Counting Down the Top 20 Albums of 2022

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by StereoVision Staff

The end of a calendar year marks new beginnings. The rapid approach of new goals, new situations and new beginnings force us to look back on what we built in the year we just experienced. For music fans, the end of 2022 is an ode to the household names who reminded us of their brilliance, the meteoric rise of originative artists bursting onto their respective scenes, records with such gravitational attraction and quality that they derail Twitter discourse for days on end, and everything in between. Here at StereoVision, the final flip of a page on our yearly calendar just wouldn’t feel complete without counting down our favorite projects of the year. Without further adieu,

Honorable Mentions of 2022

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“Luv 4 rent” — Smino

Hints of: Southern Hip-Hop

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“Bar & Grill” — Royel otis

Hints of: Indie Rock

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“Its Almost dry” — Pusha T

Hints of: Coke Rap, Hip-hop

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“kiss the ring” — Rome streetz

Hints of: Coke Rap, Avant-Garde Rap

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“Get Fucked” — The Chats
Hints of: Punk

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aethopies — billy woods

Hints of: Avant-Garde Rap

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the 20 best albums of 2022:

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20. god dont make mistakes — conway the machine

Conway the Machine has always been the darker rapper of the founding Griselda Records members, but God Don’t Make Mistakes takes it up a notch. GDMM is a reflective album that details the effects of grief and guilt on an otherwise “successful” life, giving listeners an up-close look at the darkness that’s invaded Conway’s world. His most personal record to date, Conway explores the relationships and isolation that comes with fame while remaining true to his boom-bap, New York roots.

From the dedicated Conway shown in “Drumwork” to the lonely and depressed Conway in “Stressed”, GDMM is a courageously holistic look into Conway’s life, proving that even the darkest topics cannot distract from Conway’s raw musical talent.

Spotlight Track:

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19. fair exchange no robbery — boldy james & nicholas craven

Boldy James is a machine. The Griselda standout doesn’t compromise quality, but stills produces impeccable records with quantity. His team-up with rising producer Nicholas Craven is a continuation of what Boldy has built over recent years. With luxurious coke raps laced over inventive sampling, Fair Exchange No Robbery is an amalgamation of the Detroit emcee’s strengths. Craven keeps the record compelling and Boldy looks to expand his sonic palette here as well, taking on surprising beat selections and sliding over them more smoothly than ice.

Boldy’s consistency on Fair Exchange No Robbery is just another reason why he’s one of the best rap artists in the game today.

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18. intros, outros & interludes — domo genesis

Since the inception of Odd Future, Domo Genesis has continually proven to be one of the preeminent traditional emcees out of the collective. In his first LP since 2016, Intros, Outros & Interludes, Domo recommences that narrative.

Executively produced by Evidence, Domo explores contemporary underground hip-hop’s distorted landscape to listeners’ excitement. The LA rapper’s wordplay clearly grew by leaps-and-bounds during his hiatus, as he navigates Evidence’s delectable choice of chopped soul samples and drum-less loops. Tracks like “Victories & Losses,” “Trust the Process” and “Don’t Believe Half” showcase a hungry and viscous version of Domo, something that been missing on prior records. Not only is Intros Domo’s highest quality album behind the boards, it’s comfortably one of the best-produced hip-hop records of the year.

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17. ramona park broke my heart — vince staples

Over the past two years, Vince Staples has hit his stride artistically. Following up his glittering eponymous LP, RAMONA PARK BROKE MY HEART is an extension of Vince coming into his own. Dabbling in his west coast influences, blending in atmospheric production and revisiting his laid-back delivery, Vince created yet another quality record in 2022.

While RAMONA PARK BROKE MY HEART lacks much of the concision that made his last record so potent, multiple tracks harken back to the energy harnessed on his last record (“DJ QUICK" for example), landing him a spot on this list.

Spotlight Track:

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16. cheat codes — Black thought & danger mouse

In case the world forgot, Danger Mouse knows hip-hop. His first hip-hop record since 2005’s THE MOUSE & THE MASK, Cheat Codes is the culmination of two decades of collaboration between Danger Mouse and Black Thought.

Their comfort with each other is clear, as Black Thought remains sharp throughout the album over Danger Mouse’s heavy rhythmic style. Danger Mouse’s ability to adapt to his artists shows with the features, giving A$AP Rocky and Run The Jewels a fast-paced intense beat on “Strangers” and Conway the Machine a more boom-bap, classier style rhythm on “Saltwater.” 

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15. cocodrillo turbo — action bronson

Cocodrillo Turbo is a quintessential Action Bronson album — not for one second will you forget who created this masterpiece. Simply put, the avant-garde “Cocodrillo Turbo” is a psychedelic-fueled Indiana Jones adventure condensed into a 30-minute album.

From the action-packed intro song “Hound Dog” down to Yung Mehico’s saxophone closing out the album, Bronson keeps listeners entertained throughout. The artists featured on the album maintain their artistic authenticity while still rapping over distinctly Bronson beats, like Conway’s gaudy and relaxed verse on “Tongpo” and Mayhem Lauren’s bougie and confident feature on “Turkish.” Throughout the album, Bronson bodies beats that don’t even sound like music, holding his footing over snarling crocodiles, growling jaguars and squealing pigs like it’s nothing.

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14. WHat yall mad about today — chris crack

Chris Crack’s What Y’all Mad About Today is just one of countless reasons to start paying attention to the rising 32 year-old.

Employing many of the underground elements of avant-garde rap, Chris Crack’s iconic delivery and witty wordplay takes a page from Griselda’s playbook and makes it completely his own. On What Y’all Mad About Today, Chris Crack shows why his listeners regard him so highly when it comes to his pen. You cannot have a discussion about the emcees with the most canny one-liners without including Chris Crack. The result is a grimed record filled with personality and witty piece of music that shows flashes of supreme artistic refinement.

Spotlight Track:

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13. the elephant man’s bones — roc marciano & the alchemist

Unstoppable force meets immoveable object. Goliath of the underground teams up with a producer whose name is etched into the very fabric of hip-hop history. Roc Marciano and The Alchemist’s collaborative tape had immense expectations to live up to. Only possible with artists of this duo’s magnitude, The Elephant Man’s Bones is able to simultaneously fall short and impress in the same vain.

Boasting songs such as “Quantum Leap,” “Stigmata,” as well as the title track, calling The Elephant Man’s Bones disappointing would be entirely unfair. On the other hand, the production here just isn’t quite as ground breaking as we’ve seen from Alchemist. Opting for understated production to allow Roc’s wordplay to take center-stage works in places, but not across all 14 tracks. While also possessing several song of the year and verse of the year candidates, The Elephant Man’s Bones’ inconsistent bright spots alone propel it past many rap records this year.

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12. sos — sza

Considering it’s thoroughness, thoughtfulness and craftmanship, its hard to believe SOS is SZA’s second studio album. You simply cannot begin to have a dialogue regarding contemporary R&B without mentioning the angel-voiced TDE member and this record reminded everyone why.

Borrowing the addictive song writing and structuring employed on 2017’s CTRL, SZA expands on her signature blend of R&B and hip-hop undertones here in an intriguing way. SZA’s rapping ability noticeably improved during her 5 year hiatus, allowing her to create standouts such as “Forgiveless” and “Smoking on my Ex Pack SOS has something for every listener, making it a versatile, impeccable and glorious return to form for SZA.

Spotlight Track:

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11. no thank you - little simz

The age-old saying “better late than never” couldn’t be more accurate when regarding Little Simz’ belated entry to the 2022 album of the year contest with NO THANK YOU. Simz is in a similar space mentally here as her previous standout record: she’s tired of hip-hop fame and the indignation that comes with it. But on NO THANK YOU, Simz isn’t just tired, she’s angry.

Felt through her razor-sharp delivery and cunning writing such as “f**k the politics I’m going Meghan on you neeks,” Simz has evidently grown as both an artist and emcee at an expeditious pace. With varied and enjoyable production throughout, the sole issue with NO THANK YOU is that it dropped in the twilight of 2022.

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10. the forever story — jid

The most definitive way to describe JID’s The Forever Story is that it’s the unblemished and rounded record that we all knew JID was capable of creating.

Everything presented here is at the absolute peak of JID’s capabilities as an artist. From the abstract and captivating beat selections, to the intricate double entendres sprinkled across the record, The Forever Story is by far JID’s most complete record to date. With a jaw-dropping list of guests including Yasiin Bey, Lil Wayne, 21 Savage, EARTHGANG and more, The Forever Story does more than just hold the listener’s attention throughout its one hour runtime, it ensnares.

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9. tana talk 4 — benny the butcher

Following up an unquestionably classic mixtape like Tana Talk 3 is no small task, and Benny the Butcher was clearly here for the challenge.

Tana Talk 4 was a shining star in Griselda’s marvelous calendar year. With the production duties split between the legendary Daringer and Alchemist, the beats served up for Benny are prodigious, allowing Benny to reach new heights as an emcee. From song of the year contender and J. Cole collaboration “Johnny P’s Caddy,” to the opulent “Weekend’s in the Perry’s” with Boldy James, you’d be hard pressed to find a single skip on Tana Talk 4. Benny isn’t doing anything necessarily groundbreaking here, however, elongating his ridiculous run of consistently enjoyable underground rap records is certainly remarkable.

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8. wasteland — brent faiyaz

Since Brent Faiyaz burst onto the modern R&B scene in the mid-to-late 2010’s, listeners have marveled at his gifted singing voice. While dazzling on features and singles, Brent struggled to put together a comprehensive and thoroughly composite LP. That is, until the release of his 2022 effort WASTELAND.

WASTELAND sees Brent pull together the various components of his musical talents and employ them properly. The songwriting is as catchy as ever, his occasionally rap verses are well written, and, of course, his vocalization is spot-on. Brimming with silky tracks from head-to-toe, WASTELAND is an actualization of the potential Brent has displayed over the years. In conjunction with a central narrative about his toxic ways causing tragedy, WASTELAND is both Brent’s highest-quality record and the best traditional R&B record of 2022.

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7. no fear of time — black star & madlib

One word tends to come to mind when discussing the Madlib-produced Black Star reunion we hip-hop fans were blessed with: retrofuturism. Madlib’s patchwork production symphonies offer Black Star a complete escape from their previous boom-bap driven sound. From the shades of bouncy reggae present on “Sweetheart. Sweethard. Sweetodd.,” to the high energy masterpiece that is “So Be It,” Madlib has continually found a way to be at the forefront of innovation behind the boards in hip-hop.

26 years since releasing their first record as a duo, Yasiin Bey and Talib Kweli have yet to lose their hip-hop chemistry, a fact that’s evident on No Fear of Time.

Highlight Track: Sweetheart. Sweethard. Sweetodd.

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6. mr. morale & the big steppers — kendrick lamar

Since 2012, Kendrick Lamar has been anointed as the savior of rap music. An immense pressure that informed his generational pen for the vast majority of his career, Lamar spent the last 10 years digging and searching for ways to live up to the burden placed on his shoulders.

But Mr. Morale & The Big Steppers turns the mirror away from that duty, and inward at the man Lamar has become, for better and for worse. Kendrick’s 2022 project is his most confessionary record to date. Exploring his own childhood trauma, toxic tendencies and mental state, Mr. Morale & The Big Steppers tells the story of a flawed man who has taken his focus away from being other people’s savior. An endearing journey through Lamar’s personal journey as a human being ignited by his inherent talent as a musician, Mr. Morale & The Big Steppers is yet another superb addition to a catalogue littered with classic records.

Spotlight Track:

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5. dawn fm — the weeknd

The Weeknd possesses an immensely rare skill as an artist: he’s a bonafide master of concept albums. Dawn FM showcases Abel’s ability to tell an intriguing story, one that builds off of the same conceptual mastery displayed on After Hours.

Journeying into the beyond after his narrative death in After Hours, Dawn FM is a purgatorial pitstop in his trilogy, one made possible by a exciting exploration of 80’s synth-pop. Paired with his distinguishably unique voice, the production on this record is groovy and superb throughout. Hit making comes easy to an artist of Abel’s magnitude, as his fills Dawn FM’s track list with hit after hit (“Out of Time,” “Is There Someone Else?,” “Take My Breath).

Spotlight Track:

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4. 10 — westside gunn

Despite only having two solo songs, Westside Gunn never loses the spotlight in 10. Gunn maintains his signature high-class style throughout, surprising listeners by bringing in legends like Ghostface Killah, Busta Rhymes, Black Star and more to close out the “Hitler Wears Hermes” series.

In true Gunn fashion, each song brings a unique beat to back up equally attention-grabbing lyrics without sounding like it’s doing too much. Elegant and clean-cut, 10 is a culmination of the skill Gunn has honed throughout his HWH series. Plus, the second track spotlights his son, FlyGod Jr., as a producer. The father-son artistic connection benefits both Gunn and Doe Boy, as they thrive on the cold-blooded beat in “FlyGod Jr.”

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3. melt my eyez see your future (deluxe) — denzel curry

The maturation of an artist is a stunning phenomenon to witness. While it’s been evident for a number of years that Denzel Curry was one of the astute writers of his generation, Zel has been trying to find consistency in his sonic approach for some time now. Melt My Eyez See Your Future is an entirely aimed record, one’s that individual components are wrapped tightly and produce a comprehensive body of work.

Melt My Eyez See Your Future is a personification of Zel and his relationship with the world he exists in. Across the album, Zel is inquisitive, pessimistic, optimistic, candid, calculated and contemplative. Focusing on both his own personal faults and the inadequacies of modern life, Zel displays a level of pellucidity that is simply not available on his prior LPs. The production here is scattered in the best way possible, pulling in JPEGMAFIA, Thundercat, Kenny Beats & Kal Banx to blend their wildly unique sonic styles with his own. Paired with a innovative deluxe album release, 2022 was Zel’s year.

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2. sick! — Earl sweatshirt

If one truth has been proven to be self evident about Earl Sweathsirt and his artistry, it’s that he is nothing short of a brilliant poet whose greatest strength is his ability to convey feeling. SICK! is a bit of a departure from Earl’s gruesomely bleak, visceral avant-garde sonic aesthetic, yes. But it’s far from a departure from the unmitigated honesty in his pen.

At times, SICK! is light-hearted, allowing Earl to expand artistically and challenge himself as an emcee. Tracks like “Lobby (int),” “Visions,” and “Titanic” have an unmistakable trap influence, a sound we have sparingly seen from the Odd Future alumni. Simulatenously pushing his sound forward (“God Laughs,” “Tabula Rasa”), SICK! allows Earl to grow and explore his own talents. For an artist as gifted as him, it’s not a surprise SICK! was one of the best rap records of 2022.

Spotlight Track:

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1. gemini rights — steve lacy

Each year, music fans anticipate a release so superb, it commands the attention of music enjoyers of all varieties. Turning heads, directing trends and dominating the perpetual musical deliberation, albums as superlative as Steve Lacy’s Gemini Rights etch an indelible mark on the musical year itself.  

A 35-minute romantic catharsis doubling as a funky R&B, pop fusion exercise, Gemini Rights has all the elements of clear-cut album of the year candidate. Lacy’s endearing and relatable storytelling mixed with his undeniably generational song writing ability allowed tracks like “Bad Habit” to explode as a megahit. Lacy finding the precise and proper combination of experimentalism and hit making produce a track list to be littered with song of the year candidates (“Sunshine,” “Helmet,” “Mercury”). 2022 was a superb year musically, but it will ultimately be known as the year of the Gemini.

Spotlight Track:

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The Top 10 Best Albums of 2022

2022 gave us so many great albums, but what was the best? Beyonce's "Renaissance"? Kendrick Lamar's "Mr. Morale and the Big Steppers"? Pusha T's "It's Almost Dry"? What about Steve Lacy's "Gemini Rights"? In today's special feature from StereoVision Miles and Spencer sit down and list their top 10 albums of 2022 as well as some honorable mentions:

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The Top 20 Best Songs of 2022

2022 was a fantastic year in music and gave us some incredible songs, but what was the best? Steve Lacy's "Bad Habit"? Denzel Curry's "Walkin"? Benny the Butcher and J. Cole on "Johnny P's Caddy? What about Omar Apollo's "Evergreen"? In today's special StereoVision feature Miles and Spencer sit down and give their top 20 songs of 2022 as well as some honorable mentions

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Listen to all our picks on our “Best of 2022” playlist:

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Prophetic and Intricate, Lupe Fiasco’s “DRILL MUSIC IN ZION” Incites Reflection

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by Asher Ali

Chicago is musical ground zero for how it has innovated sound through time, with key figures giving new meanings to music that matches the city’s eclectic nature. Muddy Waters created “Chicago blues” giving the southern-based music a more industrial sound, DJ Frankie Knuckles started house at Chi-town establishment The Warehouse, and drill could stand as its own personality for how it popularized a whole city’s rap scene in the early 2010s.

Drill gave birth to some of modern rap’s most generational talents like Lil Durk, Fredo Santana, and perhaps the genre’s most prolific figure in Chief Keef. Popular rappers up to that point promoted dangerous behavior with a sort of contemplation that demonstrated the duality of these actions, while Sosa and his peers in drill enthusiastically gloated about their indulgence in illicit behavior over high-flying drill beats. 

Wasalu Muhammed Jaco, known worldwide as Lupe Fiasco, comes from Chicago’s Westside, and rose to prominence in the late-20002/early 2010s for a very different sounding version of rap than what Chief Keef helped cultivate. Around the time of Sosa’s first hit, Fiasco had just ascended to a No. 1 Billboard 200 album spot with Lasers, an album that pandered to radio plays for its oversaturated electronic sound with up-tempo pop bars thrown on top. 

Instead of remaining in this unimaginative state which afforded him the limelight, the Chicago native innovated his sound greatly starting with 2015’s Tetsuo & Youth. From the systemic effects of slavery on Black people to the peculiarities of religion, Fiasco became unafraid to take on complex issues that he felt a deep connection with.

And on Fiasco’s latest project, Drill Music in Zion, the hip-hop veteran brings his most sonically and thematically centered piece of art yet, with poignant messages coming hand in hand with serene beats and rhythms. As the title alludes to, the album is a philosophical analysis of the dual effects that drill, and the dangerous lifestyle of the modern-day trapper have had on Chicago’s youth. 

In Drill Music in Zion, Fiasco’s voice is meant to be mentoring and critical toward up-and-coming rappers. The seasoned veteran’s sagacity and intellect widely allows him to do this as his bars often ring true and well thought out, and he only comes off as excessively didactic a handful of times on the album.  

Fiasco sets his narrative to the backdrop of benevolent synth jazz rhythms, creating a juxtaposition between his sound and the very genre of music he’s addressing. 

Wasting no time, the album begins with “The Lion’s Deen”, a two and half minute spoken word piece delivered by Fiasco’s sister, Ayesha Jaco. The opening stanza from Ayesha echoes, “Drill music, pop that pill music, kill music, desecrating the temples and the ghettos, funeral processionals increase their frequency because we can’t break the spell of Geppetto.”

The poetic verse decries the glamorization of the dangerous lives that drill artists and their associates lead, stating that its popularity has only fed into a false narrative about this livelihood’s perceived grandiose. It clearly paints contemporary rap as an issue that has kept up a cycle of instability in some communities as younger musicians became infatuated with becoming a rapper who poses as a trapper, instead of a true artist. 

This twisted cycle is something Fiasco takes aim at on back-to-back tracks “Precious Things” and “Kiosk” — two tracks that address how material obsession has changed rap for the worse. Led by an angelic chorus from Nayirah, “Precious Things” candidly describes how the pursuit of a faux nefarious lifestyle can create more problems than opportunities for rappers. “Kiosk” meanwhile is a metaphorical story set in a mall, where the jewelry bought by rappers and trappers are fraught with perils that outweigh the image of affluence that the customers are trying to chase. 

Quickly, Fiasco is keen to back up his philosophy on those two songs with his philosophy behind the message on “Ms. Mural”. This five-and-a-half-minute diatribe addresses a myriad of closely related topics that revolve around what Fiasco clearly sees as the degeneration of rap.

The song is adept in its ability to fluidly transition from one topic to another, tying them together to paint a complete picture of why Fiasco is so morose about the state of rap. He expresses that nobody in today’s game dares to be too different, where instead of trying to be more creative than one another, the competition is driven by who has more clout, stating that “the velocity of trends is what referees the pace.”  

With a track that contains so much verbiage over an extended period, Fiasco does throw out some head-scratching misses in his bars such as “it’s not really a beat but conceptually at stake, like genitals and gender roles, they successfully conflate.” The song also leaves very little breathing room which would allow listeners to chew on the material for long enough to get a full picture, which ultimately makes some of the lines that stick out more seem perplexing.

“Naomi” by contrast is a smooth jazz riff that Fiasco is a much lighter presence on. While the bars aren’t as hard hitting as before, Fiasco is still able to get his religious perspective off his chest here as he finds modern culture in general, not just the rap world, to be trending toward more devilish habits. 

The album’s title track keeps up with the jazzy flow where Fiasco’s bars pop with vibrant rhythm behind it. Even in his rhythmic tuning, Fiasco delivers arguably his most deep concept of the entire project, delivering the idea that rap used to be a celebration of the Black conscience, but has now been weaponized for the sake of capitalism. He even calls it “copper Ebonics” relating how like the raw material, Black verse has become a tool, co-opted for profit.

Finally, after painting around the direness of a clout-chasing rap lifestyle, Fiasco opens the closer on Drill Music in Zion with the deadpan, but hard-hitting verse, “rappers die too much, that’s the verse.” As euphoric synths hum in the background of “On Faux Nem”, Fiasco proceeds to go all in on the egregiously monetized structure of drill, rap, hip-hop and everything in between.

He calls out the greediness of the streaming area while denouncing the overuse of posthumous music for the sake of squeezing every last drop of money out of artists. His analysis is all laid out in verse that is elaborate, sensible and digestible for listeners. 

The angelic and infectious sounds of Drill Music in Zion are overall an asset that will allow listeners to return to the album with ease for multiple listens. Even with the subject matter, which while prophetic and wise, can be so philosophical at times that it’s hard to chew, the harmonies of jazz wrapped around Fiasco’s rhymes create a project well worth a listen and a larger discussion about where rap stands in the modern zeitgeist. 

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Asher Ali is a staff writer.

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Letting Go Of Love With Steve Lacy: “Gemini Rights” Album Review

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by Luke Modugno

Duality is a quality that seems to plague the entirety of humanity. In a reality constructed on subjective truths, an immeasurable amount of perspectives and an incalculable abundance of contexts, perceiving with consistency has been an ageless challenge to our species. That challenge is clearly amplified for people like Steve Lacy. 

The Compton native has returned from a two-year hiatus, bringing with him his second studio album Gemini Rights. Lacy isn’t embracing the role of an activist for a specific astrological sign on this record, as the title may suggest. In fact, he’s precisely and loudly presenting the stereotypical, infamous vice of a Gemini: indecision. 

We’ve seen rap megastars (and fellow Gemini) Kanye West and Kendrick Lamar illustrate their own internal strife as it relates to social issues, their world views and ego’s. However, Lacy’s chronic issue with irresolution has put him in an unfavorable spot on Gemini Rights. 

From track-to-track, Lacy is decidedly over his ex-lover. Then, in a whiplash of an instant, he’s head-over-heels for them. Because of Lacy’s flawless and skilled songwriting, Gemini Rights conveys a flurry of romantic feelings. With regret, sorrow, passion, lust and anger snapping into focus across the record, Lacy gives listener’s emotional motion sickness in a way only a bonafide poet could. While Lacy has never struggled to touch on romantic subjects throughout his discography, Gemini Rights approaches the subject with unprecedented nuance and thoroughness. 

“Static,” the opening track, sets the table for Gemini Rights, as Lacy serenades his ex with such elegance that it’s almost as if he isn’t vilifying them and their transgressions against their shared love. “If you ever had to stunt your shining for your lover, dump that fucker” is sung with a particularly intense vitriol that makes it seem that Lacy is finally over them. 

The funky distraction from post breakup depression that is “Helmet” sews the seeds of doubt in the listeners head that Lacy may be an unreliable narrator. Although trying his best to seem unphased and unbothered by their split, when Lacy feels down, his instinctual reaction is still to lean on this person. The cheery guitar plucks paired with cleverly foreboding writing makes “Helmet” a clear standout of the tracklist of Gemini Rights.   

Both “Mercury” and “Bad Habit” stand to support the thesis of Lacy’s lingering love for his ex. As he stares blankly at his ceiling while “writing an ‘i’m sorry’ text” and asks his ex-lover “you think i’m two-faced? I can name 23,” Gemini Rights exudes the crushing anxiety that comes with feeling stuck, inactionable and alone. 

The record culminates with its penultimate track “Sunshine,” featuring the silky-smooth Foushee who plays the part of Steve’s ex in a conversation between the two. Steve let’s us know that it’s been a couple months since their split. Hastily engaging a defense mechanism, Lacy becomes combative, adding “safe to say after me you peaked.” Foushee enters on a high-horse, telling Lacy that she’s taken the highroad despite his criticisms, imploring him to stop attempting to fabricate the intensity of their love with other people. Mutually agreeing to drop the hostility, Foushee asks “why can’t we just get along? Or at least get it on?”

Ending with the two harmonizing in unity “I still love you,” “Sunshine” is just one of many backtracks, reconsiderations and flip-flops on Gemini Rights. Although presenting the complication with this breakup through the lens of the ever-conflicted Gemini mind, Lacy knows his listeners are empathetic to the struggle.

If you were to reorder the tracklist of Gemini Rights, you would likely be able to formulate what a traditional grieving process of a romantic split is supposed to look like. But what Gemini Rights presents is a more authentic illustration of the unpredictability of human emotion, especially an emotion as potent as love. Feelings aren’t linear and they’re fickle. While Steve may not think so, the Gemini’s uncertainty isn’t to blame here.

Sonically, Gemini Rights is a soulful blend of the experimentation of Lacy’s 2020 effort The Lo-Fis, the groovy chord progressions of Apollo XXI and the early knack for engaging songwriting displayed on Steve Lacy’s Demo. In other words, Lacy brings together the whole of his assets as an artist to deliver his highest quality production on Gemini Rights. Additionally, Lacy’s pen is on an entirely different level here. Crafting hooks, progressions and vocal harmonies that stick in your brain like plaster (“Bad Habit,” “Mercury,” “Helmet”), Gemini Rights is the best R&B record to release this year. 

In a year filled with smash records like Dawn FM and WASTELAND by The Weeknd and Brent Faiyaz respectively, Gemini Rights simply outclasses it’s R&B contemporaries. Despite the conflicted nature of man, the superbness of Gemini Rights will ensure discussion of this record and its deserved inclusion in the album of the year conversation. 

Favorite tracks: 

Helmet

Bad Habit 

Sunshine (feat. Foushee)

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Luke Modugno is the editor-in-chief.

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

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by Spencer Lobdell

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

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

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

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

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

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

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

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

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

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

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

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Spencer Lodbell is the co-founder of StereoVision.

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

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by Tyler Roland

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

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

Beth Gibbons - Artist.

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

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

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

Eckhart Tolle - German Author and Spiritual Teacher.

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

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

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Tyler Roland is a staff writer.

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How “Pieces of a Man” Became the Socially-Conscious Voice of a Generation

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by Asher Ali

When George Floyd was murdered, Americans dusted off their shoes and marched to fight for justice in a system that was ever-more glaringly built on discrimination and racism. Many different phrases and taglines were prominently featured at the forefront of 2020’s push for change, namely among them a particular truism first uttered from the mouth of poet and songwriter Gil Scott-Heron.

“The Revolution Will Not Be Televised” is one of the most used and also distorted lines in times of tumult, and it originates from Scott-Heron’s prominent song of the same title. First used as part of his introduction to his inaugural album Small Talk at 125th and Lenox, the song made greater waves on the Chicago native’s second project, Pieces of a Man in 1971. 

The album became an underground success with its jazz poetry breaking down the perspective of a beleaguered man desperate to break free from the chains of oppression. In particular, “The Revolution will Not Be Televised” has been at the vanguard of fights for social justice from London in 1983 to Mumbai in 2009. 

The album as a whole has also remained consistently relevant to this day through the instrumental impact it had in establishing the sound of hip-hop and jazz rap. Scott-Heron never agreed that he was the forefather of rap, calling his association with the genre “a mistake,” but the state of hip-hop today would be unfathomable because of who the poet and the famous Pieces of a Man inspired. 

The groundwork of the album’s sound is laid out by jazz composer, keyboardist and producer Brian Jackson who was a decade-long collaborator with Scott-Heron. His wavy drums, flute and keyboard sounds served as simply a backdrop to Scott-Heron’s whimsical dictation, which was a more novel concept of the time as it gave the lyrics space to stand out on their own instead of forcing them to meld together. 

The juxtaposition of gentle rhythm against fluid, yet hard-hitting lyrics inspired Ali Shaheed Muhammad of a Tribe Called Quest to seek out jazz samples to put up against the bars of his fellow group members. Muhammad got together with Jackson in 2021 for a collaborative jazz project, but as a fan of Jackson’s in the early 90s, Muhammad emulated the sonic ideas from Pieces of a Man in a range of Tribe tracks, from “Excursions” to “Keep it Rollin’”. 

Free expression of difficult themes was also championed on the album by Scott-Heron and also became a distinguishing factor for A Tribe Called Quest as the group ascended. Even in their younger years, the young emcees of Q-Tip, Jarobi White and Phife Dawg were politically and socially outspoken, talking about xenophobia, veganism and religion in their rhymes. Scott-Heron’s grand influence on hip hop has helped some deem him as the progenitor of the genre; a hard nomination to argue against when you pay attention to how much he’s influenced perhaps the greatest zeitgeist in the genre’s history. Kanye West was maybe one of the most outspoken musicians in the early 2000s, both inside and outside the studio, as the mutual Chicagoan saw his genius as a reincarnation of what Scott-Heron had preached before him. 

West has always been proficient at analogizing tropes in the commercial world to dig at something deeper within the human condition, something Scott-Heron was masterful at doing in his poetry as well. Kanye gave clear credit to this on Late Registration’s “My Way Home” which sampled “Home is Where the Hatred Is” from Pieces of a Man, but in a way that was unique for West’s production style at the time. 

Instead of chopping it to pieces and reverbing the song to make it beautifully unrecognizable, West loops the hard-hitting piano chords from the song leaving it nearly untouched, while then featuring Scott-Heron’s powerful vocals at points to break through the bars that both West and fellow Scott-Heron studier Common are laying down. 

West’s track concludes with 44 seconds of unbroken phrase from Scott-Heron’s classic, where his powerful voice echoes a sentiment about how returning home after suffering can cause more pain. The world knows Kanye West to be someone who rarely lets others tell his own story, yet here Ye was clearly proud to let someone of Scott-Heron’s pedigree describe how he felt. 

On Late Registration’s very next song “Crack Music”, Kanye put down an introspective and socially conscious line right out of the Scott-Heron handbook where he said, “You hear that? What Gil Scott was Heron / When our heroes or heroines got hooked on heroin.” Conveying a period of time so vividly is incredibly emblematic of what Scott-Heron was known for, and not only Ye, but Kendrick Lamar out of Los Angeles was able to articulate deep personal narratives in rap, much like the spoken word of the renowned jazz poet. 

Much like how Pieces of a Man tells the story of Scott-Heron and his father trying to escape cultural discrimination and injustice, good kid, m.A.A.d city was Kendrick’s tale of how he tried to overcome poverty and extreme dysfunction as a kid living in Compton. Kendrick’s prose would only become more poetic in To Pimp A Butterfly as he ornately paints a tableau of how this country tries to break Black Americans in hopes of conformity. It’s an expansion of the themes expressed in the interpersonal story of Pieces of a Man. 

From “The Revolution Will Not Be Televised” to “Peace”, the sounds, rhythms and themes of Pieces of a Man are the ideals that have underpinned hip-hop since DJ Kool Herc. And as recently as 2020 when the ugly head of racial inequality was front and center in this country, the message of Scott-Heron’s art resurfaced in full bloom. Perhaps nobody in modern rap has embodied how the duality of Scott-Heron’s message still resonates with the world today quite like Freddie Gibbs. The gangster poet first used the line, “The revolution is the genocide / my execution might be televised,” in Alfredo’s “Scottie Beam” and later on released his own rendition of the soulful and sorrowful “Winter in America” which Scott-Heron and Jackson wrote as they saw first-hand how democracy can fail this country. 

The best art is that which transcends time with the message it brings, and Pieces of a Man has not just reached multiple generations but inspired them too socially and artistically.

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Asher Ali is a staff writer.

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A Dynamic and Dynastic Duo: How Snoop’s “Doggystyle” Shaped West Coast Rap

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by Giovanni Recinos

After The Chronic by Dr. Dre was released on December 15, 1992, Death Row Records took over hip-hop.

It introduced the world to a powerful crew of rappers and performers such as Daz Dillinger and Kurupt (otherwise known as Tha Dogg Pound), Nate Dogg and Lady of Rage. While The Chronic was technically Dr. Dre's project, many of its most memorable moments were attributed to Dre’s trust in his then new and most popular protégé, Snoop Doggy Dogg.

Snoop Dogg would become an instant icon for his refreshing rap style, consisting of smooth flows paired with often violent or rough street themes. After the release of the instant classic that was The Chronic, people highly anticipated the release of Snoop Dogg’s own debut album, Doggystyle.

We will be comparing these two projects often, as Doggystyle is in many ways just a different flavor and portrayal of the same goals as The Chronic. For example, both projects focused on one Death Row member, but both were still flooded with in-house and affiliate features. Both of the projects were overseen and finalized with Dr. Dre as the head producer and both also shared similar controversy for their misogynistic and often graphic crime related lyricism.

Due to the high demand of the project, Doggystyle would eventually be rushed by its distributors and would be released on November 23, 1993. Despite being “rushed” the album within itself is a high feat, including stand out verses from the entire Death Row posse, catchy club bangers and aggressive storytelling of gang lifestyle. In fact, it was such a high feat that for the time it was the fastest selling rap record. Not just for a debut rap record, but for any rap album up until its release.

While The Chronic introduced G-Funk, Snoop Dogg helped it grow and blossom beyond, into further experimentation. The sound of Dr. Dre’s debut was much harsher in production, with often creepier loops and more in-your-face instrumentation, which would pair well with Dr. Dre’s confrontational and straightforward delivery. While Doggystyle had its own spine-chilling moments including the tracks, “Serial Killa” or “Murda Was the Case,” a majority of the album would feel more rhythmic and bouncy to couple with Snoop’s seamless flow.

The influence of Doggystyle would bleed far within hip-hop, starting at Death Row Records. With Snoop Dogg playing a huge part on Tha Dogg Pound’s debut, Dogg Food, by not only making multiple appearances on it, but also through an obvious influence from Doggystyle. Much of this stemming from the fact that Tha Dogg Pound’s, Daz Dillinger played an extremely vital role in producing the backbone for some critical Doggystyle tracks, including the controversial club banger, “Ain’t No Fun (If The Homies Can’t Have None).”

2Pac’s classic record, All Eyez On Me, would also be affected by not only Doggystyle, but also by Death Row as a whole. Many of the album's tracks would be produced by Daz Dillinger as well, further pushing this G-Funk sound. The album would carry over much of the catchy Death Row songwriting, which was pioneered by Snoop Dogg especially. Themes on 2Pac’s album often involved sex, partying and a gangster lifestyle, in the same vain as Snoop’s classic. Though it should be mentioned that Snoop’s style would not be praised solely in the West Coast, as artists such as Ol’ Dirty Bastard and Notorious B.I.G. (even despite the beef) would praise their styles.

Beyond the nineties, the influence of Dre and Snoop would not come to an end. While mostly with Dr. Dre to thank in terms of their success, Snoop’s style would bleed into some of the next generation of Dre’s pupils. Artists affected would include Eminem, 50 Cent and The Game. Stylistically, some could argue that some of the most popular hooks in songs like 50 Cent’s, “In Da Club” or The Game’s, “Hate It or Love It,” originate from Snoop’s songwriting ability and ability to blend the sonics of “authenticity” with the ear for “radio friendly hits.”

50 Cent in particular is often credited for having a great amount of Southern influence in his music, which is also true. But Snoop had his own influence on the South. After leaving Death Row Records, Snoop Doggy Dogg would don the shorter and more common, “Snoop Dogg” with his switch to No Limit Records. At No Limit, Snoop would assist during some of the most critical and most popular years of the label. These years would be innovative for the South, with the label playing a huge era of growth for sub-genres that would eventually lead to sounds and genres such as trap. Many of these sub-genres would have great effects on the mainstream, today especially.

Long story short, whether directly or indirectly, Death Row, Snoop and Doggystyle in particular would have a great impact on the hip-hop music of all coasts and on both the mainstream and underground of today.

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Giovanni Recinos is a staff writer.

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Mr. Morale & The Slimes // TheStereoVision Podcast Ep. 41

Kendrick Lamar’s new album “Mr. Morale & the Big Steppers” dropped this week and Miles and Spencer are finally ready to talk about it. The duo also discusses the heavy RICO charges that Young Thug and the rest of YSL are currently facing

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A Closer Look in the Mirror: “Mr. Morale and the Big Steppers” Reviewed

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by Luke Modugno

Kendrick Lamar is a natural born leader. When he speaks, people listen, and for good reason. Since the release of his 2015 magnum-opus To Pimp a Butterfly, Lamar has positioned himself to be the quintessential voice of insightful social commentary in contemporary rap. Focusing on attacking systems of institutional racism in America and across the globe, Kdot seldom used his Pulitzer Prize-winning pen to explore the complexities of himself. That is, until the recent release of the Compton rappers fifth studio album Mr. Morale and the Big Steppers.

After a grueling 1,855 day hiatus, Lamar has finally made his return with a 18 track collection of reflective ballads focusing on his childhood, identity formation, insecurities and the vastly broad spectrum of the human experience. 

From the first seconds of the record's cinematic opener “United in Grief,” it’s clear that Lamar is ready to take yet another step off of the preacher's soap box and shift his musical focus to himself, a journey of inward meditation that began with DAMN. Lamar's dizzying flow accompanied by frantic drums allow Kdot to divulge about his struggles with mental health, the pitfalls of fame and his reliance on religion to get him through a turbulent five years of solidarity. “I went and got me a therapist I can debate all my theories and sharing it, consolidate all my comparisons, Humblin’ up because time is imperative, I’m starting to feel like there’s only one answer to everything,” Lamar raps on the track.

Over the course of his career, Lamar’s discography has been used as an educational reference point in the rap community. Whether he was analyzing African American life and culture on To Pimp a Butterfly, or allowing listeners a glimpse into life in Compton on records like good kid, m.A.A.d city, Lamar’s music sparked meaningful dialogue on topics other than himself. The mirror has been decidedly turned toward Lamar on Mr. Morale and the Big Steppers, allowing the record to be by far his most vulnerable, brave and well-written. 

Instead of anointing himself as the leader of a generation as seen on To Pimp a Butterfly, Lamar makes it clear that his flaws, blemishes and vices simply make him a representation of “all of us,” a message plastered across his recent standout single “The Heart Part V” and even his alias for this record: oklama. In the Native American dialect of the Choctaw, “Okla” means people, while the definition of “ma” in the language is utilized when addressing someone, such as “my lord,” leaving the combination of the two to mean “my people.” Tying this motif together is the cover art of the record, showing Lamar sporting an iced-out crown of thorns, a biblical reference to the crucifixion of Jesus Christ. In Christian dogma, Jesus was sent by God as a holy mediator between the heavens and humanity. Christ was both human and God, allowing him to relate to human experiences and identify with all of us. Kendrick is using his God-given ability as an artist to represent humans, their perspectives, insecurities, flaws, and relating to the human condition in a similar vein to Christ. It’s a level of writing, attention to detail and nuanced insight we’ve never seen from the emcee.

Across the rest of the record, Lamar dives deeper into what it means to be of flesh and blood. From his brilliant reframing of childhood trauma and “daddy issues” on tracks like “Father Time” and “Mother | Sober,” poignant and brutally honest representation of the duality love on “We Cry Together” and “Purple Hearts,” to his attack on virtue signaling and idolization of celebrities on “Savior,” Mr. Morale and the Big Steppers is Lamar’s most universally relatable album to date. 

Sonically, this record is a deeper exploration of the visceral trap aesthetic that dominated much of DAMN. It’s clear Lamar’s cousin, Baby Keem’s ascension and carved-out experimental trap niche has influenced Lamar’s artistic direction here, producing brilliant moments as well as derivative ones. The guest list on Mr. Morale and the Big Steppers assists Kdot in his trap ventures effectively, as appearances from Kodak Black, Baby Keem, Sampha, Summer Walker, Blxst and Amanda Reifer enhance their respective songs. With production credits belonging to The Alchemist, Pharrell Williams, Keem and Sounwave, experimentalism is dabbled in but never fully produced behind the boards, leaving something to be desired.

Kendrick Lamar’s artistry has progressed past the point of a one week, 800 word review. Over the coming weeks, months and years is when we will truly be able to unpack the complex piece of art that is Mr. Morale and the Big Steppers for its deeper themes. For now, it’s safe to say that Lamar has delivered yet another distinguished body of rap music that will be cherished, studied and held in high regard. 

favorite tracks:

United in Grief

Father Time (feat. Sampha)

Purple Hearts (feat. Summer Walker & Ghostface Killah)

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Luke Modugno is the editor-in-chief.

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Kendrick Lamar // Mr. Morale & the Big Steppers Reaction x Review

King Kendrick is finally back after 5 years with his new album "Mr. Morale and the Big Steppers" which features Baby Keem, Kodak Black, Blxst, Sampha, Summer Walker, and more. Check out Miles and Spencer's first reaction to the album and let us know what you thought in the comments!

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What's Kendrick's Best Song? // TheStereoVision Podcast Ep. 36

Welcome to the Kendrick Lamar Episode! This week Miles and Spencer discuss Kendrick’s best song, best feature, and what to expect from upcoming releases

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Day N Vegas Vlog // Kendrick Lamar, Baby Keem, Tyler the Creator, Griselda, Teyana Taylor, & More!

Day N Vegas was undoubtedly one of the best weekends of our lives so we're very excited to bring to you this year's vlog which includes interviews and exclusive concert footage from your favorite artists

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Baby Keem x Kendrick Lamar - Family Ties Reaction/Review

The king is back! In today's video Miles and Spencer listen and react to Baby Keem's new song "Family Ties" which features Kendrick Lamar

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Is Kendrick Lamar Leaving TDE?

In today's episode of TheStereoVision Podcast, Miles and Spencer talk about the rumors saying Kendrick is leaving TDE, New Music from 21 Savage, Bryson Tiller, YG, Giveon, and albums we need in the last quarter of 2020

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  StereoVision

  A year ago we compiled a list of albums to help everyone weather the quarantine. Here we are a year later, still st… https://t.co/fdusHMOSLK

  Mar 17, 2021, 1:39 PM
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  StereoVision

  Happy 6th birthday to Kendrick Lamar’s ‘To Pimp a Butterfly’ one of the best albums ever released 💿🦋 What’s the be… https://t.co/4boKEsxxJM

  Mar 16, 2021, 9:01 PM
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  StereoVision

  Extra extra! Check out some of our highlights from last night’s Grammy’s 💿 https://t.co/Og7RkYCDGg

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  StereoVision

  Kendrick Lamar performs “The Blacker The Berry” and “Alright” at the 2016 Grammy’s ✊🏾💯 What’s your favorite Grammy… https://t.co/IVbP8S5GG3

  Mar 14, 2021, 3:28 PM

2020 Preview: A Look Ahead at What Could Be a Legendary Year in Hip-Hop

By Luke Modugno

With 2010’s coming to a close last month, we leave behind a legendary 10 years of hip-hop. The genre grew leaps and bounds, becoming arguably the biggest category of music in the world. As we embark on the new journey of the next decade, 2020 seems to be shaping up as one of the best years in the recent history of hip-hop. Here are the albums we’re looking forward to, speculating about, dreaming of, and practically begging for.

Coming Soon: 

Drake 

For the first time since 2014, Drake had a relatively slow year, neglecting to release a new album in 2019. But Drizzy fans weren’t completely deprived. Day-one fans were treated to Care Package, a compilation of the 6 God’s greatest hits not on streaming platforms, and a two song EP titled The Best In The World Pack, celebrating the Toronto Raptors’ NBA championship. Last year, Drake appeared to hint at an album slated for 2020 a few times. The first time was last April, when Drake revealed to his crowd in London that he aimed to return to England with new music in 2020. Additionally, in December, Drake made a surprise appearance at DaBaby’s show in Toronto, telling his hometown that 2020 was a target year for new music, “I’m going to go back to the crib and try to finish this album up so we can turn up in 2020,” Drake told the crowd before he exited the stage. On top of that, Drake and Future have been heavily teasing a follow up to their legendary joint project What a Time to be Alive. Last month, the duo released a new track titled “Life is Good,” with the pair emulating the success and chemistry they’ve formed over the years. And considering Drake was booed off stage at Camp Flog Gnaw 2019, we have to believe the Toronto native has something to say this year. It’s an exciting year to be a Drake fan, I’m expecting both a solo project and another collaboration album with Future in 2020. 

J. Cole

The head-honcho of Dreamville had a remarkable year in 2019, continuing his legendary run of features and exceeding expectations with the Dreamville compilation album Revenge of the Dreamers III. Back in November of last year, Cole previewed a trailer for his upcoming project titled The Fall Off at Day N Vegas. The video, styled like a political campaign ad, shows Cole as the savior of America, during “these turbulent times,” and schedules the album to drop sometime in 2020. Considering the final track on Cole’s 2018 effort KOD was titled “1985 (Intro to ‘The Fall Off’),” the album is being speculated as a direct follow-up. The teaser for The Fall Off doesn’t feature the serious introspection featured on KOD, so Cole may be looking to go in a completely different direction for this project.

A$AP Rocky

2019 was a genuinely scary year for A$AP Rocky. After being arrested and accused of assault, at the time, it was unclear if Rocky would be coming home anytime soon. The situation caught the attention of President Donald Trump, as he stepped in and influenced Rocky’s release and return home. 2020 has been a positive contrast to last year for Rocky, as he seems in a good place. The New York native announced late last year that his album All Smiles is on the way. All Smiles will be Rocky’s first solo album since his 2018 LP Testing. As the title suggests, Testing was certainly an experimental venture, which split fans and critics alike on the quality of the project. Rocky released two new singles in 2018 and 2019, “Sundress” and “Babushka Boi,” it is unclear if either will make the album. It will be intriguing to see if Rocky continues his sonic tinkering, or if he reverts back to his old sound established in his earlier albums. Expect new music sometime in the first half of 2020. 

Joey Bada$$

Besides a group project with East Coast collective Beast Coast, Joey has been relatively quiet since the release of his second studio album ALL-AMERIKKKAN BADA$$. Following the release of his classic debut mixtape 1999, rap fans have hung on Joey’s every word. Joey has shown a lot of maturity and development as an MC since then, developing his sound and subject matters to become a fairly undisputed top five rapper in the game at the moment. Last month, Joey confirmed new music is on the way, “JUST GETTIN’ A FEW MORE DUCKS LINED UP FO I START BUCKING THESE N****Z. WORLD NEED NEW BADA$$ & ITZ COMING#LP3.” During the Beast Coast tour in 2019, the Brooklyn rapper released a series of vlogs and on the first episode, Joey tells A$AP Rocky, “New album, almost done bro.” He further hinted at a new project in an Instagram post, “Might be a few album snippets in there,” referring to the vlog series. Expect new tunes from Joey very soon. 

Hopefuls (fingers crossed): 

Kendrick Lamar

We last heard the crowned king of West Coast hip-hop in 2018, when he curated and produced tracks for the Black Panther movie soundtrack. Since then, it’s been radio static on Kendrick’s end, with no singles, few features and no concrete plans for a new album. The good news: Kdot performed his last DAMN. show at Day N Vegas in November of last year, and with Kendrick headlining 12 festivals across Europe starting in June(Lollapalooza Stockholm, NOS Alive, etc.), there’s a good chance new music is on the way. Multiple reports have speculated that the album may have a heavy rock influence, something we saw glimpses of on DAMN. Former Billboard editorial director Bill Werde added fuel to the fire last month when he tweeted, “Did anyone not named Beyonce release better, more meaningful back-to-back albums last decade than Kendrick Lamar? Are you interested to know that I hear from several friends that recording on the new album may finally be done? And that he’s pulling in more rock sounds this time?” With 1,041 days passing since the release of DAMN.,this has been the longest running wait for a Kendrick album since the time between good kid, m.A.A.d city and To Pimp a Butterfly, making it seem like a lock that Kendrick drops in 2020.

JID

Cole’s label partner at Dreamville has been making some noise the past two years. After impressing listeners with lightning quick raps and witty punchlines with his debut album The Never Story and turning heads in 2018 with his sophomore album DiCaprio 2, JID has as much potential as any rapper in the game. JID has tweeted multiple times over the past few months hinting at a new album this year, however in an interview with Revolt, the 28-year-old spoke on his recent writers block, “My grandmother just passed,” J.I.D told REVOLT TV. “I haven’t been able to write a verse since. Everything has been blank, which is weird.” Legendary producer NO I.D. is reportedly a large part of the album. Considering it's been 2 years since a solo project from JID, I see it likely we will get an album from him later in the year.

Lil Uzi Vert 

Perhaps one of the most anticipated artists in 2020, Uzi has kept fans waiting for almost two years for his upcoming project titled Eternal Atake. From threatening to quit music to making a diss track against his own label Generation Now, Lil Uzi had a very trying year in 2019. However, Uzi has been positive on Twitter as of late. After releasing a single from the album, “Futsal Shuffle 2020,” Uzi has been teasing Eternal Atake heavily, suggesting it’s 16 songs, saying it “slaps way harder” than Luv is Rage and hinting at Tyler, The Creator’s production involvement on the album. In addition, Uzi has constantly compared 2020 to his break out year of 2016, saying it will be “2016 part 2.” During that year, Uzi was a XXL freshman, gave one of the most iconic freestyle cyphers, and dropped two albums in Lil Uzi Vert Vs. The World and The Perfect LUV Tape. Considering the delays on the album, the expectations for Eternal Atake are sky high. If we learned anything from last year, we know Uzi is a terribly unpredictable artist, so nothing is really concrete until the album arrives on streaming services. 

Playboi Carti

Incredibly, Playboi Carti has had more songs leaked than songs in the entirety of his discography (125 leaked, 34 released). Despite this, Carti’s supposedly upcoming album Whole Lotta Red is still one of the most coveted potential drops of 2020. In October of last year, Carti posted on Instagram, captioning the post “red incoming.” Since the announcement, heaps of leaks have surfaced, including songs, potential tracklists, album artwork and some possible features. Even Drake posted about the album on Instagram, captioning the post “Nobody:   Me: Somebody play Whole Lotta Red.” Considering it's been nearly two years since Die Lit, Carti will most likely feel the pressure to drop this year. Whether he will or not, is still a mystery. 

Pipe Dreams: 

Kanye West

The past few years have been a rollercoaster ride for Ye. From his constant donning of the MAGA hat and his head scratching slavery comments in 2018, to a steady batch of delays on his now released album JESUS IS KING, Kanye was back to being one the most hated figures in pop culture. Although JESUS IS KING got very mixed reviews, Kanye is supposedly planning a JESUS IS KING sequel. Last November, Ye tweeted a picture of him and Dr. Dre in the studio with the caption, “Ye and Dre Jesus is King Part II coming soon.” Before you get too excited, let's pump the brakes on the hype train for Jesus is King Part II. Kanye and Dre are infamously known for torturing their fans with delays, postponements and scrapping albums all together. Dr. Dre’s highly anticipated solo album Detox has been delayed for nearly two decades. Kanye has a slew of unreleased projects that were scrapped and later leaked, including Yandhi, So Help Me God, TurboGrafx16, Donda’s Boy and more. Don’t expect this album anytime soon. 

Isaiah Rashad

It’s been 1,265 painful days since the release of Isaiah Rashad’s last solo LP The Sun’s Tirade. With two terrific projects under his belt, TDE’s most reserved member has potential to be a household name in hip-hop. In June of last year, Isaiah took to an Instagram livestream where he announced the title of his upcoming album to be The House is Burning. He also claimed the album will be “as tight as Aquemini.” Since then, there has been no update on a release date of any kind. With Zay constantly previewing new music on his Instagram (Including songs with JID and Zacari), an album is presumably coming this year. TDE tends to spread out the release dates of their albums, and with Reason, ScHoolboy Q and possibly Kendrick Lamar dropping this year, we could possibly expect The House is Burning in the second half of 2020. But due to how tight-lipped TDE is about their upcoming projects, we can’t be sure new Zay music is coming this year. 

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Songs of the Week: August 11th

By Spencer Lobdell

Welcome to “Songs of the Week” a weekly segment where I highlight three of the best new songs released the week prior. To stay up to date on all new music, follow our playlist “Hot 30” on Apple Music and Spotify. “Hot 30” is updated daily to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

A playlist updated weekly by team members at StereoVision with the hottest new rap and hip-hop music. Always 30 songs with the hottest tracks at the top.

Songs of the Week:

“Hair Down” by SiR (Feat. Kendrick Lamar)

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Following in the footsteps of fellow TDE artist SZA, SiR just inked a new deal with RCA records and is celebrating with a new album titled Chasing Summer expected to drop on August 30th. The first single from the Inglewood native was released this week and features Top Dawg’s top dawg, Kendrick Lamar. On “Hair Down” SiR picks up where he left off on 2018’s November with a soulful and moody track that uses beautifully layered vocals to gracefully present us with important messages about self-confidence and expectations. Kendrick is himself on the second verse and enforced the image of the self-conscious superstar numb to their impressive accomplishments. All-in-all, this is an excellent song that should have hip-hop fans everywhere anxiously awaiting Chasing Summer.

“Skeletons in your closet but your past don’t exist
Got a pad on your list, got a pad on your lock
Calabas’ ain’t the move, that’s where everybody live
Plus the mountain is hot, you forgot what you got, ah!”

— Kendrick Lamar "Hair Down"

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“White Lines” by Rick Ross (Feat. DeJ Loaf)

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This week, Rick Ross dropped his highly anticipated album Port Of Miami 2. While the whole album is solid, the vibe that the Miami rapper manages to create on the fifth track “White Lines” is unmatched. The veteran emcee raps about an excellent weed high filled with coked out girls and luxury shopping over a dreamy instrumental. This track is an automatic add to smoke sesh playlists everywhere.

“I flew her here to take her shoppin’
My credit card done got it poppin’
I put that pussy in my pocket
Cartier bracelet and locket
We like to film it, then we watch it
Tell your friend come join the party
You a freak and I’m a prophet
Painted the Chevy doo-doo chocolate”

— Rick Ross "White Lines"

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“SoHo Freestyle” by Pivot Gang (Feat. Kota The Friend)

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Saba’s talented clan “Pivot Gang” dropped two songs this week with “SoHo Freestyle” being the clear winner out of the pair. This track is my favorite posse cut of the year and sounds like everything Revenge Of The Dreamers 3 wanted to be but couldn’t quite achieve. While all four emcee’s snap on their respective verses, Saba and Mfn Melo slightly edge out Kota The Friend and Frsh Waters but it’s very close. All hip-hop fans should find this cut fun and enjoyable encouraging us all to revisit Pivot Gang’s 2019 album, You Can’t Sit With Us.

“I get paid every K, then you hatin’ and shit
Got a care on my head, but this Bape on my fit
Runnin’ laps ‘round the lands, on some Daytona shit
We fight wars with my boys, so I’m takin’ the risk”

— Saba "SoHo Freestyle"

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Songs of the Week: April 21st

By Spencer Lobdell

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

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

New Songs of the Week:

“10 Purple Summers” by 03 Greedo

10 Purple Summers, a song by 03 Greedo on Spotify

This week 03 Greedo released his new album Still Summer in the Projects from behind bars. The project starts hot with one of my favorite tracks 03 has put out. “10 Purple Summers” is an epic ode to his hood that never over-glorifies his lifestyle without bringing listeners back to reality. The hook is addicting and 03’s classic synth lead is ever present holding the instrumental down. “10 Purple Summers” is an essential 03 banger and will be on repeat for months to come.

“Some of my niggas fuck twins, bareback and skins
My lil’ homie in the pen, he got more than the ten”

— 03 Greedo "10 Purple Summers"

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“God’s Warrior” Tee Grizzley

God's Warrior, a song by Tee Grizzley on Spotify

This week Tee Grizzley dropped his second single off his upcoming album. “God’s Warrior” is an aggressive, in-your-face banger that we’ve come to expect from the Detroit rapper. The menacing track switches beats half way through to a minimal beat anchored by gun sound effect allowing us to hear every blood-thirsty bar Tee spits. Grizzley is here to show us that his pen game hasn’t declined since “First Day Out” and that he still deserves the attention of hip-hop fans everywhere.

“Fuck a bitch, drop her at her momma crib
Not with the gossipin’, we do that robbin’ shit
Any means, I’m gon’ eat
Slide with the tank on full
Leave with the Glock on E”

— Tee Grizzley "God's Warrior"

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“Family Not a Group” by SOB x RBE & Hit-Boy

Family Not A Group, a song by Hit-Boy, SOB X RBE on Spotify

SOB fans have been spoiled so far this April as last week they dropped their surprise EP Roll The Dice with Marshmallow and this week they released their newest album Family Not A Group produced by Grammy-winning beat maker Hit-Boy. The title track is a perfect example of a group of artists knowing what they do well and executing it in a way that doesn’t sound repetitive. Hit-Boy’s production on this song (and album) allow SOB to deviate from their normal DJ Quick inspired instrumentals and give them a professional sounding final project.

“Coke white buffs, these hoes fresher than a ninth grader
Feel like Maino when I’m in my city, I’m like, “Hi, hater””

— DaBoii "Family Not A Group"

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Throwback Song of the Week:

“Hood Gone Love It” by Jay Rock (Feat. Kendrick Lamar)

Hood Gone Love It (feat. Kendrick Lamar), a song by Jay Rock, Kendrick Lamar on Spotify

Jay Rock’s 2014 hood anthem “Hood Gone Love It” is one of the many examples of the unparalleled chemistry Jay Rock and Kendrick have always shared. The two both flex their pen game on the verses while the hook remains simple and catchy. Nearly as impressive as the timeless rapping, the instrumental is unignorable due to the unique sound effects that J.U.S.T.I.C.E League used as percussive elements when creating this beat. I think this song is a classic but honestly, it’s irrelevant if I like it because the hood gone love it.

“From Compton to Baltimore I’ma kill it
I buy a morgue in the minute
The public house, the plastic couch of a section 8 tenant”

— Kendrick Lamar "Hood Gone Love It"

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Happy Birthday, “To Pimp a Butterfly”

By Kaila Cherry

The day before my fifteenth birthday, Kendrick Lamar released his third studio album, To Pimp a Butterfly. When I learned of the album at the time, I felt as if Kendrick had given me a special gift. It was almost as if he, the universe, or whatever entity that is responsible for placing the right things at the right time, knew I needed to hear a project like To Pimp a Butterfly. In the four years since the album came into public consciousness, I have found myself revisiting To Pimp A Butterfly ever so often. And with every listen, I am once again fascinated, enthralled, and utterly enchanted by the beauty of the album and the significance it had not only on me as an adolescent, but on American culture as a whole. 

The circumstances of both my personal life and cultural tensions within the country primed me to have a deep connection with To Pimp a Butterfly. Although I spent the majority of middle school enveloped in the alternative music sphere of Arctic Monkeys and The 1975, I was slowly beginning to broaden my horizons musically. For several years, I was turned off from rap genre. This was due to being solely exposed to songs and artists I thought were profane for profanity’s sake, songs that lacked lyricism, creativity, and meaning. In eighth grade, however, I had the ability to discover music on my own terms. With an iPhone and an iPad, I used Pandora, Soundcloud, and Youtube religiously. It was through these platforms that I was exposed to my first rap obsession: Tyler the Creator and the Odd Future collective. I identified with his brazen anger, his goofy attitude, and his struggles with his mental health. Yet, Tyler was not a conscious rapper. He was not one to talk about politics or the ways in which institutionalized oppression affected him. This where Kendrick Lamar becomes so important to me. 

At age fourteen, I, with the rest of the country, saw the disenfranchisement and slaughter of black bodies on the news in a cycle that felt so constant it was beginning to become the norm. With the murders of black men like Mike Brown and Eric Gardner getting tons of media attention, 2014 was a time where I began to understand the implications of being black in America. It was a time where being black was especially precarious, a time where fear for my and the safety of every black person in my life felt so incredibly insecure. Being black and experiencing blackness at the time was exhausting. I needed to be empowered by something. I needed to be empowered by someone. 

Like most, my first introduction to Kendrick Lamar was his hit single “Bitch Don’t Kill My Vibe” released in 2012. It took a while for the song to grow on me. But once it did, I found myself delving deeper and deeper into his discography. I began to develop an affinity for his first album, good kid, m.a.a.d city. His narrative of life as a gangbanger in Compton hit close to home for me. Having lived in Baltimore, Maryland prior to coming to California, I had heard many stories of gang violence. Even living in the county as opposed to the city, there were still certain places that were unsafe for me to go. My older brother had to use the address of my grandmother in the city to go to a better high school because the one in our neighborhood was academically subpar and had a reputation for being dangerous. Good kid, m.a.a.d city was the first piece of art I was able to see aspects of my life and the environment I grew up in being documented in a way that was genuine and uncontrived. The vulnerability Kendrick showed on tracks such as “Money Trees,” “Sing About Me, I’m Dying of Thirst” and “Real” touched me deeply. Even at fourteen, I knew that Kendrick was more than just a rapper. He was an artist, an activist, a provocateur, an undeniable force in the cultural landscape of both music and politics. To see someone be so open and honest about the struggle of being black in combination with living in the hood made me feel seen in the most essential way possible. By the end of 2014, Kendrick Lamar had become my inspiration. 

With the release of To Pimp a Butterfly, I again felt that my life was changed. I had never heard a rap song like “Wesley’s Theory” before and do not think I have since. The album’s opener is unapologetic. The vocal refrain “Every Nigger is a Star” is a sample from the Boris Gardner song of the same name. This establishes the album as a celebration of blackness in all its complexity, especially as it intersects with fame. Throughout the album, Kendrick struggles with his rising fame and how it has effected his connection to his community and his personal wellbeing. He is being tempted by money, by the devil (whom he calls “Lucy”) and by Uncle Sam. To Pimp a Butterfly is an expose on how Kendrick is attempting to navigate within the American landscape as a radical black man who came from nothing who has now become something. And with his growing success, more bulwarks are placed in front of him to throw him off the path to prosperity. The only way he is able to stay sane within such a landscape is to unapologetically reclaim his hood (“King Kunta,” “Hood Politics”) and his blackness (“The Blacker the Berry,” “i”). In reclaiming these aspects of himself, he is simultaneously reclaiming his identity. To Pimp a Butterfly is a bold declaration to the anyone who has eyes on him: No part of Kendrick Lamar will be suppressed for the appeasement of others. 

To Pimp A Butterfly, an album by Kendrick Lamar on Spotify

Such a message was invaluable to me. At fifteen, I was in a stage in my life where I was beginning to be told by society what I was supposed to be as a black person and a woman. It was communicated to me, both through subtly and overtly, what parts of my identity were acceptable and what parts were not. As a black girl, I was not supposed to be eloquent. I was not supposed to be interested in art or writing. I was not supposed to like anything deemed by the community as “white.” I was not supposed to see myself in white spaces, like higher education. My academic prowess and multiplicity of identity were chastised from all directions. When I heard To Pimp a Butterfly, it was as if all the pressure I felt from society telling me that something was intrinsically wrong with me dissolved. By the end of my first listen, I was in tears. Never had a piece of art made me feel more validated as an individual. The tenacity in which Kendrick expressed his self concept on the album immediately transferred onto me. For the rest of my freshman year of high school, I listened to songs from To Pimp a Butterfly everyday. 

Four years later, To Pimp a Butterfly has not faltered. To this day, it is still my favorite Kendrick Lamar album. I do not own a record player, yet I do own a vinyl of To Pimp a Butterfly that has sat perched on the same spot on the dresser in my bedroom for the past three and a half years. The influence  the project holds is so visceral that having the physical record in the same space as me is enough to make me feel good. To Pimp a Butterfly taught me the  power in being unapologetically myself, unapologetically black, and to never let my sense of self be watered down by the expectations of others. And for a young black girl, the importance of realizations like those are vital to our survival in a world that does not value us. 

To the album that changed my life: 

Happy anniversary, To Pimp a Butterfly. 

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