The Curious Case of Drake: In Defense of “Honestly, Nevermind”

July 20, 2022 by Luke Modugno in Read

Before the release of the Toronto-native’s seventh studio album Honestly, Nevermind, Drake’s career was in a peculiar place.

A talent tailor-made for rap music stardom, Drizzy has been the most famous act in contemporary hip-hop for the past ten years. While being a consistent force in the sphere of rap and one of the most prominent artists in the world regardless of the constraint of genre, Drake has chronically struggled to identify, locate and pursue a singular musical style or concept. That’s not to say Drake hasn’t produced moments of brilliance throughout his tenured and prestigious career. However, to call records like Views, More Life, and even Nothing Was The Same sonically focused would simply be incorrect.

Plagued with multifaceted talent, Drake has watered down his sound on a multitude of occasions to simply serve his wide target audience. Drake’s 2021 effort Certified Lover Boy was an amalgamation of the issue. Seldomly honing in on visceral trap bangers like “Knife Talk” with 21 Savage, rarely revisiting the silky R&B production and warm Drake vocals on “Love All,” and abandoning the streaks of afrobeat influence on “Fountains,” Drizzy has continually shown he isn’t willing to fully commit to a singular, specific sonic theme and what it has to offer.

Sure, it’d a valid claim to say Drake has had his artistic growth stunted by this unwillingness, however, why change? Drake is by far the most commercially successful rapper of this generation, sitting in second place on the highest selling rappers of all time. Utilizing a few genres attracts more fans than concentrating on attempting to master just one.

However, Drake clearly doesn’t tend to think that way. Drake’s 2022 record Honestly, Nevermind is a bold declaration of a divergence from a formula. A nearly hour long dance record featuring a lone distinctly overt rap song, Honestly, Nevermind is obviously not your average Drake album. Ironically enough, that’s what makes it a special landmark in his career.

While he’s present on every song, Honestly, Nevermind features by far the least amount of Drake’s voice out of his whole discography. At times, Drake’s contributions are drawn back to the point of a short hook before the production leads the way for the rest of the track, characteristic of traditional house music structure.

Behind the boards, Honestly, Nevermind is a fully-fledged exploration of house music and a historical appreciation and homage to the sporadic frequency in which Drake chose to work with dancehall and house on previous records. While tracks like “Massive,” “A Keeper” and “Calling My Name” marry Drake’s inherent capacity for optimal song structure and vocal delivery talents with bouncy house production gorgeously, Drake’s latest entry has some of his most catastrophically poor songs to date.

“Currents” characterized by a bed-squeaking sample is essentially laughable and production akin to infomercial ambient background music on “Down Hill,” Honestly, Nevermind will likely be remembered for its highest highs and its lowest lows.

Still, the music itself isn’t what makes Honestly, Nevermind a commendable piece of music. This record shows a dedication to forward-thinking art, one that wasn’t always evident on Drake’s previous records. Honestly, Nevermind is simultaneously an astronomical risk and an artistic flex.

Deviating from the usual mixed bag of genres, vocal ranges and production choices that define nearly the entirety of Drake’s catalog, Drizzy has finally dedicated the proper amount of time, care and attention to detail his knack for creating dancehall music deserves. Although Honestly, Nevermind reminds us that this genre is evidently not Drake’s strong suit, it’s far more artistically compelling than his previous unwavering dedication to creating TikTok anthems (“Too Sexy,” “Toosie Slide”). No, Honestly, Nevermind is not the best house record of all time. Would it rank in the top ten of afrobeat albums released in this year alone? Probably not. Despite that, is it an impressive effort by an artist who has clearly shown his artistic forte is that of mainstream rap music, not house? Of course it is.

Drake’s vicious flow and stone cold delivery has shown he would be capable of making a darker, experimental trap record that would be phenomenal. Considering portions of Take Care are home to some of the most iconic R&B records of the 2010’s, a fully fledged project dedicated to showcasing Drake’s exceptional singing voice would hold great potential. Following the shedding of the sonic shackles that have encased Drake’s career since Views, all of these records are now a reasonable possibility.

In other words, when people think Drake is going right, he has religiously gone right. Honestly, Nevermind feels like the first time that Drake is going left instead of right. Whatever sonic direction Drake chooses to pursue will certainly be met with a spot in Billboard Hot 100 no matter the circumstance. Using the privilege of that guaranteed commercial success to create music with apparent direction is far more intriguing than creating the fifth remix of Views. Now, all we can hope is that Drizzy chooses to continue being intriguing.

Luke Modugno is the editor-in-chief.

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Thanks for making the last six years a little easier 💎

Considering Beth Gibbons & Eckhart Tolle’s Inclusion on "Mr. Morale & The Big Steppers"

July 03, 2022 by Tyler Roland in Read

by Tyler Roland

Now that Kendrick Lamar’s Mr. Morale & the Big Steppers has been out for over a month, that otherworldly level of hype surrounding its gestation and subsequent birth seems to have subsided enough to look at the record in a more objective fashion. In doing so, I find that there are two genius-level inclusions in its lengthy runtime that deserve more of a light shone upon them.

I am referring to the sporadic samplings of author Eckhart Tolle on certain songs and Beth Gibbons’ voice on what may be the best track of the record, “Mother | Sober.” Though Kodak Black’s contributions – not to mention the chaotic couple’s back-and-forth on “We Cry Together,” achieved with the help of Taylour Paige – received more attention, the aforementioned pair on Lamar’s latest was what stuck with me the most.

My love of trip-hop has led me to the belief that Dummy, Portishead’s 1994 debut album, is one of the greatest ever conceived. This is the group that Beth Gibbons, its vocalist, rose to fame in. The album is a dated listen, sure, but the ethereality of Gibbons’ voice gliding over the muffled, yet punchy instrumentals made for a big impression on me. Gibbons has kept a low public profile in recent years, and Portishead is a project that’s more or less on life support, a time capsule of the ‘90s.

Her inclusion on this record was not some half-assed afterthought. While nothing is with Lamar, her feature surprised me. I tend to enjoy Lamar’s more demanding artistic choices, not least the ten-plus minute journeys of “Sing About Me, I’m Dying of Thirst,” and, to a greater extent, “Mortal Man.” While a track of this magnitude was nowhere to be found on Steppers, it should be noted that “Mother | Sober” is the longest piece here at just under seven minutes. Trip-hop, Portishead, and Gibbons all have a bit of a ‘love-it-or-hate-it’ quality to them, so while this track does not reach the heights of “Mortal Man,” it has a similar, challenging feel to it that I crave.

The fact that Gibbons can be heard on this veritable magnum opus of Steppers, then, is telling. It seems to suggest that this track will be an iron-clad moment in time for years to come, much as Dummy is almost thirty years on. Is it the biggest banger of the album? No. In fact, I doubt it will be the one track that most people will remember off of it. So what? For those generous enough to turn a willing ear when it comes on, little else on these two discs will satisfy.

Eckhart Tolle - German Author and Spiritual Teacher.

I found DAMN. to be lacking a bit in pushing the envelope with eccentric ideas and feature selections, which made Tolle’s voice all the more enjoyable upon first listen. Not long ago, I read a book of his, A New Earth – which I finished in a day. Its effects on me were at once profound and fundamental. It’s a “self-help” book, but that’s too cheesy a descriptor – it lifted me up and challenged me to look at the deepest parts of myself. That Lamar laced Tolle’s voice into this body of work is no accident. I remember first hearing this album front to back and suddenly recognizing the sound of Tolle talking about the “pain body,” a topic that A New Earth covers frequently. I perked up in surprise, pleased that this album had a brain of such magnitude complementing its creator’s.

While Mr. Morale & the Big Steppers is a fantastic album, part of me doubts that time will be as kind to it as it has been to, say, To Pimp a Butterfly. Sometimes, however, perfection and 100% ass-kicking misses the mark. To have two voices on this album that convey such a vulnerability means more to me, in many ways, than a track that breaks its back to knock me flat out on the pavement, like “King Kunta” for instance. Admitting one’s flaws (and one’s love for that most angelic of comedown siren calls) allows for a special kind of love for Lamar’s newest to blossom as the weeks following its release roll by.

Tyler Roland is a staff writer.

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Behind the Boards: Zara616 shares tips for up-and-coming producers

June 12, 2022 by Guest User in Specials, Read

by Patrick Mazara

My name is Patrick Mazara, professionally known as Zara616 and I am a producer from Grand Rapids known for my work with well-established artist such as Skilla Baby, Baby Smoove, Jdot Breezy, Baby Money, YN Jay and more. I’ve always been big on growth and I love to see people, especially producers, thriving so I wanted to take the time to drop some free game on how in a year I built my name and began solidifying my spot in the producer game with “The Grease Guide.”

the grease guide:

step 1: BRAND

Understand that you are your brand. Your producer tag is crucial, especially when starting because it can direct people towards more of your work. When it does, you should make sure your social media accounts reflect you as a producer to maintain their interest. I went about growing mine by providing my audience with authentic content of video edits to my beats that would keep their interest and later on I allowed people to put a face to the name by also posting myself. To continue to build your brand, my advice is to also invest in meeting artists in-person, advertise yourself and your beats and finally, stay consistent.

step 2: publishing and beat store

Get your publishing together by creating a BMI or an ASCAP so that when the bigger placements do come, you’re eligible to sign the paper work. If you make music you can still register your music so it works if you also rap/sing. Do keep in mind that publishing and royalties are not the same thing. If you produce for artist that are signed to a major label, make sure you should be getting an advance, net artist royalties and publishing. Do not sign a bad deal but do not be ungrateful especially if the terms you’ve signed and advance being given is something you do not have. That especially goes for loop-makers. Lastly, look into creating a beat store such as Airbit and Beatstars so that you’re audience can both listen to and purchase your beats.

step 3: networking

Networking is one of the most crucial steps! Your skill will only get you so far and if you have no way of having it heard, you won’t get any placements. So network with producers, work with the smaller artist in a camp and soon the bigger artist will want to work with you because they hear what you’ve provided for their mans.

step 4: be geniune

Stay genuine. When you’re so hungry for success, you tend to just jump the gun. But staying genuine and realizing people are still human is one of the best things you can do. I personally get tired of people trying to work before even forming a connection, I know engineers feel the same because people attempt to use them for placements, yet don’t even form any kind of bond first. Have a respectful approach, don’t blow them up, but show you genuinely admire their craft or love their artists’ sound and your time to work with them will come.

step 5: patience

Understand that your time will come. Do not be envious of another producer getting back-to-back placements because they worked just as hard if not harder to get to where they are. Take your time and develop your own sound. I recommend making a single drum kit with all of your favorite sounds and only using that one. In a few months you should be able to play your beats and tell that every beat has some type of similarity that people can recognize and say you produced it.

step 6: business

Do not take things personal. You have to understand these people do not know you. They aren’t obligated to respond back or rap to your beats. If you blow up and rappers you wanted to work with finally hit you back, do it! You’ll miss out on the opportunity if you decide to be petty because if they came to you, they’re more likely to take you serious.

step 7: consistency

Work hard and be consistent. If it was easy, everybody would do it. As long as you’re constantly sending beats out and working with producers, your chance of a placement will only keep increasing so stop just sitting on beats. Send the same ones out until they get placed, have some versatility so you aren’t confided in a box. Invest in going to studios or even running ads on your posts because you never know who could see it.

step 8: manifestation

Manifestation has gotten me a long way and can be a very in depth topic. My advice is to believe yourself and be grateful as if you’ve already accomplished what it is you want to accomplish down the line. We constantly tell ourselves negative things and that’s the reason why it happens but if we flip that around and speak positive affirmations, only speak good things would the good not come to be? I always tell my peers to be grateful, and that even if it isn’t something you have just yet, believe you have it. By having that energy of gratefulness you increase your frequencies and that allows your manifestation to find its way into your life and when it does you can truly be grateful.

Overall, there’s a lot that comes with being a producer and how far you make it honestly just reflects your determination. No matter what just keep it going. Especially when you don’t feel like it because that’s when the placements and opportunities appear. Stay genuine, be authentic, make sure you create what you want to and not what others want, prioritize your mental health, and just be appreciative of everything, even if it’s just a like on a beat you put on YouTube, appreciate it.

Zara616 is a hip-hop producer. Follow him on Instagram, Twitter, and YouTube.

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We Can't be Stopped: Geto Boys' Influence Permeates Through Modern Rap

April 20, 2022 by Giovanni Recinos in Read

by Giovanni Recinos

The Geto Boys is a Houston hip-hop group that is most commonly recognized for their smash hit “Mind Playin Tricks on Me,” released in 1991. However, their true impact on hip-hop culture is often overlooked.

Geto Boys' music laid a lot of groundwork for sub-genres and common topics in hip-hop today such as: horrorcore, mental health topics and mafioso raps. While these topics are much more normalized in today’s hip-hop scene, at the time, Geto Boys were threatened by censorship for their detailed and hardcore lyricism. Despite these challenges, the Geto Boys would be the first to propel Southern artists into hip-hop conversations.

While the group had received many changes to its lineup over the years, the most notable members are Scarface, Bushwick Bill and Willie D. While those names may not click right away, you most likely have encountered all three of these rappers. Scarface, first known as Akshen, is often regarded as one of the greatest rappers of all time. Scarface has offered features to many classic records by rappers including Freddie Gibbs, Jay-Z and Gang Starr. His often direct and dirty mafioso raps worked hand in hand with the adoption of his new stage name “Scarface,” which was inspired by the 1983 film. Most recently, Scarface was featured on part 1 of the Jeen-Yuhs documentary, listening to Kanye West’s “Family Business.”

Bushwick Bill on the other hand was immediately a breakthrough for the industry. Standing at 3 feet and 8 inches tall, “Little Billy” was often the most aggressively twisted lyrically and was notable for his often off-beat delivery. Though, Bill’s most recognizable appearance in hip-hop would probably be his appearance on Dr. Dre’s, The Chronic track “Stranded On Death Row” where Bushwick provided vocals for the intro and outro.

Last is Willie D or the “Gangsta of Love,” who’s lyrics were often regarded as extremely misogynistic, but he should also be noted for calling out the music industry's racist double standards. His most notable reference in hip-hop is probably on Ice Cube’s famous N.W.A. diss track, “No Vaseline.” On the track, Ice Cube quotes Willie D’s lyrics saying, “Willie D told me to let a ho be a ho, so.”

No Radio, Talk show or Magazine: Geto Boys Uncensored.

Though the Geto Boys would originally debut in 1988 with their project, Making Trouble. This album would flop, leading to a change in line-up and of content for the group. With the newly added Scarface and Willie D, their lyrics would shift towards more aggressively detailed lyrics about sex, murder and violence on their second project Grip it! On That Other Level. Though at this point, this was nothing new for the hip-hop genre, as N.W.A. was already going through censorship issues for “Fuck The Police” and their supposed “glorified gangsterism.” 2 Live Crew also had members arrested in 1990 for playing their album which was deemed as “obscene” and therefore banned in certain parts of Florida.

The Geto Boys played their own role in the fight against censorship on their self-titled release, which contained both new and remixed tracks with the help of Rick Rubin. While the project was originally supposed to be distributed by Geffen Records, they refused to release the record stating, “I've never been frightened by a record before in my life, but for me the graphic details of the violence were really frightening. Finally we decided that we have a right as a private company to decide what kind of materials we want to be associated with, and this one, we decided, went too far.”

This project would later be released under WEA (now Warner Music) and would be the only WEA project to be released with an Explicit Content sticker along with this text, “Def American Recordings is opposed to censorship. Our manufacturer and distributor, however, do not condone or endorse the content of this recording, which they find violent, sexist, racist, and indecent.”

The Geto Boys would later call out the racism associated with these choices made by many of the music industry's distributors and manufacturers, as other albums with racist content towards minority groups were not given the same treatment. On their next project, We Can’t Be Stopped, they would call out the racism of the industry that they were being challenged by, arguing “It’s on the news every hour, why can’t I talk about it?” The choice to fight against the industry played a huge role in making music a place of free expression for many artists in the future such as: Tyler the Creator and Eminem.

mr. scarface is back.

Springboarding off of the gruesome organized crime motifs of the Scarface movie, along with the creation of the mafioso genre often, the Geto Boys played a huge role in setting the foundation of many elements of contemporary rap. Their debut album, Making Trouble, had already used samples from the Scarface film, but what really made the Geto Boys usage of the film stand out was their track “Scarface.” This track solely featured rapper Scarface, who at this point in his career was named Akshen. After the release of this track, Akshen would officially become Scarface and would later drop his debut album, Mr. Scarface is Back.

This project would really push the mafia aesthetic further in ways that were not really done before in hip-hop. The album cover has obvious inspiration from the film with its use of aesthetics and extreme imagery such as shotguns and cocaine.

While rappers from New York pushed the growth of the genre to what it is today, the Geto Boys and Scarface were some of the first artists to go into topics such as detailed murder and violence. These extremities in juxtaposition with the money received from these criminal activities, would become a huge factor in some of the most critical Mafioso projects such as Raekwon’s, Only Built 4 Linx… or Kool G Rap and DJ Polo’s Live and Let Die. The latter of which both Bushwick Bill and Scarface would feature on, emphasizing their influence on these artists. Without the Geto Boys, it is reasonable to question where the careers of rappers such as Freddie Gibbs, Griselda and Pusha T would have landed topically.

with birth comes death.

“Flashes, I get flashes of Jason. Gimme a knife, a million lives I’m wasting,” said Bushwick Bill in 1989. Since then, the horrorcore genre has grown immensely popular, touching artists such as Tyler, the Creator, Eminem and Three 6 Mafia. The group wasn’t just referencing horror movies, but also pairing it with eerie beats, psychotic mindsets and detailed violent content.

One of their most iconic horrorcore tracks is the track “Chuckie” which samples the 1988 film, Child’s Play. This track features Bushwick Bill solely, with him playing on his noticeably short height, stating, “I told you size wasn’t shit, so I murdered your nieces.” The graphic details related to murder and the abstract stream-of-consciousness on the track would affect the genre heavily, with obvious influence on the writing styles of Eminem’s Slim Shady LP and Marshall Mathers LP.

While this was the case, Scarface’s duality in the horrorcore genre should also be recognized. While Scarface was detailing violence and murder, Scarface was also detailing a more reflective side, often detailing his paranoia and depressions that brought these horrors to his mind. This is best showcased on “Mind Playing Tricks on Me,” where Scarface introduced a lot of mental health related topics to hip-hop and how they have brought out certain grim actions to his life. The Geto Boys overall did a ton for hip-hop and should be recognized for their influence on the trajectory of the genre. Rest in Peace Bushwick Bill.

Giovanni Recinos is a staff writer.

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An Ode to the Rebellious: Odd Future’s Impact a Decade Later

April 17, 2022 by Luke Modugno in Read

By Luke Modugno

Courtesy of The Independent
Odd Future members pictured: Tyler, The Creator, Earl Sweatshirt, Frank Ocean, Syd, Jasper, Taco, Domo Genesis, Hodgy, Left Brain.

perhaps the most influential rap collective of all time, we examine odd future’s profound effect on the music industry

Every rap purist remembers the first time they heard the expression “Odd Future Wolf Gang Kill Them All.” Beside the fact that LA’s divergent hip hop collective Odd Future’s moto was blasphemous on its own, it could be argued that their unavoidable presence in the early 2010’s rap scene was just as abrasive. For some, the group and their work was akin to that of a petulant child. For others, Odd Future’s polarizing brilliance was simply a continuation of the long-celebrated musical trope of the industry outcast, which has only been further reinforced by their individual excellence in the past decade since their meteoric rise to stardom.

On the surface, Odd Future simply shouldn’t have worked. For some, the lyrical content of rap music is repugnant as is. For those people, head-huncho and founder of Odd Future Tyler, The Creator’s early material made the ears bleed and the eyes melt. From provocative cuts like “Tron Cat” to grotesquely seminal visuals of the “Yonkers” music video, Tyler and his crew weren’t exactly on good terms with mass music media. “Odd Future and the acts from which they’ve descended make us confront a kind of disgust that is mercifully absent from our everyday lives,” said GQ staff writer Zach Baron back in 2011. “Nobody wants to talk about this stuff, nobody feels comfortable talking about this stuff, because this stuff is awful.”

With slogans like “kill people burn shit fuck school” it was nothing short of hilarious to see bloggers and writers fall into the same trap set for them by predecessors of provacutering like Eminem. While OF was ruffling feathers in the industry and nationwide, the rap collective resonated deeply with younger listeners. There wasn’t a single day in my middle school experience in which I didn’t see the emblematic donut on a shirt, pair of Vans or “OFWGKTA” scribed via Sharpie onto a rancid bathroom wall.

For some reason, it makes perfect sense that Odd Future’s sound connected with middle schoolers. Beside catering directly to the mind-numbingly dull middle school brain through profane lyricism, OF’s art had a profound psychological effect on their target market: the youth. Researchers at the University of Glasgow and the Scottish Music and Health Network found that the music children identify with is profoundly influential in helping them develop a sense of identity. “Music can support and enrich the development of a positive self-identity as well as provide confidence, motivation and a sense of belonging,” reads the study. “Music can enhance creative, social and emotional skills. Music can be both a sense of self-preservation and fundamental wellbeing, providing a source of support when youth feel stressed, troubled or lonely.” Adolescence can be a confusing time. In many ways, Odd Future was making music as weird as their audience felt, allowing for a cult community of fans to bloom.

Enemies of the industry and of society at large have always held a special place in the hearts of music fans. Odd Future is simply a perpetuation of the trend. Seattle punk legends Nirvana had a knack for snatching the ears of the youth via their nihilistic lyricist and leader Kurt Cobain. Cobain’s life pushed him to say things like “I'm a product of a spoiled America,” messages that reverberated with socially awkward 90’s teens and their frustration with society. Although a near 15 year gap exists between their apex’s, the nihilistic messages of Nirvana and Odd Future display the universal appeal of a group fixated on catering to the societally uncatered. “Ultimately the function of art is to express something and move an idea from one person to another, and the tools of that can include revulsion and discomfort,” said Steve Albini, esteemed producer for Nirvana, Sonic Youth and more. It doesn’t stop there, a target market for those who feel disenfranchised by society at large has always existed within the music industry. From the anti-war and hippie teachings of music acts like Jimi Hendrix, Pink Floyd and The Smiths, music has been a historical haven for the societally shunned. While the agendas of these musical icons spanned a diverse blend of issues such as racial equity, capitalistic systems and pointless wars, the central motif of their sonic art was simple: challenging the status quo and questioning if what we consider “normal” really is normal. Although conveyed in a slightly more elegant, albeit less humorous manner, “Another Brick in the Wall, Pt. 2” off Pink Floyd’s legendary 1979 project “The Wall” transmits many of the same sentiments found in Odd Future’s catalog. A fiercely anti-education ballot, Roger Walters and David Gilmour’s critiques of traditional societal expectations and uniformity are only temporally separated from Odd Future’s commentary.

While many wrote Odd Future’s early success off as a fluke, the transcendent individual talent of OF alumni Frank Ocean, Earl Sweatshirt and Tyler have validated the group’s unique talent for connecting with the human experience beyond being an awkward teen. From the painfully gnarled and distorted production down to the heart-crushingly honest bars, Earl’s 2018 album “Some Rap Songs” sounds what it feels like to be in a dismally depressive state. Earl’s raw and overwhelming poetry on “Some Rap Songs” produced a project that has been widely used by listeners as a musical outlet to their suffering and mental health struggles. “Some Rap Songs” doesn’t have a happy ending, there’s no pot of gold at the end of the black and gray rainbow representative of the albums brief 18-minute run time. It’s simply a 24-year-old going through hell, an anxious cacophony of solace-seeking tracks that are painfully real.

Love and heartbreak are two emotions that are ingrained in the human condition. The universally recognized sound of heartbreak is Frank Ocean’s 2016 magnum-opus “Blond.” What is there to say about this project that hasn’t already been said? Tracks like “Self Control,” “Ivy,” and “White Ferrari” speak for themselves, as Frank channels his heartache and despair over a love lost. You can palpably experience Frank’s splitting emotions, as his sheer disappointment and shame bleed through his angelic vocals.

Resonating with listeners in many of the same ways as “Blond,” Tyler’s 2019 project “IGOR” is a toxic relationship personified. Across 12 retro-futuristic synth-pop anthems, Tyler depicts his romantic relationship with a man who is dating another woman. The harmonious bridge powered by Solange and Charlie Wilson on “I DON'T LOVE YOU ANYMORE,” the blood curdling scream near the climax of “ARE WE STILL FRIENDS?,” and the desperate confusion that is expressed on “PUPPET.” All of these gorgeously vivid musical moments on “IGOR” proves Tyler’s ability to transmit human feeling through his pen and MPC.

Whether it’s the oddity of being a teen, dealing with feelings of rejection, heartbreak, depression or love, the solo work of Odd Future’s big three has only elevated their ability to detail our feelings as we navigate the gamut of life. The rebellious are always remembered. Such is the case for Odd Future and their predecessors. However, their staying power has been demonstrated time and time again by their acute understanding of what it means to be a human being. As long as there are musicians that push people's buttons, making the media feel uncomfortable and ultimately connecting with the human spirit, the essence of Odd Future will live forever.

Luke Modugno is the Editor-in-Chief. Follow him on Twitter: @lmodugno5

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Does Money or Music Talk? Examining Marketing & Branding in Music

March 29, 2022 by Luke Modugno in Read

By Luke Modugno

Let’s take it back to last summer. The sun peeked over the clouds of spring, pandemic mandates were being lifted left and right, and the music industry was being set ablaze in Los Angeles. No, it wasn’t due to the record high temperatures or the arid Santa Ana winds emblematic of June in California. The music industry was brought to a grinding halt by a simple set of billboards that read “CALL ME IF YOU GET LOST” plastered over a pair of pastel stars with a phone number below.

*Courtesy of r/tylerthecreator on Reddit*

After calling the number, you can hear Tyler, The Creator’s mother ranting about the trials and tribulations of raising her son. Thus began the concentrated frenzy of a rollout for Tyler’s latest classic record CALL ME IF YOU GET LOST. Besides the genius production, intricate, vivid world-building and luxuriously braggadocious bars, the album’s succinct and memorable rollout was the unexpected recipient of heaps of praise from fans and industry execs alike.

Despite encapsulating fans in a universe brought to life by vivid lyrical images of Swiss lakes, music videos akin to fully-fledged Wes Anderson films, and accompanied by the launch of a luxury brand that just smells of opulence, Tyler, The Creator was simply trumped by a masked Kanye West as he began a rollout of his own. Seared into the very fabric of social media dialogue for months on end, the summer of 2021 was home to two of the most remarkable marketing campaigns the contemporary music industry has witnessed. The unmitigated and astounding success of both campaigns begs the question: what’s more important? The music, or the marketing?

Well, if you ask Kanye West, the answer is very simple: rollouts. A Billboard report from 2021 showed that between just two of the three listening parties Ye hosted for Donda in Atlanta, the rapper generated between $1.5 and $2.7 million. Additionally, the pure spectacle of the listening events drove his streaming numbers up 37% in just two weeks according to the same report. According to MRC data, that equates to $350,000 on top of whatever he took home from the listening events. Conversely, Donda recently reached one billion streams on Spotify which after both Spotify and his label take their piece of the pie, equates to less than $2.5 million net revenue in seven months.

Of course, we all understand marketing occupies a significant space in the selling process for any item, good, or service. However as it pertains to music, the marketing scheme can often directly contribute to the product overall. “[Tyler] creates these worlds that people are obsessed with,” said music marketer and artist coach Amber Horsburgh on the Trapital Podcast. “Everything from the teasers, to the passport on the cover, the billboards, music videos, everything he posted on Instagram, it was all from the same world. And that world was very different from the ones he built for ‘IGOR’ or ‘Flower Boy,’ so it became this really compelling artistic reinvention.”

Geniuses of the marketing game like Tyler or Kanye generate such compelling worlds and realms of artistic vision that their fans buy into the music with their ears and their wallets. At both of the Donda listening parties in Atlanta, Kanye was seen donning a baggy Yeezy Gap puffer jacket. Simply due to the iconic nature of the moment and performance, Yeezy Gap made $7 million overnight following the release of the jacket according to Yahoo Finance.

Similarly, Tyler’s new luxury line, GOLF le FLEUR*, accompanied the release of CALL ME IF YOU GET LOST. While the financial data isn't available yet, if a $225 fur ushanka hat is selling out in minutes, it's safe to assume it was a massive success. Fueled by each respective rollout, fans not only wanted to passively spectate the universe created by Ye and Tyler, they wanted to be a part of it physically.

This is all to say at the end of the day, if the music is subpar, the spectacle of an album’s rollout will be unquestionably diminished. However, an effective campaign can make a listener have plenty of positive predispositions about a record, in turn upping the chances that an artist strongly resonates with a listener. “Your brand is way more than just your music,” states Puris Music Consulting’s website. “Your brand has to consist of everything from your name, your wardrobe, your messaging during your sets, your nonverbal communication from the stage, your album art, your community service platform, your story of why you are an artist and so on.”

Plenty of an artist’s focus in the modern music industry is or should be locked on branding correctly. Why? According to a study conducted by a marketing strategy consultancy group, 78% of anything you and I buy, as music consumers, isn’t about the content of what we are buying, it’s about how we feel about the content. Think about how artists are introduced to us. Oftentimes we view multiple pieces of branded content before hearing a second of sonic content. Whether it’s cover art, an artist’s profile on a streaming service, a concert set, or their social media presence, artists work just as hard on their music as their marketing agencies do on promoting their branded content.

Unless you’re a business savant and musical genius in an all-in-one package like Tyler or Ye, hiring a consulting or marketing agency is the most common, yet most costly strategy for upcoming artists. Thankfully, the most efficient form of marketing is free. According to Nielsen Holdings, 92% of consumers believe recommendations from friends and family over all forms of advertising. While artists with established and lengthy discographies are able to utilize word-of-mouth marketing more immediately, it’s not an impossibility for smaller artists. It’s proven that out-of-the-box ideas are more than capable of matching the efficacy of a fully-fledged campaign.

Look no further than Soulja Boy’s initial utilization of YouTube, which revolutionized music marketing for years. At the time an innovative strategy, Soulja was the first artist to successfully promote his music through the platform, sparking conversation industry-wide. Generating over half of a billion views (510 million), viewers were captivated by music’s integration into the internet. Shared hundreds of thousands of times and generating heaps of traditional media coverage, “Crank That” flew to the top of the charts. And considering a study conducted by Swedish researcher Guy Madison and Gunilla Schiölde found that repeated exposure to music categorically increases your enjoyment of it, regardless of its complexity or your “taste,” Soulja’s strategy has been copy and pasted by the entirety of the industry since.

Let’s be honest, we can all agree “Crank That” isn’t a musical masterpiece. But its promotion strategy, however, was nothing short of brilliance, allowing it to be one of the most successful smash hits of the 2000’s.

While potent and timely case studies, Tyler, Soulja, and Ye are far from the only successful campaigners. The music industry is constantly searching for innovative ways to captivate fans beyond the traditional product. In some ways, the money is talking just as loudly as the music is playing.

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StereoVision's Artists to Watch 2022

January 31, 2022 by StereoVision Staff in Read

By StereoVision Staff

As in most other aspects of life, each January serves as a type of cleansing for the music industry where fans get to look back and appreciate how their favorite artists elevated the previous year and changed their lives for the better. Potentially the most fun aspect of a new year in music is the potential for new break-out stars to burst onto the scene and change how we think about music. With the majority of the industry’s big dogs dropping in summer and fall, the first half of the year always acts as an exciting battleground for budding artists where anything is possible and creative innovation is rewarding leading to some of the most important music of the year. Our team decide to celebrate this annual energy by compiling some of the rising artists we’re most excited to watch grow throughout 2022. Additionally, we put together a playlist with some of our favorite songs from each artist, check it out on Spotify and Apple Music here:

Without further ado, please enjoy StereoVision’s artists to watch in 2022:

Al-Doms

If you haven’t listened to Al Doms’ 2021 project “NEW DREAM”, then remove your head from the sand and listen to it right now. The Virginia rapper really had 2021 on his back for a minute - feeding fans with a healthy collection of bass-laden bangers with writing so good it will have you taking notes. Though he’s still a burgeoning artist, the momentum he’s picked up with that project + his “Mr. Perfect” freestyle has set him up to have an absolutely insane 2022. If the idea of Saba with a little southern flair perks your interest, then Al Doms needs to be on your radar this year. -Carter Fife

bigbabygucci

A prominent name in the underground rap scene for years, Charlotte rapper BIGBABYGUCCI is sure to make waves in 2022. From being sent to a group home in 8th grade, dropping out of college and multiple legal battles to now surpassing over 400,000 monthly listeners on Spotify, Gucci is proof that a troubled past does not define you. There’s no doubting Gucci’s work ethic; he dropped 3 projects in 8 months in 2021, and already has kicked off 2022 with a bang with his newest release, Iridesense. Gucci’s versatility is unmatched, from being able to float over spacey beats to thriving over complex, hard-hitting, synth-heavy instrumentals frequently from Mike Dean co-signed producer, Fish. Now, BIGBABYGUCCI is currently on his first major US tour, the Yokohama Tour, supporting MadeinTYO and UnoTheActivist. Expect more quality from BIGBABYGUCCI and his newly founded record label, Better Temperatures, in 2022! -Matt Herin

David Sabastian

A person who is doing a lot of jobs is very common to come by in the fast-paced world we currently live in. A person who is truly talented in many aspects is a lot rarer and deserves to be celebrated. David Sabastian falls into the latter category. He had one of the most slept-on albums of 2021 with features from Buddy, 070 Shake, Guapdad 4000, and a couple more household names. I kid you not that whenever a song comes up in my library I find myself having to play the whole album on loop before being able to move on with my day. He also apparently just released an audiobook under his own publishing company. Additionally, he is also the founder of the fire fashion brand Skidrow, which spreads awareness about those on Skid Row while simultaneously providing assistance. So he already has a solid footing within the world yet for some reason he is not considered mainstream. With two more projects coming out in 2022 if this man is not on your list you are tweaking. -CJ Allen

454

I sincerely do not think an artist's debut has ever impressed me like 454’s 2021 debut project 4 REAL, so in 2022 I know who I'm going to be watching closely. Rolling Stone called his music "cosmic", FADER called it "bliss", and now 454 even has the equally rare and well-deserved Frank Ocean cosign. Blending the best elements of pluggnb, hip-hop, and psychedelic, 454 is easily one of the most exciting new artists of the past year. With more music on the way soon, I can't wait for what he has in store in 2022. -Carter Fife

Navy Blue

Underground hip-hop and it's innovative talents are the lifeblood of the overarching genre. One of the brightest revelations originating from underground hip-hop in recent memory has to be the Brooklyn-based Sage Elsesser, better known under his rap alias Navy Blue. Elsesser's rap origins can be traced back to his team-up with the underground collective sLUms. The groups clear willingness to collaborate has connected them to avant-garde minds such as Earl Sweatshirt, Pink Siifu, MAVI, Standing On The Corner and of course Elsesser. Elsesser has used these connections to his advantage, appearing on several Earl songs such as "The Mint" and "GHOST." Navy Blue's unique sound combines vivid strokes of Earl's intricate flow and wordplay, experimental production akin to The Alchemist or Black Noi$e, and a decidedly unique honesty and personability. Navy had a busy 2021, releasing his latest LP "Navy's Reprise," executively producing underground rapper Wiki's standout record "Half God," and appearing on the standout Alchemist track "Nobles" with Earl. With only 149,000 monthly Spotify listeners, Navy is definitely an artist to keep track of heading in 2022. -Luke Modugno

Nippa

When is an artist can effortlessly move with the smoothness of a seasoned veteran on their first shit you know that they’re doing what they were born to do. This is absolutely the case with the London-based singer Nippa. I’ll never forget seeing the situation video for the first time while waiting to board a plane in LAX and the obsession it instantly instilled in me. Nippa carries the same cool mystic as a Brent Faiyaz while differentiating himself by making more frequent call back to a mid-2000s aesthetic. Everything from his crystal clear runs to his subtle yet prevalent London accent results in an obvious superstar in the making. -Spencer Lobdell

onlybino!

2022 will be a big year for Onlybino. This past year he gained our attention with “Butterfly Doors” and a feature on midwxst’s deluxe tape. Surrounded by a youthful circle including sgpwes, xhuloo0, and surge, he showcases his talents alongside the next wave of artists ready to break into the public eye. Now a part of the star-studded roster of Field Trip Records led by Zack Bia, he has the tools to become one of the biggest artists to come out of the underground scene. Bino covers such a diverse range of genres, it's difficult to categorize him into just one; his recent Youtube uploads feature hyperpop rap, drum, and bass, rnb, etc. This multi-genre ability gives him an advantage that will keep his sound fresh and unique. With a successful music video to “Butterfly Doors” produced by No Soap, led by Elan Bia, we hope to see more collaborations between the two in the future of Bino’s career. It looks like he’s on the right path coming into this year, and we can’t wait to see what Onlybino has in store for us in 2022! -Q Hollomand

2oopaid Tk

The bubbling hip-hop scene in Seattle is something all fans need to take note of and at the forefront of it all is 2oopaid Tk, a gifted artist with a knack for addicting melodies and a style like no other. Vocally, the Seattle spitter is gifted with a mesmerizing rasp that is reminiscent of Shordie Shordie but is paired with a high-energy delivery to truly make his music sound like no one else in the game. Tk has dropped solid projects in both of the past two years while also collaborating with lots of young artists in the new hip-hop hotbed that is Seattle Washington. 2oopaid has already built a faithful fandom in the 206 and with no signs of slowing down, 2022 looks to be the year that 2oopaid could see massive success. -Spencer Lobdell

Jany Green

Alright so I’m going to be honest, apparently Jany Green has been that guy for a minute now with his single “Little” from 2020 having an astounding 11 million streams on Spotify. He also has a song produced by Kenny Beats on his EP Lost In Love. However, I still believe he is underrated enough to be put on the lists of artists to watch. His aforementioned EP is an automatic vibe. It has the capability to put you in a fire mood to dance all your problems away no matter what went wrong with your day. I believe with my whole heart that he is one Tik Tok away from being sent into the superstar stratosphere. He is also from Alaska, which is normal yet obscure enough to add to his star-studded story. Everyone should be impatiently waiting to see what he has coming out this year. -CJ Allen

TaliHendrix

TaliHendrix is a very new rapper with only 13 tracks on his current SoundCloud. I found him off pure coincidence as I was listening to a Summrs station on SoundCloud. His biggest song, “league” came on and I was drawn in by the familiar beat tag and 808’s. the song happened to be produced by 30NICKK, one of the biggest underground producers right now, and frequent SlayWorld collaborator (artists who used to be in or associated with Slay include: KanKan, Summrs, Yeat, Autumn). After hearing “League” I was very impressed by his rapping ability and delivery on Nickk’s beat, as they can be tricky to find a flow and one’s own voice on. I am extremely interested to see what Tali can do in the future and I bet if he keeps going, he will be linking with big names in the underground rap game soon. -Drew Jenkins

Tony Shhnow

Tony Shhnow is set up to have a huge 2022. Coming out of last year releasing 7 mixtapes/albums and countless music videos, Tony shows us what kind of work ethic it takes to grow as an artist. Tony Shhnow is truly an artist who can get on any beat. He combines OG ATL rap with RnB, plugg, and soul music, making for a unique underground artist with none like him. He leads his peers when it comes to exploring new sounds and “going back in time” to older subgenres and reviving them with a new updated style. Tony Shhnow can REALLY RAP, and with a keen ear, you will be able to pick up bars that are relatable and thoughtful. The heavy use of samples gives a vintage vibe to his music that is refreshing when paired with his modern-day subject matter. With two music videos already released just 2 weeks into 2022, we can expect a lot of content and progression coming from Tony. We can’t wait to see and hear what he has in store for us! -Q Hollomand

Chris Patrick

Chris Patrick is a must-watch going into 2022. The artist, born and raised in New Jersey, shook up the music industry in 2020 with the release of his first studio album, From The Heart, Vol. 2. His versatility, heartfelt lyricism, and well-articulated emotions are reminiscent of a new-age J. Cole, which is not a commendation I would give to just anybody. He can out-rap your favorite rapper, then turn around and float on a slow, melodic track, leaving you questioning if Spotify just started playing some random radio. Since his bag is so deep, he keeps himself outside any box while simultaneously proving his unlimited potential. -Colson O’Connor

o2worldwide

Who do you really know making bops out of Oklahoma? You probably are unaware of anyone major. Hopefully in the coming year that is going to change as O2worldwide serves as your chance to see what the panhandle state has to offer. Due to a lack of words, the best way I can describe them is just INSANE. Since they are so fresh it can be a struggle to identify the members, but every time you find one, you are blessed with fresh and inspiring music. So far the singular artists I have been able to identify outside of the 3 albums dropped under O2worldwide are Casper Sage and the founder Ombachi. Both have an automatic and smooth flow. They have the same energy as OFWGKTA as an amazing group of people producing just as amazing music. I put my whole life on this when I say, THEY ARE GOING TO BE HUGE! -CJ Allen

yelizaveta (fka baphy)

This may be the deepest cut on the list, but sitting at 10 monthly listeners is one of my favorite artists of 2021, Yelizaveta. With only a handful of tracks released (and only one on DSPs), this is probably a little bit of an early pick - but when you find good music, you share it right? “Ricarda” is a perfect synthesis of ethereal electronic experimentation and pop perfection, and Yelizaveta’s vocals are so hypnotic you’ll probably add this to every playlist in your roster. With more music lined up for 2022, this may be your last chance to claim your “early fan” award. -Carter Fife

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StereoVision's Favorite Albums of 2021

January 02, 2022 by StereoVision Staff in Read

By StereoVision Staff

Although 2021 seriously left something to be desired, the music that was released this year did not. Our favorite musicians put us in their backpacks and create worlds for us to live in while disease, hate, and ignorance plagued ours. From some of the most celebrated artists of our generation dropping new albums (Tyler, the Creator, Kanye West, Drake) to exciting newcomers making a serious claim for the throne (Baby Keem, Don Toliver, Yeat), 2021 was jam-packed with exciting releases and excellent music. Without further ado, the StereoVision team is proud to present out top 30 albums of 2021:

30. *Mercurial World* by Magdalena Bay

I’ll be real with you - I love weird shit that isn’t afraid to build worlds, push music forward, and most importantly, take risks. Luckily, Magdalena Bay was able to check all of those boxes with their debut album *Mercurial World* - an album equally concerned with existential terror, time, space, and crafting insanely-detailed indie-pop anthems for our enjoyment. It would be impossible to boil down everything I love about this record in the few sentences allotted to me, but this album truly is a modern pop masterpiece that somehow balances a careful love for pop’s past, present, and future. Take tracks like “Hysterical Us”, “Dawning Of The Season” or “Secrets (Your Fire)” - do those songs not sound like they were written in the year 3000? Whether or not you have a strong affinity for pop music, Magdalena Bay’s *Mercurial World* stands alone amongst the pile of new releases we got this year. -*Carter Fife*
**Favorite Tracks:**
Hysterical Us, Secrets (Your Fire), & Prophecy

29. *Navy’s Reprise* by Navy Blue

The budding voice of the underground, Navy Blue’s consistent output of refreshingly personal raps over avant-garde production continues with *Navy’s Reprise*. Behind the boards or using his pen, Navy puts his oozing talent on full display here. Quickly becoming one of the most talented acts in rap music, Navy Blue is a name to remember going into 2022. -*Luke Modugno*
**Favorite Tracks:**
My Whole Life, Not a Lot to Fear, & Suite 11

28. *Do it for demon* by sahbabii

For an artist who prefers to stay out of the spotlight, the release of this album reminded us of his talents, and put him at the center of attention once again. Sahbabii perfected his sound on this album, giving us a new version of himself while also sticking to his roots that are reminiscent of his 2018 tape, *Squidtastic*. Songs like “Dickalasionship” and “Crosswalk” were flooded with lines that made me laugh at how unexpected yet hard they were at the same time. It’s moments like these that make a project memorable and shareable with friends; Sahbabii kept an upbeat and hopeful vibe throughout the project, celebrating the life of his late childhood friend, ‘Demon Child’, for whom the album is dedicated to. This pleasant listen is light on the ears and is easy for you to zone out to, just appreciating the melodies and ambient vocals. -*Q Hollomand*
**Favorite Tracks:**
I see, Crosswalkk & Bread Head

27. *1 Night I Took Acid* by Bigbabygucci

BigBabyGucci truly used his 2021 release to evolve from SoundCloud rapper to overall musician and mogul and the experienced ear can tell by simply listening. There is so much to say about this artist and this album. For those unaware, BigBabyGucci is tearing up the underground with his barrage of albums and versatility on different beats. On this album, Gucci takes a step back from the grunge, dark beats he had on his previous tape *Assume the Worst* and makes this one much livelier and inviting. He incorporates dancehall beats and makes his music more personal with song intros and a banger with Coldhart. All in all, be on the lookout for Gucci, he is only getting started. *-Drew Jenkins*
**Favorite Tracks:**
Hotel California, Tuesday, & Before Us

26. *Cinema* by The Marias

*Cinema* is the long-awaited debut record from LA-based indie rock group The Marías, a record that seamlessly pulls influences from indie rock to ethereal pop, classical, and latin music. Tracks like “Hush” and “Calling U Back” are hard-hitting and perfectly-polished bangers that somehow fit on virtually every playlist, and tracks like “Spin Me Around” will make you feel like you’re literally floating above your body. Their sound is hypnotic, and whether they’re delivering you a seductive and downtempo bilingual groove like “Little by Little”, or a transcendental wall of dream-like sound on “All I Really Want Is You”, every second is a perfectly polished moment from one of LA’s most promising acts. -*Carter Fife*
**Favorite Tracks:**
All I Really Want Is You, Calling U Back, & Little By Little

25. *Van goghs left ear* by zelooperz

Though it might be shallow if you are looking for an album to bump while cruising and want heads to turn immediately, Zelooperz has blessed you. Each track has an insane beat that matches a voice that could only come from Detroit. Crash bandicoot samples to ones that will make you research a blind opera singer Zelooperz brought the range to this album. He even took advantage of his vocal prowess by singing which only added another layer of complexity. *-CJ Allen*
**Favorite Tracks:**
Bash Bandicoon, Essential Worker, & Don’t Leave

24. *Still Over It* by Summer Walker

The energy that Summer Walker carried into her second studio album was undeniably that of a star. Her debut album *Over It* established her as a force in the industry, and she took it a step farther on *Still Over It.* There are moments where this project feels straight out of the early 2000’s in the best way possible, but it is backed by a very modern bounce. She never shies away from her experiences, positive or negative, and makes it all sound incredible. The lyrics are cutthroat and empowering at the same time. On a track like “No Love”, she and SZA make it apparent just how quickly they will cut off all emotional contact once they feel mistreated. Songs like this don't feel like heartbreak anthems, but rather they feel like the product of putting yourself first and understanding personal needs. Summer has one of the best voices in the industry, and she is able to float over slow sexy ballads like “Unloyal '' with Ari Lennox as well as bouncy club records like “Dat Right There” with Pharell. With *Still Over It,* she sent a very clear message to the next man that tries to play with her. -*Miles Hagan*
**Favorite Tracks:**
No Love, Switch A N***a Out, & Toxic

23. *sixtape 2* by blxst & bino rideaux

At this point, there’s no denying that Blxst and Bino Rideaux are the West coast’s most dangerous duo. With one joint project under their belt (2019’s Sixtape) and a handful of excellent tracks, the LA duo was already aiming for the afro-mentioned title before solidifying their claim with *Sixtape 2*, the infectious 12-track project that was the undisputed soundtrack of the summer in Los Angeles. The project is as bouncy as it gets and Blxst’s ear-worm melodies perfectly complement Bino’s mesmerizing flow. On songs like “One of Them Ones” the duo is able to inspire and communicate confidence in a similar way to that of their mentor Nipsey Hussle well making that confidence as accessible as ever. Songs like “Program” and “Stressful” are obvious standouts in both artists’ discography due to an absurd amount of replayability. All-in-all, Blxst and Bino did it again and crafted one of the most fun projects of the year. -*Spencer Lobdell*
**Favorite Tracks:**
Program, One of Them Ones, Stressful

22. *Right Now* by willie Jones

If there is one album you must listen to that may be outside of your usual music taste, it has to be this one. Willie Jones killed his album debut and personally ignited a flame in me that is now constantly searching for the next country star. Even though the album involves a mixture of many styles, that will allow even the most intense country hater a chance to enjoy it. There is no doubt that this is a unique country album. It will be evident once Willie’s baritone voice transports you to the backroads of some wheat field. *-CJ Allen*
**Favorite Tracks:**
Down for it, Trainwreck, & Back Porch

21. *epiphany* by ka$hdami

*epiphany*: the epitome of a plugg album. This 17-song album truly brought plugg music to a broader audience, making Dami one of the first artists in a while to have more mainstream success in this subgenre of rap. The progressive production, paired with a direct vocal delivery by Dami makes for a euphoric listen; each song having its own ear candy that makes you go back for another song. This album solidified Ka$hdami as a staple in the underground youth culture. His rise this year is linked to countless songs going viral on Tik Tok, but in a cool way, avoiding his songs being ‘ruined’ by the app’s abilities to sometimes do so. Features from SSGKobe, BabySantana, Riovaz, and more do not disappoint, making this album a star-studded collection that unites the underground scene. -*Q Hollomand*
**Favorite Tracks:**
Reparations, Wake Up, & Receipts

20. *to hell with it* by pinkpantheress

Pinkpantheress shows out on her first album. In an online age where everyone has heard almost everything, pinkpantheress homage to an expired British music scene and homey sounding garage beats stands out from the overall mainstream crowd. The sound feels familiar but not repetitive. Pinkpantheress’ lyrics are also a vital part of her sound; songs centered around love, emotions, slight existential crises’, and mental health hit a soft spot for today’s generation. pinkpantheress is this generations artist, and tiktok was only her vessel. I see many good things to come from this artist, and I hope they keep pushing forward with whatever sound they find. *-Drew Jenkins*
**Favorite Tracks:**
nineteen, passion, & break it off

19. *This Thing of Ours Vol. 1 & 2* by the alchemist

Very few artists have reached the legendary status that Alchemist has obtained in his career. He is a testament to consistency and always cultivating new relationships in the industry. His genius on *This Thing of Ours* is in his subtlety. These are not concept albums yet they feel undeniably cohesive. The album feels like we are listening to old vinyls we didn't know we had, in a dusty attic, and having the time of our lives for about 30 minutes. From Earl Sweatshirt, to MAVI, to Zeloopeerz, everyone shines and sounds perfectly at home. While there is no consistent subject matter from song to song, there are no wasted bars from anyone, and that intentionality keeps the listener focused. On a project where every song is a moment we are left asking, “How did Al do it again?” -*Miles Hagan*
**Favorite Tracks:**
TV Dinners, Loose Change, 6 Five Heartbeats

18. *USEE4YOURSELF* by idk

There are many words that you can use to describe IDK, but luckily radio-silent is not one of them. Having released a project every year we’ve known him, few hip-hop artists have developed their style and sound as quickly as IDK. *USEE4YOURSELF* is a reflection of this, because it doesn’t just feel like a yearly release at this point. A conceptual album tracing IDK’s troubled relationship with love and traditional masculinity to his childhood, *USEE4YOURSELF* is a heartfelt and vulnerable meditation on intimacy and self-reflection. Aurally, the album is packed to the brim with bangers, and with Mike Dean helming most of the production, perhaps hip-hop has it’s newest dynamic duo. Tracks like “Pradadabang” with Young Thug and “Peloton” are decorated with forward-thinking mixes and writing that effortlessly moves IDK into a lane of his own. It’s hard to summarize this record in a few sentences, but take it from me - *USEE4YOURSELF* is one of the strongest releases this year, and I’ll be anxiously awaiting what IDK does next. -*Carter Fife*
**Favorite Tracks:**
Puerto Rico, Pradadabang, & Shoot My Shot

17. *BO JACKSON* BY BOLDY JAMES AND THE ALCHEMIST

Hip-hop has always been about collaboration, and nothing elevates the genre quite like when a producer and emcee have undeniable chemistry. Detroit's own Boldy James and the legendary Alchemist linked up once again this year for a follow-up to their 2020 masterpiece *The Price of Tea in China*, with *Bo Jackson*. This time around, the duo brought a seriously upgraded guest list, including Freddie Gibbs, Earl Sweatshirt, Benny The Butcher, Roc Marciano, and Curren$y. A pairing of artists who just can't quite seem to miss, Bo Jackson was one of the best projects hip-hop's underground scene had to offer in 2021. -*Luke Modugno*
**Favorite Tracks:**
Brickmile to Montana, Fake Flowers, & Turpentine

16. *Sometimes I might be introvert* by Little Simz

Meaningful introspection is something that can be a confusingly-difficult learned skill for artists. This is not the case for the UK’s rising rap star Little Simz and her fourth studio album. Production and unmitigated honesty are the strong points here, as Simz contemplates her journey of self-discovery under the limelight. -*Luke Modugno*
**Favorite Tracks:**
Miss Understood, Two Worlds Apart, & Woman

15. *WEIGHT OF THE WORLD* BY MAXO KREAM

When you have Tyler the Creator, A$AP Rocky, Freddie Gibbs, and more well-known heavy hitters on a project and don’t lose your own spotlight, you know you’ve made something special. Maxo Kream has been a prominent artist, but this album felt different. Once you have heard the song that tells the story of his brother a new tone is added to the album. Maxo was even able to make a bop about the words he’s been hearing from his haters. Talented storytelling and an overall level of wittiness helped create a masterpiece. *-CJ Allen*
**Favorite Tracks:**
They Say, Trips, & Believe

14. *TWOFR 2*

Although Kalan.FrFr has been a familiar name in Los Angeles since 2018, the Roc Nation artist really established himself as one of the most exciting rising artists on the West Coast with the spring release of *TwoFr 2.* The 13-track project was so exciting to music fans everywhere because it’s got a little bit of everything. From undeniable bangers (“Look at Me” & “Scorin”) to emotional cuts (“Never Lose You” & “Run Away”), on *TwoFr 2* Kalan asserted himself as a versatile artist that is excited to push the boundaries of LA hip-hop and innovate at every turn. -*Spencer Lobdell*
**Favorite Tracks:**
Look At Me, Big Dog, Never Lose You

13. *THE LIFE OF PI’ERRE 5 BY PI’ERRE BOURNE*

Pi’erre did nothing but deliver on his 5th edition of the TLOP series, this one being the standout amongst the five. What made this album such a relief was Pi’erre’s choice to include fan-favorite leaks; songs like ‘Switchin’ Lanes’ ft. Playboi Carti and ‘Drunk and Nasty’ ft. Sharc made the final cut. The signature Pi’erre production on every beat and his nonchalant, but catchy vocals create a mind-numbing effect on the listener. Every song transitions into the next one, making each listen feel like a new experience(I think that “Groceries” into “Butterfly” is the best transition). Pi’erre is finally getting the recognition he deserves as a vocalist as he continues to display his simple, yet intricate production. -*Q Hollomand*
**Favorite Tracks:**
Butterfly, YNS, & Drunk and Nasty

12. *CERTIFIED LOVER BOY* BY DRAKE

From the moment Drake shaved a heart in his hair the music world was waiting for *Certified Lover Boy*. After some leaked versions, clothing line drops, and renting out Dodger Stadium for a date night, debatably the biggest rapper in the world dropped his latest project. Drake sounds as hungry as ever on “Knife Talk '' and “No Friends in the Industry ''. These tracks are high energy and filled with high hats, and the latter provided us with one of the best 21 Savage features of the year. Then, two songs later, we get “Pipe Down” and “Get Along Better”, over lush production and with lyrics that undeniably live up to the persona he has created. All of this while still giving us an epic intro and heartfelt outro, one-liners that will be captions for years to come, and everything else we have come to expect from The Boy. Drake and 40 were able to curate an amazing list of guest features and some of the most influential producers in hip-hop. While it was going to be nearly impossible for the album to live up to the hype that was built for it before release, *Certified Lover Boy* was still able to capture some of the best moments of the year. -*Miles Hagan*
**Favorite Tracks:**
Papi’s Home, Fair Trade, Pipe Down

11. *UNTOURABLE ALBUM* BY MEN I TRUST

Released amidst a global pandemic, the aptly-titled *Untourable Album* is the newest release from the dream-pop powerhouse Men I Trust. Though the world has turned upside down since their last project *Oncle Jazz* dropped in 2019, Men I Trust put their best foot forward by returning with a fairly-sized collection of new tracks. Seamlessly blending elements of dream-pop with jazz and indie rock, *Untourable Album* is the perfect album to get lost in when you need a break from 2021’s chaos. From the record’s delectable downtempo basslines to Emmanuelle Proulx’s dulcet vocals, this year Men I Trust came through with an album that sounds like they never left. -*Carter Fife*
**Favorite Tracks:**
Tree Among Shrubs, Sugar, & Oh Dove

10. *UP 2 ME* BY YEat

Yeat’s parade truly is a marvel to behold on *Up 2 Më*. Yeat starts to perfect the gloomy and eerie sound he is going for (like on '“Swërved It”) and begins to experiment with his sound on the last two tracks of the album. Yeat shows continual progression and adaption to an ever-expanding rage music scene along with him beginning to compete with his previous self. Yeat notoriously limits his features to friends and confidants, and on this tape, he only has a feature with his label partner and good friend Septmebersrich. This ability to control a song without having multiple voices or people truly goes to show how groundbreaking Yeat is for not just the underground but hip-hop in general. The way he goes about distorting his voice, and how he is getting more into the production side of his music, we will be seeing a lot greater things from this young artist. *-Drew Jenkins*
**Favorite Tracks:**
morning mudd, money so big, & told ya

9. *MICHIGAN BOAT BOY* BY LIL YACHTY

Lil Yachty's Michigan boy boat mixtape was his only tape in the year 2021. With this, he shows his versatility and genuine connections in hip-hop by creating a mixtape that attempts to encapsulate the niche underground Detroit/Flint rap music scene. This mixtape was a surprise to many avid hip-hop listeners, Lil Boat and Detroit music fans alike. This was not a total commercial stunt as Yachty has had multiple songs with Tee Grizzley and Sada Baby in his past years of being a mainstream rapper. The scene, rampant with notorious Hitmakers like a BabyTron, Rio da Young OG, and the previously mentioned Sada Baby en-captures a grimy but flavorful stab at what it looks like to be a lyrical rapper in today’s hip-hop. Historically, his music is quite contradictory to a Michigan style of rap, which made fans skeptical but also hungrily await what the MC was cooking up. *-Drew Jenkins*
**Favorite Tracks:**
Never Did Coke, Final Form, & Concrete Goonies

8. *VINCE STAPLES* BY VINCE STAPLES

It is fitting that his self-titled album is his most personal. Vince Staples is one of the most complex figures that music has to offer. While he is loved by the masses for his slick comedic timing and unrelenting honesty, there are parts of himself and his life that he clearly keeps away from the public eye. He slightly pulls the curtain back on this album, but in the most Vince way possible. He paints pictures with his lyrics and the tone is perfectly set from the opening track “ARE YOU WITH THAT”, where he is honest about how he moves and the things he comes from, but makes it very clear that this life is not for everyone. There is not a bad song on this album. The entire tape is produced by Kenny Beats and he shows his full range. Vince has never rapped over a stripped-back beat like “TAKE ME HOME”, but he sounds like a match made in heaven next to the beautiful singing of Foushee. If you still want to question if he’s really about that life, there are also songs like “LIL FADE” and “MHM” to reassure you. -*Miles Hagan*
**Favorite Tracks:**
Law of Averages, Sundown Town, Taking Trips

7. *AN EVENING WITH SILK SONIC* BY Silk Sonic

Since the announcement of this collaborative tape, we knew exactly what we were going to get: a masterpiece, plain and simple. Paak and Bruno complement each other incredibly well, with Paak shining lyrically and Bruno crafting hooks that get stuck in your head like gorilla glue. After listening to a track like “Smokin Out the Window,” there’s really only one valid conclusion a listener can come to: Silk Sonic is a duo sent to us by the music gods. -*Luke Modugno*
**Favorite Tracks:**
Smokin Out The Window, Fly As Me, 777

6. *LIFE OF A DON* BY DON TOLIVER

There’s no feeling as gratifying as seeing someone reach their true potential. From the first time I pressed play on Don’s 2018 mixtape *Donny Womack* it was obvious that the Texas artist could be incredible but after an underwhelming follow-up project (*Heaven or Hell)* I was unsure what the future held for the Cactus Jack artist. I’m so happy to say that with the release of *Life of a Don* this year, Don Toliver has finally become the artist I always knew he could be. From top to bottom, the 16-track album is packed with biting flows, a psychedelic aesthetic, undeniable range, and everything fans love about Don. In my opinion, no album had better beat selection than *Life of a Don* in 2021, and when you combine that with Don’s killer vocals and a feature list containing Baby Keem, Travis Scott, SoFaygo, and Kali Uchis, it’s clear to see why this is one of the best albums of the year. Well I don’t think that *Life of a Don* was the best album of 2021, I do think it was the album I pressed play on the most this year (and it’s not close). -*Spencer Lobdell*
**Favorite Tracks:**
Swangin’ on Westheimer, OUTERSPACE, Flocky Flocky

5. *THE MELODIC BLUE* BY BABY KEEM

From dropping one of the best albums of the year, to being featured on Kanye West’s *Donda*, to being brought out by Kendrick Lamar at Day N Vegas, Baby Keem made a serious claim for 2021’s MVP, an absurd feat at only 21 years old. The epitome of his explosive year was undoubtedly the release of *The Melodic Blue,* a project that was released in the same two-week period as *Certified Lover Boy* and *Donda* but still managed to command the moment. *The Melodic Blue* is undoubtedly this year’s most exciting body of work as Keem experimented with sounds throughout the whole album, taking necessary risks and delivering fans music that sounded like nothing they’d ever heard. Songs like “Family Ties” and “Vent” showcased Keem’s innate ability to make a crowd lose their mind whereas slower tracks like “16” and “Lost Souls” exemplified Keem’s ability to craft beautiful, genre-bending pieces of art. Nothing sounded like *The Melodic Blue* in 2021 and it absolutely deserves to be sitting with the big dogs in our top 5. -*Spencer Lobdell*
**Favorite Tracks:**
Scapegoats, Trademark USA, & 16

4. *THE HOUSE IS BURNING* BY ISAIAH RASHAD

“What am I supposed to do outside but get rich”. It is almost arrogant that despite Rashad being reluctant to embrace the spotlight his talent demands, he is aware that the second he does step outside it's over with. These are the first words Isaiah Rashad utters on *The House is Burning.* He may be the most self-aware figure we have in music, and may even argue that it is to a fault at times. That is what makes this one of the best albums of the year. Before its release, he went on a press run and spoke to multiple publications about his struggles with alcoholism and drug abuse, which landed him in rehab before he could release this project. All of this comes through on *The House is Burning.* This album is honest, vulnerable, and a celebration of taking life and the healing process a day at a time. This all culminated in some of the rawest music of the year. -*Miles Hagan*
**Favorite Tracks:**
RIP Young, Headshots (4r Da Locals), HB2U

3. *WHOLE LOTTA RED* BY PLAYBOI CARTI

It is with no doubt that I say that this album has changed the sound and aesthetic of rap more than any other album has. With countless false release dates, anxious fans, and entire album versions leaking to the internet, Carti finally brings us an already classic album that has ushered in a new era of hip-hop. Dropping on Christmas of 2020, its life in 2021 started out rocky, with the rap community split on the controversy of his new ‘vamp’ style and punk-themed music. Now, a year later, the album still feels as fresh and new as ever, with the majority of people now in positive favor of WLR. The standout production of F1lthy and Art Dealer bridges the gap between rock and hip-hop; the sharp synths and aggressive drums bring a new addicting sound to the genre. Whole Lotta Red’s influence on pop culture will continue to play out over the next few years, solidifying it as 2021’s best album. -*Q Hollomand*
**Favorite Tracks:**
Stop Breathing, Control, & Over

2. *CALL ME IF YOU GET LOST* BY TYLER, THE CREATOR

Which genius concept would you rather see fleshed out by one of our generation's best: an album all about traveling the world released during a global pandemic, or a heartbreaking yet morally-confusing story about being involved in a passionate love triangle? How about both, but we disguise it in a DJ Drama-produced Gangsta Grillz mixtape to give every level of fan a different theme to latch onto? This is exactly what Tyler, the Creator did with his sixth studio album *Call Me if you Get Lost*, a project that is undoubtedly my album of the year and honestly probably the best album I’ve heard since Mac Miller dropped *Swimming* in 2018. Despite being on repeat for the entire year, the album continued to take on new meaning as 2021 progressed and although I’m sure I’ve spun the record over 100 times this year, something tells me that this album still has more to teach me about myself and the world around me. -*Spencer Lobdell*
**Favorite Tracks:**
Sweet / I Thought You Wanted to Dance, Safari, Massa

1. *DONDA* BY KANYE WEST

Albums that possess the ability to command the attention of pop culture are truly legendary. Whenever Kanye West has new music to share, of course we are willing to lend an ear, but this time was decidedly different. With an album rollout that completely defined social media dialogue for months, *Donda's* musical content matched the unparalleled hype generated by its marketing strategy. Concretely pivoting from the religiously-centered *JESUS IS KING*, Ye takes center stage as he struggles with the absence of his mother, divorce, and passing of close friends. With a whopping 32 songs over 2 hours, Ye makes yet another solid entry to his already stacked catalog of classic records. -*Luke Modugno*
**Favorite Tracks:**
24, Believe What I Say, & Come to Life

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StereoVision's Favorite Songs of 2021

December 31, 2021 by StereoVision Staff in Read

By StereoVision Staff

Although 2021 seriously left something to be desired, the music that was released this year did not. Our favorite musicians put us in their backpacks and create worlds for us to live in while disease, hate, and ignorance plagued ours. From some of the most celebrated artists of our generation dropping new albums (Tyler, the Creator, Kanye West, Drake) to exciting newcomers making a serious claim for the throne (Baby Keem, Don Toliver, Yeat), 2021 was jam-packed with exciting releases and excellent music. Today our team is celebrating some of our favorite songs that kept us going through a difficult year. If you’d like to listen to these tracks, go grab our playlist on Spotify or Apple Music at the link below:

Without further ado, StereoVision’s favorite songs of 2021:

“Family Ties” by Baby Keem & Kendrick Lamar

What more can you expect from a Baby Keem record than what is already present on “family ties?” Two exceptional Keem verses, two beat switches, a vicious Kendrick Lamar feature, and the two rappers trading bars to end off the song. Keem displays his full skillset as a rapper on this track, as his word play, flow and rhyme-schemes were intricate enough to draw praise from both Tyler, The Creator and Vince Staples on Twitter. All-in-all, "family ties'' is a brilliant union of exceptional rappers destined to cross paths many more times in the future. -Luke Modugno

“Sweet / I thought you wanted to dance” by Tyler, the creator

Each Tyler, The Creator album seems to have a clear centerpiece, an encapsulation of the artistic headspace and emotional space the eccentric rapper is in at the time of the album’s creation. With his latest masterpiece record CALL ME IF YOU GET LOST, that track happens to be "SWEET / I THOUGHT YOU WANTED TO DANCE”. Much like the rest of this record, Tyler borrows from previous points in his artistic journey, as this track fuses elements of the sonic palette of IGOR and Flower Boy. Tyler recruits the help of the angel-voiced Brent Faiyaz for “SWEET,” who completely steals the limelight with a verse and vocals that simply melt in your ears. The track only gets better when it transitions to “I THOUGHT YOU WANTED TO DANCE.” The song emits the same energy as the title, with reggae and samba production that makes for one of the best songs released this year. Fana Hues turns in a stunning feature on this track as well, fitting the sonic vision of the track entirely. "SWEET / I THOUGHT YOU WANTED TO DANCE" is just one of the endless things to praise about CALL ME IF YOU GET LOST. -Luke Modugno

“Hurricane” by Kanye West, The Weeknd, & Lil Baby

Kanye West, The Weeknd, and Lil Baby are all on a track and that should be enough for anyone to understand why this is here. Each super-star does exactly what they are supposed to and delivers on a deep level. Baby deliver a verse dedicated to the trenches that would motivate anyone to get up and go get it. The Weeknd sounds angelic over the spacious production and booming bass. Kanye delivers a heartfelt verse, but sound very far from broken. The entire song feels like a big budget film. -Miles Hagan

“SMokin Out The Window” by silk sonic

While multiple tracks off of Silk Sonic‘s debut album could make a case to be on this list, none can compete with “Smokin Out the Window,” the ultra-smooth track about a relationship gone bad. The first time we hear Anderson .Paak proclaim “This bitch got me paying her rent” at the beginning of the hook is undoubtedly one of the most memorable music moments of the year and the entire song is as addicting as a track can be. In an interview with Rolling Stone, Bruno Mars said that this was the first song him and Anderson ever wrote together which helps explain why the two artists quickly realized they’d need to do an entire album together. No one else in 2021 gave us the feeling that Silk Sonic did and “Smokin Out the Window” was this emotion in peak form. -Spencer Lobdell

“HB2U” by Isaiah rashad

Confessionary, brutally honest, yet dazzling tracks like "HB2U" is what made The House Is Burning well worth the five year wait for Isaiah Rashad fans. “HB2U’s” first half is a recollection of the lessons Zay has learned in his tumultuous time away from music: trusting in oneself to pull through even when it seems your life is collapsing around you. A tear-jerking celebration of a life renewed, “HB2U” takes a darker turn after a beat switch. After a brief pause, a hallucinogenic melody cuts in, “This ain’t as hard as it gets, but i'm still on drugs,” sings Zay in the closing seconds of the project. “HB2U’s” second half acts as a intimidating warning to Zay himself, to continue his progress in life, or lose it all again and succumb to his old ways. “Am I cheating myself, I'm imploding.” As a whole, the song is haunting, victorious, revealing, sobering, a masterpiece. -Luke Modugno

“Dogs don’t lie” by IDK

This is probably the most important song from IDK’s USEE4YOURSELF, as “Dog’s Don’t Lie” is the first track on the album to overtly explore IDK’s relationship with love, sex, and masculinity, and how it’s tied up in his own personality as a hip-hop artist. It’s a relatively laid-back track at first, with IDK’s rapping being initially fairly breezy as the song quickly picks up steam and indicates that maybe there’s more than meets the eye (there is). Though it’s not the most melodic or the hardest-hitting track on IDK’s latest, “Dog’s Don’t Lie” serves as a perfect introduction for both IDK and USEE4YOURSELF to the uninitiated. -Carter Fife

“Swërved It” by Yeat

The vampire sounding pipe organ is very off-putting when you first listen to this song, but Yeat’s ability to fuse and control any “rage beat” truly shows his versatility and confidence when creating music. The beat, created by Outlit, truly is the masterpiece of this song, and should get the respect it deserves. As always, Yeat’s lyrics are bland, but go along with his aesthetic and culture creating one of the most enjoyable songs of the year. -Drew Jenkins

“Wockesha” by moneybagg yo

Memphis rapper Moneybagg Yo was 2021 most surprising MVP candidate and it was in large part to the iconic street-hit “Wockesha”. The track opens with a Lil Wayne soundbite where he discusses his lean use before Moneybagg comes in and begins to develop the song-long metaphor where he compares lean to a woman he’s fallen in love with. The concept is genius and Moneybagg executes on every level (“My bitch don't like you, you've been fuckin' up my home/Relapsin' every time I try to leave you 'lone”). A September remix featuring two legends in Lil Wayne and Ashanti only strengthened the track's already-sturdy song-of-the-year case. -Spencer Lobdell

“Too GOod” by arlo parks

An upbeat song that joyfully covers the rough topic of overthinking love. It will take at least five listens while fully bobbing your head to finally understand the complexity of the song, which results in some important inner reflection. The fact that this song was able to hold its own if not be better than a remix made by Unknown Mortal Orchestra says it all. “Too Good” is without a doubt one of the best offerings of 2021 asserting Arlo Parks’ position as one of R&B’s most exciting newcomers. -CJ Allen

“On That Time” by Playboi carti

Arguably the most punk song on Whole Lotta Red, Carti gives us a high intensity song that makes you want to split through traffic and go crazy. Carti raps about how he’s not someone to mess with and having protection that he’s not afraid to use. The layered electric guitar melodies by co-producer Ojivolta creates a menacing atmosphere that is paired seamlessly with aggressive drums by other co-producer, F1lthy. The vibe this song encapsulates the direction of rap right now, with more of a focus on the performability of songs and the “rage” aspect to them. “On That Time” excels at both. -Q Hollomand

“Scapegoats” by Baby Keem

Despite being just over a minute long, Baby Keem’s “Scapegoats” is my favorite track of the year due to his prophetic message, celestial word choice, and absolutely disgusting flow that he locks in to for the duration of his single verse. There is so much to unpack in Keem’s writing and “Scapegoats'' seems to be the single moment on The Melodic Blue where the Vegas newcomer is writing from a perspective that is elevated in comparison to the present tense POV that he sees through for the majority of the project. On the track, Keem acknowledges his objective with his 2021 album while also alluding to a future project with a more serious story to tell (One day I’ll tell you how my life was unfortunate/For now I’ll tell you how fast these Porcshes get”). This track is everything I love about Baby Keem and when it comes on I can’t help but drop whatever I’m doing to go bar for bar with the exciting young artist. -Spencer Lobdell

“Come to Life” by Kanye west

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

“Sandman” by A$AP Rocky

While 2021 was the third year in a row in which we were deprived of an A$AP Rocky album, he did throw his fans a bone with the re-release of his iconic Live.Love.A$AP mixtape which showcased the psychedelic cloud-rap that exploded Rocky into the mainstream in 2010. The last track on the re-released mixtape was a new bonus song called “Sandman” that was first played at Yams Day in January of 2021. The song is produced by Clams Casino who produced 5 out of the 16 songs on Rocky’s 2010 mixtape making “Sandman” a perfect sonic match for this project's re-release. Rocky reuses some of his most iconic flows on the track well pulling a major influence from France in his writing making the track a perfect blend of old and new and creating a song that every A$AP Rocky fan should be able to thoroughly enjoy. -Spencer Lobdell

“Rocc Climbing” by Remble and Lil Yachty

Tik Tok does not get to claim this song. Remble broke out in a huge way in 2021, with one of the most unique and refreshing flows hip-hop has heard in years. Lil Yachty has proven with his recent work that he is a force to be reckoned with in terms of his wordplay and flows. Combine these things with a beat that give them both plenty of space to work, and all this culminated to one of the most entertaining and replayable songs of the year. -Miles Hagan

“5x” by don toliver

At the risk of sounding overtly-contrarian, I was taken by surprise with Don Toliver’s newest album Life of a Don. Having not been super impressed with his previous projects, I was happily proven wrong with the introduction of bangers like this one. “5x” sounds like something you’d play on a late-night drive in your spaceship. It’s ambient, it’s downtempo (but also a banger?), and Don’s sometimes-whispery-sometimes-singing vocals are perfectly tuned to fit the atmospheric and ethereal feel of the song. While I have been a Don Toliver fan for a while, “5x” sees Don finally hitting his stride with a release that truly feels larger-than-life, a cinematic record perfect for an artist with his talent. -Carter Fife

“Raindrops” by Goldlink and Flo Milli

This song seems to be a love ballad that lays out all there is to a complicated yet solid relationship. Goldlink manages to seamlessly communicate this all while also discussing the ability to stay independent and the wants that come with it. Flo Milli floats on a chorus that will be stuck in your head for months on end. All of this occurring over insane guitar plucking makes it a stand-out joint. -CJ Allen

“Steelo Flow” by Lancey foux

“Steelo Flow” is one of Lancey’s higher-energy songs, and you can’t help but knock your head to the blaring 808. A spacious synth bass alongside echoing melodies from producer Jay Trench makes this song sound almost like you’re in an empty warehouse. The release of this song gave us a taste of what to expect on his subsequent tape, LIVE.EVIL. His tone and subject matter all flow cohesively together with the rest of his recent discography, giving his name a brand that is memorable and recognizable. -Q Hollomand

“Look At Me” by Kalan.frfr

The title speaks for itself. There are very few songs this year that make you feel like the one this year like this one does. The bounce is infectious and Kalan delivers lyrics that show the confidence that got him signed by Roc Nation. This needs to be played in the car at high volumes with the windows down. -Miles Hagan

“Dinero” by bigbabygucci

This song starts off with elegant chords which imitating a Spanish guitar or classical harp. After about 30 seconds, the actual beat comes in and Gucci starts to go crazy. Gucci has always been great at making and organizing hooks, however; I believe he decided to really go in on this track. He goes on flaunting his money, ego, and lifestyle while also providing explanations for his drug use and attitude towards women. The abrupt ending of this song gives it even more of the snappy sound I believe Gucci is going for and truly makes this song a masterpiece in Gucci’s catalogue. -Drew Jenkins

“Much Money” by kenny mason and freddie gibbs

Kenny Mason’s deadpan delivery has already made him a fan-favorite in the realm of upcoming hip-hop stars, and “Much Money” is proof that his signature style can even go toe-to-toe with some of the culture’s most decorated titans. Working with the surreal and melancholic sample Kenny Mason flows over, his rhythmic monotone steadily produces one of the year’s most slept-on bangers. By the time Freddie Gibbs starts rapping you know it’s already game over, as “Much Money” is quite literally a perfect showcase as to why Kenny Mason is the next artist to enter hip-hop’s stratosphere. For now, those who are lucky enough to be in the know and anticipate releases from Kenny know how important he is to the culture - and for that reason alone 2022 is sure to be an insane year for our hero. -Carter Fife

“Loose Change” by earl sweatshirt and the alchemist

The Alchemist further cemented his legend status through a prolific 2021 in which he released nine excellent bodies of work. The likely epitome of these projects was his solo EP This Thing of Ours where he crafted some of his most impressive beats of the year and enlisted the best of the best to come and give words to the incredible music. Alchemist ends the project with the Earl Sweatshirt-assisted track “Loose Change” and delivers with one of the best songs of the year in just under two minutes. Earl absolutely floats over the mesmerizing horns and proves he still has one of the sharpest pens in the game with an insane hook showcasing some of the best wordplay I’ve heard in recent memory (“These niggas nickel and diming I'm giving 'em five, pretty penny, you my luckiest find”). -Spencer Lobdell

“LATE NIGHT” by 454

454 was one of my favorite new artists of 2021, and his debut album 4 REAL was quite frankly one of the most insane projects released this year. 4 REAL is decorated with high-octane insanity found at the crossroads of hip-hop, psychedelia, and even hyper-pop. Album-opener “Late Night” is a perfect example of this - fast paced electronic vocals and a booming beat so catchy you’ll find yourself having intrusive thoughts about knishes in no time. As “Late Night” progresses the vibe evolves - the pitch and tempo slow slightly, but none of that results in any lost energy from our hero. Already having received the stamp of approval from one Frank Ocean, 454 is definitely an artist to keep your eyes on next year. -Carter Fife

“Last Day Out” by rio da yung OG

One of the only songs to almost bring me to tears this year. Last Day Out is a reminder to all that Rio and his constituents have been and will be a formidable force even with his upcoming time incarcerated. The song is an honest look into Rio’s situation where finances, the actions that led to his current state, and the loved ones he has to be separated from are all discussed in equal detail. -CJ Allen

“Let Go” by tinashe

Tinashe’s latest project 333 was simply incredible, and how better to convey that to you (the reader) than with the album opener “Let Go”. On this absolutely ethereal and hypnotic banger, Tinashe and Cee Lo Green join forces to deliver a cathartic emotional anthem that really doesn’t sound like anything I’ve ever heard before. Thundering bass signals find their home alongside the duo’s angelic vocals and nature/bird noises (?) on “Let Go” - and the result? A refreshingly forward-thinking approach to music that has me playing this song literally on repeat to this day. -Carter Fife

“I deserve” by smino &Nos

If you didn’t already know, Smino is a generational artist. There is no one alive that can make music like him and his November single “I Deserve” contains all the proof needed to legitimize that claim. Smino combines his wide range, impeccable vocal control, and insightful writing on the first confirmed single off his upcoming album Luv 4 Rent and it feels so damn good. “I Deserve” is an uplifting self-care anthem where Smi reminds you that you deserve to run up the check. -Spencer Lobdell

“HAZARD DUTY PAY” by JPEGMAFIA

JPEGMAFIA is a wonderfully mixed bag, you never really know what you're going to get. His 2021 effort, "LP!" is no different, mixing the usual tones of his work such as industrial hip-hop and punk with hyper-pop and noise, Peggy always finds a way to out-avant-garde himself. However, as a hip-hop purist, I'll always be partial to an exquisitely chopped and looped sample that defines "HAZARD DUTY PAY!" Simply put, "HAZARD DUTY PAY!" is the best hip-hop beat I've heard in years. Combined with a Peggy verse that radiates unmitigated energy and angst, this track is head and shoulders above the rest of the pack in 2021. -Luke Modugno

“Heart Stop” by weiland

Weiland’s sudden change to his musical career has skyrocketed him into almost mainstream success. “Heartstop”, the first single off his new project, shows his artistic progression and internal conflict, as his lyrics have always had an emotional side to them. On this track, he struggles with an ex-lover and drug abuse, while floating on a dream-like beat with Mike Dean-esque synths. Little less than midway through the song, there is a beat switch that packs a harder punch with the bass and at the end of the song, comes along strings and chords. When looked at this way, the song seems to symbolize life and mortality, all the while staying consistent to the human flaws Weiland himself has. -Drew Jenkins

“wusyaname” by Tyler, the creator & Youngboy Never Broke again

This was one of the biggest moments in music this year. Tyler dropped a beautiful music video for the song before the album, but intentionally left off the YoungBoy feature. When Call Me If You Get Lost dropped and the world knew that he would be on the track everyone was amazed at how perfectly he sounded over the beautiful summery production. This song truly highlighted the amazing versatility and talent of Tyler and YoungBoy. -Miles Hagan

“Trust Issues” by Ka$hdami, Riovaz, & D’mari Harris

This pluggnb anthem comes from Dami’s Epiphany tape, and features indie artist Riovaz, and r&b artist D’mari Harris. This unexpected collaboration is one of the most unique tracks released this year. The production by fwthis1will and Milanezie, make this song standout from the pack, with a satisfying keyboard melody and smooth bells drifting throughout. Riovaz steps out of his traditional indie lane and shows us he’s capable of holding his own while rapping. D’mari Harris does his thing on the last verse, introducing himself to many who weren’t familiar with him yet. And once again, Dami delivers a new flow that shows us why he’s on top of the underground. -Q Hollomand

“lick back (Remix")” by est gee, future, and young thug

The only problem with the original version of this song was how short it was so Geeski gave us another verse and added Future and Yount Thug to the track. This song knocks from the instant you press play, and keeps its foot on the gas till the last bar. Future and Thug compliment Est Gee perfectly and each rapper sounds like they need a plate, and if you don’t give them one they will take it. -Miles Hagan

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Music Videos and Their Increasingly Complex Role in Pop Culture

May 04, 2021 by StereoVision Staff in Read

By Cori Carpenter

Music videos were at their peak in the late 80s and into the 90s as MTV had a tight grip on pop culture. But the millennial age has seen that wave come and go in the last decade as the height of music videos has declined. Although there are still very memorable music videos that have been produced in recent years, some millennials would even regard them as their favorites, it seems as though memorable music videos have become scarce. Certain artists like Beyoncé, Amine, Ariana Grande, and Childish Gambino have made big splashes with their music videos but many other artist’s projects have fallen flat in what many would regard as a lack of creativity.

The shift in the way music is consumed can be tied to the ways in which music videos have fallen off. The consumption of music has shifted from MTV and most recently, YouTube, into streaming services such as Apple Music, Spotify, etc. Popular shows like 106 & Park, which showcased all the new and exciting music videos have become nearly extinct.

Before today, music videos and the song itself were consumed simultaneously but now that is not the case and music videos often come following song releases. Unlike the 2010s and before, the visuals of a music video are not what will make a song more valuable because music is a lot more accessible than it used to be. After Beyoncé’s game-changing digital album release in 2013, streaming services became the new wave of music consumption and plenty of artists alike decided to hop on the same trend. In the years to follow, streaming services reached new heights in competition to lure in artists to release exclusively on their platforms which would intentionally lure in artists’ fanbases. In this era, music videos were put on a back burner and artists switched their focuses to album releases in order to maximize their streams, the new payout for artists aside from music sales. Now that the competition between streaming services has slowed from previous years, music videos are beginning to pick back up with more splashes of creativity.

Mainstream female artists have been carrying the music video industry these past few years, with their seductive cinematography and heavy sex appeal all while creating controversy while doing so. Megan Thee Stallion and Cardi B’s single WAP had already created quite a commotion because of its explicit lyrics but the hot visual is what really sent us into a media frenzy. Childish Gambino’s “This is America” visual brought about the connection of the music industry and social issues in a new way that sent his video to viral status and left chills amongst those who watched. The attention and conversations being had on music videos again is exciting for those like myself who are ready for them to have the same impact they did on pop culture as in the 80s and 90s.

My Top 10 Favorite Music Videos

10. Childish Gambino - Feels Like Summer

9. Ari Lennox - BMO

8. Masego - Tadow

7. Ariana Grande - Thank U Next 

6. Rihanna - Bitch Better Have My Money 

5. Beyonce - Already

4. The Internet - Roll (Burbank Funk)

3. Amine - Compensating

2. Doja Cat - Say So

1. Beyonce - Mood4Eva

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Recently, StereoVision writer Kaila Cherry caught up with Small, a musician, graphic designer, and photographer from Oakland California. Over the course of the interview the two talked about gender expression, Kanye West, building a universe, and so

Albums to Ride Out Quarantine 2

March 16, 2021 by StereoVision Staff in Read

By StereoVision Staff

Last year, the Stereovision Staff compiled a list of some of our favorite records for our readers to enjoy while indoors safely riding out Covid-19 (also known by its government name, Coronavirus). Since then, it seems like this Covid business has only gotten worse, with the emergence of an anti-mask brigade, negligent partygoers willing to risk their lives to see The Chainsmokers, and more new strains than a PDX dispo. Here we are, a whole year since the world shut down, and we’re still stuck inside. We at Stereovision commend those that have spent the past year living responsibly - either by social distancing and/or simply maintaining a sacred love and respect for their fellow neighbor. Let this article deliver you a handful of records for you to revisit - or potentially discover - as we all wait patiently for life to go back to normal. With multiple vaccines in production, let’s all hope this is the last article of its kind. -Carter Fife

What’s Going On (1971) - Marvin Gaye

On what is probably my favorite record of all time, Marvin Gaye takes his confusion and frustration with the current state of the world and focuses it into 40 minutes of the best R&B/Soul music you’ll ever hear. At the time of its release, America didn’t look quite so different to how it appears today - multiple wars were being fought overseas, racial discrimination was plaguing the sociopolitical realm like a moral rot, and barely 3-weeks prior a massive march on Washington D.C. took place condemning the Vietnam War. In what can only be described as musical catharsis, the next month Marvin Gaye released a collection of ethereal and sentimental tracks that would forever alter the lives of many - including himself. Though What’s Going On did not end a war on its own, or achieve universal racial equity and justice, what it did do was offer a lifeline of hope to those struggling, letting people know that things would get better and that they were not alone. While stuck inside in the midst of a deadly pandemic, we could all use another album like this one. -Carter Fife

Favorite Tracks: Flyin’ High, What’s Going On, Mercy Mercy Me

Madvillainy (2004) - Madvillain (RIP)

Being back home has its perks, but for the most part, it is hard not to feel like you’re stagnating. Sleeping in my childhood bed has actually made me feel as if I had been reverting into my past self, filled with existential terror that 7 years have passed since I was 16. This has led me to revisit some of my high-school favorites while safely-nestled in the protective cotton of my old comforter and low thread count sheets. I should probably start talking about the record though - we’ve all heard it, we know it’s a classic. Already-nostalgic samples paired with some of the oddest and most infectious rapping heard on a record to this day, DOOM and Madlib did not have to snap like this. Hearing of DOOM’s passing was one of the lowest points of the past year, but it was a healthy and sobering reminder to appreciate the legends around us while they’re still here. Even though DOOM may be gone, his influence will never be forgotten. -Carter Fife

Favorite Tracks: Curls, Accordion, Eye

Honest (2014) - Future

Because of the intense listening fatigue that is inevitable when you’re a music junkie in a global pandemic, going back and combing through the catalogs of your favorite artists is an absolute COVID essential. Very few deep dives were as enjoyable as that of Future Hendrix and while listening I was reminded of all the amazing drugged-out atmospheres I hadn’t explored since high school. If there’s one obvious observation I made during these sessions though it was that Future’s 2014 sophomore studio album Honest was the peak of the first act of his career and is without a doubt the most underrated thing in his discography. From the moment you press play on the intro and hear Pluto preach over the infectiously epic “Look Ahead” instrumental you can tell you’re in for a wild ride. Honest is so special because it’s the moment that Future evolved from a gifted young trap-rapper to one of the most influential artists of our generation. He takes countless risks over the course of the 66-minute run time and every single one results in an exciting moment that plays its part in moving the genre forward and cementing Fu as a true visionary. All this goes without even mentioning the legendary list of features that includes the likes of Kanye West, Drake, Andre 3000, Pharrell Williams, Lil Wayne, and many more. Honest is an absolutely essential piece of Future’s legacy and is home to some of his most prolific songs ever. -Spencer Lobdell

Favorite Tracks: Look Ahead, Special, Benz Friendz

Some Rap Songs (2018) - Earl Sweatshirt

An album with endless layers, Odd Future alumni Earl Sweatshirt’s sophomore record Some Rap Songs is best listened to with an attentive ear. With stripped-back, minimalist, and oftentimes rugged production, the beat palette allows Earl to be cathartic, grieve, and mourn across an extremely tight 24 min runtime. Frankly, the raw emotion displayed on Some Rap Songs is something that millions are going through during a time like this. It’s nice to know that you aren’t alone in misery at times, and Earl does just that. -Luke Modugno

Favorite Tracks: Nowhere2go, Eclipse, Riot!

Donuts (2006) - J Dilla

School, exercise, sleep, repeat. For many people, quarantine has been a constant cycle of repeating the same day over and over. If you want an easy way to break that, give J Dilla's classic beat tape Donuts a spin. Donuts keeps you on your toes, relentlessly throwing extravagant, intricate beats at the listener through the project. Besides being a quintessential classic in hip hop, with no lyrics, it’s the perfect background music for any quarantine activity. -Luke Modugno

Favorite Tracks: Workinonit, Time: The Donut of the Heart, Gobstopper

Control System (2012) - Ab-Soul

For many people (including me) quarantine is accompanied by a perpetual boredom and lingering anxiety that we frequently evade but is always there. For these moments I found myself grasping for a record that could capture me entirely and allow me to escape my reality through vivid storytelling and profound ideas for my mind to explore. Over the past year, no album has been able to consistently hold my attention like Control System by Ab-Soul. Over the course of the record, Ab-Soul is strikingly honest which results in him finding something he had yet to discover prior to the 2012 release: His sound. This psychedelic sound he’s able to pull on sounds nearly biblical and his unique perspective on these emotions as someone with a foot in the streets makes his music powerful. Well tracks like “Terrorist Threats” and “Pineal Gland” showcase Ab-Soul’s cryptic mind, he doesn’t forget to have fun on his sophomore project, and songs like “Mixed Emotions” and “Illuminate” allow him to flex his ability as a generational rapper and can be added to playlists intended for lighter listening sessions. The prophetic project is Solo’s best work and should definitely be included in the conversation about the best TDE releases of all-time. -Spencer Lobdell

Favorite Tracks: Mixed Emotions, Illuminate, The Book of Soul

Is It Selfish if we Talk about me again.jpeg

Is It Selfish If We Talk About Me Again? (2020) - Kacy Hill

To be honest, I don’t have a long-winded explanation for why I’ve listened to this record so much since its release last July, or even why I recommend it to those struggling in quarantine. Kacy Hill’s sophomore record is a beautifully written and performed meditation on romance, growing up, and becoming the person that you are - and though I can only speak for myself, quarantine has really fucked my shit up. Let's be real, staying inside in your early 20’s can not be a good start to some of your most formative adult years. Perhaps it is for this reason that I find myself circling back to this record so frequently, for it offers me a rare dose of perspective and serenity that other albums lack. Yeah, things are borderline terrible right now, and I know that things will get better, but in the meantime, I want to be able to feel the reality of it all - all in hopes of avoiding age’s jaded numbness that quarantine seems to be catalyzing. Anyway - listen to this record. Cashmere Cat produced one of the tracks and it is god-tier music. Maybe I did have a long-winded explanation after all. -Carter Fife

Favorite Tracks: Palladium, Everybody’s Mother, Unkind.

Hell Hath No Fury (2006) - Clipse

Although the majority of modern listeners seem more ready to talk about Clipse’s classic debut Lord Willin’ due to its energy and bite, it’s really the darker tone of their 2006 sophomore album Hell Hath No Fury that’s been pushing me forward through quarantine. With palpable chemistry that could only exist between brothers, Pusha T and No Malice craft a cocaine classic jam-packed with punch-lines like daggers and dazzling wordplay. That goes without even mentioning the emotional depth that the duo explores across the entire project - something that Push credits to Pharrell’s consistent encouragement to push boundaries and go deeper well recording the album. Speaking of Pharrell, Hell Hath No Fury (which was executively produced by The Neptunes) contains production which was so unique and electric that it would inspire an entire generation of hip-hop producers. The true beauty of Clipse’s second classic is that it isn’t even about coke, but rather everything that surrounds life in the dope game, from shinning highs to sobering lows. -Spencer Lobdell

Favorite Tracks: We Got It For Cheap, Hello New World, Nightmares

Finally, when writing this article I reached out to some people on Instagram to hear what they had to say about their favorite records to listen to in quarantine. Unsurprisingly, a lot of the albums were either extremely low-tempo or the exact opposite. Selections like Tame Impala, Solange’s When I Come Home, and Raveena’s Moonstone EP were juxtaposed against Ken Car$on’s TeenX, redveil’s Niagara, and Kanye West’s Yeezus. There were also a lot of guilty pleasure records like Nothing But Love by Just Friends and Bath’s Ocean Death EP, but above all, I saw a lot of artists responding with their newly-created records. Even Nashville Rapper $avvy took the liberty of recommending his own record - which actually warmed my heart for a moment. It was a nice reminder that despite all the shit that has plagued the past year, there has still been an inspiring amount of resilience, strength, and creativity from the artistic realm. Without artists - especially now - quarantine would have been somehow worse than it already has been, so for that Stereovision wants to shout out every artist that has not let Covid-19 fuck with your creative spirit. Keep doing your thing, as long as it involves staying indoors, and hopefully, we’ll see you all at a music festival safely later this year (fingers crossed).

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KANYE WEST ALBUM TOURNEY 🔥👊🏼
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Welcome to StereoVision Madness! This week we’re running a tournament to find out what our followers think is the best Kanye West album of all time. Everyday matchups will be posted on our Instagram story a

Coronavirus won’t stop Sway from making freestyle videos 💪🏽 G Herbo and Black Thought give us some raps on Sway’s live series “Bedroom Bars”💯
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Who had the better freestyle?
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#hiphop #rap #gherbo #juicewrld #ptsd #

Duality Takes Center Stage in Thundercat’s Fantastic New Record ‘It Is What It Is’
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Favorite Tracks:
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Lost In Space / Great Scott / 22-26
Black Qualls (Ft. Steve Lacy, Steve Arrington, & Childish Gambino)
It Is What It Is (Ft.

Dr. Dre’s classic record ‘The Chronic’ will be coming to streaming services this 4/20 🔥🌴
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What’s the first song off the album your streaming?
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#drdre #thechronic #snoopdogg #deathrowrecords #deathrow #weed #420 #ma

42 Dugg Shows Why He’s Detroit’s Next Big Thing on ‘Young & Turnt Vol. 2’
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Favorite Tracks:
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Hard Times
Turnt Bitch
One of One (Ft. Babyface Ray)
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Welcome To A New Party - “PARTYMOBILE” by PARTYNEXTDOOR Album Review
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NOTHING LESS
ANOTHER DAY
SAVAGE ANTHEM
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#hiphop #rap #albumreview #drak

DKE Author: The Artist That Will Put Belle Glade, Florida on the Map
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Gamble (Ft. Quando Rancho)
Hard Nights
That Guy
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Hit the link in our bio to read our review and stream the album!
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#dkeauthor #respectthedark #fredobang #b

🙏🏼🕊RIP MAC MILLER🕊🙏🏾
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Welcome to StereoVision Madness! This week we’re running a tournament to find out what our followers think is the best Mac Miller song of all time. Everyday matchups will be posted on our instagram story and Twi

Week 3 of Guapdad 4000’s “Rona Raps” series is out now, including features from Denzel Curry & Wiz Khalifa 💎
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Who had the best verse?
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#hiphop #rap #ronaraps #guapdad4000 #buddy #coronavirus #covid19 #6lack #chancethe

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A year ago we compiled a list of albums to help everyone weather the quarantine. Here we are a year later, still st… https://t.co/fdusHMOSLK
Mar 17, 2021, 1:39 PM
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Happy 6th birthday to Kendrick Lamar’s ‘To Pimp a Butterfly’ one of the best albums ever released 💿🦋 What’s the be… https://t.co/4boKEsxxJM
Mar 16, 2021, 9:01 PM
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Extra extra! Check out some of our highlights from last night’s Grammy’s 💿 https://t.co/Og7RkYCDGg
Mar 15, 2021, 1:09 PM
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Kendrick Lamar performs “The Blacker The Berry” and “Alright” at the 2016 Grammy’s ✊🏾💯 What’s your favorite Grammy… https://t.co/IVbP8S5GG3
Mar 14, 2021, 3:28 PM

Artist Spotlight: Tanerelle

February 06, 2021 by Guest User in Read

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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Tomorrow, join our live at 3PM PST for an exclusive StereoVision interview with Bmase! Turn on post notifications so you don’t miss it 🔔💯

Seattle’s champion 2oopaid TK just dropped his new project ‘Forever 2P’ and it’s sounding absolutely 🔥🔥🔥 Swipe to check out two songs that are included on the project

Is 2oopaid the best upcoming artist in the Northwest?

“Last year, the Stereovision Staff compiled a list of some of our favorite records for our readers to enjoy while indoors safely riding out Covid-19 (also known by its government name, Coronavirus). Since then, it seems like this Covid business

Happy 6th birthday to Kendrick Lamar’s ‘To Pimp a Butterfly’ one of the best albums ever released 💿🦋

What’s the best track off this classic?

Extra extra! Check out some of our highlights from last night’s Grammy’s 💿

Today we’re taking a look at some of our favorite Grammy performances ever 💿🏆

What’s yours???

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A year ago we compiled a list of albums to help everyone weather the quarantine. Here we are a year later, still st… https://t.co/fdusHMOSLK
Mar 17, 2021, 1:39 PM
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Happy 6th birthday to Kendrick Lamar’s ‘To Pimp a Butterfly’ one of the best albums ever released 💿🦋 What’s the be… https://t.co/4boKEsxxJM
Mar 16, 2021, 9:01 PM

Our Top 50 Albums of 2020

January 02, 2021 by StereoVision Staff in Read

By StereoVision Staff

2020 was rough on all fronts, but perhaps unsurprisingly, its saving grace was the new music released over the past year. Though the industry was hit hard, and most live music has been suspended indefinitely, many artists and their teams overcame this new adversity. Together they worked to release records to tide fans over in tough times, and we couldn’t be more appreciative. Our team at StereoVision listened to a lot of music this year, and lately we’ve been hard at work compiling a year-end list showcasing our favorite projects of 2020. Well this list is mostly comprised of albums and mixtapes, some EPs were so damn good we just couldn’t leave them off (See God Bless the Child). Projects released between December 13th, 2019 and December 11th, 2020 were eligible for selection meaning that well some bold claims were certainly made about Playboi Carti’s Whole Lotta Red in the StereoVision group chat, it was not considered for this list. Without further ado, please enjoy StereoVision’s top 50 albums of 2020:

50. Father: *Come Outside We Not Gone Jump You*

***Spotlight Track: Backbreaker***

Read our Review

Meet the Woo.jpg — 49. Pop Smoke: *Meet the Woo 2*

***Spotlight Track: Element***

Listen to the Album

48. TiaCorine: *34TiaCorine*

***Spotlight Track: Lotto***

Read our review

God Bless The Child.jpg — 47. Nick Grant & Tae Beast: *God Bless the Child*

***Spotlight Track: FEDS***

Listen to the album

Crashed My Car.jpg — 46. Hook: *Crashed My Car*

***Spotlight Track: Fell in Luh***

Read our review

Dark Lane Demo Tapes.jpg — 45. Drake: *Dark Lane Demo Tapes*

***Spotlight Track: Chicago Freestyle (Feat. Giveon)***

Read our review

Kick i.jpg — 44. Arca: *KiCk i*

***Spotlight Track: KLK (Feat. ROSALIA)***

Listen to the album

Is It Selfish.jpg — 43. Kacy Hill: Is It Selfish If we Talk about me again

***Spotlight Track: Unkind***

Read Our Review

The Goat.jpg — 42. Polo G: *The Goat*

***Spotlight Track: Martin & Gina***

Read our Review

Nightmare Vacation.jpg — 41. Rico Nasty: *Nightmare Vacation*

***Spotlight Track: OHFR?***

Read our Review

Cruise USA.jpg — 40. Larry June & Cardo: *Cruise USA*

***Spotlight Track: Meet Me In Frisco***

Read Our Review

Heaven To A Tortured Mind.jpg — 39. Yves Tumor: *Heaven to a tortured Mind*

***Spotlight Track: Kerosene!***

Listen to the album

No Pressure.png — 38. Logic: *No Pressure*

***Spotlight Track: man i is***

Read our Review

Slime & B.jpg — 37. Young Thug & Chris Brown: *Slime & B*

***Spotlight Track: Go Crazy***

Listen to the album

The Price of Tea in China.jpeg — 36. Boldy James & The Alchemist: *The Price of Tea in China*

***Spotlight Track: Surf & Turf (Feat. Vince Staples)***

Read Our Review

Artist 2.0.png — 35. A Boogie Wit Da Hoodie: *Artist 2.0*

***Spotlight Track: Numbers (Feat. London On Da Track, Gunna, & Roddy Ricch)***

Listen to the album

34. Spillage Village: *Spilligion*

***Spotlight Track: Mecca***

Listen to the album

Last Year Was Weird.jpg — 33. tkay maidza: *Last Year was weird, vol. 2*

***Spotlight Track: Shook***

Listen to the album

Pluto x Baby Pluto.png — 32. Future & Lil Uzi Vert: Pluto x Baby Pluto

***Spotlight Track: Drankin N Smokin***

Listen to the album

Take Tiem.jpg — 31. Giveon: *Take Time*

***Spotlight Track: The Beach***

Read our review

Savage Mode 2.png — 30. 21 Savage & Metro Boomin: *Savage Mode 2*

***Spotlight Track: Many Men***

Read our Review

Ungodly Hour.jpeg — 29. chloe x halle: *Ungodly Hour*

***Spotlight Track: Do It***

Listen to the album

PTSD Deluxe.png — 28. G herbo: *ptsd (Deluxe)*

***Spotlight Track: In a Minute***

Listen to the album

27. Gunna: *Wunna*

***Spotlight Track: Nasty Girl***

Read our Review

26. g herbo: *ptsd*

***Spotlight Track: Intro***

Read our Review

25. bryson tiller: *anniversary*

***Spotlight Track: Things Change***
Bryson Tiller’s third studio album *ANNIVERSARY* shows a Tiller consumed with his use of time. Although its level of impact does not match his debut album, *TRAPSOUL* (2015), *ANNIVERSARY* is an ode to the classic because of Tiller’s raw emotion and undeniable relatability throughout the approximately thirty-minute project. My favorite song “Things Change” victoriously demonstrates an exchange between Tiller and an ex-lover who is obsessed with closure. -*Amaya Lorick*

Listen to the album

24. kota the friend: *Everything*

***Spotlight Track: Long Beach (Feat. Hello O’Shay & Alex Banin)***
*EVERYTHING* is a brilliant compilation of varying perspectives that discuss the purpose of life. Although Kota the Friend’s 2020 album was under appreciated because of the width of his fanbase, its May release was essential during a time where many felt uncertain about their livelihood dealing with the coronavirus pandemic. With a descriptor as the saddest song on the project, the introductory track “Summerhouse” epitomizes coming to terms with unwanted realities and recognizing life’s beauty. 2020 prompted many to engage in self-reflection and *EVERYTHING* poses two arguably abstract questions: “What means everything to you?” and “What does it mean to have everything?” -*Amaya Lorick*

Read Our Review

23. bino rideaux: *Outside*

***Spotlight Track: Brand New (Feat. Blxst)***
On Bino Rideaux’s Def Jam debut, *OUTSIDE,* the 27-year-old delivers his best music to date while simultaneously making a legitimate case for the hottest rapper in Los Angeles. The 15-track record has something for everyone ranging from trunk-rattling, west coast bangers like “BET” and “BREAKFAST” to more emotional chill cuts such as “COLD FEET” and “FUCCWITCHU”. Over the course of the 28-minute run time, Bino is assisted by fellow LA natives Ty Dolla $ign, BlueBucksClan, and most notably, Blxst on the album’s fantastic climax “BRAND NEW”. With the release of *OUTSIDE* it’s clear that Bino Rideaux is more than just Nipsey Hussle protege; he’s a budding superstar whose stock will continue to rise as the rest of the country catches wind of his hypnotic flows and the enthralling landscapes he’s able to craft and communicate, three short minutes at a time. -*Spencer Lobdell*

Listen to the album

22. run the jewels: rtj4

***Spotlight Track: goonies vs. E.T.***
If there’s one word I could use to describe Killer Mike and El-P’s return to their critically-acclaimed Run The Jewels series, it’s “massive” as everything about this project seems to have upped the stakes from their last installment. The duo’s verses hit harder, are more aggressive, and eager to call out the vast injustices that the United States has grown complacent with over the past few years. El-P and Killer Mike call out Pseudo-Christians failing to condemn the injustices caused by the Trump administration, the racism ingrained in our nation’s police forces, and a wealth disparity that grows larger every day, among other subjects. Meanwhile, El-P’s production serves as some of the strangest from the duo’s entire discography; the melodies are sparse, the ambiances are overbearing, and the bass slams against the top of the mix from start to finish. With plenty of strange samples and unfiltered performances, this project is often as difficult and complex as it is invigorating, and I believe its message is only emphasized by the endless chaos that we lived through this year. -*Owen Tait*

Read Our Review

It Is What It IS.jpg — 21. Thundercat: *It is what it is*

***Spotlight Track: Funny Thing***
It is fascinating how an artist can work on a project for months, maybe even years before they plan to release it to the public and yet once it drops, it speaks to zeitgeist as if it was written yesterday. This is the case with Thundercat’s fourth studio album *It Is What It Is.* Released less than a month into many of our state sanctioned lockdowns, *It Is What Is* was the breath of fresh air we all needed during such an uncertain time. On the album, Thundercat explores themes of melconchony, loss, and directionlessness in tandem with tongue and cheek humor for an album that can either make you laugh or cry depending on what you need to express during each listen. Complimented by Thundercat’s immaculate instrumentation that has made him a mainstay in the industry for two decades, *It It What It Is* is a poignant reminder to have fun, let go of fear, and trust the process no matter how difficult things may get. -*Kaila Cherry*

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Detroit 2.png — 20. Big Sean: *Detroit 2*

***Spotlight Track: Deep Reverence (Feat. Nipsey Hussle)***
When *Detroit 2* was released, you could immediately tell Big Sean was on a mission. In an era of short length albums, Sean decided to release a whopping 21-track project. There were many Detroit-themed bangers on this album, and what stood out to me was that he even included stories from talents like Dave Chappelle and Erykah Badhu. This was the first time in a while where I felt the essence of a true “album experience.” There is a lot of depth to this record and every time I play it through I find a new favorite song. And I mean, who doesn’t enjoy listening to Sean’s swagger filled wordplay? -*Colson O’Connor*

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19. Childish Gambino: *3.15.20*

***Spotlight Track: 12.38 (Feat. 21 Savage, Ink, & Kadhja Bonet)***
Of all the projects to come out this year, the latest album from Childish Gambino might have been the most surprising. From the rollout to how sonically all over the place it is, *3.15.20* almost seems like a random release from Childish. This led to the project being one of his more slept on pieces of work, but it is also some of the best music of 2020. Gambino captures a sound that is futuristic, yet also has moments that would impress most people’s parents and grandparents. Gambino uses a different vocal inflection on almost every track and manages not to miss once. While doing all of this there is still a track like 12.38 that could be one of the biggest hits on the radio if it got the play it deserved. In a time where he could have rested on his previous success, he continues to challenge himself and the listener to take a deeper look at what music can be. -*Miles Hagan*

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Eternal Atake.jpg — 18. lil uzi vert: *eternal atake*

***Spotlight Track: Prices***
Lil Uzi Vert had a very busy 2020. He dropped not one, not two, but *three* full-length albums this year after not releasing new music since 2017. The project that kicked off this trio of drops was *Eternal Atake* which came out in early March. With the reality of the pandemic causing this album to fall to the wayside for some time, as the year comes to an end and we are reflecting on the music we were met with, *Eternal Atake* is coming back into the spotlight. A concept album about Uzi’s abduction by aliens and subsequent travels through space, *Eternal Atake* is without a doubt one of the most unique projects to come out of 2020. Not only is it a concept album, but it also is broken up into three sections that reflect Uzi’s three artistic personas: Baby Pluto, Renji, then finally, Lil Uzi Vert. Like the rest of Uzi’s discography, *Eternal Atake* is a well-produced, fantastical, and fun project that will make you want to type like a scene kid from 2008 with no remorse. -*Kaila Cherry*

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LUV vs the World.jpg — 17. Lil Uzi Vert: *LUV vs. the world 2*

***Spotlight Track: Strawberry Peels (Feat. Young Thug & Gunna)***
Though there seems to be some debate on who started the ‘surprise-deluxe-double-album’ trend, it is hard to deny that Lil Uzi Vert mastered it earlier this year. *LUV vs. The World 2*, which released as a sister record to the long-awaited Eternal Atake, is a nonstop rollercoaster that arrived just a week later. While EA’s only featured artist was Syd, this record is the polar opposite - collaboration heavy and decorated with features from artists like Young Thug, Chief Keef, 21 Savage, and Future. EA helped solidify Uzi as a talented lyricist and rapper, and this project returned to a more exciting and light-hearted register where Uzi simply sounded like he was having a great time - and I had a great time listening to it. Though some of the tracks had leaked beforehand, LUV vs. The World 2 managed to fulfill the high expectations set after the popularity of the first LUV vs. The World, and it isn’t hard to see why. -*Carter Fife*

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My Turn.png — 16. Lil BAby: *My Turn*

***Spotlight Track: Emotionally Scarred***
Lil Baby did not disappoint with the drop of his second studio album, *My Turn*. Lil Baby displays versatility in his sound, giving us songs to blast in the car like “Sum 2 Prove,” and even songs to vibe to like “Catch The Sun”. He manages to deliver trap hits such as “Forget That” and “Woah” as well as highlighting lyrical depth, as he opens up on songs like “Emotionally Scarred”, with narratives of his past and personal rap journey. As if his graceful flow wasn’t enough, Lil Baby teamed up with artists like Lil Uzi Vert, Lil Wayne, and Future to offer even more heat. -*Chloe Clark*

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Prey for Paris.jpeg — 15. westside gunn: *Prey for paris*

***Spotlight Track: $500 Ounces (Feat. Freddie Gibbs & Roc Marciano)***
Griselda was locked in this year. From Boldy James' stunning collaborative project with The Alchemist *The Price of Tea in China,* to Benny the Butcher’s LP *Burden of Proof*, it’s safe to say Griselda did not miss in 2020, including label head-honcho Westside Gunn. With *Pray for Paris*, Westside Gunn delivers exactly what you'd expect: hard coke bars, production defined by dusty drum loops, and the iconic Westside Gunn ad-libs. Although Gunn may be infamously known for valuing quantity over quality in terms of album releases, *Pray for Paris* is easily his most concise and focused work to date. With guest appearances from Tyler, The Creator, Joey Bada$$, Freddie Gibbs, The Alchemist, Wale, and the rest of the Griselda crew, *Pray for Paris* put the rap game on notice. -*Luke Modugno*

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How I'm Feeling Now.jpeg — 14. Charli xcx: how I’m feeling now

***Spotlight Track: enemy***
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 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 *how I’m feeling now*, a one-of-a-kind sugar rush that I would deem pop record of the year. -*Owen Tait*

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No Love Lost.jpg — 13. blxst: *no love lost*

***Spotlight Track: No Love Lost***
No new artist burst onto the scene in 2020 with half as much confidence, momentum, and poise as Blxst. The LA native’s breakout year was largely due to an incredible debut solo project, *No Love Lost,* an addicting 8-song album jam-packed with beautiful hooks and exceptionally polished writing that had me smashing repeat for months. This tape is the definition of “no skips” and I can confidently say that any of the eight songs could’ve been the spotlight track. Over the course of the quick 18-minute listen, Blxst tells vivid stories of the fast life in the city of angels while captivating listeners with mesmerizing melodies and a slew of slick bars that leads me to believe Blxst could out-rap half of my favorite emcees. *No Love Lost* is a damn-near perfect project in my eyes making it my personal favorite release of 2020. -*Spencer Lobdell*

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12. Future: *High off life*

***Spotlight Track: Accepting My Flaws***
With Future’s release of *High Off Life* he gave another hour of pure heat. With his signature sound, we received bangers like “Hitek Tek” as well as more mellow cuts like “Outer Space Bih”. Lyrically, narratives of trapping display Future well in his element, but in “Accepting My Flaws”, he takes on a different route. In this song, he speaks of asking for forgiveness, as he fights against demons and acknowledges his struggles. Much like other hits on the album, the booming beat carries the song. Along with production, features are another element that elevates the album as Future feeds off great appearances from artists including Young Thug, Travis Scott, and NBA Youngboy. -*Chloe Clark*

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Fuck The World.jpg — 11. brent faiyaz: fuck the world

***Spotlight Track: Fuck the World (Summer in London)***
Brent Faiyaz solidified his spot in the R&B scene with the release of his album Fuck the World. In this album, Faiyaz touches on the themes of love, lust, and loss. Lyrically, Faiyaz invites the listener in on an intimate experience as we listen and relate to similar heartfelt emotions. His angelic vocals, paired seamlessly with the smooth beats, offer nothing but chill vibes. Specifically on the song, “Let Me Know”, Brent sings over a repeated instrumental and piano keys, while elaborating on self love and reflection. With only 10 songs on the album, it is a true testament to quality over quantity. -*Chloe Clark*

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Man on the Moon 3.png — 10. kid cudi: *man on the moon III*

***Spotlight Track: Tequila Shots***
Kid Cudi delivers on MOTM III, rapping harder than we’ve ever seen him rap before, bringing together an unstoppable and classic team of producers like Plain Pat and Dot Da Genius to start the decade off right. The first and innovative act of the album sounds like it could have been written with Travis Scott last year, and the second act sounds like the classic 2009-era Cudi that many of us grew up with. MOTM III’s final act sounds like something entirely new itself, which is rare for an artist to do in the third decade of their career. I would have enjoyed more guests on the record to celebrate the trilogy’s conclusion, but it is hard to complain when the guests we got include Skepta, Phoebe Bridgers, and even a posthumous Pop Smoke hook. Though fans can expect a whopping four more records from the Philly rapper in the future - WZRD 2, Entergalactic, KSG 2, and an untitled project with Travis Scott - hopefully MOTM III will tide us over until then. -*Carter Fife*

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She Already Decided.jpg — 9. smino: *she already decided*

***Spotlight Track: 2Much Fronto***
Smino is one of the most unique acts in music today and *She Already Decided* is the project that shows how close he is to greatness. From a vocal standpoint, he flips between slick bars and constant flow changes to melodies that make you question if he should even be considered a rapper. He combines classic R&B sounds with some of today’s biggest hits from the past year to create a sound that feels necessary in 2020. The album is upbeat and engaging, while also still feeling relevant and in the moment. Smino is able to ease the listeners’ mind for a little while he focuses on the few things we can control and enjoy in a time like this. -*Miles Hagan*

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8. jhené aiko: chilombo

***Spotlight Tracks: Triggered (Freestyle)***
Grammy-nominated *Chilombo* has been a top contender for album of the year since its release. The use of alchemy crystal singing bowls within every song indicates Jhené Aiko’s intention to not only entertain but provide her listeners with tools for healing. The Los Angeles native’s initial single “Triggered” was packed with painful lyrics describing relationship strains but also includes the first and sixth chakras to promote clarity and stability. It is clear when a project is strategically constructed beyond the order of its tracklist. From the sequencing of the selected singles to their implementation onto the album, it’s clear that *Chilombo* is destined for success throughout the rest of this decade. -*Amaya Lorick*

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7. aminé: limbo

***Spotlight Track: Roots (Feat. JID & Charlie Wilson)***
*Limbo*, Aminé’s 14-track masterpiece, surpassed all of my expectations by miles. From the very first track *Limbo* feels bigger and more important than anything Aminé has released to date. The beat selections, the few but well-placed features, and the versatility of Aminé’s sound are among the many reasons why *Limbo* will go down as one of the most impressive albums of 2020. -*Colson O’Connor*

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6. mac miller: circles

***Spotlight Track: Right***
In his posthumous record *Circles,* Mac delivers a love-letter to his fans and a completion of a generation-defining artistic evolution. Transforming and refining himself from awkward frat rapper to musical genius, Mac leaves his legacy with his most sonically elegant project to date. Narratively, sonically and lyrically, *Circles* accompanies Miller's magnum-opus *Swimming,* building on the jazzy, lo-fi soundscape and mental-health centered lyrical content. *Circles* is a truly beautiful work of art and is well-deserving of its top 10 spot on this list. -*Luke Modugno*

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A Written Testimony.jpg — 5. Jay electronica: *A written testimony*

***Spotlight Track: A.P.I.D.T.A***
In my review earlier this year I touched on the mythos surrounding this record, though months later, all you really need to know is that *A Written Testimony* is a big deal. Jay Electronica and Jay-Z go head-to-head throughout just about every song on this project, showing a versatility previously unseen from the Louisiana Rapper. One moment, he’s trading bars about success and expectations with Travis Scott over a beat from Hit-Boy - the next he and Jay Z are lamenting the loss of loved ones over a Khruangbin instrumental. Though the two Jay’s do not invite too many artists to share their spotlight (The-Dream is the only other guest), there are so many styles and sounds at work that anyone can find something to enjoy here. This was my favorite record of the year for most of 2020, though it’s hard to name what makes this record so special. Perhaps it’s the almost prophetic lyricism, or the confident cadence of the two rappers, or maybe it’s just the fact that many of us have been ravenous for more Electronica music for close to a decade. They say absence makes the heart grow fonder, but I’m hoping we get another Electronica record before the end of the 2020’s. -*Carter Fife*

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Afte Hours.jpg — 4. the weeknd: *After hours*

***Spotlight Track: Faith***
Selling 444,000 units first week and having two platinum singles, *After Hours* was one of 2020’s biggest, and best releases. The album was an artistic reinvention for The Weeknd, taking inspiration from 80’s pop music. Much like Tyler the Creator’s “IGOR” The Weeknd created an entire new identity for this album, which made the rollout and the listening experience one of the most memorable moments in music this year. -*Courtney Fields*

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Shoot for the Stars.jpg — 3. pop smoke: *shoot for the stars aim for the moon*

***Spotlight Track: Got It On Me***
One of the most anticipated albums of the year that delivered far beyond the public’s expectations. Pop Smoke’s posthumous album proved that he was no one-trick pony. While he did popularize himself off of one particular sound, this project showed us that Pop was an artist who was destined for stardom. *Shoot for the Stars Aim for the Moon* is one of the most addicting albums of the year and because of Pop’s unique artistry all signs point towards this album getting even better with time. -*Courtney Fields*

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Burden of Proof.jpg — 2. benny the butcher: *burden of proof*

***Spotlight Track: Where Would I Go (Feat. Rick Ross)***
Griselda's own Benny the Butcher has been quietly crafting a compelling niche within the Buffalo collective. With projects under his belt like *The Plugs I Met* and *Tana Talk 3;* Benny has what it takes to be one of the elite rappers in the world. *Burden of Proof* sees Benny realize his full potential, as the project is chalk-full of reasons why Benny has a legitimate claim to being the best rapper in Griselda and in turn, one of the best in the game. Executively produced by the legendary Hit-Boy, Benny kills each and every one of the beats laid down for him. *Burden of Proof* is one of few projects this year I can legitimately say has no skips. -*Luke Modugno*

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1. freddie gibbs & The alchemist: *Alfredo*

***Spotlight Track:***
In a year full of inconsistency and turmoil, Freddie Gibbs and Alchemist came through and delivered in every way possible. With the incredible release of *Bandana* in 2019 many fans of the rapper were left wondering where he would go next, after seemingly conquering the drug rap game. Freddie responded by linking up with one of the most creative and dynamic producers of the last decade in The Alchemist, and they created the cinematic masterpiece that was *Alfredo*. From the merchandise, to the vinyl, to every cut throat bar Freddie delivers, this drop felt like it was aiming to be some of their best work. Alchemist provided Freddie with a blank canvas for him to paint a picture on. *Alfredo* was a coke rap kingpin reflecting on his incredible rise to power and asking himself, “who can stop me besides me.” -*Miles Hagan*

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Our Top 50 Songs of 2020

December 27, 2020 by StereoVision Staff in Read

By StereoVision Staff

As you read, listen along with our “Best of 2020” playlists on Spotify & Apple Music here:

Freddie Gibbs & The Alchemist: 1985

With the amount of time & artistry that went into Freddie Gibbs’ 2019 effort Bandana, I’m sure very few people were expecting an immediate follow-up this year. Yet Alfredo goes to show just how efficient two artists can become when they’re both at the top of their game. On “1985,” Gibbs gives a borderline flawless performance—he’s focused, he’s hungry, and his flows damn near float over an obscure Rúben Rada sample flipped masterfully by executive producer The Alchemist. The track is a brief, explosive opener to what otherwise serves as a pretty calm & collected listen, but it’s this separation from the rest of the album that lands it on this list. -Owen Tait

Listen to 1985 on Spotify. Freddie Gibbs · Song · 2020.

The Weeknd: Blinding Lights

The production, the vocals, the synths, and The Weeknd’s sheer energy on this song is enough for me to replay it five times every time it comes on in the car. The 1980’s Pop Synth sound brings The Weeknd’s voice to its peak and I’ve never seen an artist shift their sound and fit into a new lane as comfortably as he has this year. Although the entirety of After Hours is 80’s inspired, this song in particular fits that mold and shows us why it works so perfectly for Abel. -Courtney Fields

Listen to Blinding Lights on Spotify. The Weeknd · Song · 2020.

Childish Gambino: 12.38 (Feat. 21 Savage, Ink, & KAdhja bonet)

With global lockdowns and new releases from Uzi, PND, and The Weeknd, it’s safe to say that March was a month full of curveballs. Among the month’s records was Childish Gambino’s 3.15.20, an album both as dynamic - and inconsistent - as 2020 itself. Luckily “12.38” (unofficially called “Vibrate”) exists as the needle within the album’s haystack - a slow and off-kilter track that weaves together elements of jazz, R&B, and hip-hop. Guest appearances from 21 Savage, Ink, and Kadhja Bonet do not overstay their welcome, as all of them culminate for a truly cinematic ending that is worth the runtime. -Carter Fife

Listen to 12.38 (feat. 21 Savage, Ink & Kadhja Bonet) on Spotify. Childish Gambino · Song · 2020.

pop smoke: got it on me

Pop Smoke’s posthumous album cut “Got It On Me” is one of those moments when listeners can truly see how beautiful music can be. This “Many Men” remix is the essence of life comes full circle. The song is ironic, sad, and simply great. I deemed it necessary to include a Pop song on my list, with the year that he had it was pretty disrespectful to see almost no blogs had a single one of his songs on their lists. -Courtney Fields

Listen to Got It On Me on Spotify. Pop Smoke · Song · 2020.

Future: Ridin Striker

Back in January of 2020, if you would’ve told me that an aging Future would be in the running for rap MVP I would’ve laughed and told you to go back to 2015. To my delight, over the course of the year the Atlanta trapper proved me wrong with the release of his excellent solo album High Off Life, a terrific collab project with Lil Uzi Vert, and a slew of fantastic features. No moment shined brighter though than “Ridin Strikers,” a song that will go down as one of his best in an already loaded discography. Everything from the DS2-esque instrumental to Future’s captivating vocal performance is perfect and that goes without even mentioning the ominous outro where Fu and accomplices rob a bank well pourin’ up drank. -Spencer Lobdell

Listen to Ridin Strikers on Spotify. Future · Song · 2020.

Drake: Chicago Freestyle (Feat. Giveon)

In early May, the six-god blessed us with the chilling “Chicago Freestyle” which, despite it’s name, feels like the newest edition to his AM/PM series due to his reflective writing and focus on location. Drake locks into one of his most addicting yet laid-back flows of his career on this track and his interpolation of Eminem’s “Superman” is everything you could want. While the entire song is great, the best part about “Chicago Freestyle” might just be the fact that it was majority of the worlds introduction to the generational talent that is Giveon who steals the show and kills the hook. -Spencer Lobdell

Listen to Chicago Freestyle (feat. Giveon) on Spotify. Drake · Song · 2020.

Mac Miller: Good News

The lead single from Mac's posthumous album Circles, Good News is nothing short of a heart-wrenching listen. The plucky guitar strings and lo-fi production allow Mac to showcase his gifted singing voice. The song is easily a standout in the already stacked tracklist and one you'll find yourself revisiting over and over again. -Luke Modugno

Listen to Good News on Spotify. Mac Miller · Song · 2020.

Jay Electronica: a.p.i.d.t.a.

In addition to many other great records, Jay Electronica’s debut album was released in March. Made in 40 days with Jay-Z and a slew of celebrity producers, the album was worth the wait - especially for the record’s final track. The acronym stands for ‘All Praise Is Due To Allah’, and features Jay-Z and Electronica trading melancholic bars over a Khruangbin instrumental. This is probably my song of the year, as their meditations on death and serenity helped ground me in a time when Covid was turning the world upside down. -Carter Fife

Listen to A.P.I.D.T.A. on Spotify. Jay Electronica · Song · 2020.

Big Sean: Deep Reverence (Feat. nipsey hussle)

Big Sean teamed up with Nipsey Hussle the Great in his song, Deep Reverence, off the album Detroit 2. Nipsey opens up the song giving free game as always with lyrics like “from the mastermind first you master grind then your team catch it”. Big Sean follows up with reflective perspectives on everything from his relationships to mental health. -Chloe Clark

Listen to Deep Reverence (feat. Nipsey Hussle) on Spotify. Big Sean · Song · 2020.

Westside Gunn: $500 ounces (Feat. Freddie Gibbs & Roc Marciano)

Easily the best song on the project, every guest, including The Alchemist, does their part to make a grimy, classic Westside Gunn song. An absolutely essential 2020 listen. -Luke Modugno

Listen to $500 Ounces on Spotify. Westside Gunn · Song · 2020.

spillage village: mecca

Few releases this year felt as good as Spillage Village’s Spilligion and “Mecca” embodies everything the record stands for in such a perfect way. On the track, Earthgang and JID spread love all around the world well also showcasing a specific adoration for South Africa by using several of the nation’s slang terms. From the moment Johnny Venus kicks off his first verse with “Big ol’ bird I fly across the world and don’t look down” you can tell the song is special. The song sounds absolutely massive and contains a specific spiritual energy that Spillage Village seems to posses in abundance. -Spencer Lobdell

Listen to Mecca (with JID & EARTHGANG) on Spotify. Spillage Village · Song · 2020.

Jhené aiko: 10k hours (Feat. nas)

In this song from the excellent 2020 album Chilobmo, Jhene expresses emotions of heartbreak and loss. The lyrics are capable of relating to various audiences through raw expressions of love and nostalgia. Jhene’s angelic vocals are complemented by a feature by one of the industry’s best, Nas. -Chloe Clark

Listen to 10k Hours (feat. Nas) on Spotify. Jhené Aiko · Song · 2020.

Thundercat: funny thing

Thundercat has some kind of nerve releasing the perfect party song during the midst of a global pandemic where partying isn’t even possible. However, he will be forgiven because “Funny Thing” is such a wonderful track. The song exudes euphoria and puts a smile on my face during every listen. A simple track about the joys of getting intoxicated around friends and pretty people you want to get it in with, it is filled to the brim with tales of social life’s past. “Funny Thing” will make you reminiscent of those nights where you felt so good you felt like you were the main character. Although it allows one to reminisce, it does not leave room for one to let depression seep in. “Funny Thing” will have you on your feet in no time at all, dancing your worries away whether that be in the club or in your bedroom (and I hope for all our sake’s that until there’s a vaccine, it's the latter.) -Kaila Cherry

Listen to Funny Thing on Spotify. Thundercat · Song · 2020.

Lil baby: the bigger picture

This single released in midst of the Geogre Floyd protests mentions many of Lil Baby’s experiences with the criminal justic system, which in turn is also many other black people’s experiences as well. I for one, am proud that Baby dropped this. Often newer artists tend to stray away from social issues in an attempt to not take a side to not displease certain members of their fanbase. Baby’s stance was clear: the song is a direct jab towards the crooked criminal justice system and its neverending list of flaws. -Courtney Fields

Listen to The Bigger Picture on Spotify. Lil Baby · Song · 2020.

giveon: the beach

While the majority of people’s introduction to Giveon was his feature on “Chicago Freestyle”, his debut project Take Time blew almost everyone away. This track stands out as one of the more upbeat songs he has released in 2020. His voice is as strong as ever as the beautiful guitar in the background makes the track absolutely captivating. I wouldn't think of a better way to start a debut project. -Miles Hagan

Listen to THE BEACH on Spotify. Giveon · Song · 2020.

baby keem: hooligans

Somehow, despite only releasing two songs, Baby Keem had a terrific 2020 where he nearly doubled his monthly listeners, was interviewed by Kendrick Lamar, and had a very successful merch drop. Released alongside one of the best music videos of 2020, “hooligan” is a striking example of why people obsess over the young rapper. From the insanely catchy hook to Keem’s completely unique flows and lyrics, it’s obvious that there’s no ceiling on Baby Keem’s potential. -Spencer Lobdell

Listen to hooligan on Spotify. Baby Keem · Song · 2020.

Bino Rideaux: Brand New (Feat. Blxst)

In 2020, thanks to his terrific project OUTSIDE, Bino Rideaux, one of Nipsey Hussle’s proud proteges, finally got the love he’s deserved for years. This was in large part to “Brand New,” one of the last tracks on the excellent album that features one of 2020’s most impressive breakout stars, Blxst. This song is as smooth as it gets and do to it’s absolutely addictive qualities rose to become my most played track of the year. If you’re a fan, this video of the two LA artists recording the cut is an absolute must. -Spencer Lobdell

Listen to BRAND NEW on Spotify. Bino Rideaux · Song · 2020.

aminé: roots (Feat. jid & charlie wilson)

“Roots” by Aminé is one of those songs you can listen to at any time of the day, it doesn’t matter if you’re taking a shower or going on a late-night drive. Aminé’s verse is jam-packed with self-confidence, always making you feel good about yourself. Next thing you know JID comes out of nowhere and begins playing with the pockets like has ‘em on a string. And to top it all off, Charlie Wilson steps up to the plate and adds the melody you didn’t know you needed. This song is guaranteed to help keep you grounded during those uncertain times, and because 2020 was so uncertain, that might be why this song resonated so much with me. -Colson O’Connor

Listen to Roots (feat. JID, Charlie Wilson) on Spotify. Aminé · Song · 2020.

Larry June & Cardo: Meet Me in Frisco

There were so many great songs and records this year, which has made this list hard to choose. Surprisingly, this track is from an artist I didn’t even know about until this record dropped. A Bay-Area Native, Larry June links up with producer mastermind Cardo to deliver this summery banger. This song is so bouncy and upbeat it almost makes me upset that I spent the summer listening to it in quarantine. If you haven’t checked out this project, I would highly recommend you do so. -Carter Fife

Listen to Meet Me in Frisco on Spotify. Larry June · Song · 2020.

Charli xcx: claws

For my fifth slot, I had to be honest with our readers - this is by far my most played song this year. I have no idea how, but I guess it makes sense. I play this song constantly, and I love how Charli’s sound has matured over the past few years. Her developed artistic register allows songs like ‘Claws’ - where she revisits musical ideas previously covered on projects like “Vroom Vroom” - to sound brand new. This song is a banger, it is catchy as hell, and it is produced so well it makes me resent the Ableton icon on my desktop. Though I was tempted to include other tracks for my fifth slot, I had to give credit where it was due. -Carter Fife

Listen to claws on Spotify. Charli XCX · Song · 2020.

gunna: nasty girl

This song is captivating from the moment the best drops. It’s is the type of unique sounding best and infectious flow that changes the energy in a room. This is the epitome of everything great that Gunna was able to do on WUNNA. “NASTY GIRL” feel like taking an exotic trip and having way too much fun, and in a year like 2020 what could be more perfect. -Miles Hagan

Listen to NASTY GIRL / ON CAMERA on Spotify. Gunna · Song · 2020.

rod wave: rags2riches 2 (feat. Lil baby)

One of my favorite moments of 2020 was watching Rod Wave’s inevitable rise to stardom during the first quarter of the year. The soulful singer/rapper proved to be a source of strength for many listeners and few songs were as motivating as “Rags2Riches” off his album Pray 4 Love. The song features a thumping instrumental and a mesmerizing hook sure to be stuck in your head all week. The song got a notable upgrade when Rod released the deluxe version of Pray 4 Love and switched out ATR Son Son’s mediocre second verse for an excellent Lil Baby feature that successfully ensures the entire song is held to the same quality standard set by Rod. -Spencer Lobdell

Listen to Rags2Riches 2 (feat. Lil Baby) on Spotify. Rod Wave · Song · 2020.

action Bronson: Latin Grammys

Action Bronson genuinely surprised me with his 2020 effort Only for Dolphins. Clearly, the best song on the project is the lead single Latin Grammys, a microcosm of the success Bronson found on this record. -Luke Modugno

Listen to Latin Grammys on Spotify. Action Bronson · Song · 2020.

future & lil uzi vert: drankin n smokin

The best song on Future and Lil Uzi Vert’s Pluto x Baby Pluto, “Drankin N Smokin” is an enthralling hit that shows listeners why exactly this tape works so well. Future floats on top of the mesmerizing, guitar-driven instrumental leading to one of the most memorable hooks of the year. His chorus and first verse are so damn good that by the time that Uzi comes in at the two-minute mark you’re surprised because you’ve completely forgotten that this is a collab album at all. His off-the-wall flow gives the listener even more reasons to love the already amazing song and cements this track as one of the best of the year. -Spencer Lobdell

Listen to Drankin N Smokin on Spotify. Future · Song · 2020.

Juice wrld: stay high

“Stay High,” found on Juice’s posthumous album Legends Never Die, was one of the primary songs that helped me get through 2020. The song explores the idea of countering hard times in life by using substances and getting high. If you’re familiar with substance abuse, you know it hits differently when you are getting high for a reason (though it is typically not a good idea). This track evokes this emotion in me as I find myself wanting to lift my spirits when everything around me is bleak and depressing. This relatable theme, matched with the smooth, calming tone of Juice’s voice, is why this song earned the #5 spot on my list. -Colson O’Connor

Listen to Stay High on Spotify. Juice WRLD · Song · 2020.

nick grant & tae beast: feds

The first time I heard this song I was in complete shock. This might have been the best display of pure rapping that has come out all year. The best takes a back seat to the bars but provides a sense of urgency to everything Nick is saying. Above anything else the emotion of this song is that of someone with their sight on the top of the rap game. -Miles Hagan

Listen to FEDS on Spotify. Nick Grant · Song · 2020.

g herbo: in a minute

If you know me, you know that I never shut up about being the first guy to call Herb “Baby Hov”. Having listened to him for what seems like forever and knowing what he’s capable of lyrically, and I don’t think it’s that big of a stretch to say he reminds me of the GOAT, Jay-Z. For years I’ve been wondering when Herb would indulge more in sampled beats. The “A Week Ago” sample used in this track is one of the best lyrical performances I’ve heard this year, I hope Hov heard it. -Courtney Fields

Listen to In a Minute on Spotify. G Herbo · Song · 2020.

Mulatto: muwop (feat. gucci mane)

This remix to Gucci Mane’s “Freaky Girl” is arguably better than the original. The East Atlanta legend showed his support for the newcomer with a verse that added the perfect amount of male energy to the song and he even states how he had hopes of signing Mulatto. Name a better way for Mulatto to pay homage to her hometown and her favorite rapper than “Muwop.” -Amaya Lorick

Listen to Muwop (feat. Gucci Mane) on Spotify. Mulatto · Song · 2020.

J. Cole: The Climb Back

Unfortunately, the release of J. Cole’s highly anticipated album The Fall Off is still up in the air, however, he released two tracks that are said to be from the project, “Lion King On Ice,” and “The Climb Back.” The latter resonated much more with me, and quite honestly I’ve only heard Cole rap as hard as that on a handful of other tracks. When Cole’s main objective is to spit bars relentlessly, he doesn’t disappoint. He doesn’t do it very often, and I’m not exactly sure why he did it, but it sounds like he wanted to show off his lyrical capability and prove to others that he still got it resulting in one of the most entertaining performances of the year. -Colson O’Connor

Listen to The Climb Back on Spotify. J. Cole · Song · 2020.

blxst: wrong or right

Off of his excellent project, No Love Lost, Blxst fails to miss and “Wrong or Right” might just be the projects peak. Over the harmonies and guitar strings, Blxst sings about the unconditional love and loyalty he shares with loved ones. The song, of course, showcases a true west coast vibe with Blxst’s smooth vocals and lyrics. -Chloe Clark

Listen to Wrong or Right on Spotify. Blxst · Song · 2020.

070 shake: guilty conscience

In 2020, we’ve watched a multitude of artists hop on the trend of fusing modern pop and R&B with synthwave and other New Wave aesthetics. Artists like The Weeknd or Dua Lipa may come to mind, but one artist who mastered this trend and flew under the radar this year was 070 Shake. Modus Vivendi, her debut album, features layers upon layers of beautiful synth & drum arrangements, and Shake’s powerful voice and tight songwriting seal the deal on this track in particular. If you need another dose of faux-80s magic in your year-end playlist, definitely check this one out. -Owen Tait

Listen to Guilty Conscience on Spotify. 070 Shake · Song · 2020.

the weeknd: faith

In the midst of this dark banger about hedonism through partying, Abel poweful exclaims “And if I OD, I want you to OD right beside me” creating potentially the best moment on one of the years best albums. The entire track morphs countless times as if it were alive, truly showcasing The Weeknd’s once-in-a-lifetime artistic vision and ability. The song is a beautiful rollercoaster of emotion in the amusement park of lust, drugs, and toxicity easily making it one of 2020’s best releases -Spencer Lobdell

Listen to Faith on Spotify. The Weeknd · Song · 2020.

reason: extinct (feat. Isaiah Rashad & jid)

This is a lot of guys who are very good at rapping in their peak form. Isaiah Rashad, Reason, and JID spend 4 minutes painting a beautiful picture over a beat that hasn’t been done justice since “Pennyroyal” by Joey Badass. It's a story of the trials and tribulations of love, that highlights the fact that we all aren’t perfect when it comes to relationships but we’re gonna keep trying. -Miles Hagan

Listen to Extinct on Spotify. REASON · Song · 2020.

bino Rideaux: mismatch (Feat. young thug)

Bino Rideaux switches it up on this remix by adding a feature from Atlanta legend Young Thug. The two great artists have so much fun on the song and truly create a banger. Bino provided` his laidback quality and Thug came with his signature flow. A vibe, to say the least. -Chloe Clark

Listen to Mismatch (The Remix) feat. Young Thug on Spotify. Bino Rideaux · Song · 2020.

kacy hill: unkind

After waiting 3 years for a new record, Kacy Hill delivered with July’s “Is It Selfish If We Talk About Me Again”. Though ‘Unkind’ begins as a spacy and ambient pop track, it gradually evolves - ending up as one of the most cinematic tracks I’ve heard this year. Kacy Hill’s mastery of track momentum reaches its fever pitch in the last 30 seconds of the song, with hard-hitting electronic tracks and vocal layers that truly makes ‘Unkind’ a moment to remember. She’s currently hard at work on her third LP, and hopefully next year we’ll get to put another one of her tracks on this list! -Carter Fife

Listen to Unkind on Spotify. Kacy Hill · Song · 2020.

21 Savage & metro boomin: runnin

Admittedly, I wasn’t a huge fan of the first Savage Mode from powerhouse duo 21 Savage and Metro Boomin, but this track alone made me return to check it out. To put it simply, “Runnin” knocks. It starts out soft with a dark, eerie Diana Ross vocal lamenting over sinister laughter and vinyl crackling, but as soon the beat comes in, neither 21 nor Metro let up. 21 delivers quotable after quotable and a haunting hook in his trademark growl, and Metro Boomin finds time to experiment with subtle textures in the beat, ensuring that the mix stays fresh and dynamic until Morgan Freeman ushers in the track’s finale. -Owen Tait

Listen to Runnin on Spotify. 21 Savage · Song · 2020.

rico nasty: ohfr?

Very few songs make my jaw drop when I first hear them, so the fact that my jaw stayed dropped until after I finished listening to this song for the first time (and I had to pull over to park my car) is a testament to just how hard it goes. Rico almost always sounds confident in her music, but this track exudes a boldness and ruthlessness that I’ve heard few other artists match in 2020. Bars such as “I do the same thing that you do / it's just with me they feel it” and “When I ask you what the issue is / you hard of hearing” easily earn Rico her stage name, and car-shaking production from Dylan Brady cements this track in my year-end list. -Owen Tait

Listen to OHFR? on Spotify. Rico Nasty · Song · 2020.

hit-boy: Nominated (feat. dom Kennedy)

In this song off of Hit Boy’s The Chauncey Hollis Project, Hit-Boy teams up with one of LA’s greatest, Dom Kennedy. The sample from The O’Jay’s “Desire Me” creates a familiar feel within the beat, with an updated twist. Hit-Boy and Dom K push narratives of grit and true hustle, even touching upon Nipsey Hussle’s relationship with Hit-Boy and lasting impact. -Chloe Clark

Listen to Nominated on Spotify. Hit-Boy · Song · 2020.

645ar: sum bout u (feat. fka twigs)

I have said it once and I will say it again: I am an unironic 645AR stan. It is easy to discredit him because his shtick is so absurd that he quite literally is the trap KK Slider. But who hasn’t wondered what it would sound like if their favorite Animal Crossing musician was a Bronx/Atlanta rapper? On his track “Sum Bout U” the squeaky-voiced legend collabs with ethereal experimental pop icon FKA Twigs for a truly earnest love song. On the track, FKA Twigs carries the chorus and bridge while 645AR holds it down on the verses. “Sum Bout U” has a kitschy 90s/early 2000s R&B sound that is played up by the duet style structure of 645AR and FKA Twigs’ lyrical exchanges. -Kaila Cherry

Listen to Sum Bout U (feat. FKA twigs) on Spotify. 645AR · Song · 2020.

Freddie Gibbs & the alchemist: babies & fools (Feat. Conway the machine)

Perhaps a less popular pick than the standouts “1985”, “Something to Rap About” or “Frank Lucas”, “Babies & Fools” is quietly the best song on Alfredo. The song features the most unique beat offering from The Alchemist, as well as the best guest verse from Conway. Freddie delivers an amusing verse full of child support puns and hard-hitting bars. Overall, the song is my favorite from the elite Alfredo. -Luke Modugno

Listen to Babies & Fools (feat. Conway the Machine) on Spotify. Freddie Gibbs · Song · 2020.

g herbo: ptsd (feat. Juice wrld, lil uzi vert, & chance the rapper)

G Herbo’s latest album PTSD dropped at the end of February, and from the moment Uzi’s well-crafted outro came to a close, I knew the title track was a top contender for song of the year. G Herbo’s harsh and aggressive tone exposes the realism of the topic at hand: inner-city violence in Chicago. G Herbo speaks from the mind of an assailant, and next follows Chance, who sheds light on the thoughts that run through the mind of a victim. This representation of both sides conveys the message that nobody wins on the streets and EVERYONE involved mentally suffers from it. The reason I love this song so much is that the artists were courageous enough to put down their shields, reveal the psychological toll that the trauma takes on them, and show people stuck in a similar position that what they are feeling is normal. Juice WRLD’s catchy hook is just the icing on the cake, sealing the deal for becoming my favorite song of 2020. -Colson O’Connor

Listen to PTSD on Spotify. G Herbo · Song · 2020.

chloe x halle: do it

“Do It” has Tik Tok and a fun dance to thank for its success but that shouldn’t discredit its value. With lyrics that promote female independence and effortlessly capture a Black girls night out, “Do It” deserved its Gold certification. -Amaya Lorick

Listen to Do It on Spotify. Chloe x Halle · Song · 2020.

lil uzi vert: prices

Although there were many standout moments on both Eternal Atake and LUV vs. The World 2, no song on either tape satisfied by Uzi craving like “Prices”. The lively banger houses everything fans love about Uzi: Braggadocios lyricism, infectious energy, and fascinating vocal inflections. The tasteful sample of Travis Scott’s “Way Back” is the icing on the cake and solidifies this track as one of 2020’s best. -Spencer Lobdell

Listen to Prices on Spotify. Lil Uzi Vert · Song · 2020.

pop smoke: tunnel vision

In a year full of tragedy, the untimely passing of pop smoke really hit home for many fans of hip-hop across the country so the release of his excellent posthumous album Shoot for the Moon Aim for the Stars was especially potent. The album builds and builds until it climaxes in epic fashion on the breath-taking outro, “Tunnel Vision”. -Miles Hagan

Listen to Tunnel Vision (Outro) on Spotify. Pop Smoke · Song · 2020.

thundercat: fair chance (Feat. ty dolla $ign & lil b)

It Is What It Is, Thundercat's third studio album is possibly the most sonically beautiful album 2020 had to offer. At the front of the pack was Fair Chance, featuring angelic vocals from Ty Dolla $ign and Thundercat. The song, like the rest of the project, is dedicated to Thundercat's late best friend Mac Miller. Although the song features an awkward feature from Lil B, the production and meaning behind the song overpowers his awful verse and present one of my favorites of 2020. -Luke Modugno

Listen to Fair Chance on Spotify. Thundercat · Song · 2020.

playboi carti: @ Meh

While I will say I’ve enjoyed the replacement tracks we’ve received from Mario Judah in the past month or so, there will only ever be one Playboi Carti. “@ MEH,” Carti’s first official streaming release since he put out the legendary Die Lit, struck up quite a bit of controversy from fans, as many said he had gone too far with his “baby voice” and were simply over it. And look… while I do agree with the sentiment that Carti’s “baby voice” could potentially ruin Whole Lotta Red, it did absolutely nothing to hinder this track. Carti’s inflections on “@ MEH” are fun, playful, and expressive, and the track carries an insane amount of replay value that kept it in my rotation year-round. -Owen Tait

Listen to @ MEH on Spotify. Playboi Carti · Song · 2020.

Cordae: the parables

Although this year we didn’t get a new Cordae album, he didn’t completely leave us hanging out to dry. The talented rapper dropped a couple of singles, one with Roddy Ricch, and one that I consider to be one of the hardest songs of the year. “The Parables” is loaded with nonstop bars and phenomenal drums that showcase the immense potential of his second studio album, most likely dropping in 2021. I have never heard Cordae sound so hungry on a song before, and I think this track was intended to let other rappers know he’s coming for the crown. -Colson O’Connor

Listen to The Parables on Spotify. Cordae · Song · 2020.

aminé: burden

Undoubtably one of the best intros of the year, “Burden” kicks off Limbo perfectly by showcasing Aminé’s artistic growth and giving us a taste of what to expect. He opens the first verse with “When your skin darker, shit get harder/This a black album like Shawn Carter” letting us know off rip that Aminé will spend a portion of the next 45 minutes speaking on race issues with a potency that few modern rappers could achieve. The song flaunts some of the best rapping Aminé has ever done and the “Thank You God” sample perfectly ties everything together. -Spencer Lobdell

Listen to Burden on Spotify. Aminé · Song · 2020.

hook: act up (feat. 645ar)

Hook was my favorite breakout artist of 2019 and she has stayed on my radar in 2020. She released three projects over the course of the year along with a slew of singles. The track of hers that clung to my ear the most out of everything was “Act Up” with 654AR. I love how this track showcases Hook at her best. Her off-kilter rap style shines, her rhymes are as hyphy as ever, and the production is simple, allowing both Hook and 645AR to be the stars of the track with no distractions. As a passionate 645AR fan, having him on the song works to elevate it even more. The piece de resistance of “Act Up” is the refrain at the very end of the track. There, Hook goes into her own rendition of Crime Mob’s “Knuck if You Buck.” Essentially, “Act Up” is all of my favorite things wrapped up into one song. -Kaila Cherry

Listen to Act Up on Spotify. Hook · Song · 2020.

Charli xcx: i finally understand

I will admit it: I am late to the Charli XCX party. For years, I thought that I was someone who didn't like electronic or pop music very much and with Charli XCX being the sweetheart for both of these genres, I stayed away from her. That was until this year. I was intrigued by the concept for the project she released this year entitled how im feeling now. The project was made during quarantine and all about her relationship with her long time and long distance boyfriend. how i’m feeling now as a whole is a sweet and sentimental album that speaks to all of the romantic cravings of my little Pisces heart. In particular, I fell in love with the track “i finally understand.” The song speaks to the experience of meeting someone and finding yourself falling for them but being afraid of going further in case the relationship does not turn out how you’d like to be. “i finally understand” speaks immaculately to the question: “I like you. What now?” -Kaila Cherry

Listen to i finally understand on Spotify. Charli XCX · Song · 2020.

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The 63rd Annual Grammys: Top 10 Snubs & Disappointments

November 26, 2020 by Owen Tait in Read

By Owen Tait

gettyimages-911475958_wide-ecd18b4724858693616bfc77506ae28eaa1680e4.jpg

As many of you have likely read, the nominees for the 63rd Annual Grammy Awards were announced Tuesday, and in a not-so-shocking turn of events, music listeners everywhere were disappointed. I’ll admit, there were a few choices I was pleasantly surprised with this year: Freddie Gibbs was nominated for Best Rap Album, Phoebe Bridgers and Fiona Apple both received recognition in the Best Alternative Music Album category, and Thundercat & Jhené Aiko were submitted for Best Progressive R&B Album. Regardless, in the grander scheme of things, I would argue that this was a weaker year for the already out-of-touch award show. Almost instantly, I came up with a long list of artists that could’ve been rewarded over the current nominees, so without further ado, here are my top 10 snubs of the 63rd Annual Grammy’s (in alphabetical order), along with their best performances.

1. Aminé

With the recent release of Limbo fresh in everyone’s minds, I was fairly surprised Aminé didn’t snag any nominations this year. Not only was his most recent project his most sonically diverse and simultaneously most cohesive, but I also felt that it was a project that contained his strongest and most mature performances. Songs such as “Roots” and “Mama” showed us a softer, more introspective side of Aminé I felt I was missing on his previous releases, yet hits such as “Shimmy” and “Compensating (feat. Young Thug)” ensured a mainstream appeal that the Grammy’s tend to gush over. Add Amine’s endless charisma and energetic pen game to the mix, and it’s almost baffling how this project received no recognition.

Best Performance: “Pressure In My Palms”

2. Charli XCX

While Charli XCX does tend to stray into the experimental every now and then, her albums feature all the qualities of what someone should expect from an outstanding pop project. The personality, catchy lyrics, ear-worm melodies, and clean production were all there in her most recent project how i’m feeling now, and let’s not forget that she released yet another critically acclaimed album last year with Charli. That’s right: not one, but two outstanding and extremely creative pop records in the span of one Grammy cycle, yet no awards to show for it. Utterly disappointing.

Best Performance: “Thoughts”

3. Denzel Curry

Yes, it’s true that Denzel Curry’s recent projects haven’t pushed the same numbers that many recently nominated artists have. However, in a year where the nominees for Best Rap Album include less popularized artists such as Freddie Gibbs and D Smoke, I don’t think the idea of Curry being nominated should be contained to wishful thinking. And even if UNLOCKED was not enough to warrant a nomination for this category—it was a shorter project, around 20 minutes long—I could’ve easily seen Denzel taking home Best Rap Performance for tracks such as “‘ Cosmic ’ .m4a” or “DIET_.” He simply brought an energy and hunger this year that has yet to have been paralleled.

Best Performance: “‘ Cosmic ’ .m4a”

4. FKA Twigs

Once again, aside from the gorgeous track “cellophane” and a short feature on Ty Dolla Sign’s “Ego Death,” FKA Twigs is an artist who hasn’t boasted numbers in recent years. However, she has received Grammy nominations in the past, and the almost ethereal quality of last year’s Magdalene landed her an interview in Rolling Stone’s 2021 Grammy Preview, a series in which the publication highlighted artists likely to sweep the show. Despite all the hype, Twigs received a whopping zero nominations, a revelation that left me almost as sad as her album did. Perhaps Magdalene delved a tad too far into the strange or simply didn’t sell enough to make waves at the Grammys, but this only demonstrates the award show’s misdirected prioritization of accessibility over quality.

Best Performance: “sad day”

5. Lil Baby

I know what you might be thinking: “Isn’t Lil Baby already nominated for multiple Grammys?” Yes, he is, and rightfully so. His track “The Bigger Picture” is—in my opinion—one of the better tracks that was nominated for Best Rap Song and Best Rap Performance, and I look forward to seeing if he’ll take the trophies for those categories home. However, I’d like to argue that he got snubbed for Best Rap Album on the criterion of sheer numbers. I’m admittedly not the biggest fan of Lil Baby, but given that My Turn is one of the top selling rap albums of 2020 and has remained in the top 10 on the Billboard Rap Charts for 38 weeks, I believe some credit is due.

Best Performance: “The Bigger Picture”

6. Mac Miller

I’m typically hesitant when awards shows nominate or tease wins from artists who have passed away for the sake of views and clicks (see Mac Miller’s last project, Swimming). However, I’ll be damned if Circles wasn’t the best posthumous album I've heard from any artist in the past ten years. As opposed to the way other artists’ posthumous releases have been handled (see Juice WRLD’s Legends Never Die), Circles felt as if it was crafted with care from start to finish, and a handful of the tracks on it still make me emotional to this day. It’s a beautiful and heavy album that I can see people genuinely struggling to come back to, but it's this raw emotion the project evokes that makes it all the more worthy of praise.

Best Performance: “Good News”

7. Pop Smoke

Yes, his hit “Dior” got him a nomination for Best Rap Performance, but how could I mention the late Mac Miller without bringing up Pop Smoke, an artist who gained massive momentum and captivated listeners just prior to an all-too-soon passing. I was skeptical going into his posthumous project Shoot For The Stars Aim For The Moon, but upon listening, I was met with a consistent ensemble of drill & pop rap anthems set for anyone’s gym playlist or a drive down the PCH. For an artist who was still on his way up, Pop Smoke demonstrated impressive range and an early mastery of his sound, and the fact that Shoot For The Stars Aim For The Moon remains one of the highest selling rap albums of 2020 shows how appreciated he was by the hip-hop community.

Best Performance: Make It Rain (feat. Rowdy Rebel)

8. Run The Jewels

Killer Mike and El-P, the masterminds behind the groundbreaking Run The Jewels series, are no strangers to addressing politics in their music. With 2020 quickly establishing itself as a heated, year-round fight for the presidency, the duo chose not to hold back artistically and politically, and it’s safe to say they delivered. RTJ4 saw Killer Mike and El-P delivering some of their most politically charged verses to date over trunk-knocking production, and this amalgamation of sounds perfectly embodied the passion behind various sociopolitical movements we’ve witnessed this year; if there’s one album to represent the social and political climate of the 2020, it’s this one.

Best Performance: “a few words for the firing squad (radiation)”

9. Tkay Maidza

If there’s one artist this year who I would have personally nominated for Best New Artist, it would have to be Australian singer & rapper Tkay Maidza. Her most recent project, Last Year Was Weird, Vol. 2, was a short yet eclectic group of tracks that blew me away upon my first listen, and it currently sits as one of my favorite albums of 2020. A handful of cute, R&B flavored tracks somehow transition perfectly into grimy, dark bangers such as “Awake” and “Grasshopper”—which in turn transition back into floaty, breezy alternative pop records. It’s a feat that I’ve seen few other artists pull off to the extent Maidza does, and I would say her range and songwriting skills make her an artist to watch.

Best Performance: “Awake (feat. JPEGMAFIA)”

10. The Weeknd

I’m just going to state it plainly: what the fuck happened here? Not only did Canadian R&B artist Abel Tesfaye (as if he needs an introduction) come out with one of the most commercially successful albums of the year that gave birth to some of the biggest hits of the year, but After Hours was a complete critical success as well. The project had everything: a unique blend of genres that had rarely been explored in R&B past the 2000s, stunning vocal performances, tight & transformative production, a highly consistent narrative arc, stellar pacing, dark & haunting lyrics characteristic of The Weeknd’s signature style… the list goes on and on. To top it off, the Grammys couldn’t even be bothered to nominate Tesfaye for one of the highly conceptual music videos he’s released over the past year. Nearly every instinct within me expected this album to not only be nominated for Album of the Year, but to win it as well. Unfortunately, I was wrong in what was easily my biggest Grammy upset of the year.

Best Performance: “Scared To Live”

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StereoVision's AOTY Power Rankings: October

October 23, 2020 by StereoVision Staff in Read

By StereoVision Staff

Welcome to our Album of the year power ranking series! Each month all our team members submit their “top 10 albums of 2020 so far” along with some notes about why their list looks the way it does. These lists are then compiled into our overall power rankings which you can find below. Keep scrolling to see each team members personal list which gives interesting insight on how different albums age over the course of the year for specific people. Thanks for reading, we hope you enjoy the article!

the teams picks:

I’d be surprised if anyone’s list changed as much as mine since the last installment of power rankings. My top ten got a complete facelift due to new releases along with me escaping my childhood basement and moving back to LA, two completely different worlds where I perceive music differently. Well Alfredo is still my album of the year, Benny the Butcher’s new album Burden of Proof is right there and has only been out a week - don’t be surprised if those two switch places by the year’s end. Pop Smoke’s album gets better every month and the smooth five song run near on the backend of the album (Enjoy Yourself to Diana) gets more play than almost anything else that came out this year. Blxst is the hottest thing to come out of LA this year and is without a doubt my favorite artist out right now. If you have’t heard his debut EP No Love Lost you NEED to tap in, I’m not exaggerating when I say I play it on the daily. I can’t wait to see what the last two months of 2020 have in store for us, hopefully drops from Isaiah Rashad, Baby Keem, Drake, and Smino all see the light of day this winter and shake my list to the core. -Spencer Lobdell

Y’all know I’m not budging and leaving CHILOMBO in my top spot for Album of the Year. The versatility in Jhenè’s ability to heal and inspire is crystal. While I was oblivious to his influence prior to 2020, Benny the Butcher ranks highly on my list. Burden of Proof contains cohesion, content, and featured artists of high quality. The Chicago girl in me is attached to PTSD and the deluxe because my ear cannot get enough of G Herbo’s sound. Aminè, Chloe x Halle, and Kota the Friend all have my heart. I crave music that I blast during solo car rides but also bump with friends. It’s safe to say my list won’t shift much come December. Most of my favorite artists have delivered their best albums to date this year. -Amaya Lorick

Alfredo holds on as my album of the year after a lot of thought. Though with the way the year seems to be heating up that spot is definitely up for grabs. No Love Lost by Blxst was a huge surprise this year. This is a seven track project with no misses. Benny the Butcher also has his introduction to my list with his incredible album Burden of Proof. Griselda has been on fire this year and so has Hit-Boy. Burden of Proof might be both parties' best release of the year. After this are two familiar picks in 3.15.20 and A Written Testimony. While Limbo was an early favorite for me it was still able to find its way onto my list at number 7, and it remains one of the most pleasant listens of this year. For the last of the new additions to my list there is Also Known As. Another great release produced by Hit-Boy, Dom Kennedy sounds very comfortable over every single hard hitting beat. The list rounds out with two of the best R&B albums of the year in Take Time and F**k the World. -Miles Hagan

As we head into the final months of 2020, it is entirely safe to say it has been nothing short of a phenomenal year in rap, R&B and soul music alike. Although my top 5 has remained the same, the rest of the list was extremely difficult to formulate, given the plethora of strong releases in recent months. While Alfredo certainly stole the show upon its release, I've noticed myself re-visting Mac Miller's Circles more often and enjoying the album considerably more than Freddie Gibbs and The Alchemists' project. Meanwhile, Logic's impressive final album No Presure was a heartwarming and impressive way to end his career. And who can resist the Miami Vice-esque vibes emanating from Action Bronson's latest LP Only for Dolphins? -Luke Modugno

After Hours, my favorite Weeknd album, has truly stood the test of time throughout the year. No album released this year is touching After Hours sonically. Picks 1-5 were probably the easiest picks, they were everything a great album should be: great lyrics, great vocals, great production, released with intention, and pre-release felt like an event. I had to put Herb’s deluxe up here, I’m a little angry that the deluxe wasn’t the actual album, since these tapes don’t often get the publicity that initial releases do. I’m sure if this deluxe was the original PTSD album, Herb would be huge right now. -Courtney Fields

Although 2020 is nearing its final moments the music seems to be doing anything but winding down. The past few months have given us great records like Kacy Hill’s newest project and RTJ4, though Smino, Jay Electronica and The Weekend continue to dominate my rankings. There were many great albums that I couldn’t include on my list, but hopefully I’ll be able to add a new Isaiah Rashad, Kanye, Drake or Kaytranada record by the time the year is up! -Carter Fife

My list has changed quite a bit from the last installment of our Power Rankings series. The new Charli XCX album easily replaced After Hours to take the top spot on my list, as Charli’s unique production choices combined with super intimate songwriting made for a tight, thrilling dose of innovative pop music with high replay value. Yves Tumor created a dense, constantly-shifting alternative rock soundscape on Heaven to a Tortured Mind, and Sevdaliza did the exact opposite on Shabrang, a sparse, psychological journey that combines elements of art pop, trip-hop, and grunge. Meanwhile, Freddie Gibbs’ recent collaboration with legendary hip-hop producer The Alchemist made its way onto the top half of my list, as Gibbs continues to prove his abilities as one of the most technically proficient MCs in the game right now. Bladee’s 333 provided a nocturnal journey into the mind of one of Sweden’s most prolific young voices (Yung Lean’s Starz could have just as easily taken this spot), and Last Year Was Weird, Vol. 2 by Tkay Maizda flexed the Australian artist’s extremely fluid songwriting skills and range. -Owen Tait

Over the past few months, I have been pleasantly surprised by the new releases that came from two of my favorite artists, Father and The Neighbourhood. Both projects from both acts maintained the perfect balance of innovation upon their sound and keeping the ethos of their work the same as before. For a returning listener, this is all I could ask for and more. I have also been excited by the work from several up and coming artists. North Carolinian rapper TiaCorine released her first EP in September and I have been unable to turn it off. A month prior to that, Australian rapper Tkay Madiza put out the appropriately named project This Year Was Weird Vol. 2, an eclectic album guaranteed to up your energy and put you in your power. As I have focused more on my personal growth, Thundercat’s It Is What It Is has moved up my list. Could it possibly overtake my prevailing favorite Man Alive? We’ll see in three months ;) -Kaila Cherry

Never would I have thought Aminé would be in my top ten for 2020, let alone my #1. With the release of Limbo, my whole perspective shifted dramatically. This project was so fun, thoughtful, and cohesive. Spillage Village secured the 2 spot by creating something so different and beautiful. The collective came with the bars, the emotion, and the complex instrumentals that always kept me on my toes. The Alchemist and Freddie Gibbs came with the elaborate production and clever bars that I still probably haven’t even fully digested. Pop Smoke’s album was everything I could have asked for and more. You already know I’m running it back every Wednesday, at least! I was never bumping Juice WRLD’s leaks, so Legends Never Die was brand new to me. This project was bittersweet, and the thing that I love about Juice, is his ability to convey emotion over hypnotizing melodies. Mac used to run the top spots in my list, but over the year I caught myself playing it less and less. Nothing short of a fantastic album, but I definitely feel like I have moved on a bit. I was rocking with PTSD ever since it released, and I have become a much bigger Herbo fan over the course of this year. I still think the title track is still one of the rawest cuts to drop in 2020. I’m excited to see what comes out during the final two months of 2020 and reveal the final form of my AOTY list. -Colson O’Connor

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A Storied History of Racism at the Grammys

October 03, 2020 by Luke Modugno in Read

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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Consider the Cactus - A Retrospective on 'Rodeo' 5 Years Later

September 04, 2020 by Carter Fife in Read

By Carter Fife

In the early fall of my senior year of high-school, I loaded up my car full of camping gear and close friends, and set off one Friday afternoon to go on a last-minute camping trip. It was a small group, and I had recently broken up with my then-girlfriend (a break-up that had left me plagued with confusion, guilt, and emotional insecurity) so they knew the weekend was going to be out of the ordinary. Hours later on a chilly California night, we arrived at our campground, made a fire in the dust and settled in to what was about to be one of the most formative experiences of my life. One of my friends asked to be put on aux so he could play Travis Scott’s Rodeo, an album that had been leaked earlier that week much to his dismay. I didn’t object, as I didn’t know much about the relatively unknown rapper besides his legendary mixtape Days Before Rodeo, and the fact that Upper Echelon was one of my favorite tracks on GTA Radio. As T.I.’s narrative on Pornography began to fill the arid mountain campgrounds, I could tell that I was in for something special. A Complex article accompanying the record’s release would describe Travis as the “head of a snake governed by a primordial instinct leading a winding body behind”, and it wasn’t until many years later that I understood what this quote meant despite it sticking with me for so long.

I mention this trip and the break-up that inspired it because I think that in a weird way, this formative outing happening at the same time as Rodeo dropping is a rare moment of stars aligning. I was in an emotional space that, depending on how I pushed through, would pave the way to my future relationships and the way that I would later conceive what a relationship actually was. I was also in the final year of high-school, and felt haunted by the sobering reality of all my friendships and relationships being merely provisional and a product of fortunate space and time. Hip-Hop music was on the brink of great upheaval, as bling-rap has overstayed its welcome and it felt like recent hip-hop that was on the charts wasn’t doing enough to sonically push the landscape of music further. Future’s DS2 and Young Thug’s Barter 6 were newly-released harbingers of what was to come, a new take on Atlanta-trap that artists like Gucci Mane and T.I. helped usher-in, though it wasn’t going to be for a while that these records would get the respect they deserved. The person to do it would debatably be Travis Scott - and by releasing what many would consider to be his finest work, and a time-tested opus of the genre that it helped define and innovate, Rodeo would pave the way for hip-hop music for years to come.

Five years later and this album still holds the same charm and wonder that it did on that cold night at the Juniper Campground. A charisma yet-unseen from a young and hopeful Kanye West protegée, and star-potential that was waiting to be tapped into. Though a rising star at the time of Rodeo’s release, Travis Scott would be propelled into super-stardom with his conceptually striking and musically innovative debut record. Since its release, I have gone through different phases falling in love with each different track upwards of 100 times, and it is clear that I am not the only one. To this day Rodeo still remains in the conversation surrounding Travis Scott and what is influencing hip-hop music today. Tracks like “Maria I’m Drunk”, “Oh My Dis Side” and “90210” are seen as having a near mythical-status, and would later help establish artists like Young Thug, Quavo, and Kacy Hill as industry heavyweights. Radio hits like “Antidote” and “3500” with Future and 2 Chainz still command sweaty fans that know every word to the center of every party that they’re played at. Lesser-known hits like “Impossible” and “Piss On Your Grave” with Kanye West are still put in heavy rotation by hip-hop fans today, and it is partially because of tracks like these that a culture of gatekeeping Travis Scott has developed in the wake of his commercial success following 2018’s ASTROWORLD. Everybody wants to raise their hand and say that they were there in 2015 when Diamond Supply Co and Travis Scott made a collaboration parka, and nobody wants to feel like they were left out of an era where you could pull up to a house party blasting “Flying High” featuring the Bay Area’s own Toro Y Moi.

Like how my senior year was my indoctrination into a new era of my life, Rodeo was a sort of indoctrination for hip-hop music and Travis Scott himself. When he would later produce tracks on Rihanna’s 2016 record ANTI, less than a year prior he was a relatively unknown blip that managed to be featured on Drake’s 2015 mixtape If You’re Reading This, It’s Too Late. The trap artists that would go on to borrow from the Houston rapper/producer include names like Lil Uzi Vert, Lil Yachty, 21 Savage, and countless others. Everybody wanted to make tracks with an ambiance like “Pornography”, with beat-switches like “Oh My Dis Side” or “90210”, with drums like “Nightcrawler” or with an abrasive rawness like “Piss On Your Grave” or “Ok Alright”. I personally used to mix his songs into live sets, then into radio shows in Portland, and eventually would do the same thing when I transferred to LA. Today Travis Scott has multiple collaborations with Nike, sold out arenas on multiple different tour stretches, gotten a Kardashian pregnant, and even acquired the holy grail of brand partnerships; his own McDonalds burger. Five years later many things have changed because of Rodeo, so it is important that we look backwards so we can be more informed when we ask: What’s next?

I remember watching an interview with Travis Scott before Rodeo was released, and it it he described hearing Kanye West’s 2013 record Yeezus, and said noted how it was the first time he had ever heard “god-level music” (makes sense). While I’m sure Travis Scott has no intentions of retiring anytime soon, I can’t help but be curious as to who/where the next artist is that will change the landscape of modern hip-hop music. Somewhere out there someone listened to Rodeo and thought the same thing, and now it is just a matter of time until they surface, if they haven’t already. People write about albums coincidentally finding them at the right time, or discovering artists in moments where they need them most, and an album like Rodeo is sure to be just that for countless fans, just like it was for me. Though the five years since Rodeo has passed more quickly than I’m sure any of us have anticipated, there is no denying the insurmountable personal and cultural value that this album holds. Personally - I would place it as one of my favorite records of all time, and I’m really just excited for whatever comes next from the Houston extroardinaire. The Rodeo era may have came and gone, but it was sure to influence the genre of hip-hop as we know it in its wake. Who knows - maybe its full impact hasn’t been seen just yet. This album, like that camping trip changed my life for the better, and I hope that this record continues to move and inspire others like it did for me. La Flame says, “Let your ambition carry you”, so here’s to five more.

Listen to Rodeo here:

Listen to Rodeo (Expanded Edition) on Spotify. Travis Scott · Album · 2015 · 16 songs.

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From The Underbelly - What To (Hopefully) Expect From DONDA: WITH CHILD

September 01, 2020 by Carter Fife in Read

By Carter Fife

It has been about a month since Kanye West announced (and didn’t release) his potential upcoming record DONDA, or as it was later called, DONDA: WITH CHILD. This album will be his tenth solo studio project, and if it hits streaming services soon, it will have been released less than a year since his last record Jesus Is King, which received mixed reviews from fans and critics alike.

Though the past few years have seen a relatively secretive Kanye West rarely communicating with fans outside of interviews and Twitter rants, the past summer has seen the Chicago rapper more active on twitter showcasing everything from shoe designs, blueprints for his YEEZY domes, cool chairs, and even getting Chick-Fil-A with Steve Harvey. Announced at the end of July on his Twitter, Kanye West let fans in on his recent creative ventures - an album and a movie titled DONDA: WITH CHILD, as well as repeatedly changing the tracklist in cryptic and vowel-absent pictures. As many Kanye West fans could probably tell you, the chance of this record being released seems like kind of a toss-up, as West is no stranger to announcing projects that never seem to materialize, but given his recent leaks and studio presence, we’re hoping DWC’s release is on the way.

If you subscribe to the idea that Kanye West is working on his tenth record and that it is indeed coming soon, the next question is obvious: What can we expect, and am I ready to be hurt again? The answer sadly is not as apparent, as West’s demos and musical efforts these days can be as mercurial as the man himself. Many fans are convinced that Kanye West’s “2020 Vision” presidential run is nothing short of a way to gain press for the record, while others speculate that it is the other way around. While it is true that West has voiced his passion for being president in the past, the timing of his publicity and political efforts, combined with his lack of both policy and reasons for running besides not liking Joe Biden (which sadly, same here), makes me skeptical that WEST 2020 is anything more than a publicity stunt. An annoying one to be sure, but it certainly did make a big impact musically, with artists like 2 Chainz tweeting his support for his label-mate. But all this stands as merely theoretical ideas circling the big picture: What can we reasonably expect from this DONDA: WITH CHILD?

As it stands there are around half a dozen leaked demos or reference tracks that have seemingly emerged from the DONDA era. There are also two tracks that Kanye himself released - “DONDA” (marked as DND on the twitter tracklist) and “Wash Us In The Blood” featuring Travis Scott. The former features West’s mother reciting KRS-1 lyrics over a classic soul-sample beat with a short verse from West at the end, and the latter is a more intense banger that sounds like a drum kit and Yeezus had a child together. Both are miles ahead of what was given to fans in 2019’s Jesus Is King, and the demos additionally give a reason for fans to be hopeful. While they are unfinished, cuts like the track “By Your Side” are ambient, melodic, and transcendent in a way that makes me anxious to have the album released. The recently leaked “Future Sounds” featuring Travis Scott and Victory Boyd makes use of the same TNGHT sample from West’s 2013 hit “Blood On The Leaves”, and with an infectious and dramatically grand-scale melody, it is hard not to get too hyped up for this record. The track almost sounds like a synthesis of every era of Kanye from 2010 to 2016, so hopefully, it makes the final cut of the record. The tracklist from Ye’s twitter also includes tracks like “Alien” (also known as “SpaceX”), “Hurricane”, and the hotly-anticipated “New Body”, all of which were cut from the scrapped project YANDHI which I will never stop begging Kanye for. “Alien” is an interesting addition considering it is notorious for having so many versions - some include Ant Clemons or Young Thug, others include Migos, and one is even a longer version with only Kid Cudi on it. Though my excitement for “New Body” has waned since the release of the religion-appropriate clean version sans Nicki Minaj, “Hurricane” is a track that I have been anxiously awaiting since it’s teasing in Fall 2018 and inevitable leak in Summer 2019.

But who can we expect to be involved with the album? Not much is known about the record’s guests yet, but both Dr. Dre and Rick Rubin have been working recently with Kanye, with Rubin actually being spotted at Kanye’s ranch in Cody, Wyoming. Galaxy-brained sleuthing fans also have been speculating about a Lil Baby feature after Kanye tweeted support for the rapper, and a private jet was chartered from Atlanta to Wyoming shortly thereafter. Snoop Dogg was also seen in the studio with Dre and Kanye, though that session was likely related to Ye’s “upcoming” release Jesus Is King II, produced by Dr. Dre. Whether or not that project will ever come to fruition and see the light of day is truly a mystery, though a leaked track, “Up From The Ashes”, certainly shows promise as it displays a more cohesive blend of hip-hop percussion, powerful vocal performances and choral arrangements than West’s 2019 effort. Scrapped or not, the track certainly shows great promise for DONDA: WITH CHILD, though it is hard to bye certain judging off of leaked tracks that are mostly unfinished.

I know what you may be thinking and yes, there is a high chance the album will probably not come out, and this will be yet another project that turns to a pipe dream for us Kanye fans to speculate about. With that being said. new tracks and snippets from Kanye West’s camp are leaked every week so it will be interesting to see how the record evolves, and hopefully we will see the release of a new project soon from Yeezy himself. Though I respect the album-making process as one that cannot be rushed, this is me crossing my fingers that DONDA: WITH CHILD sees release by the end of 2020.

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The Increasing Disposability of New Music in the Digital Age

August 20, 2020 by Luke Modugno in Read

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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