lay the foundation on which Jay and Jay begin the record. “The Ghost of Soulja Slim” immediately constructs a few different narratives that serve as lenses through which this record was created. Jay-Z naturally recounts his experience with gang activity, with bars like “From the era of police stretcher, no cameras catch it / Drop you off in a rival hood, you rather be arrested” and “[Soul music is] the blood that goes through me, so you assuming / I could never sell my soul, they sold they soul to me”. Faced with oppression from all sides, Jay-Z establishes an emotional register of this album that is painful and celebratory at the same time. It is from his struggle that he became the icon he is today, a simultaneously dejected and inspiring sentiment. Jay Electronica then comes in and delivers a verse equally invested in spiritual Arabic and poetic verse. He raps "Verily, verily, I tread through life merrily / Giving all thanks to God for this universal therapy” as the track comes to a close. It is the type of beautiful and cinematic moment that occurs so infrequently in life, and somehow the two manage to prevent instances like these from being so few and bar-between by bringing their best consistently on A Written Testimony. 

Every track on the record stands out both sonically and thematically. On the following track, “The Blinding”, which features a brief three-line hook from Travis Scott, the song is divided into two halves. The first is a bass and vocal-sample dominated soundscape over which Electronica and Jay-Z embellish on their status, using Jay-Z’s son Sir as a metaphor for the nobility that they both carry. The latter half is features bass but in a much less abrasive and more low-frequency kind of way. Piano keys decorate the minimal instrumental while Electronica reflects on the time spent not releasing music. He masterfully writes “Extra, extra, it's Mr. Headlines / Who signed every contract and missed the deadlines / 40 days, 40 nights, tryna live up to the hype / It's the road less traveled, it's the one who missed the flights / Hov hit me up like, "What, you scared of heights? / Know your sister tired of workin', gotta do her something nice" / When I look inside the mirror all I see is flaws / When I look inside the mirror all I see is Mars / In the wee hours of night, tryna squeeze out bars /Bismillah, just so y'all could pick me apart?”. This meditation on self-doubt and fame partly stands in opposition to the confident first half of the track. In pairing such a vulnerable verse alongside one so braggadocious, the mythology of Electronica is partly dismantled, but in a way it is also further enforced. His status and almost divine providence is a result of struggle, as his 30 seconds of rapping on this track reflects over a decade of unreleased writing. For someone who spent 12 years perpetually about to release one album, Electronica seems to be very carefully arranging his words here. It ends up working in his favor, however, as each intentional verse is delivered with a candor equally casual and confident.

There are too many high points on A Written Testimony to count. In one moment, a track featuring R&B mainstay The-Dream is constructed against a wall of classic instrumentals arranged by producer The Alchemist and Electronica himself. In the next moment, a victorious and spacious track features Jay and Jay celebrating their shared successes while James Blake and Travis Scott sing in the background, uncredited (which may itself be a testament to their success, and perhaps the biggest bragging point of this record). Even the song “Shiny Suit Theory”, the one track that predates the entire album by several years, feels fresh as if it has finally found a home in this ten track composition. Jay Electronica was not kidding about his versatility and power when he rapped "I was born to lock horns with the Devil at the brink of the hereafter / Me, the socket, the plug, and universal adapter” on “The Neverending Story”. He and Jay-Z manage to exceed all expectations and nail every performance from the intense and rattling behemoth “Flux Capacitor”, to the laid back and tropical “Fruits of the Spirit” that immediately follows it. 

A Written Testimony comes to its untimely ending with the two tracks “Ezekiel’s Wheel” and “A.P.I.D.T.A”. The former features a beautifully dreamlike mix of off-kilter vintage synths and clicking percussion. Before The-Dream begins singing his chorus, Electronica raps “ ‘’Some ask me ‘Jay, man, why come for so many years you been exempt?’ / Cause familiarity don't breed gratitude, just contempt / And the price of sanity is too damn high, just like the rent  /…/ Sometimes I was held down by the gravity of my pen / Sometimes I was held down by the gravity of my sin / Sometimes, like Santiago, at crucial points of my novel / My only logical option was to transform into the wind”. His lyrics reflect a comfortable confidence that is surrounded in anxiety, in the knowledge of how artists can be manipulated into tools for record labels to exploit or into products for the masses to consume. Electronica’s absence is explained as an easily understandable moral issue, where he grapples with furthering his career and craft and the potential expense of his soul. James Fauntleroy, another industry heavyweight, appears on the track to lend some guest vocals before the next track begins. 

“A.P.I.D.T.A”, or “All Praise Is Due To Allah” features some light percussion over a beautiful Khruangbin guitar arrangement. The track deals with death and the misery that can be accompanied when a person leaves but so much of them is left behind. Jay-Z softly raps about about screenshooting numbers and phone numbers, fragments of a relationship that he doesn’t want to lose. Jay Electronica raps "My eyelids is like levees but my tear ducts is like glaciers / As I contemplate creation, the salt that heals my wounds pour out my eyes just like libations / I can't stop my mind from racing, I got numbers on my phone / Pictures on my phone / The day my mama died, I scrolled her texts all day long/ The physical returns but the connection still stay strong”. I broke down listening to this track because I’ve lost people close to me and done the exact same thing. I remember the day a close friend of mine died a few years ago, I stayed in bed and scrolled through our old conversations the whole day. It was so easy to feel alone in that moment but tracks like these help me continue to realize that the rememory of a loved one can impact you long after the person leaves your life. The instrumental is beautiful, tragic, and almost magical in a sense. Without using words, it reflects the feeling of walking outside into the sunshine after a rainstorm. There is a silent somberness in the air as the track comes to a close, ending an album that many have been waiting for since 2008. Every theme on the record had a thematically tragic component to it, and this track somehow indulged the sadness into a moment at peace with its own tormented narrative. An incredible moment of closure both to this album’s narrative and A Written Testimony itself. 

Is it possible to say a record like this was worth the wait? Can an album really make 12 years of waiting worth it? Surely there has to be something to critique about it, right? Well sure, some may be disappointed with how frequently Jay-Z appears at a time that should be devoted to Jay-Electronica, but I think that Jay-Z’s presence works well as a voice that helps integrate this relatively rare voice into hip-hop’s mainstream. In addition to this some have criticized Electronica’s use of Islamic themes as vapid. While I agree that neither Jay nor Jay are lyrically reinventing the wheel, Electronica’s use of Arabic does at a spiritual sense to many of his poetic introspections. In short: the record is phenomenal. Electronica’s writing and production was artfully done, and all the guests (from AraabMuzik to Swizz Beatz to James Blake etc.) lended to Electronica’s special moment. Jay-Z’s raps can come off as overly cocky and exhaustive sometimes but he managed to deliver his bet on this record, aiding his friend flourish in the process. I will definitely be keeping this record in my daily rotation for the upcoming future, or at least until Electronica decides to drop a new project 12 years from now.

Favorite Tracks

The Blinding (Ft. Travis Scott)

Fruits of the Spirit

A.P.I.D.T.A

Rating: 10

Listen to A Written Testimony here:

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  Apr 15, 2020, 12:07 PM

Lil Uzi Vert Goes Two For Two with LUV vs. The World 2

By Owen Tait

Just over a couple weeks ago, trap phenomenon Lil Uzi Vert released his highly anticipated album Eternal Atake, with the phrase “highly anticipated” being a complete and utter understatement. Fans waited nearly two years from the project’s announcement to hear the final version, and by then, the hype surrounding it was as astronomical as the project’s narrative. For the most part, Uzi delivered, as the album was filled with melodic bangers such as “Baby Pluto,” “Celebration Station,” “Prices,” “Venetia,” and a sadder rendition of his biggest hit ever with “P2.” However, Eternal Atake did come with some glaring flaws: it was bloated, featured little variety in the instrumentals and lyrical content, and contained some verses from Uzi that didn’t even follow the beat.

But overall, the album was still a massive hit, and Uzi almost instantly announced that the deluxe version wouldn’t just be a throwaway set of bonus tracks. He was going to release a whole second album, a sequel to his 2016 mixtape LUV vs. The World. Fans were ecstatic— myself included—but I also went into the project wondering if the same issues with Eternal Atake would persist on the deluxe cut.

LUV vs. The World 2, which is packed in with Eternal Atake and consists of 14 tracks, kicks off on a high note with “Myron,” a song that plays out very similarly to “Baby Pluto,” the opening track from the project’s initial release. It’s a melodic cut that sees Uzi experimenting with his delivery and song structure, culminating in a glorious refrain where he triumphantly boasts about “running up all his bands.” In this short but amplified section of the track, he hits a vocal inflection that truly sticks, and I found myself replaying this passage of the song in my head long after I had finished listening.

The next track, “Lotus,” is somewhat of a roadblock in the album’s momentum, as the beat is one of the less inspired instrumentals on the project, and the hook is one of the rare cases where Uzi’s higher register doesn’t really work. However, the project’s speed quickly starts back up with the next two tracks, both expertly produced by trap extraordinaire Pierre Bourne. “Bean (Kobe)” features some of Lil Uzi Vert’s more memorable melodies on the album—not to mention one of his most quotable refrains—and even though Chief Keef isn’t necessarily at peak performance on his feature, his verse still contributes to the care-free tone of the track

The equally bouncy “Yessirskiii” contains a massive feature from Atlanta rapper 21 Savage—in fact, he practically dominates the track, as Uzi only appears on approximately one minute of the song’s three and a half minute runtime. Regardless, the track is a hit with tons of replay value, and it’s one of the songs I’ve come back to the most. Meanwhile, the melodic trap banger “Wassup” features a monstrous two-part hook from Uzi that I can’t help but smile along with whenever it plays. In addition, Future’s feature sees the Atlanta pioneer maneuvering around the beat as effortlessly as ever.

Following these cuts, the album hits the listener with a trilogy of trunk-knockers fit for any live venue. “Strawberry Peels” features pounding, fuzzy 808s that back a couple of high- octane verses from Young Thug and Gunna; my only complaint with this track is that the duo easily outshines Uzi, who contributes a lower-energy verse on the back half of the track. Luckily, he makes up for it on the anthemic “Moon Relate,” which arguably features his best performance on the entire project. Uzi’s delivery here mostly floats within his higher register, but during certain sections of the track, his voice takes on a growly, guttural quality that elevates the song’s energy to the next level. It’s truly a testament to how much life Uzi can bring to a track, and the off-kilter drum patterns ensure that this track is a memorable thrill.

Personally, I found the second half of the project to slow down a bit, but that doesn’t mean it wasn’t without its highlights. “Come This Way” and “Trap This Way (This Way)” carry some of the grooviest hooks on the album, and “Come This Way” in particular demonstrates Uzi’s versatility as a singer. He croons on both ends of his range, and he exercises a high variety of flows as well, making the track breeze by and giving it high replay value. “Got The Guap” also features a really subtle, sticky pluck melody that gives the track a unique sound, and a second Young Thug feature is always a welcome sight.

Clearly, there are quite a lot of highlights on the project, and I believe that generally, LUV vs. The World 2 has a tighter, more memorable tracklist than that of Eternal Atake, but there are still a couple of issues that the album faces. For starters, the mixing issues that were apparent on Eternal Atake are still present here, even if they aren’t as extreme. Earlier, I expressed a particular distaste for “Lotus,” the second track on the project. While I think Uzi’s inflections here could have been improved upon, I also think that better mixing would have added a pop to the instrumental that just isn’t there as the track stands. Furthermore, aside from being poorly mixed, I think some of the percussion on this album is lazily done. Most of the hats and snares utilized sound incredibly cheap, and in cases such as “I Can Show You,” the assembly of said percussion makes the beat sound as if Uzi’s team found it on an amateur’s YouTube channel for $50.

On the bright side, I don’t have any other major complaints with the project. Uzi occasionally slips off beat to the point where it’s distracting, and his subject matter is nothing new—take a shot every time Uzi alludes to diamonds or sex with your girlfriend—but I found his charisma and energetic vocal inflections to make up for most of the damage done there. If you like enjoyed Eternal Take, I would highly recommend this project, and I can officially report that the two-year wait was worth it.

Favorite Tracks:

Yessirskiii (feat. 21 Savage)

Moon Relate

Come This Way

Rating: 8

Listen to LUV vs. the World 2 here:

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Was Tame Impala’s New Album "The Slow Rush" Worth The Wait?

By Carter Fife

On Valentine’s Day, music’s psychedelic pop-rock authority Tame Impala released their fourth studio record The Slow Rush after a lengthy five-year wait. During this wait, Tame Impala frontman Kevin Parker has occupied himself working in collaborations involving Miguel, Travis Scott, SZA, ZHU, and even with Harlem’s own A$AP Rocky. After Parker’s third record Currents (2015), the combination of almost universal critical acclaim and personal success has put the singer and multi-instrumentalist in a strange and almost paradoxical situation. How does an introvert - experienced in self-reflection and carrying a sincerity beyond his years - grapple with the trials of being a commercial artist? How do you stay true to yourself when so much is expected of and for you? How do you keep your composure when there is so much on the line? What is there left to do after becoming a respected household name? The answer may be unknown and the question convoluted - but Parker seems close to honing his response on this hour-long record.

The Slow Rush is a meditation on aging, time, and our own limited mortality. Some tracks branch into reflections on his relationships with people like lovers or Parker’s own father, but they all maintain a cohesive thematic register of sobering introspection on what it means to exist in one space while remembering another. When my sister, who is far more well versed in Tame Impala facts and interviews than I could ever hope to be, told me that Parker didn’t start working on the album until a little over a year ago, I was both surprised and not surprised at all. Part of this stemmed from the album’s aural profile being so similar to that of 2015’s Currents. Despite there being a five-year gap in between the two projects - both are dominated by the modern Tame Impala SoundFont. Parker’s mythological toolbox seems to be composed of a few powerful tools: dreamlike falsetto vocals that sound like they were recorded at the bottom of a well, punchy and rhythmic percussive arrangements, and piano/bass melodies that are so catchy they remain playing in your head for hours after the music stops. This is what makes the album’s short history so surprising, because for better or for worse - The Slow Rush could have been the unused D-Sides for Currents that didn’t make the final cut (or the shorter B-sides EP that was released later). 

This is not to say that there isn’t anything new on The Slow Rush, as the album has dozens of highlights that are resonant and enjoyable - though unfortunately those that rival Currents are few and far between. One track that initially stood out as especially compelling was “Borderline”, one of the singles that dropped in the spring of last year. It had an ABBA-Esque danciness to it that when paired with its intense bass melody made for a track that stayed in my rotation throughout the year. Unfortunately, the track was revised for the record’s release, and now fans are left with a tinny shell of what once was one of my favorite tracks of 2019. Though the change was not that dramatic (the new mix altered the visibility of the drum and vocal tracks to make the bassline more prominent), unfortunately when juxtaposed against what once was, it is hard not to look back at the past without a slight bit of jealousy. Coincidentally this manner of self-reflection is exactly what the record is about. Could this change be intentional? Probably not but it sure is fun to think about.

Another track released last spring, “Patience”, was unfortunately left off the album entirely. Two of the record’s other singles, “Lost in Yesterday” and “It Might Be Time” are both significantly more forgettable despite how insanely repetitive these tracks are. The final single “Posthumous Forgiveness” is perhaps the highest point on the record, as the beefy 6-minute long record is divided into two distinct segments. The first is a tragically elegant and steady composition where Parkers sings to his deceased and estranged father “... while you still had time, you had a chance, but you decided to take all your sorrys to the grave. Did you think I'd never know? Never wise up as I grow?”. The second is a rare moment of optimism, a dancy and synth-laden moment where Parker forgives his father, singing “Wanna tell you 'bout my life, wanna play you all my songs, hear your voice sing along”. The track is beautiful, and the payoff at the end is worth every second. Part of this track’s tragic elements stems from the fact that the other songs on this project fail to be as dynamic, or carry the range that this track does.

Songs like “On Track”, “Is It True” and “Breathe Deeper” are fun, while repetitive, but they are so one-sided it is hard to feel fully satisfied after listening to them. Following up a record as polished as Currents certainly set Parker up with some high expectations to jump over, and unfortunately, Parker misses the mark more often then he hits it on The Slow Rush. With that being said, when Parker succeeds - he succeeds - and though I walked away from this record unsatisfied I can’t help but root for Parker, and I’ve noticed that other publications are likely in the same boat as I am. Scores for this record generally circle around the high 70’s - low 80’s, a range comically attributed to certain news sites that have negative opinions on projects that come from artists they like. I’m happy that Parker told WUBR the wait for his next project won’t be as long, but I hope the next time he enters the spotlight he delivers a more thought out project than this one.

Favorite Track

Posthumous Forgiveness

Borderline

Breathe Deeper

Rating: 5

Listen to The Slow Rush here:

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  StereoVision

  The love is real in Maxo Kream’s (@MAXOKREAM) new WSHH exclusive music video for “Brothers”💎 https://t.co/vhEZkeiZaG

  Apr 15, 2020, 5:59 PM
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  StereoVision

  The Kid Laroi (@thekidlaroi) x Einer Bankz (@EinerBankz) link up over Facetime to bring us an acoustic version of “… https://t.co/c2YQZn9ibl

  Apr 15, 2020, 12:07 PM