From Fashion to Live Shows, “Whole Lotta Red’s” Early Influence on Rap

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by Quintin Hollomand

When thinking about the most influential hip hop albums in history, it’s easy and deserving to acknowledge albums like 808s and Heartbreaks by Kanye, or Midnight Marauders by A Tribe Called Quest, but what is harder, is to acknowledge the more recent work that is arguably just as influential, if not more. 

It’s hard to imagine an album that has had such a forward thinking and culture shocking grip on the rap community than Whole Lotta Red by Playboi Carti. Since its release at the very end of 2020, Whole Lotta Red has proven to be one of those albums that changes the course of hip hop forever. From its early rejection by many fans and critics, to its ripple effect still almost 2 years later, Playboi Carti has implemented new approaches to hip hop aesthetics, rollouts, and live performances that have solidified him and this album as the bar for future projects. I’m going to be talking about his process of making this album, what happened in the rap community upon its release, and the amazing influence it has had on hip hop since 2020. 

Less than a year after Carti’s prior album, Die Lit released, he mentioned his new project set to come out titled, Whole Lotta Red. As Carti wrapped up his Neon tour and many festival performances, the rap community had Carti in somewhat of a spotlight. His music was already known for being subject to leaks and snippets, but what would come in the next year and a half would alter the progress of his album and change the course of what he eventually put out. 2019, 2020, and 2021 were filled with Playboi Carti leaks left and right. Songs like Bouldercrest, Skeletons, No Lie, and Molly amongst countless others flooded SoundCloud and Youtube. The infamous Pissy Pamper leak would top the Spotify charts as an unofficial release by a fan, and crowds would sing the lyrics to unreleased songs at his shows word for word. This was the WLR v1 era. These songs were all very reminiscent of Die Lit, with many of these leaks being produced by Pi’erre Bourne. At this point, this was what fans wanted and hoped Carti released, but the more songs leaked, the more apparent it became that these would never make the official project. 

Next came the WLR v2 era with more commercial sounding songs like SRT ft Lil Uzi Vert, Movie Time, and Act a Fool. These were audibly different than v1 and the Die Lit era, and we now knew Carti’s sound was changing. 

Constant snippets and song leaks held the album back to the point where Carti rethought the entire theme and aesthetic of himself and album. This is where we begin to see his semi-feminine and vamp persona come to life. With a rare social media presence and practically no up to date interviews, fans had no idea when to expect WLR other than a vague, ‘in 2020’ statement he made prior. Finally, with hints from DJ Akademiks and other outlets, fans expected the album to come on Christmas of 2020, which it did. 

The album was met with mixed feelings from his fans and the rap community. It received actual hate(not to be taken lightly) online and many vowed never to listen to it again. However, many saw this as a new direction that had never been taken before and were open to this new idea. The punk-rock inspired album was something nobody expected to come from Carti. The production was new; his lyrical delivery was new; everything was unapologetically new. It took a few weeks for it to really sink in, but the energy it brought was undeniable. 

Production came mainly from F1lthy and Art Dealer, who with along other loopmakers, curated the aggressive synths and distorted drums. A great deal of credit falls on these producers for experimenting with such gritty synths and dark yet happy chord progressions; they provided Carti the opportunity to try new things vocally. The song Stop Breathing is truly in its own subgenre of rap. The compressed/distorted 808, crunched hi hats and snares, paired with lyrics centered on Carti’s involvement in gang life, make one of the most energetic songs of all time; one that few can actually relate to, but all can mosh to. Control provides us with one of the more introspective songs in Carti’s discography. It gives us an emotional break from the aggressiveness of the album. 

A year into its release, it had still never been performed due to it being in the midst of COVID-19. However, hype around the Narcissist Tour (which became the King Vamp Tour), began to increase steadily. The constant scrapping of ideas made Playboi Carti that much more in demand, as fans couldn’t even get a good idea on his next move. The King Vamp Tour began, and with it, came countless viral internet moments that showcased just how impactful this album that was at first hated on, really was. At multiple tour dates, inspired by the album’s rager theme, fans rushed security checks and mobbed venue doors. At the Arizona stop, Carti played one song before the speakers blew out, canceling the rest of the show. It was moments like this that turned the album and live performances into more than just music, and into a right of passage for fans. The emphasis on live music is something that this new wave generation of rappers took and made their own.

The influence of Whole Lotta Red can be seen across the landscape of music. Not only did the solidified artists in the industry try their hand at rage inspired beats, but the new buzzing underground also took Whole Lotta Red ideas and made their wave a spin off of Carti and the album. Underground artists like Kankan, sgpwes, heygwapo, ssgkobe, and Yeat can trace a lot of their music ideas back to the blueprint Whole Lotta Red left. The synth leads, distorted 808s, aggressive lyrics, and emphasis on the performability of songs all come back to this album. At live performances these days, artists use the same lines Carti does to hype up crowds; I even heard The Kid Laroi yell, ‘open that sh*t up!’, which I didn’t expect but can respect. Social media has also been altered by Carti’s ideas. It’s now ‘in’ to have a mysterious and minimal Instagram presence. Blurry and poorly lit 0.5 lens photos are now in and here to stay. 

The influence that Whole Lotta Red has had on hip hop in the recent two years is undeniable. It played out to be much larger than music and has inspired an entire new generation of artists that borrow from its ideas and themes to make it their own. The drastic acceptance of this album after its initial hate by many is amazing to realize and think about. It’s still very early in the album’s life, but I feel comfortable saying that Whole Lotta Red is one of the most influential hip hop albums in history.

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Quintin Hollomand is a contributor.

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How Outkast's "Aquemini" Fulfilled the Prophecy & Changed Hip-Hop Forever

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by Spencer Lobdell

On August 3rd, 1995, hip-hop history was forever altered.

While many hip-hop purists like to refer to the second annual Source awards as the night that hip-hop died, they are overlooking the most important moment of the show that I believe to be the moment when the hip-hop we know and love today was born. While most remember the show for Suge Knight’s not-so-subliminal shots at Diddy during his “Soundtrack of the Year” award speech or Snoop Dogg’s infamous “Y’all don’t love us?!” rant, the most important moment of the night followed the announcement for best new artist. When a little-known hip-hop duo called Outkast was announced as the winner they were met with a chorus of boos as the New York audience lost their mind because hometown hero Method Man didn’t win the award. Amidst the boos, a young Andre 3000 grabbed the mic and silenced the crowd with one of the most iconic acceptance speeches TV has ever witnessed, an acceptance speech that was only six words long: The south has something to say.

This moment is referred to as “Andre’s prophecy” as it came one year before Outkast started what very well might be the best three-album-run in the genre’s history. While ATLiens and Stankonia are classics in their own right, they represent Outkast on both ends of the experimental spectrum and when examining influence it’s important to start at the moment when everything changed. That moment for Outkast (and the entirety of hip-hop) was their 1998 release Aquemini.

The cultural importance of the album goes far beyond the quality of the writing and recording on the project. Aquemini is the most influential album in hip-hop history because it’s the project that liberated the genre and enabled rappers to break free from the restrictive constraints that had previously said what you could and couldn’t do in hip-hop. Aquemini is the moment when successful artists were allowed to transcend the title of “rapper” and step into their full potential as boundless creatives. Aquemini is the album that freed hip-hop.

Although it’s impossible to boil Aquemini’s impact down to one groundbreaking trait, the first that must be mentioned is the group’s willingness to blend a variety of genres without fear of alienating traditional hip-hop fans. While Aquemini is certainly a hip-hop project at its core, Big Boi and Andre effortlessly fuse funk, jazz, gospel, world music, and spoken word into the record introducing a level of genre-bending that had yet to be seen in hip-hop. The album’s second song “Rosa Park” establishes this theme early on by being anchored by a country hoe-down inspired instrumental that’s so southern it even houses a harmonica solo played by a real pastor. The deviations from hip-hop go much further on Aquemini though. From the iconic ska-inspired horns in “SpottieOttieDopaliscious” to Erykah Badu and CeeLo Green versing soulful spoken word over the jazzy “Liberation” instrumental, the duo managed to seamlessly mix sounds throughout the project, somehow making a record for both old-school players AND new-school fools.

It’s easy to see the tremendous impact that Outkast breaking genre rules had on modern hip-hop. This impact is palpable across Kanye West’s entire discography from soulful samples featured on The College Dropout and Late Registration to truly boundless hip-hop housed on 808s and Heartbreaks and My Beautiful Dark Twisted Fantasy. Moving into even more recent examples, without the bold experimentation Outkast employed on Aquemini we would’ve never been lucky enough to see XXXTENTACION push the limits of what a rap album could be on ?, his sophomore album. Finally, the artist where Aquemini’s influence is the most noticeable is none other than Kendrick Lamar who won a Pulitzer Prize for To Pimp a Butterfly, an album with a heavy psychedelic jazz influence that can be clearly traced back to the Southern duo.

One of the most obvious impacts that Outkast had on modern rap was welcoming artists from areas other than California and New York to the party. While there certainly were groups and artists making music outside of the two states, none had reached the mass appeal that Outkast did, a feat that signaled to the average consumer that good music could come from anywhere. Outkast broke the geography of hip-hop allowing new scenes to emerge and have lives of their own. The south became a hotbed for hip-hop after Aquemini resulting in generational talents like Lil Wayne, Killer Mike, and T.I. Years later, a similar renaissance was seen in Chicago with artists like Common, Lupe Fiasco, and Kanye West. While there were certainly great artists from regions outside California/New York before Outkast and the growth of different scenes across the country was inevitable, what the duo did for the south and all other developing regions after must be acknowledged.

Thus far we’ve looked at the impact of Outkast’s instrumentation and regional prowess, but we have yet to discuss potentially the most ground-breaking power the group yielded: The context of their writing. Outkast was the first hip-hop act to leverage their authentic duality as a strength rather than a weakness that needed to be covered up. In 1998, there were specific archetypes that rappers had to fit into to be successful. You could either be A Tribe Called Quest or NWA, De La Soul or Wu-Tang Clan, Talib Kweli or Jay-Z. Andre and Big Boi completely destroyed this idea of a single identity and Aquemini was the album where they truly became the player and poet. Outkast would be the first to tell you that hip-hop was so much more than drugs and guns but then turn around to tell you the importance that both had on the culture.

This duality and authenticity that Outkast pioneered is the reason that hip-hop was able to expand and become the biggest genre in the world. While we love gangsta rap and conscious rap alike, it’s hard for the average person to relate and identify with either sub-genre completely, and if the lines were never blurred both camps would’ve simply gone deeper into their respective niches. Not only was Outkast the first to walk this line, but they were undoubtedly the best at it.

Finally, this examination of influence would be incomplete without mentioning the way Andre’s flow taught the best rappers ever how to spit. Although Biggie had already shown the world how mesmerizing a flow could be by the time Aquemini was released, nobody pushed it further than three stacks. Andre broke every rule of rap resulting in some of the most mind-bending flows hip-hop has ever heard. He seemed to write against the beat instead of with it allowing him to fall into absurd pockets that would pave the way for emcees like MF DOOM, Earl Sweatshirt, and Boldy James.

When speaking about extremely influential works, it’s not rare for an album’s greatest strengths to be the projects that came from it. The most beautiful thing about Aquemini is that well it birthed some of the greatest records in hip-hop history, to this day its greatest strength is not what it became but rather what it is. The record is nearly 25 years old and somehow doesn’t sound dated at all. You can play Aquemini next to any of the great albums to come out in the past decade and it sounds right at home. Outkast is without question one of the most legendary hip-hop acts to ever grace a mic and Aquemini is the project that pushed them to this level. “Even though we got two albums,” Big Boi raps on that album’s “Y’all Scared,” “This one feel like the beginning.”

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Spencer Lodbell is the co-founder of StereoVision.

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Thanks for reading! Make sure to follow us on Instagram to stay up-to-date on everything hip-hop.

Albums to Ride Out Quarantine 2

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

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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

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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

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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

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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!

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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

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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

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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.

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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

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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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Our Top 50 Albums of 2020

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:

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50. Father: Come Outside We Not Gone Jump You

Spotlight Track: Backbreaker

Read our Review

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49. Pop Smoke: Meet the Woo 2

Spotlight Track: Element

Listen to the Album

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48. TiaCorine: 34TiaCorine

Spotlight Track: Lotto

Read our review

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47. Nick Grant & Tae Beast: God Bless the Child

Spotlight Track: FEDS

Listen to the album

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46. Hook: Crashed My Car

Spotlight Track: Fell in Luh

Read our review

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45. Drake: Dark Lane Demo Tapes

Spotlight Track: Chicago Freestyle (Feat. Giveon)

Read our review

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44. Arca: KiCk i

Spotlight Track: KLK (Feat. ROSALIA)

Listen to the album

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

Spotlight Track: Unkind

Read Our Review

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42. Polo G: The Goat

Spotlight Track: Martin & Gina

Read our Review

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41. Rico Nasty: Nightmare Vacation

Spotlight Track: OHFR?

Read our Review

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40. Larry June & Cardo: Cruise USA

Spotlight Track: Meet Me In Frisco

Read Our Review

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39. Yves Tumor: Heaven to a tortured Mind

Spotlight Track: Kerosene!

Listen to the album

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38. Logic: No Pressure

Spotlight Track: man i is

Read our Review

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37. Young Thug & Chris Brown: Slime & B

Spotlight Track: Go Crazy

Listen to the album

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

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

Read Our Review

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35. A Boogie Wit Da Hoodie: Artist 2.0

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

Listen to the album

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34. Spillage Village: Spilligion

Spotlight Track: Mecca

Listen to the album

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33. tkay maidza: Last Year was weird, vol. 2

Spotlight Track: Shook

Listen to the album

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

Spotlight Track: Drankin N Smokin

Listen to the album

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31. Giveon: Take Time

Spotlight Track: The Beach

Read our review

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30. 21 Savage & Metro Boomin: Savage Mode 2

Spotlight Track: Many Men

Read our Review

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29. chloe x halle: Ungodly Hour

Spotlight Track: Do It

Listen to the album

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28. G herbo: ptsd (Deluxe)

Spotlight Track: In a Minute

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27. Gunna: Wunna

Spotlight Track: Nasty Girl

Read our Review

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26. g herbo: ptsd

Spotlight Track: Intro

Read our Review

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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

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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

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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

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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

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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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

Read our review

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

By Carter Fife

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

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

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

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

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

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

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

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

Favorite Songs:

Ridin Strikers

Too Comfortable

All Bad (ft. Lil Uzi Vert)

Rating: 8

Listen to High Off Life here:

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Future Tries to Be Honest with Himself on His New Seven-Song Album "SAVE ME"

By Miles Hagan

Future is going to be 36 years old this year. He has cemented his status as a legend of Atlanta trap music through his numerous hit singles and quality albums, yet one has to wonder just how much longer can he continue to rap about all the drugs he's doing and all the women he has at his disposal before it becomes boring to listeners.

After a 2017 that saw him release HNDRXX, which was one of his most experimental projects to date, he came back in 2018 with another quality record in BEAST MODE 2. In terms of solo efforts Future had seemed to be heating up, and the release of 2019’s The WIZARD was met with much excitement from fans. Unfortunately, aside from a few solid tracks the album as a whole largely failed to impress. Now Future has returned and seems to have a new motivation for making his music this time around. SAVE ME has been marketed as an album where Future is going to be honest with his audience about himself for one of the first times in his career. He is someone who has shied away from letting his music reflect his personal reality, but that was supposed to change on this new body of work.

SAVE ME clocks in at a very short 20 minutes. Though this eliminates a lot of the room for error that comes along with a more lengthy project, it also allows for Future to stay focused and locked in for 7 strait songs. The opening track “XanaX Damage” quickly sets the tone for the album. Future sounds lost and almost defeated on this song as he addresses a woman who he wants, but he knows is bad for him. The interesting thing about this song is the parallels between the girl he is talking about and the Xanax and it raises the question, which vice is he turning to at his darkest moments? That is why this album presented such an interesting opportunity for Future. Drugs and women have been the two most constant things in his music since he first blew up, yet in this album he seems aware that these two entities will be his ultimate downfall. Future ends up making his experiences with women the ultimate focus of this project.

On the third track “Please Tell Me” future floats over one of the best beats on the album and tells a woman he is with that he wants to give her the world, all she has to do is ask. He knows that this love interest of his wants all the finer things in life and he is there to provide each and every one of them to her. This as well as the following song “Shotgun” have a production style very similar to some of the tracks on his 2017 effort HNDRXX. Future’s aim isn't to create another club banger, like the countless ones he has in the past, rather he is experimenting with a sound that focuses less on his rapping and his image, and more about his crooning and feelings. These songs are good and will most likely be some of the more played cuts off the album, but this isn’t anything that Future hasn't done before. Simply put, while these are solid tracks they have a sound that was done much better on HNDRXX.

While the effort is commendable, it is far from perfect. “St. Lucia” fails to capitalize on the momentum of the opening track. It could largely be because of the placement of this song that it sticks out like a sore thumb. It comes after two of the better tracks on the album where he is talking honestly about how women and drugs are making him feel on the inside. Yet on “St. Lucia” he takes the stance that he doesn't really care about these girls and he just is in lot for the sexual glory. No one is coming at Future for having slightly misogynistic lyrics, and this is nothing new from him. The issue is that SAVE ME was marketed as an album where Future would be showing us a different side of himself, and there were glimpses of it on this project.

“Extra” is one of the best songs on the entire album and it sees Future at his lowest point saying he needs to keep pouring up until he can't feel anymore pain. The drugs and women are no longer cool and for a moment, it allows the listener who typically could never relate to a superstar of Futures status feel like he knows what he is going through. This along with “Love Thy Enemies” and “XanaX Damage” also have music behind them that almost seem to be dragging but in the best way possible. The songs feel like what it is like to be drugged out for days just searching for answers. These moments are when SAVE ME shines brightest, yet too often he goes back to sounds and concepts that he has already worked with.

As mentioned earlier, no one is doubting Future’s legend status. Fans of hip hop will never be able to doubt the greatness of some of the most famous songs and projects that he has produced over the duration of his career. That being said the one thing that can be challenged is his longevity. How is he going to remain relevant in a rap scene that is ever evolving and changing. He may have pioneered the sound, but there are people now taking it and running with it in directions everyone, including Future himself, could have never imagined. He still has a sound and voice that works more often than not, and he is more than capable of producing a great track. But what does the general public really know about Mr. Future Hendrix. He has done such a good job of only letting us fans and media into the parts of his personal life that live up to his rapper persona. No one really knows what this guy is truly thinking or feeling, maybe not even him. Some of his more recent work has shown that he is very diverse in terms of the sounds that he can work with, and this album, though not perfect at least hints at him eventually delving deeper into what the true effects of this lifestyle are. He tells us he only turns to the drugs and women when he is at his lowest, and then on the next track he says that those are the only things that matter to him other than money. The title of this album is “Save Me”, but the future doesn't seem to want to admit why he actually needs saving.

Favorite Songs:

Please Tell Me

Extra

Love Thy Enemy

Rating: 7

Listen to SAVE ME here:

SAVE ME, an album by Future on Spotify

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Major Key Alert: Dj Khaled Drops 11th Studio Album, “Father of Asahd,” as a Tribute to His 2-year-old Son

By Katie Kocher

Fans have been long-awaiting the drop of Father of Asahd since the title of the album was announced in March 2019 along with the single “Top Off.” Fast forward to this March, he announced the exact release date while promoting the album throughout various social media platforms, along with a trailer for the album. As expected, it serves as a sort of dinner party for distinguished artists to show case their unique sound and talent as opposed to a complete body of work. Khaled likes to make unpredictable pairings as evidenced by songs like “Celebrate,” featuring Travis Scott and Post Malone, “No Brainer” with Justin Bieber, Chance the Rapper, and Quavo, and “Higher” featuring Nipsey Hussle and John Legend. The music video for “Higher” was shot just before the rapper’s tragic death at the end of March. Khaled’s ability to connect various artists smoothly on a single track is unmatched, which serves as the foundation of his music industry success. 

Khaled is the son of Palestinian immigrants, and grew up in New Orleans, Louisiana. He started to learn how to Dj in his garage at the age of 13, meanwhile working in small record stores. He met Lil Wayne and Birdman in the beginning stages of their careers, and was able to network and promote himself, eventually getting a portion of a time slot on the local radio station Mixx 93. Finally he was brought on as a regular DJ and given his very own time slot and production credits. 

Some favorites on the album include “Just Us” featuring SZA, on which Khaled once again shows his love for sampling by grabbing Andre 3000’s hook from “Ms. Jackson” by Outkast. 

“Higher” gets quite a bit of attention because of it’s feature of the late rapper Nipsey Hussle and the melancholy that it is bound to evoke in its listeners. The late king of LA delivers two excellent verses in his first release since his passing. His first verse is uplifting and motivating as he raps about his grandparents and how he came to be in America. For the second verse, Khaled switches the beat to something less grand and more mischievous. Nipsey matches this instrumental perfectly and reflects on the harder parts of his life living in South Central. This verse is harder to listen to now that we know Nipsey’s tragic fate. Lines like, “Emptied out the clip, it was broad day/Fuck niggas always gotta learn the hard way” hit different when you’ve seen videos of the late rapper getting shot in the middle of the day. John Legend jumps in for the chorus, giving the track a sentimental touch. 

“Freak N You” combines the raw talent of a rap veteran Lil Wayne with Atlanta native Gunna, who made it big in 2016 from a feature on Young Thug’s track “Floyd Mayweather” and has since become a very sought after voice in the rap game. The track is infectious, catchy, and holds all the qualities of a hit.

“Top off” features the the holy trinity of Beyonce, Jay-Z, and Future and was one of the singles released last year as a prelude to the album. Although this record has gotten mixed reviews, it’s hard to deny that those three can deliver hard hitting lyrics and top notch vocals. 

Lastly, “Thank You” with Big Sean presents a classic mellow beat and smooth flow. It references Sean’s ex and one of the world’s leading artists, Ariana Grande, with the lyric “Plus I gotta thank my exes on some ‘thank u, next shit,’” stirring some questions about their relationship. 

Father of Asahd delivers a handful of radio hits (“No Brainer”), following in the footsteps of his previous albums, yet also throws in a few distinct  tracks that cut deep and are more personalized to certain audiences (“Higher”). As expected, it includes top artists across the hip-hop/rap genre, making it easy for listeners to enjoy at least one if not several tracks from this album. While the album lacks any kind of cohesion, unity, or themes, that should be expected with a DJ Khaled record and listeners should be able to take the collaborative album at face value and have fun with it.

Favorite Tracks:

Just Us (Feat. SZA)

Higher (Feat. Nipsey Hussle & John Legend)

Freak N You (Feat. Lil Wayne & Gunna)

Rating: 6

Listen to Father Of Asahd here:

Father Of Asahd, an album by DJ Khaled on Spotify

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Future Stays True to his Classic Style Without Ever Coming Off as Stale or Boring on his Brand New 20-Song Album “The WIZRD”

By Spencer Lobdell

Of all of Future’s alter-egos, The Wizard has always been an enigma to listeners. We’ve heard the prolific Atlanta trapper mention this alias for years without ever knowing who it was referring to. “The Wizard is me” Future recently told Meaghan Garvey. He then proceeded to explain how OG Double D, his late uncle, gave him the name because he always seemed to be on top of everything and had all the answers. The WIZRD truly is Future in his most authentic form. Over the course of the hour long run-time Future flexes a number of styles that he has previously mastered well always sounding fresh and exciting.

If there is one word to describe The WIZRD it’s execution. It started with a perfect rollout that included two hard hitting singles and a number of captivating interviews and video clips that portrayed Future in an excellent light and defiantly stirred up a lot of excitement. The Marketing team at Epic records absolutely deserves a raise after their work on this project. While we love a clean rollout, the true execution came via 20 well written trap cuts that vary in style. Future doesn’t show us anything we haven’t seen before on this album but it isn’t necessary. Using an abundance of different flows and styles that he’s mastered over his lengthy discography, Future delivers a familiar sound that we all have come to adore. The album opens with the low-key cut “Never Stop” where Future opens up and sounds vulnerable and exceptionally clever at the same. The project continues to escalate in energy afterwards and never slows down and you can’t point to a bad song on this album. The WIZRD is easily the most cohesive and complete release so far this year and will become an essential addition to Future’s impressive discography.

Best Songs:

Temptations

Servin Killa Kam

First Off (Feat. Travis Scott)

Rating: 7.5

Stream the entire project here:

Future Hndrxx Presents: The WIZRD, an album by Future on Spotify

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Songs of the Week: Jan 6th

By Spencer Lobdell

Welcome to “Songs of the Week” a weekly segment where I highlight three of the best new songs released the week prior along with one throwback song of the week. To stay up to date on all new music, follow my Spotify playlist “What I’m Feeling” which is updated weekly to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

A playlist updated weekly with whatever new songs I'm feeling at the time. Always 30 songs and in order with what I'm feeling the most at the top.

New Songs of the Week:

“Crushed Up” by Future

Crushed Up, a song by Future on Spotify

Future has been boring lately. He got carried through a collab album with Juice WRLD and his recent features haven’t been sharp. “Crushed Up” isn’t boring, it’s actually the opposite. It is a classic Future track with a catchy, repetitive, chopped up hook and a heavy hitting beat cooked up by Atlanta producer Wheezy. “Crushed Up” gives us reason to be excited for his upcoming untitled release.

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“a lot” by 21 Savage Featuring J. Cole

a lot, a song by 21 Savage on Spotify

On “a lot” 21 and J. Cole craft the perfect intro for Savage’s new album i am > i was. DJ Dahi tossed these two MCs a softball with this instrumental. It’s simple, groovy, and 21 always sounds great on sampled beats. J. Cole hops in on the third verse for potentially his best feature of the year where he calls out rappers for faking their streams and than shouts out Markelle Fultz.

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“The Navy” by Yung Pinch

The Navy, a song by Yung Pinch on Spotify

It’s the beach boy! Yung Pinch’s newest mixtape 4EVERFRIDAY SZN TWO may have come out over 2 weeks ago but a number of these songs are still hot including “The Navy” produced by Zaytoven. This track is exactly what you expect when these two meet up- a bumping, trap, beach-bop that feels great.

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Throwback Song of the Week:

“Location” by Playboi Carti

Location, a song by Playboi Carti on Spotify

The intro off Playboi Carti’s self-titled debut album was mind-blowing and awe-inspiring when it first graced our ears in early 2017 and absolutely nothing has changed. The beautiful synths that pulse between chords throughout the duration of this song truly create a memorizing vibe and make the song all that it is. If I ever go to space this will be the song I listen to as we takeoff.

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Thanks for reading! Check back in next week for three new hot songs and one new throwback! Follow us on Twitter and Instagram to get notified when we post:

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