Armani Caesar: 'THE LIZ' Album Review

By: Luke Modugno

The Griselda crew has had nothing short of a historic year in rap. From Westside Gunn’s eccentric debut Pray For Paris turning heads and newly inducted member Boldy James blessing his fans with a collaborative project with The Alchemist, to the group announcing the release of four albums in the coming month (Westside Gunn, Benny the Butcher, Conway the Machine and Armani Caesar), Griselda has completely stolen the show. But it's one the groups most omitted members that has shined the brightest. At just 11 tracks spanning a tight 26-minute runtime, Armani Caesar’s debut record, THE LIZ, cements her spot as the group's hidden gem.

The first and most poignant attribute that stands out on THE LIZ is the beat selection. Sounding awfully similar to her Griselda counterpart’s beats, Armani Caesar’s brassy voice fits flawlessly with the dusty, drum-heavy production. Let's be clear: these are some of the hardest beats to rap on. Often wonky, dreary and low-energy, the onus is on the MC to deliver verses worth listening to. And Caesar does just that, time-after-time on this project. Not only does she deliver verses worth listening to, but she also competes with the likes of Benny, Conway and Westside Gunn on multiple tracks, trading bar-for-bar, and verse-for-verse with the top dogs of Griselda. 

On “Mac 10s for Everybody,” Griselda head-honcho Westside Gunn steps aside as he provides a catchy, proficient hook for Caesar and of course, his signature ad-libs. But THE LIZ really begins to shine toward the halfway point. Within a 3-track-span, Caesar completely outraps Conway on “Gucci Casket,” trades bars with Benny the Butcher on “Drill a RaMA,” and goes toe-to-toe with Benny again on “Simply Done.” Not even Westside Gunn can say he clearly had the best verse on every song on his project, but Caesar absolutely can. Toward the end of the project, Caesar rides a dreamy, luxurious beat on “Palm Angels,” making for a clear highlight on the project. 

However, Caesar’s versatility is something that the MC neglected to display on THE LIZ. On her previous projects like Pretty Girls Get Played Too and Caesar’s Palace, her sonic aesthetic is geared more toward a Nicki Minaj fan. What this project lacked was exactly that: a wider array of beats to compliment Caesar’s considerably large skill set. For example, Griselda teammate Conway The Machine displayed his musical versatility earlier in the month when he dropped From a King to a GOD, as he delivered melodic hooks, rapped over trap production cooked up by Murda Beats, and still killed any dusty drum sample passed his way. Caesar was actually a feature on the project, and showed her knack for flowing impeccably over a trap beat, as she did on “Anza.” Especially with debut albums, a MC’s full range of artistry should be present, and Caesar’s just isn’t all there on THE LIZ. 

While the concesity of the album is mostly a positive attribute, it leaves the listener wanting more from Caesar. Nevertheless, in the 11 tracks she did provide, Armani Caesar impressed me thoroughly. Over the coming years and while the Griselda crew continues their meteoric rise to fame, Caesar is most definitely one to watch and one to be respected.  

Favorite tracks

Mac 10s for Everybody (feat. Westside Gunn)

Drill a RaMA (feat. Benny the Butcher)

Palm Angels 

Rating: 7

Listen to THE LIZ here:

Listen to THE LIZ on Spotify. Armani Caesar · Album · 2020 · 11 songs.

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TiaCorine "34Corine" EP Review

By Kaila Cherry

TiaCorine’s path to where she is now was slow, steady, and calculated. Although Corine had been making music since she was in the third grade, it was not until 2018 that the 27 year old rapper would release her breakout single. Her infectiously catchy track “Lotto” took over Tik Tok and Instagram throughout 2019 and garnered praise from big names like SZA, A$AP Rocky, and Drake. However, TiaCorine was not ready to release a full project at the height of her virality. This is an unprecedented and bold move for her. In our current zeitgeist, immediacy has become the norm for everything from album drops to Amazon package deliveries. Yet TiaCorine decided not to ride on the hype and to instead build a solid fan base before putting out her first project. The wait was worth it. At the start of September, TiaCorine released her debut EP 34Corine. Punchy, bubbly, and fun, TiaCorine undoubtly leans into the niche she has created for herself (which she calls “Anime Rap”) and makes it clear to anyone listening that she is worthy of our respect. 

34Corine derives it’s name from the rapper’s hometown of Winston-Salem, North Carolina. Referred to as the tre-fo by locals, TiaCorine’s proximity to the Dirty South, Trap, and East coast hip hop/R&B scenes meld together on the production of her debut project. TiaCorine plays with flow, pitch, and inflecction all throughout the EP. On tracks such as “IYKYK” and “In My Room” she utilizes autotune as a character to accent her “girliness” while subverting what exactly that “girliness” is supposed to encompass. In her sweet pitched up voice, Corine makes it clear that men shouldn’t touch her if they can’t afford her, that she is not here for the “stupid fuck niggas” because she is too “awesome.” Along with being girly and bragadocious, TiaCorine can also be sensual and alluring. The track “34 Faucet” is enchanting with it’s 2000s-esque R&B sound, sweet melodies, and sexually charged lyrics are sure to attract any man she sets her sights on. 

Where TiaCorine shines the brightest, however, is on the tracks where she shows us she can truly rap her ass off. On “30” and “Mine,” Corine flexs her ability to rap fast, coherently, and with vibrant rhymes and clever wordplay. Her humor comes out on lines like “Damn, I just popped a bean/Damn, what’s a bean?” and “Booty too bad, Nickelodeon slime/Got spare change but still look like I’m a dime.” These tracks are the most high energy of the bunch and with them they bring so much carefree fun to the project. “30” and “Mine” are the ideal songs for recording yourself throwing it back in your bedroom, which is perfect for these quarantine times. (PSA from Kaila: Wear you masks and keep 6 feet from others! Damn!) 

34Corine is one of the most refreshing, lighthearted, and addicting EPs to come from an up and coming artists this year. TiaCorine’s name is getting murmurs when it needs to be getting shouts. Don’t be that person who, in a year or two one she blows up, will be thinking “Wasn’t that the girl who made that Tik Tok song?” Instead, be the one who has been there from the start, has followed her growth, and can say “I’m proud to see that TiaCorine is finally getting the recognition she deserves.” That all starts with giving her latest EP a listen. You won’t regret it. 

Favorite Tracks

Mine

30

34 Faucet

Rating: 7

Listen to 34Corine here:

Listen to 34Corine on Spotify. TiaCorine · Album · 2020 · 8 songs.

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A$AP Twelvyy and Sam Silver cross unlikely paths on ‘New Beginnings’

By Carter Fife

2020 certainly seems to be A$AP Twelvyy’s year. Though it has only been a few months since the A$AB Mob member released Before Noon, Twelvyy’s first studio record since his 2017 debut 12, this week the Harlem icon returns with a collaboration with producer Sam Silver. While Before Noon was an exercise in Twelvyy doing what he does best, synthesizing intricate wordplay and melodic delivery over hard-hitting mixes - as seen on tracks like ‘Daytona’ and ‘Baby Driver’ featuring A$AP Ant - this week fans are treated to an innovative and subversive track from one of A$AP Mob’s lesser-known members.

‘New Beginnings’ is a rare moment of introspection from Twelvyy. On this track he delivers lines like “Had to make it happen, took the whole day. Tryna make it home, I took the wrong way“ over Sam Silver’s lurching electronic bass patterns and ethereal and ambient melodies. This style of music is not what you may think of when you think about A$AP Mob, but A$AP Twelvyy does a phenomenal job of lending his efforts to Silver’s production in order to create a chill yet energizing track.  If you’re unfamiliar with producer Sam Silver, he’s a 17-year old powerhouse that has spent the past few months pushing out releases after his 2017 project DIRECTORS CHOICE. Some of his tracks have reached six-figure streaming numbers on Spotify, and it’s not hard to see why. After a brief verse where A$AP Twelvyy dwells on fame, luxury, and personal growth, the vocals contort and speed up as the track transforms into a thundering house instrumental contrasted with aggressive kick drums. ‘New Beginnings’ is just that for both Twelvyy and Silver. It is an embrace of change and success, working past prior personal frustrations in favor of a life of glamour, art, and paparazzi. It is hard to deny the talent of either Twelvyy or Silver, and given both of the artists’ demonstrated versatility on this track, weaving together hip-hop and electronic music styles, it may be fair to say this will not be their last collaboration.

You can stream the track on Spotify and Soundcloud now using the link below. Hopefully, this means we’re poised to get more music from the two artists soon, but if not, ‘New Beginnings’ will surely hold fans over until then.

Listen to New Beginnings on Spotify. Sam Silver · Single · 2020 · 1 songs.

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Jaden Smith, Sunset Sovereign - CTV3 Album Review

By Carter Fife

We all have guilty pleasure artists that we like to put on when nobody’s around, right? Maybe if you’re a guy, you like to throw some Ariana Grande into your workout mix so nobody at the gym can tell you’re listening to Sweetener when you’re doing crunches in a pool of your own sweat. If you’re a girl maybe you like to put on the occasional Toby Keith song driving home from work - and you know your friends would roast you if they knew but in a way, it makes the experience that much better. A little secret between you and your choice of music streaming service. For a long time I thought that for me, this was my affinity for Jaden Smith’s music (but now he just goes by Jaden). I knew he wasn’t the most innovative or original artist out there, but I couldn’t help but enjoy his laid-back flow and his ear for a good instrumental. I was first put-on to his music back when Syre came out in 2017, and I remember feeling amazed that this was the same Jaden that released the poorly-aged hip-hop remix to Foster The People’s “Pumped Up Kicks”. 

Years later Jaden has only grown as an artist, trying out new sounds with every project while honing his craft in the process. He’s been featured on tracks with Young Thug, Brockhampton, and A$AP Mob, and has explored genres like punk, pop, alternative, rock, industrial, and trap in the process. His newest record, Cool Tape Volume 3 (stylized as CTV3), is the third installment in a series that hasn’t had a new release since 2014, despite Jaden’s consistent release schedule always keeping fans well-fed. The project is much more laid-back than his 2019 release Erys, with acoustic-heavy mixes that occupy an aural register closer to an alternative or indie-rock album, despite hip-hop’s influence still being heavily present throughout. It is on CTV3 that Jaden’s expertise in melody writing proliferates to a point where almost every track, while admittedly formulaic, is incredibly catchy and inoffensive. While he may play this record a little too safe, writing new tracks that parallel some of his most memorable moments over the past few years, he is still able to deliver a solid record occupying a space that few other rappers are able to exist in. 

Like I said previously, it is easy to clown on Jaden for being occasionally derivative of his peers, or for writing bars that could only sound great on paper, as fans may recall his anti-choking pun from the opening tracks of Syre. With that being said, it is hard to deny Jaden’s talent, candor, and consistency when it comes to songwriting and delivering projects that come close to being universally enjoyable. In many ways this is one of my favorite things about Jaden’s music - that despite persisting in an industry that rewards emulating whatever is the newest trend, there are still elements in his tracks that are unapologetically him. I mean, who else would try to emulate the Beatles’ genre-defying Sgt. Pepper’s 50 years later?

CTV3 itself is full of many high-points that capitalize well on Jaden’s melancholic aesthetic of perpetual euphoria and heartbreak. The record’s leading single “Cabin Fever” is an ambient metaphor for quarantine’s romantic frustrations, with hard-hitting percussion and a infectious bass-line. It is a difficult song to describe - it’s something that you would play with a special someone driving at sunset, but you also wouldn’t mind hearing it at a house party. “Bad Connection” is similar in this respect with a more low-fi mix and less-indie rock, more-hip-hop vibe. “Deep End” features watery guitar chords that sound like they could have been taken from the Tame Impala chopping block, with Jaden’s faded vocals starting out soft before erupting “LET’S NOT WAIT UNTIL THE WEEK-END” on the chorus. If you thought I was exaggerating about the Beatles’ inspiration before, cuts like “LUCY!”, “Muted Sunrise”, and “Drops of Sun” are just a few tracks that definitely try to capture the same magic of an endless summer like the Beatles did a lifetime ago.

Fans may be disappointed over the lack of harder-hitting tracks on CTV3, as the track-list definitely hangs on the softer side of Jaden’s repertoire, but this shouldn’t be too shocking as much of his discography, especially the Cool Tapes that preceded this one, shares similar vibes to this one. Frankly, all you have to do is look at the album cover to know what this record is about. While I would have enjoyed Jaden to take a few more risks on this album, like he did with his last few projects, I’m not complaining about new music of his anytime soon. His consistent work ethic makes me feel bad that I ever felt self-conscious for liking his music. In 2018 I saw Jaden’s performance at Camp Flog Gnaw, and while my friends didn’t seem to enjoy it much, I pretended like I didn’t like it either - though I had gone to Jaden’s tour months prior. Hopefully we’ll all be able to hear these songs live sooner rather than later, but until then this is a solid project that will be sure to keep fans at bay. Here’s to then!

Favorite Tracks

Cabin Fever

Bad Connection

Deep End

Rating: 7

Listen to CTV3 here:

Listen to CTV3: Cool Tape Vol. 3 on Spotify. Jaden · Album · 2020 · 17 songs.

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Community Is Care - Detroit 2 Album Review

By Carter Fife

Earlier this September Detroit rapper Big Sean released his fifth solo studio record Detroit 2. This album follows his last project, a collaborative record with Atlanta super-producer Metro Boomin titled Double or Nothing, by almost 3 years, and we haven’t heard much from Sean Don since. A handful of loose tracks were released in 2019, but luckily fans were treated to a full-length project this year, with two of the album’s 21 tracks teased on Travis Scott’s .WAV radio in the late summer. After a long wait, the album dropped, and as fans had their first listen of Detroit 2 it became apparent that Big Sean made a few noteworthy changes to his formula this time around.

Compared to Sean’s last solo studio record, 2017’s I Decided, this record is a lot less personal with a heavier focus on performance and production. This is a good thing, as I’ve always admired Big Sean’s sincerity in spite of how lackluster and inconsistent some of his writing and mixes have been in the past. The themes on this tape revolve around success, power, battling demons while at the top of your game, and perhaps unsurprisingly - community. In many ways, this is something that is woven into every song and every feature, of which there are many; the idea of cultivating energy and wellbeing through personal spaces and family. This is at first apparent when looking at the title and cover of the project, which features Sean literally placing Detroit street performers above him, but this is also seen in the camaraderie of the people involved with the project. Behind the scenes, producers like Hit-Boy, Boi-1da, Travis Scott, No I.D., Mike Will Made-It, and even Take a Daytrip are all over this thing. On the surface, Sean pulls out all the stops to get guests like Dwele, Diddy, Jhené Aiko, Lil Wayne, Anderson .Paak, Ty Dolla $ign, Post Malone, Travis Scott, Young Thug, Eminem, and even the late Nipsey Hussle on the record. There are even little interludes from people like Stevie Wonder, Erykah Badu and Dave Chapelle peppered throughout Detroit 2 as well. While I was worried that they would collectively overshadow Big Sean on an album that clearly has been a long time coming, each one does a great job at not overstaying its welcome, and lending its energy to help amplify Big Sean’s. This time around, Big Sean also seems to be doing a lot better than we last heard in 2017, as his self-doubt has seemingly turned into a sage kindness despite the fact that we’re all trapped in quarantine for the foreseeable future. 

One of my favorite things about this record is how well Big Sean seems to adapt to this new energy - new energy that is reflected in both the album’s themes as well as its writing and mixes. On a boisterous and victorious album opener “Why Would I Stop?”, Sean says “I don’t complain about life, I adapt” after delivering my personal favorite line of the record, “I don’t jump, I dive in it”. With this new energy, Sean’s raps are more aggressive, more well-thought-out, and composed, carrying a confidence not before seen from the Michigan native. The following track “Lucky Me” has Sean casually flowing over a classic sample before the beat dramatically changes into a fast-paced trap banger akin to Huncho Jack’s Black and Chinese. The intriguing and uncommon nature of many of the mixes is what makes me enjoy this record, mostly because Big Sean makes his job look so easy as we’re being introduced to these tracks for the first time. Something must also be said about the variety of tracks on Detroit 2 as well, as one moment Sean’s steady flow is accompanied by thundering 808s on “ZTFO”, and then the next he’s confidently spitting game with Travis Scott over desolate and metallic guitar and lurching bass signals. Though there are too many tracks to write about each individually, the album has its softer moments on “Body Language” and “Guard Your Heart” that offer a nice contrast against tracks like the nine-minute “Friday Night Cypher” which features a host of Detroit natives trading bars over different beats.

Detroit 2 was a welcome surprise from the GOOD Music rapper, as I honestly did not think that Sean would come as hard as he did on this tape. Between the long list of guests and the overall positive themes of community and love for Detroit throughout the record, this was a welcome change following his last projects. Though it is admittedly easy to criticize Sean for the chronic oversharing and pseudo-intimate moments that have plagued earlier entries in his discography, this time around there really isn’t too much to pick apart with this project. Detroit 2 features Big Sean at his best, or at least the strongest he’s been since his reign in 2015 following the release of Dark Sky Paradise, and with 21 tracks there is certainly something here for everyone. Though the album could have benefitted from being half as long and more consistently subversive with its mixes, I’m glad that we were able to get some new music from Sean before the year was up.

Favorite tracks

Why Would I Stop?

ZTFO

Lithuania (ft. Travis Scott)

Rating: 7

Listen to Detroit 2 here:

Listen to Detroit 2 on Spotify. Big Sean · Album · 2020 · 21 songs.

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The Sam Lachow Interview: The Seattle Music Scene, Personal Health, and His Upcoming Album ‘Corduroy’

“what interests me the most is finding people from all different places and make something that is totally unique. A lot of my music is just a lucky combination of cool people that I’ve met.”

By Colson O’Connor

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

When discussing the Pacific Northwest Hip-Hop scene, Sam Lachow is a name that must be in the conversation.

It all started with Shankbone, an early rap collective Lachow was a part of that consisted of him and his friends back in high school. They started to gain traction and eventually Sam parted ways and started to make a name for himself. His music was rapidly making its way across the state, and he first made his way onto my playlist when I was in high school. Almost immediately, I began showing all my friends his cuts, and everyone loved him. It didn’t take long for me and my friends to start taking dabs while listening to “Banana Goo Pie”, or chugging beers and bumping “Half Past Twelve”. He created anthems for our weekend nights, and soon we were screaming all the words at his concerts.

After the release of his debut studio album “Brand New Bike” back in 2011, Lachow began carving a different lane alongside his Seattle Hip-Hop predecessors, like The Blue Scholars, Sir-Mix-a-Lot, & Macklemore. Similar to these artists, he does an incredible job of capturing the essence of the 206, but I guarantee it’s unlike anything you’ve ever heard. What separates him from the rest is his ability to draw influences from so many diverse genres and create a hit every time. Lachow can rap over virtually anything, whether it’s a jazzy beat with a crazy saxophone solo like “The Idea”, intense grand pianos like “Good To Be Home”, or just heavy 808’s & vocals like “Friends, Funk, & Liquor”.

Now the Seattle native is currently on the brink of releasing his fourth studio album Corduroy, to accompany his four EP’s and countless singles, following a two-year hiatus to focus on his personal health. Sam has grown and matured so much over the last few years, and as he does, the album evolved with him. I like to think of this album as sort of a ‘coming of age’ moment in his career, and I am so happy to see him thriving so much both in his personal life and his music. This combination is a guaranteed recipe for success.

Due to the pandemic and current movements delaying the release of the album (which was originally set to release earlier this year), ‘Lachowder’ made sure to not leave us hanging out to dry. He has dropped six tracks thus far, three of which accompanied by remarkable music videos. Four of these songs are currently available on streaming services, and you can get the other two by pre-ordering Corduroy on Apple Music. On these six cuts alone, Sam includes numerous outstanding features from other local icons, including Travis Thompson, Watsky, Dave B., and more.

As if those weren’t enough to hold us over, he even added two new cuts to his epic EP “5 Good Reasons”, a collaboration project with Raz Simone, which just maneuvered its way onto streaming services in May. This EP is one of my favorite body of works in his discography, and the two added songs tied the project together in a way I didn’t think possible. Now I sit here wondering how I ever even listened to the project without them. I really can’t recommend that project enough.

Back in April, we reached out to Sam and scored an interview with the legend himself. I got a chance to sit around a picnic table at a park in Capitol Hill on a beautiful day, discuss the new album, while the dogs ran around in the meantime.

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Colson O’Connor, StereoVision (CO): When did you discover your passion for music and start making music?

Sam Lachow (SL): “I started writing raps really early, like 4th/5th grade. I didn’t really know what to do with them. My dream was to be able to find a way to put the beats I heard in my head onto something. At a very young age, I would sneak into my dad’s room, who had a computer, and work on making beats and shit. Then that turned into Shankbone with my friends and we would actually make money cause we would sell burned CD’s in the hallways. We were known at our high school, we got written up in the school paper and for us that’s all we needed. One time we went to another school’s party and they were playing it, and we were like woah, this could be something that’s not just a silly joke with me and my friends.”

CO: When experimenting with Garageband, were you learning by yourself or was somebody showing you the ropes?

SL: I was just learning by myself. I kinda figured out how to create melodies, my best friend Maggie Brown was really into guitar and piano, she would kinda write melodies for me, and I played drums, so I learned how to form melodies on top of drums. When it comes to finding the right kick with the 808 I go to my guy Jake Crocker who knows how to really make it trap. I work with mostly people that do a lot of pop stuff, I like taking their ear for that, catchy/melody aspect of pop and turning it into some gangster shit.

CO: You have a very unique sound, a lot of bounce and a lot of instruments you don’t hear a lot, like horns. Who inspires that?

SL: That right there is a perfect mix of my two big influences which is bay area hip-hop, which has the bounce, and then the horns which comes from Outkast.

CO: How would you describe the Seattle music scene?

SL: Seattle has never really had like a sound to me, but now everyone I work with in Seattle we all have such different sounds. I don’t know how to categorize us.

(Us discussing the release of the album)

SL: So all these songs I always expected for people to hear them in with the rest of the album. It’s kind of hard to give someone one song, when in the back of my head I’m like ugh only if you knew what else I had! But it’s been a learning process too.

CO: Do you prefer doing collabs?

SL: I fully love collaborating, and that’s one of my main skill sets I think is hiring my weaknesses. That’s what interests me the most is finding people from all different places and make something that is totally unique. A lot of my music is just a lucky combination of cool people that I’ve met. I like a lot of variety.

CO: You seem to be a big music video guy-

SL: That used to be my job, I would shoot, edit, and direct videos for other artists around Seattle. That was late high school / out of high school.

CO: How was your creative process for the new album? Did you approach it differently, Or is the workflow pretty similar?

SL: This album sounds better than anything I’ve ever made. I almost put the album out a long time ago, and then I got sober, and looked back and was like this album is not finished. In some ways there’s parts of the album that are a little cringey to me now because I was writing about getting fucked up and now I know so much more about what was going on in my head that I didn’t realize at the time. This album is a huge turning point in my life.

CO: Are you planning to go on tour?

SL: Yeah I need to tour this album, I can’t wait to tour. I’m definitely nervous to tour sober, never done it. Part of this was like a little blessing in disguise, like I don’t know if I was ready.

CO: What’s your favorite project you’ve released?

SL: I would say Friends, Funk & Liquor because every song goes, it’s a bangin’ project, and I like the way it was mixed.

CO: If you could work with any artist dead or alive, who would it be?

SL: Pharrell, he’s just been so inspirational. All of my beats have a little ‘Drop It Like It’s Hot’ in it somewhere.

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We’ve been anticipating the release of this album all year, and now the time has come. Corduroy is officially set to release on Thursday, October 1st. So much time, energy, and effort went into this project, easily making it his most pivotal project to date. Take a look below for a sneak peek at the album artwork and track list:

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

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

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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27 Summers Later: King’s Disease Album Review

By Carter Fife

This week Brooklyn MC and hip-hop legend Nas returned to release his twelfth solo studio record King’s Disease, following the release of his 2019 mixtape The Lost Tapes 2 and 2018’s NASIR, executive produced by Kanye West. Known best for his first two projects, 1994’s genre-defining Illmatic and 1996’s It Was Written, Nas has spent most of the past decade out of the limelight, returning only just a few years ago to return to rap’s center stage. While The Lost Tapes 2 wasn’t much to write home about, 2018’s NASIR was packed with hard-hitting political raps over pristine production. It was a record full of opportunities most rappers only dream of, and since then many have been wondering when Nas would return to form like that. Thankfully King’s Disease sees the NY rapper join forces with CA rapper/producer heavyweight Hit-Boy, who you likely know from his smash hits like Travis Scott’s “SICKO MODE”, Kanye West’s “Clique” or “N****s in Paris”, Kendrick Lamar’s “Backseat Freestyle”, or even from older A$AP Rocky cuts like “1 Train” or “Goldie”. Together, the two journey through verse and beat alike to create one of the most memorable hip-hop albums of the year.

If you’ve heard a Nas record before then the lyrics on King’s Disease won’t come as much of a surprise to you. Nas has an exceptional affinity for the political as well as strengths in hip-hop’s usual lyrical cornerstones like braggadocios flexing and menacing narrative-weaving. This truth becomes incredibly apparent on tracks like “The Cure” and “The Definition” featuring Brucie B, the latter of which features Nas delivering powerful punches over an overstimulating but victorious instrumental. It is also on this track that Nas interestingly gets political about the threat of global warming, which came as a surprise to me because I didn’t expect him to believe in the danger of greenhouse gases after his outspoken anti-vax beliefs on NASIR. Nevertheless, Nas’s writing is effortlessly overwhelming and brilliant as usual, and the songwriting on this project is far more cohesive and logical than the projects that preceded it. On The Lost Tapes 2, many enjoyable tracks were hindered by how at times they felt like a word soup of politics, trauma, and fame, but luckily this is not the case with King’s Disease. 

Though Nas’s lyrics don’t necessarily reinvent the wheel, what he lacks in innovation he makes up for with consistency, flow, delivery, and tone. These elements paired with Hit-Boy’s incredible production ability makes for some solid tracks that immediately were replayed on my first listen. The record’s first two tracks flow from a classic and laid back composition to a beautiful and intense combination of lurching 808’s and snares that juxtapose the track’s delicate piano melodies. I remember leaning back and thinking, “How did we go from A Written Testimony (which Hit-Boy also produced for) to Port of Miami so quickly?” I didn’t really have an answer but that was beside the point. Three tracks later and “27 Summers” was probably one of my favorite mixes from Hit-Boy so far. I’m not kidding - put on the song now. Hear the punchy snares and the 80’s synthesizer that transitions into those glittering melodies? The composition and rhythm of the beat, especially towards the end, is so weird and memorable I couldn’t help but text my friend to let him know that this album already had potential- there are moments like this across the album.

King’s Disease isn’t all politics and fame though - there are intimate and tender moments that are rare for a rapper like Nas to have on his records. “Til The War Is Won” is a beautiful meditation with Lil Durk about the relationship between men and women in the face of violence. It is a somber but uplifting track about unity and strength where Nas praises the strength of single mothers. “All Bad” with Anderson .Paak is a more intimate break from the record, where Nas and .Paak trade performances about failed relationships and good memories. It’s a sweet moment that is amplified by Hit-Boy’s jazzy drum loops and nostalgic piano chords. Other moments that are worth mentioning include Charlie Wilson’s performance on “Car #85”, a cut that sounds like a more like a chill 70’s R&B classic than a Nas song, and A$AP Ferg’s verse on the bonus track “Spicy” with Five Foreign, where he closes the album and gives a little shout out to Pop Smoke in doing so.

Overall King’s Disease is a nice return to form from Nas and Hit-Boy, and though the album definitely could have taken more risks, it was still an enjoyable project from two artists I didn’t realize how much I had missed. Nas and Hit-Boy both veer across multiple styles of hip-hop on this project, from the boom-bap on “10 Points” to the raw ambience of “Full Circle” with a host of guests including The Firm, AZ, Foxy Brown, and Cormega. The modern and the nostalgic intersect well on this project, as King’s Disease will likely remain in rotation through the coming weeks. Fans of both eras will surely find something to enjoy on this record.

Favorite Tracks

27 Summers

King’s Disease

Replace me (Feat. Big Sean and Don Toliver)

Rating: 8

Listen to King’s Disease here:

Listen to King's Disease on Spotify. Nas · Album · 2020 · 13 songs.

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The Increasing Disposability of New Music in the Digital Age

By Luke Modugno

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

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

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

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

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

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

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

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

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

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645AR and FKA Twigs' “Sum Bout U” Track Review

By Kaila Cherry

Have you ever wondered what Elmo from Sesame Street would sound like if he became a Soundcloud rapper? That is how the internet has described Southern rapper 645AR. 645AR took Twitter by storm in January with his track “4 Da Trap.” Speaking of his experience selling drugs and gangbanging with a cartoonishly high autotuned voice akin to T-Pain on uppers, 645AR quickly became the subject of jokes and memes by many while simultaneously gaining a dedicated cult fanbase (the homies and I included). On Tuesday, 645AR put out a new track that once again became the talk of the internet. Not only due to the oddity of the rapper’s vocal style, but because of who was featured on the track with him. Experimental high profile singer FKA Twigs joined forces with 645AR on arguably the best love song of 2020 so far: “Sum Bout U.”

Released with a music video involving 645AR, who, after meeting Twigs on a cam girl website, falls into a rabbit hole of upgrades to get closer to her, “Sum Bout U” is a novelty like no other. 645AR and Twigs switch off in the chorus and verses, their voices so high pitched it can be hard to distinguish between the two. The interplay between the artists both vocally and lyrically adds to the overall sweetness of the tracks. They echo their affection for each other, express gratitude for each other’s presence in their lives, and state their intentions to grow as people together. Many were shocked to see FKA twigs, a beloved and established musical artist known for her ethereal image to collaborate with 645AR, who is largely taken as a joke by rap fans. Despite sounding like Playboi Carti’s baby voice gone Super Saiyan, 645AR’s vocal style is not a bit. And with tracks like “Sum Bout U,” he utilizes his style in the best way possible. Topped off with the dreamy 2000s style R&B production from SenseiATL & El Guincho, “Sum Bout U” is the perfect track to dedicate to the love of your life. It’s also a great song to walk down the aisle to on your wedding day. The lyrics even make tear-jerking vows. Name a track with more range. It’s impossible.

Listen to “Sum Bout U” here:

Listen to Sum Bout U (feat. FKA twigs) on Spotify. 645AR · Single · 2020 · 1 songs.

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It's Flo Milli Season: Ho, Why Is You Here? Album Review

By Kaila Cherry

If you have been on Twitter anytime between last summer and now, you have undoubtedly heard of Flo Milli. The twenty year old Alabama rapper blew up last year when she released her remix of the song “Beef” by Playboi Carti produced by Etheral. On the original track, Carti drones over the beat for two minutes in classic Atlanta Soundcloud rapper fashion. Flo Milli takes the track and turns it on it’s head. Her voice is bratty and demanding. Her attitude is on 110%. And her lyrics? Iconic. The opening line “I like cash and my hair to my ass” still lives rent free in my head to this day. The “Beef FloMix” and her following single “In the Party” saw massive success not only on Twitter, but Tik Tok as well. 

Flo Milli has continued to sustain her momentum over the past year, her efforts culminating in her first mixtape Ho, why is you here? released in July. Flo Milli’s debut project is a catchy, sassy, and bold introduction into the rap scene. On the tape, Flo Milli is not afraid to brag about her high standards for men, immense popularity at such a young age, her love of parties, and her willingness to step to any ho that tries her. Ho, why is you here? is without a doubt one of the best releases of the summer. Flo Milli shows everyone that she is not just a one hit wonder who will fade into obscurity. She is here to stay, and will talk her shit as she does it. 

The mixtape opens with the short intro track “Mood Everyday.” Clocking in at around 50 seconds, Flo Milli spits over a Dirty South inspired beat heavy with piano and bass eight bragadocious bars about how much confidence she has in herself. In classic rap fashion she acknowledges her haters, shrugging them off because, as she says, “When you shine like I shine you get a whole lotta hate.” She also takes a jab at clout chasers who just wanna befriend her for her fame, telling them that “it’s a little too late.” Although the abrasiveness of “Mood Everyday” is not indicative throughout Ho, why is you here? the sentiment is. If you don’t vibe with the introductory track, it’s likely you won’t be a fan of Flo Milli’s image in general. If you do, however, you are in for a treat for the rest of the mixtape. 

Ho, why is you here? includes the tracks “Beef FloMix” and “In the Party” that initially shot her into stardom. However, these aren’t even the strongest songs on the project. In fact, they may even be the weakest. This is a testament to Flo Milli’s musical growth over such a short period of time. On her mixtape, she explores a range of different flows and vocal styles. On “Like That Bitch,” Flo Milli goes from spitting like a based Southern gangsta to her adaption of the rapid fire rap style popularized by artists like Busta Rhymes. Flo Milli further experiments with her sound on the chorus of “Pockets Bigger.” She constricts her vocal cords in order to give her voice a gritter, grimier quality. This pairs perfectly with the abrasiveness of the bass boosted track. 

Flo Milli is not the only stand out aspect of Ho, why is you here? The production of the project from hip hop legends FATBOI, J-Bo, and J. White Did It, among others, give the mixtape its undeniably Southern sound. The beats ebb and flow between classic R&B stylings of songs like “Weak”  and modern mainstream sound of songs like “Not Friendly” with Flo Milli able to adapt to anything thrown at her. And just like with the “Beef FloMix,” Flo Milli makes every beat and every style her own. 

Ho, why is you here? is a strong introductory project for Flo Milli. On the mixtape she shows that she is not afraid to experiment with production, vocal inflections, and flows. As someone who stated in an interview with Genius that her main goal with her songs is to have fun, Flo Milli truly sees rap as a blank canvas for her to go buckwild on. This is only the beginning for Flo Milli. With all eyes on her, I can’t wait to see what she puts out next.

Favorite tracks

Pockets Bigger 

In the Party 

Send the Addy 

Rating: 7 

Listen to Ho, why is you here? here: 

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A Unique Rap Legacy: No Pressure Album Review

By Luke Modugno

If any phrase could sum up the 10-year career Logic has crafted, it would be “roller coaster ride.” Although Logic has decided to retire to focus on his family, including his newborn son Bobby, his career and all of its bruises and blemishes will not be forgotten soon. With plenty of solid mixtapes under his belt and a catalog of albums made up of peaks and valleys, Logic is leaving the rap game with no second thoughts, no regrets and No Pressure.

In his sixth and final studio album, Logic seems at peace with how his legacy is going to be remembered. The project is a follow-up and nod to his debut album Under Pressure, which partly focused on the struggles of being a major label artist at Def Jam and VMG, record labels he’s now more-or-less the face of. No Pressure focuses on life as a father and husband, as Logic composes witty punchlines about changing diapers and just how much his current life juxtaposes his early life. 

The project is executively produced by Logic’s friend and mentor NO I.D., the mind behind the sound of Under Pressure and the producer Logic credits the bulk of his artistic development. From the opening moments of No Pressure, the beat selection and production immediately captures the ear of the listener. The beats are light, buoyant, rosy and sample heavy. Logic’s rapid-fire rhymes and clever wordplay fit perfectly on most if not all of the beats. But the production is varied enough to give No Pressure a colorful pallet for Logic to use as he pleases. The project has hype tracks like “Perfect” and “Celebration,” while also possessing smooth, atmospheric songs like “man i is” and “DadBod.” Logic’s close friend and producer 6ix makes valuable contributions to the tracklist as well,  as he flips OutKast classics “Elevators (Me & You)” and “SpottieOttieDopaliscious.” Alongside NO I.D.’s production on Under Pressure and 6ix’s on Bobby Tarantino, No Pressure is one of Logic’s most well produced albums. 

Along with rapping about teaching his newborn son his ABC’s, Logic is rather introspective and meditative on his unorthodox and unlikely journey in the rap game. While with his full length projects he’s always gravitated toward rapping about social issues, it's no longer the focus of his subject matter. However, the outro is a speech from late actor Orson Welles about racial inequities in America. Logic never shies away from discussing pertinent contemporary issues on No Pressure, especially on tracks like “Dark Place” and “Open Mic//Aquarius III.” Unlike recent projects, Logic’s pen game is in rare form, as his intricate flows and wordplay are intriguing and often impressive. “DadBod” is one of the most creatively written songs to come out this year, as Logic takes the listener through the not-so-exciting daily life of being a married father. Logic flows effortlessly and with a sense of swagger over the lavish 6ix and NO I.D. production on “man i is” and “No Pressure (Intro).” Purely referring to the technical side of rapping, this album is only second to The Incredible True Story within Logic’s discography. If you didn’t like Logic before No Pressure, it surely won't act as a revelation to your opinion of him. From the occasional monologue from his fictional artificial intelligence robot Thalia, to nods to his favorite bars from them, Logic is still wearing his influences on his sleeve on No Pressure. There are still the painfully corny lines appearing from time-to-time. But this project is Logic doing what he has made a career of: spitting lightning quick bars with witty word play over top tier production. 

Hip hop has never seen something quite like Logic’s career arc and wildly changing trajectory. From his polished mixtape catalog featuring the Young Sinatra and Bobby Tarantino series, to his great albums like The Incredible True Story, and his not-so-great albums, Logic has truly left his mark on the genre. No Pressure functions as a surprisingly graceful exit for the 30-year-old. He leaves behind a unique rap legacy for a life of solitude, fatherhood and family, a life with No Pressure.

favorite tracks

No Pressure (Intro)

DadBod

man i is

Rating: 7.5

Listen to No Pressure here:

Listen to No Pressure on Spotify. Logic · Album · 2020 · 15 songs.

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

By Courtney Fields

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

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

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

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

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

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

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

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

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

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

Favorite tracks

Float

Long Nights

Know My Rights (Feat. Lil Baby)

Rating: 8

Listen to 6pc Hot EP here:

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

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

By Courtney Fields

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

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

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

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

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

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

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

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

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

Favorite Tracks

Unlimited

Runnin With

Nigo

Rating: 10

Listen to Almost There here:

Almost There, an album by LUCKI on Spotify

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Freddie Gibbs and Alchemist Serve Up a Potential Album of the Year: 'Alfredo' Album Review

By Miles Hagan

When was the last time Freddie Gibbs missed? He is the type of person that could accurately be described as your favorite rapper's favorite rapper. Bandana was arguably the best rap album of last year, and might have even had a legitimate case as best project regardless of category. Alchemist has basically taken over 2020 from a producer standpoint. From collabs with Boldy James and Conway the Machine he has proven this year that he is still at the top of his game. This is an allstar pairing that almost seems like it should have happened before. Freddie and Al both have illustrious careers and are vets in the game. They have both also managed to remain extremely relevant and relatable with the music they are creating. It almost seems like a perfect storm for these two to create something great.

What Alchemist provides Freddie with is a blank canvas. Every song has production that immediately captures you as a listener, but also allows Freddie to flow over it in so many different ways. This is what differentiates Alfredo from projects like Bandana or Piñata. The styles of production between Madlib and Alchemist are different. While both are excellent in their own right, Madlib often creates beats that are so intricate that, while they are still amazing, that we can almost get caught up trying to figure out where the beat will go next. Tracks like “1985” and “Scottie Beam” immediately grab your attention, but leave so much room for the rappers to work. Most importantly, Alchemist makes sure that all of the little details are perfect. While the beats may be simpler at times, even the most critical listener would be hard pressed to find a flaw in the production through the entire run time. Alchemist has this sound that sets the stage for what to come and then more so reinforces what Freddie is rapping about. It adds the perfect punch everytime because the beats and rhymes are working together.

From a technical standpoint Alfredo is bulletproof. Coke rap is a legitimate genre at this point, and we are watching the kingpin at the height of his powers. “Something to Rap About” is the epitome of what this project is attempting to do. Freddie sounds expressive and hungry even after all the success he has amassed. The whole concept of his verse is that God made him sell dope so he would have something to rap about. He found a way to make light of selling drugs, almost like he is seeing the comedy in it all. Not only that, but then he goes and gets one of the most colorful voices in music right now, Tyler, the Creator, to deliver yet another flawless feature this year. Throughout the album Freddie and Alchemist find new ways to tell the tale of a drug rapper in a refreshing way, and they get a host of great features to help them tell that story.

“Skinny Suge” is another very telling moment on Alfredo. The album plays like a reflection on a life in the game. It is similar to the film The Irishman. Freddie owns up to all of the things he has done and accepts all of his flaws, because that is what comes with the lifestyle. He seems almost unapologetic about everything, because look at everything he has achieved because of it. Yet on this track he takes a step back and acknowledges the pain. The life that is described seems exhausting, unsustainable, and maybe most notably of all, lonely. 

The album ends with “All Glass”, which is a complete change of pace in every way. We are right back into the action and it is very strategic how he does this. Just like in real life people who live this lifestyle take time to reflect on what it took to get here, but at the same time there is still the reality that they can spend too much time here, no matter what realization they come too. The game will continue with or without them, so the only way to stay relevant is to go right back into moving work which is what he describes on the final track.

Overall, Alfredo is an experience to listen to. This music doesn't feel like you are listening to it, but rather it engulfs you for about 35 minutes, and you only lose focus once the story ends. Very few people could come up with the line, “Bitch, I'm in this shit, like Burberry shirts at baby showers”. Freddie sounds so free on this project. His subject matter remains similar for the most part, but it is how he goes about telling his story that makes it so compelling. He also knows who to work with both from a producer and feature standpoint. Alchemist was the perfect choice and he came through on Alfredo with something serious. The OG in the game still recognizes that he has to revamp his approach, and that is why Freddie will remain successful no matter how long he chooses to rap. He is the definition of an old dog with a new trick every time he produces a project and that should not be ignored.

Favorite Tracks

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

Skinny Suge

Scottie Beam (Feat. Rick Ross)

Rating: 10

Listen to Alfredo here:

Alfredo, an album by Freddie Gibbs, The Alchemist on Spotify

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Return of the Jewel Runners: ‘RTJ4’ Album Review

By Carter Fife

Last week Run The Jewels surprised fans by dropping their highly-anticipated fourth record RTJ4 days before the free mixtape’s anticipated release date. The rap duo, comprised of Atlanta’s Killer Mike and Brooklyn’s El-P, announced the fourth entry in their decorated discography almost two years ago, marking this project their first in almost 4 years. 

Mike and El have not been exactly silent since the long-awaited release of Run The Jewels 3, however, as since then they embarked on the global “Run The World Tour” in addition to releasing tracks and collaborative videos for various outlets. With their fourth record, abbreviated as RTJ4 instead of ‘Run The Jewels 4’, the two rappers find themselves in the midst of perhaps one of the most divisive sociopolitical climates yet. The U.S. is four years into the Trump-era, and over the past two weeks, tensions between citizens and the police have reached a boiling point as many protest for their right to exist. In a plutocratic society full of dictator-esque authoritarians, racial discrimination, and disenfranchised citizens, RTJ4 is an incredibly passionate and righteous body of work. With a complex emotional register, every element this record has that could be interpreted as inspiring also leaves the listener melancholic about how RTJ’s pleas for justice are just as relevant as they were seven years ago.

I remember after the release of Run The Jewels 2, watching Killer Mike and El-P walk slowly on-stage at Treasure Island to Queen’s ‘We Are The Champions’. Dressed in all-black sweatsuits, it was hard for the uninitiated to decide whether or not they were actually a rap group, or instead two sound guys enjoying their brief moment of fame. As the song came to an end, Run The Jewels abandoned their humorously victorious poses, with Killer Mike powerfully telling the audience, “We about to burn this stage to the mothafuckin’ ground!’. Their tracks about racial justice, police brutality, and paranoia seemed appropriate given that at the time we were living in the wake of the Ferguson protests, and even presidential nominees like Ben Carson were calling movements like Black Lives Matter “silly”. These issues at the time were not new, but with the upcoming election and national attention these issues were receiving, we remained hopeful that tangible legislative change would come.

In many ways, this is the core of what Run The Jewels is, a rap group whose composition is just as subversive and iconoclastic at their message. Both members are now in their mid-40’s, but their devotion to political action, progressive values, and writing bangers has made them one of the most powerful hip-hop duos since Mobb Deep, UGK, or Outkast. RTJ4 continues this theme with 11 tracks of social insight, though this time around they demonstrate a versatility that when paired with their candor is almost unmatched. Mike and El have perhaps the strongest chemistry of any rap group in recent memory, and whether they’re aggressively trading bars on the disjointed ‘ooh la la’ featuring performances from Greg Nice and the legendary DJ Premier, or meditating on death and hegemony on the album’s closer ‘a few words for the firing squad (tradition)’, the two cannot seem to make a bad track between them. Even their beat switches, seen on ‘holy calamafuck’ result in no stilted awkwardness or lost energy from the two rappers. 

The majority of RTJ4 is produced by El-P as expected, and within the record’s < 40-minute runtime the duo fills up every moment with all-star guest appearances, aggressive bars, cultural references and beats that rival the most iconic cuts from their first two records. On the aforementioned ‘ooh la la’ the two rap like icons in their prime, with Killer Mike delivering lines like “First of all, fuck the fucking law, we is fucking raw. / Steak tartare, oysters on the half-shell, sushi bar / Life a bitch and the pussy fish, still fucked her raw / I’m a dog, i’m a dirty dog, hahahahaha” over an uneasy piano sample and booming snares. Moments of humor like this are emphasized and amplified when on other tracks the subject matter veers into capitalism’s valuation of money and justice. On ‘JU$T’ icons Pharrell Williams and Zack de la Rocha join the mosh to suggest that America’s condemnation of racism is shallow, as many racists are still allowed to thrive in corrupt systems that preserve their power at the expense of others’.

The seriousness of tracks like ‘pulling the pin’ and ‘walking in the snow’ - featuring the inevitable second collaboration between RTJ and Gangsta Boo - is tangible. While many artists fear speaking their mind on political issues, instead opting for platitudes and corny pseudo-political corporatized Instagram posts, Run The Jewels fulfills their civic and celebrity duty by refusing to shy away from uncomfortable topics like white supremacy and modern slavery. By pairing sobering instances of political realness with moments of humor, Mike and El show their sage grasp on humanity and the understanding that simply living is political. The two capture a profoundly dynamic human experience through the interaction between their own ideologies, references, and moments of vulnerability. Even during moments where 2Chainz makes hot-dog related puns on ‘out of sight’ when talking about trying to be “frank”, these brief sections on the album serve to unite listeners, understanding fully that specializing in what some would call ‘political rap’ is inherently alienating to many people. Killer Mike and El-P handle this issue well, as RTJ4’s carefree humor is done tastefully and intentionally.

Like the three records that precede it, RTJ4 is a progressive and defiantly anti-authoritarian masterclass in hip-hop production and songwriting. If you’re a fan of Run The Jewels, this album is definitely for you, and if you are not, then it is still worthwhile to give the record a listen. It is a rare moment when two 45-year-old musicians from different backgrounds can collaborate, knowing that they may be out of touch with their fan base, and create a universally inspiring and emotionally complex album. It was definitely worth the wait, and though it may be a while before we’re graced with a Run The Jewels 5 (if ever), I will certainly be keeping this record in my current rotation for the foreseeable future.

Favorite tracks:

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

walking in the snow

holy calamafuck

Rating: 8

Listen to RTJ4 here:

RTJ4, an album by Run The Jewels on Spotify

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Gunna Gets Even Further in His Birkin: 'WUNNA' Album Review

By Miles Hagan

We have to address the album covers off rip. Drip or Drown 2 got a pass, and the WUNNA cover is something no one could have expected. I just wanna know who is coming up with the ideas. Gunna has built a reputation through slick flows and creating an unmatched vibe with his music. Outside of music he has a well documented affinity for designer clothes and accessories. The energy and swagger that comes along with this bleeds into almost every one of his tracks. While him and several other members of the Atlanta rap scene have been dubbed as Young Thug’s children, they have begun to separate themselves. Gunna looks to build upon the interesting sounds he began to experiment with on songs like “Who You Foolin”. In the documentary he published along with the album he talks about traveling when making this body of work, and needing to get out of Atlanta for a little. WUNNA stands for “Wealthy Unapologetic Nigga Naturally Authentic”. I would be lying if I said I understood what he fully meant by labeling himself as this. What I can say with certainty is that heavy money talk should be expected.

The appeal of Gunna is what has made us fans of so many Atlanta artists that came before him. He simply doesn't care about what anyone has to say. People across the internet talk about the pants this man wears, his album covers, and everything in between. Through it all he delivers music that exudes this unmatched confidence. Along with this, he has this ability to surf over beats at his own pace, never seeming rushed. While he is spitting, we are in his world. Look no further than a song like “COOLER THAN A BITCH” with Roddy Rich. This is about 2 minutes of Gunna switching between flows seamlessly while he lets the listener know they will never have as much money as him, be around the same women as him, and there is nothing we can do about it. Similar to “Numbers” on A Boogie’s last album, Roddy slides over these perfectly placed spanish sounding guitars on his way to one of many excellent guest features on the project. While this may be the most energetic and versatile Gunna has ever sounded on a full length release, he recognizes that to keep an 18 track album sounding fresh he needs quality features to switch up the sound and pace of the album. He does this beautifully and while still carrying the majority of the rapping workload on WUNNA. 

Even from the first track “ARGENTINA” it feels like Gunna is able to be so comfortable on this project, because he really found the sounds that work for him. The entire album is filled with these laid back beats, that almost allow Gunna’s voice to become a part of the production. Rather than going on top of one another they work hand in hand. The drums are hard enough on every song to still give WUNNA that traditional trap feel. The instrumentation on this project is what makes it different from the traditional trap album. “SKYBOX”, which was the single released before this, is another example of this. The bass is booming but the synths in the background give it a glittery feel, it almost feels like we are in the clouds. While the lyrics may be “hard” the only way that this music could be described is as a wave or a vibe that is absolutely infectious. 

Gunna calls back to the production that got this to this status a few times. At this point “Sold Out Dates” has been remade three times with the addition of “MET GALA”. While not the most experimental during the album’s run time, it’s far from bad. This is in contrast to a song like “TOP FLOOR”, which features Travis Scott and has similar horns and drums to “Hot” off Young Thug’s So Much Fun. While similar to that track this song completely has an energy of its own, and sounds hand made for both Gunna and Travis right down to the ad libs.  

Gunna earned his flowers on WUNNA. Anyone who was already a fan of Gunna heard him with an allstar production team and some new sounds. Those who were not fans of the Atlanta rapper should give this album a listen just to hear “NASTY GIRL”, and if they still don't like his music I’ll let them be. It is great to see that Gunna has taken this early success in stride, and continued to improve his craft. Too often artists get caught chasing trends, or trying to be something they aren’t. Gunna over the years has just gotten further in his bag and this is the culmination of his efforts. 

Favorite Songs:

DOLLAZ ON MY HEAD (Feat. Young Thug)

NASTY GIRL / ON CAMERA

COOLER THAN A BITCH (Feat. Roddy Ricch)

Rating: 8

Listen to WUNNA here:

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Kota the Friend is Still Dodging Bad Vibes: 'EVERYTHING' Album Review

By Amaya Lorick

A year after his debut album, FOTO (2019), Brooklyn native Kota the Friend encourages his listeners to realize the power within enjoying the present in his new album. Released on May 22, 2020, EVERYTHING is comprised of 12 feel-good tracks that appropriately affirm what it means to be a human being. With features ranging from Joey Bada$$ to Tobi Lou and two interludes by actors Lupita Nyong’o and Lakeith Stanfield, EVERYTHING is a brilliant compilation of varying perspectives that discuss the purpose of life. With the current reality, the timing for this project could not have been more satisfying. While many have already been engaging in an abundance of self-reflection, EVERYTHING poses two arguably abstract questions: “What means everything to you?” and “What does it mean to have everything?” 

In a lyric explanation video for track one, “Summerhouse,” Kota describes the introduction as the “saddest song” on his album. Kota addresses his reality of having to balance being a musician, a father, and other demanding responsibilities. In an attempt to highlight the beginning of his spiritual progression, Kota urges each listener to “open your mind, turn on the vibe and get off the internet.” As the song progresses, we can hear Kota slowly leaving his worries behind. “Summerhouse” ends with a positive message backed by an isolated trumpet both emphasizing that “love is everything.” Kota wastes zero bars and successfully epitomizes EVERYTHING within the three and a half minute track.

Having professional cinematography experience, Kota’s ease of recreating special life moments is not surprising. With nostalgic songs like “B.Q.E.,” Kota strategically called upon New York City artists, Joey Bada$$ and Bas. Being included in a list of greats such as Nas, Jay-Z, Notorious B.I.G., and more, all three artists are known to possess styles unlike what you would expect from rappers from their hometowns. Named after the New York highway, “B.Q.E.” accentuates the impact geographic location has on one’s experience. The presence of Joey Bada$$ and Bas attest to the power of genuine relationships. Fans, especially those from New York, will appreciate this collaboration because it showcases how their growth as artists has not affected their down-to-earth manifestations. 

EVERYTHING is a loose guide to achieving a tranquil state of mind. The majority of the world’s most influential texts teach by personal testimony. Reading about someone’s journey to attain success, instills hope that one can overcome their struggles and reach their goals. The inclusion of both “Lupita’s Interlude” and “Lakeith’s Interlude” serve as blatant testaments to Kota’s goal of telling a greater story than his own. Representation matters and Nyong’o and Stanfield are the epitome of Black excellence within Hollywood. Academy Award-winning actress Lupita Nyong’o contributes a much needed feminine energy to the project. Positioned as track five, “Lupita’s Interlude” forces listeners to begin to consciously reflect on the small moments that largely impact them as beings. Track 11, “Lakeith’s Interlude” appears to be more philosophical beginning with, “It means to me to have everything to simultaneously have nothing.” Some may view Stanfield’s words as “dark,” but I interpret them as an alternative way of asserting the importance of feeling complete while free from external forces. After all, we are simply reflections of our experiences as they do not define us. 

Kota the Friend put his all into EVERYTHING. From producing almost the entire album himself, to the incorporation of an insightful analysis from his interview with The Lunch Table, Kota proves that we can all find joy within any reality. I would encourage everyone to get on the Kota the Friend train before you are forced to join the bandwagon. EVERYTHING is everything and deserves a listen.

Favorite Songs:

Summerhouse

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

Long Beach

Rating: 9

Listen to EVERYTHING here:

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Polo G, Chicago’s Youngest MVP: 'THE GOAT' Album Review

By Courtney Fields

Since its birth in the early 2010s, Drill music has been used to fuel negative stereotypes on Black men. 

Artists such as Lil Durk and Chief Keef are believed to be glorifying a life of violence and criminality. The connotation that Drill music has had, is honestly unfair; the violent lyrics and music videos are purely forms of artistic expression. It’s a genre dominated by the Black community’s disadvantaged youth, who strive to tell their stories the best way they can. This way of life was not a choice for these young men, the root of why Drill music exists in the first place is a whole new article in itself.     

However, the conversation at hand is about Polo G, an artist who shows that Chicago Drill may be the most socially aware genre in rap. 

In track 1 “Don’t Believe The Hype”, Polo raps about drug addiction, lost loved ones, and the lack of support he’s dealt with in his life. We hear Polo admit it’s hard for him to find the line between his old life and a new life (“He want all them niggas dead, it's sad to say, but I feel him / If I ain't had so much to lose, I'd be riskin' it with him”). Mostly though we hear Polo brag about his fame, and how he persevered to get there (“They weren't with me through my struggles, all this shit I sacrificed / I climbed out the darkness, now my Patek shinin' bright”).

Track 2 is the certified gold single “Heartless” featuring Dj Mustard. The first half of this song describes Polo in his essence: a ladies man, a proud Chicago native, and an aspiring businessman (see Polo break down the meaning of the hit single for Genius). 

Track 6, “21” is one of the best on the album. It’s Polo’s 21st birthday, and what may have him reminiscing on this track so much is how many people he’s known who haven’t made it to 21. He mentions the passing of another Chicago G.O.A.T Juice Wrld, whose untimely death reminds him to not fall back into the habit of abusing drugs. “Can't relapse off these drugs, man, R.I.P. to Juice / We was tweakin' off them Percs, I popped my last one with you.” Polo’s raps are often all over the place, but it’s delivered in the best possible way. Almost every line in the second verse refers to a different point in Polo’s life, and the lives of those he loves. Polo raps about being successful ever since he started rapping and never being satisfied with his achievements, to then commenting on how Chicago’s streets resemble battlefields at times. Every bar Polo delivers paints a picture into the listener’s head on this track. My favorite line by far is “Took losses in these streets, shit got me singin' gang blues”. “Gang Blues” might be the best description of Drill music I’ve ever heard. 

Track 8 is “I Know”, an extremely emotional song. In the chorus Polo raps about losing the life of a dear friend, it seems as if he lost the friend while he was famous. He shared drugs, good times, and bad times with this friend; but still they lost their life. “How the fuck I wake up from a dream to a nightmare?” Is this line an indication that Polo may feel some guilt for being able to escape his past lifestyle? If the line is what I think it is, this may be why Polo struggles to see the advantages of fame since all of his friends can’t live like him. The track also features how hard it was to grow up in Chicago, and how it’s hard to find a girl who wants him for a reason other than his fame. 

Track 15 “Trials & Tribulations”, leaked on Soundcloud the day the album was set to release and I’ve got to admit… I probably replayed this song for an hour straight. “Trials and Tribulations” starts off with another great chorus from Polo, he might have the best hooks in the game right now. Almost all of Polo G’s songs revolve around life in Chicago, which is pretty funny considering people from other places say Chicagoans never stop talking about Chicago. The streets of Chicago are what made Polo the man he is today, and he learned early on that no one could save him but himself. People who aren’t accustomed to life in the streets often make it seem like you always have a choice, or that getting help is an easy task, but Polo knows this isn’t true. “Them streets'll turn a good kid into a cold lil' savage / No point in church 'cause the preacher can't keep them poles from clappin' / It seem like evil and my soul attractin'”. As soon we wiped our eyes from hearing that chorus, midway into the first verse we hear Polo say “Hood on my back, was bustin' two-fours like Kobe Bryant / Sometimes I think like what's the likelihood of Kobe dyin'?”. I don’t think I’ll EVER get used to Kobe’s death. This song is one of Polo’s “tell-alls”, he’s always honest with fans, and he could care less about haters cause he knows his message will reach those who need to hear it.

Finally, we’re at the last track, “Wishing For A Hero” featuring BJ The Chicago Kid. The song samples 2Pac’s song “Changes” and at first, it gave me mixed feelings. There’s always something off about hearing artists sample 2Pc tracks to me, but now it’s my favorite from the whole album. The song proves that Polo is the most socially aware rapper from Chicago since Kanye (don’t @ me). He raps about how his Blackness puts him in a constant emotional, and physical battle with himself and others. He raps about Black on Black crime being a direct result of racism. He even hints at self-hate and drug addiction. Hearing a man who was conditioned to hate himself, rap like this puts a smile on my face.

The originators of Drill Music are Chicagoans, so it makes sense that now in 2020, Polo G and other Chicago artists are taking the genre to new heights. In my opinion, Drill is a genre that describes daily life in the streets; all of the violent and dark details are embedded in the music. Now that many of our favorite Drill artists are no longer in the streets (Chief Keef, G Herbo, Lil Durk, and Polo G), much of their music describes past ordeals and the struggles of putting the street life behind them. Is this an evolution of what Drill once was, or are the artists mentioned no longer a part of the Drill scene? 

favorite songs:

21

Trials & Tribulations

Wishing For A Hero (Feat. BJ The Chicago Kid)

Rating: 9

Listen to THE GOAT here:

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