A Meditation on Space with King Krule: “Space Heavy” Reviewed

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by Luke Modugno

We have a peculiar relationship with the concept of space. As vague in definition as it is in reality, space can signal overwhelming novelty. Novelty of location, people, community and circumstance. In the same vein, space can separate, destroy and alienate.

Since the 2010’s rolled around and, by consequence, rolled past, few individuals in music have matched the sheer despondence harnessed by Archy Marshall’s artistry, better known as King Krule. Meticulously crafting a discography that sits on a foundation of despair, heartbreak, romantic failures and the cruelty of the universe, Marshall illuminates the drab, dismal and visceral aspects of the human condition. If his earlier work like 2013’s 6 Feet Beneath the Moon and 2020’s Man Alive! are reductions of Marshall’s outlook on the negative aspects of his life, his latest masterpiece Space Heavy is fixation on the metaphysical hands that pull our lives apart from one another.

Archy Marshall, aka King Krule. Shot by Billboard.

Written between 2020 and 2022, Space Heavy follows Marshall’s psyche through a period of frequent migration for the British native. Constantly travelling between his homes in Liverpool and London, Marshall became obsessed with the concept of physical space. During his commutes, he became fascinated by the space between, which often coincides with grappling with change, forced or natural. Coupled with the dread of “losing people and situations to the guillotine of the universe,” Space Heavy’s sonic landscape is as desolate and crushingly lonesome as Marshall’s mind at the time.

The duality of space is mirrored by Space Heavy, as it snaps in-and-out of focus with the plethora of negatives and positives distance has brought about in his life. Atmospherically jazzy throughout, sound acts as Marshall’s transistor for conveying the raw emotions attached to his disjointed lyrics. Assigning genre to Space Heavy is tricky, it can be best summed up as a quintessential King Krule experience. Marshall’s screams and shrieks layer harmoniously with the jarring guitar sections, wailing saxophone solos and harrowing violin on tracks like “Hamburgerphobia,” “Pink Shell,” and most notably, the title track.

Marshall’s songwriting on Space Heavy is brilliantly dense. Inventive and alluring at every turn, the spiritual gateway between Archy’s soul and his pen is unbarred. From reflecting on the fickle beauty of cities we pass through while travelling on “Seaforth” to enduring the tortuous splitting seams of a relationship on “Tortoise of Independency,” Marshall’s delivery in tone and chosen verbiage throughout Space Heavy exhibit one of the most coveted traits an artist can possess: humanity.

Whether he’s releasing a blood-curdling groan over a guitar solo or utilizing his penmanship to emulate heartbreak in a mind-splitting manner, a microcosm of the record’s success comes on its title track. Albeit a brief reflection on a failed relationship, Marshall’s writing and sonic capabilities come together here, creating a clear standout. Without trying, Archy’s mind wanders back to his lost flame, “I had no thought about it, she appears from nothing, out the blue.”

“I sink in full armor, the lake is oil of misery, get ready slurp it up,” harmonizes Marshall. The decaying state of their relationship forces Marshall to engage his own defense mechanisms, putting up his armor. He knows this will inevitably end the relationship, sinking him deeper into a depressive pit. He won’t perish from separation, he knows that (oil to water), but the overbearing weight of his psyche will surely try. Marshall continues “I refused to be saved, my plastic straw.” Belting out, akin to nails on a chalk board, “my plastic straw” over a growing guitar and drum, Marshall is consumed by misery in his effort to trudge on minus his lover. Considering its designation as the title track, the space between him and his ex is weighing heavily.

King Krule has always had an inherent ability to connect to the essence of human experience. Space Heavy represents an obvious persistence of that talent, except on this effort, it’s focused, contained and a bit more poignant. Space shapes our lives in immense ways that are often indelibly defining. Music of the utmost quality such as Space Heavy does the same.

favorite tracks:

From The Swamp

Space Heavy

If Only It Was Warmth

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Luke Modugno is the editor-in-chief.

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The Final Days of TikTok?: Analyzing Its Impact on Music

by Luke Modugno

The music industry has and always will be guided by the everchanging, rapid nature of technological advancement. From vinyl records to cassettes, Walkman’s to CDs and iTunes to Spotify, technological innovation has informed the way we consume, explore and digest music for centuries. In the age of all-encompassing social media, the industry has had to deal with a change far less tangible than physical technology.

Since Tiktok burst into epidemic popularity in the late 2010’s, its short form content and wildly addictive algorithm have indefinitely altered the way we consume media. In light of the possibility of an impending ban of the app, lets examine the indelible marks its left on the music industry thus far.

Perhaps the most poignant and noticeable affect TikTok and the entirety of social media has had on us is its erosion of attention span. “In 2004, we measured the average attention on a screen to be 2.5 minutes,” writes Dr. Gloria Mark, a professor of informatics at UC Irvine and author of the 2023 book “Attention Span: A Groundbreaking Way to Restore Balance, Happiness and Productivity.” “Some years later, we found attention spans to be about 75 seconds. Now we find people can only pay attention to one screen for an average of 47 seconds.”

The erosion of our attention span can be directly linked to the arrival of TikTok. An endless series of visual and audible stimuli, TikTok provides a whiplash of shortform content fully tailored to the user. Coincidentally, the average length of a TikTok clocks in at 21-34 seconds, making it a prime culprit in our diminishing attention spans. Extrapolating the issue out to various industries, its no mistake that the music industry is the business to be affected the most significantly.

Considering the fact most albums are longer than 21-34 seconds, music executives have had to adapt their hastily shifting market. Seldom do you see a cohesive record release nowadays that exceeds an hour in length.  President of Top Dawg Entertainment, Terrence “Punch” Henderson recently popped a relevant question to his followers on Twitter. “Are albums losing value? Or am I not thinking progressively enough?”

The answer to Punch’s question isn’t difficult to find. As with all industries, consumer sentiment drives revenue, in turn directing the trends of product. So considering both the degradation of our attention spans and the fixation on having a set powerful and distinct stimuli at our finger tips, it shouldn’t come as a surprise that playlists are now officially more popular than albums. According to the Music Business Association, playlists account for 31% of listening time across all demographics, while albums came in at 22%. The fascination and value placed on with an ordered, coherent full-length LP has clearly faded.

Not only has TikTok affected the way we consume music, it’s also affecting the medium in which we consume it. Spotify recently announced a revamped version of their home screen, featuring a vertically scrolling home screen. Sound familiar? Comparably to TikTok, the new home screen update favors discoverability, exposure and quick dopamine hits. It’s no secret that all these repercussions are diminishing the artistic value of music, further commoditizing the art form.

Most new artists aren’t as interested in crafting a cohesive story, sonic direction or consistent artistic presence. Instead, the prevailing approach to music seems to be throwing as much shit on the wall and seeing what sticks, Certified Lover Boy style. Furthermore, why pour countless hours, musical exertion and bother for public discourse to move past your album in no more than a week? Take Kendrick Lamar’s 2022 effort Mr. Morale and the Big Steppers for example. Fans of the Compton emcee waited 5 long years for this moment, only for it to not even crack into the top 50 of the Billboard 200 only 6 months following its release. Here’s the real kicker: both DAMN. (#41) and good kid, m.A.A.d city (#35) are performing better than Mr. Morale and the Big Steppers (#80) on charts this week. Why? Because both DAMN. (“PRIDE.”) and good kid, m.A.A.d city (“Money Trees”) have viral TikTok songs that accrue new streams and visibility daily, while Mr. Morale and the Big Steppers never really had such a song.

But in order to properly evaluate the overall effect TikTok has had on the music industry, we need to need to look at both sides of the story. Despite the fact that TikTok has discouraged many of the poignant and coveted aspects of music, it has been an undoubtedly positive force for the discovery of new artists, as well as expansion of musical taste.

Artists such as Yeat, Lil Nas X, 24kGoldn and countless others have TikTok to thank for the meteoric rise of their respective careers. Like other social media platforms, TikTok acts as a open forum for sharing new tracks, artists and music you’d otherwise never discover. Combined with the app’s faultless algorithm, TikTok is considerably adept at recognizing the type of music you may enjoy and exposing you to it.

Songs that are years old have soared to the top of the charts to new heights solely due to TikTok trends. Fleetwood Mac’s “Dream” has had a total rebirth, going viral on the app. Bruno Mars’ “Talking to the Moon” has had an encore as well. While the revenue split for artists on the app isn’t ideal (70/30), it’s hard to conceive of a more effective marketing tool for artists to utilize.

In the same vein as countless other social media platforms, TikTok and the impact it has on humanity and human art is and always will be in the eye of the beholder. If TikTok is ultimately banned by the government or not, its impact on the world of music will be felt for years, as the music it exposed us to, careers it produced and artistic lives it impacted will last a lifetime.

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 Luke Modugno is the editor-in-chief.

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Controlled Chaos: JPEGMAFIA & Danny Brown Split Heads on "SCARING THE HOES"

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by Luke Modugno

What makes both Danny Brown and JPEGMAFIA’s artistry durable is their unrivaled devotion to the bumps and bruises of their own music. The two have mastered the art of employed imperfection, giving their records an unmistakably rugged finish. Within that artistic direction, Peggy and Danny have cultivated distinguishable styles, Peggy’s driven by beyond obscure production and Danny’s by off-kilter rhymes and delivery. The marriage of these two uncontrollable minds could be a considered a dream by some, and nightmarish by others (the hoes).

A collection of 14 volatile and abrasive tracks, SCARING THE HOES represents a caustic combination of rap’s most audacious forward-thinkers.

Jaggedly stitching together soul and gospel samples, iPhone text notifications, Lady Gaga and Ski Mask the Slump God cameos, Peggy’s work behind the boards on this record is best described as an unmitigated commitment to contrariness. As with the rest of Peggy’s work, SCARING THE HOES has distinct punk undertones, both in attitude and sonic style. Simply put, a lot of the things Peggy is trying here shouldn’t work. But they do, and they fit Danny’s unnatural tonality and rhyming superbly. Whether he’s fusing a somber jazz piano loop with hyperactive drums on “Jack Harlow Combo Meal,” borrowing a melody from a K-Pop song to blend with bouncy trap bass for “Kingdom Hearts Key,” or crafting a fidgety union of hyperpop and hip-hop on “Fentanyl Tester,” SCARING THE HOES’ uncompromisingly avant-garde nature is nothing short of incredible.

While the production is remarkable, SCARING THE HOES really comes into its own when it’s met with the duo’s clever and witty pens. Perhaps the most fitting example of the sheer power of their team-up comes in the form of “Burfict!” Draped with triumphant horns and thumping 808s, Danny’s cagey rhyme scheme and catchy hook emit pure electricity. Paired with Peggy’s raucous adlibs and closing verse, not only is “Burfict!” one of the standout songs on SCARING THE HOES, but additionally an undisputed song of the year candidate.

Neither Peggy or Danny are flooring listeners with their technical rapping ability on this tape, rather their one-liners steal the spotlight and more than a few laughs. “I feel like Papa John (insane),” raps Peggy on “Lean Beef Patty.” On the biblical “God Loves You,” Danny raps “Her with my dick like David and Goliath.” True to its humorous title, Peggy and Danny keep things lighthearted and comical throughout. Even though Peggy and Danny aren’t sharing any “Otis”-esque moments of bar trading on SCARING THE HOES, their rapping techniques are ideal foils to each other, something that is visible from one end to the other.

While this record represents a victory lap for the pair, SCARING THE HOES presents its own challenges and shortcomings. The LP sees Peggy is pushing genre boundaries while simultaneously pushing his own ability to mix the record properly. While Danny Brown mocked the criticisms of the album’s mix on Twitter, it is an entirely fair critique of the album. Danny’s verse on the opener “Lean Beef Patty” is practically unlistenable as the sidechaining essentially mutes Danny’s verse on every kick hit. Similarly, “Steppa Pig’s” brutal percussion and jumpy electronic elements nearly overpower both emcees. Conversely, looking at the mix as a stylistic choice also makes sense as well. With the title track having a similar mixing problems, the issue is certainly tangible.

But what are critiques if not perceptions? Sure, you can choose to perceive the mix as a flaw, or another calculated imperfection. Does either matter to Danny Brown or JPEGMAFIA? Do any perceptions of their music matter to them? Not in the slightest, and that’s what has allowed both to blossom into an artistic space where making such a staggeringly bold record is possible.  When collaborative records match the gravity and talent their duos command individually, the outcome is a substantial, as is the case with this album. A continuation of two brilliant careers, SCARING THE HOES is a record we’ll be talking about for quite a while.

Favorite Tracks:

Burfict!

God Loves You

HOE (Heaven on Earth)

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Luke Modugno is the editor-in-chief.

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An Exhibition in Consistency: Freddie Gibbs’ “SSS” meets expectations

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by Luke Modugno

Artistic complacency is a term that has an unjustly poor connotation. When you’re as consistent and dependable as Freddie Gibbs, being smug and content about the prestige of your career is, really, quite easy.

Such is the story of Freddie Gibbs’ latest record $oul $old $eparately, as Gibbs revamps his signature blend of typically transcendent coke raps over avant-garde trap and alternate hip-hop production. However, the “Alfredo” follow-up is relatively unsurprising in both positive and negative aspects.

Few artists can match the album run Gibbs has produced in the time frame of 2014 through 2022. Crafting two classic records with help from hip-hop’s most fabled producer Madlib, receiving a Grammy nomination for his brilliant collaboration project with The Alchemist, Alfredo and delivering a steady supply of high-quality music in between, Gibbs is a well-oiled machine at the art of album curation.

While this record is a revisitation of the chemistry constructed between Gibbs, The Alchemist and Madlib, $oul $old $eparately opens the door behind-the-boards to some intriguing producers. James Blake, KAYTRANDA and DJ Dahi all bring their incredibly diverse sounds to this record, allowing Gibbs to tinker with the experimentation of his usual formula.

While Gibbs wanders outside his comfort zone for a portion of the record on tracks like “Dark Hearted,” Gibbs is simply a master of his craft and he utilizes that to generate the clear standouts of the track list.

“Blackest in the Room” is pushed along by a silky and luxurious Alchemist loop and accompanied by a beat switch that display Gibbs’ versatility as an emcee. Switching flows multiple times throughout the track, it seems almost too easy for Gibbs to craft intriguing and memorable verses. “Space Rabbit” and “PYS” featuring DJ Paul are aggressive trap bangers showcasing his dizzying flow and clever word play. Madlib provides an angelic horn loop for the closer “CIA,” recalling the same brilliance produced on “Gat Damn” off of 2019’s Bandana. All-in-all, $oul $old $eparately’s bright spots are a quality union of the works that have propelled Gibbs to rap prestige.

Following suit of the elite producer credits on this album, Gibbs’ recruits for $oul $old $eparately’s feature list don’t disappoint. Anderson .Paak’s suave graces “Feel No Pain” in his catchy hook joined by a Raekwon verse that harkens back to the excellence of his early Wu-Tang days. Pusha T adds to his catalogue of flawless features on Gold Rings, and Rick Ross easily blends with the opulence emitted from the production on “Lobster Omelette.”

While Gibbs’ usual subject matter, sonic aesthetic and technical superiority are all in attendance on $oul $old $eperately, it’s hard to overlook the fact that the record produces a mere iota of the grandness we’ve become accustomed to with new releases from Gibbs. In Layman’s terms, $oul $old $eperately is watered-down in some ways.

It’s not unfair to call $oul $old $eperately unambitious. We’ve grown accustomed to Gibbs dropping boundary-pushing art consistently. Records like Alfredo, Pinata and Bandana have placed the bar extraordinarily high for new releases from Gibbs, a bar that simply isn’t surpassed on $oul $old $eperately. Gibbs isn’t getting any more creative with his pen here, he isn’t flexing his vocal range as much as anticipated, and the beat selection, while admirable, isn’t unique to his catalog.

Instead, $oul $old $eparately is a victory lap for an artist who deserves all the flowery praise he receives. Speckled with intriguing and ear-catching tracks, this record is a microcosm of the successes Gibbs has enjoyed throughout his tenured career. Freddie Gibbs has nothing to prove, and still raps his weight in bricks on $oul $old $eparately.

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Luke Modugno is the editor-in-chief.

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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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Curating Consistently Remarkable Raps: “Peace ‘Fly’ God” by Westside Gunn reviewed

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by Luke Modugno

The role of a curator is that of immense importance. They are tasked with manifesting a feeling, manufacturing a profound message and fashioning a space, project or exhibition to radiate a specific cognitive sensation. 

Westside Gunn embodies what it means to be a distinguished curator of rap music, something that was made palpably clear on his latest record Peace “Fly” God. 

The Griselda boss’ rapid output has slowed to halt in 2022, with the majority of his focus likely on his forthcoming studio album Michelle Records, set to be released at some point this year. Before the arrival of Michelle Records, Gunn has decided to bless fans by digging into the vault to unleash some loosies. 

Peace “Fly” God is a classic Westside Gunn experience. A star-studded lineup of producers assisting him in locating his signature grimey, rugged sonic palette, grandiose raps that are personified by esoteric luxury and streetwear brand flexes, and who can forget the famed Westside Gunn adlibs?

Juxtaposing flipping packs on the corner with now “looking like a Margiela model at the Guggenheim,” perhaps the track “Big Ass Bracelet” is the quintessential model of a flawless Gunn record. Pushed along by a dusty 70’s soul sample that suits his eccentric delivery, wordplay and adlibs swimmingly, “Big Ass Bracelet” is a clear standout on Peace “Fly” God. The song is also vastly benefited by its guests, Keisha Plum and Griselda newcomer Stove God Cooks. 

Appearing on four of the ten tracks, Stove God continually shows throughout Peace “Fly” God that he is undoubtedly destined for underground stardom. On the Madlib-produced “Horses on Sunset,” Stove God’s menacing, drably delivered hook drapes smoothly over the gloomy piano and drum loop. His tone injects energy on “Derrick Boleman,” sprucing up Madlib’s drumless, contorted violin loop. Stove and Gunn have evidently formed a chemistry, as their pairing across this record produces excellence. In some instances, Stove God completely steals the show (“Horses on Sunset”). Along with Peace “Fly” God being a thrilling preview for Michelle Records, it simultaneously acts as yet another reason to keep your eye on Stove God Cooks. 

With Peace “Fly” God, it seems that Gunn has found a fortuitous balance of experimentation and consistency. While he’s keeping his foot on the pedal, moving the needle in terms of molding the sound of the underground on tracks like “Danhausen,” Gunn also understands and plays to his strong suits on songs like “Big Ass Bracelet.” 

Perhaps the only two reasons to be a detractor of Peace “Fly” God comes with the project’s opening tracks. “Jesus Crack” is a bloated mess made worse by a subpar feature from Estee Nack that spans three minutes. “Ritz Barlton’s” stumbling piano sample paired with Nack’s off-beat delivery fits like a square peg in a round hole, creating a nearly unlistenable song.

Additionally, in favor of fast-tracking the release of the project, Gunn elected to forgo mixing and mastering Peace “Fly” God. While this is abundantly clear during the forever-humorous Cussing Pastor’s outro on “Derrick Boleman'' and “Flip V. Phil,”  Gunn doesn’t sacrifice much here by skipping that part of the process. After all, Griselda has built an empire on that same trademarked jagged-edged sound. 

For now, Westside Gunn has presented yet another quality body of opulent coke rap music with Peace “Fly” God. Defined by its peaks and valleys that ultimately restrain it from being considered among elite Gunn projects, if Peace “Fly” God, is constructed of the throw-aways of Michelle Records, we are in for a treat when Gunn chooses to drop it.

favorite tracks:

Big Ass Bracelet (feat. Keisha Plum & Stove God Cooks)

Horses on Sunset (feat. Stove God Cooks)

Derrick Boleman (feat. Stove God Cooks)

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Luke Modugno is the editor-in-chief.

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

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by Luke Modugno

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

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

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

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

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

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

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

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

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

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

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

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

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Luke Modugno is the editor-in-chief.

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How J Dilla's "Donuts" Permanently Reshaped Hip-Hop Production

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by Luke Modugno

Art is fluid, everchanging. Altered by powerful voices and minds, potent creatives seem to always carve out new paths and directions within the artistic bounds of their medium. However, you seldom see a singular composition definitively erase the once unnavigable borders of art and delineate new ones. Circumstance, unmitigated creative fearlessness and a willingness to adapt are required in order to shift the tectonic plates that lie beneath the surface of an art as ancient as music. All of those requirements were met when fabled rap producer J Dilla left the world of art with his groundbreaking beat tape Donuts.

Donuts was born out of circumstance. J Dilla emerged in the late 90’s as a prominent underground producer for local rappers, until breaking through with the notable rap collective Slum Village. Working with acts such as A Tribe Called Quest, Common, The Pharcyde and more, Dilla quickly made a name for himself with the complexity in which he chopped and looped his beats. Dilla’s production wasn’t just unique and ear-catching. There was distinct warmth, vibrance and vivaciousness erridating from the way Dilla’s kicks, drums and loops sat. 

Whenever Dilla decided to hop behind the boards, his beats exemplified personification of the human experience. The intimate guitar on “Didn’t Cha Know'' projects the image of a dawn sunrise peeking through a window with the curtains flapping in the wind, especially paired with the silky-smooth vocals of Erykah Badu. The kicks draped over the melancholic vocals of The Pharcyde on “Runnin’' sounds like a comfortingly warm summer night. Uptempo, drawn-back, soulful or bouncy. Dilla was a chameleon that could shape-shift his production style to fit the artist he was working with flawlessly. Dilla didn’t just produce, it was more than that. His dense hip-hop orchestras reverberated with listeners at a deeper level. 

It was this boundless talent, along with tragedy, that allowed for the creation of Donuts. In 2005, Dilla was diagnosed with a rare blood disorder known as Thrombotic Thrombocytopenic purpura (TTP). Unfortunately, TTP is extremely deadly, with a fatality rate of 70-80%. Despite at first continuing to tour and work, Dilla was eventually confined to a hospital bed as his symptoms continued to worsen. Understanding his mortality, Dilla brought his MPC3000 and a record player to accompany him in the solidarity of his hospital bed. The goal? Use his ingenious, renaissance-level production skills to create a project that acted as a love-letter to his family, friends, fans and his time spent on Earth. 

As friends and family came to visit Dilla, they would contribute to the creation of Donuts, by gifting him new records to chop, loop, manipulate and organize into his cacophonously intricate production style. Being the chronic sampler that Dilla was, his ear became immensely picky.

In a documentary made about the album's creation, Dilla’s mother illustrated just that, “When I took the crate up, and he looked through it, I think out of a whole milk crate full of 45s, I think he might have taken a dozen out of there and set them aside. He said 'you can take that back to the house'. He said 'none of that's good'." Using inspiration and direction from the people he loved most is a wholly tangible and immediate feature of the record, as Dilla cycles between a diverse set of genres and sounds for his samples, demonstrating the crate digging done on his behalf. From 70s soul records to traditional African drums, Donuts sounds what it would feel like if the complete contents of a dusty, out-of-date record store smelted the entirety of its stock into a singular vinyl disc. Borrowing literal milliseconds of various records for miniscule portions of songs off of Donuts, Dilla’s patchwork style blends and pairs endearingly well with the tools his family provided him with. 

Throughout the final year of his life, Dilla’s condition worsened considerably. His legs and arms would periodically swell, hindering his ability to work on Donuts. If the pain of using his fingers to operate his MPC became too much to handle, his mother would massage his fingertips, he was simply bent on finishing the record. His sheer determination radiates from each track. From the roaring, vigorous guitar that defines the blood-curdling opener “Workinonit,” spry dance tracks such as “Dilla Says Go” and “Light It,” somber love songs like “Stop”, to signature soul loops on “One for Ghost” and “U-Love,” “Donuts” is a 31-song exhibition in sampling mastery and pushing the boundary of what it means to produce into uncharted territory. This isn’t hyperbole either. Think John Coltrane, Duke Ellington, Wolfgang Mozart, this is the company J Dilla stands in with just how innovative projects like Donuts are. Let me explain.

Dilla wasn’t just chopping samples in a way that made your head bop, he was tinkering with and altering our conception of music time. Thanks to the compositional study done by author Dan Charnas in his novel “Dilla Time: The Life and After-Life of J Dilla,” we have a genuine understanding of just how indelible Dilla’s mark on music is. Let’s take a deep-dive into some music theory.

The vast majority of European music counts its rhythm evenly, meaning every beat is of equal length. This is otherwise known as straight time.

Things changed with the introduction of jazz, particularly African-American jazz. Early jazz goliaths such as Louis Armstrong started introducing the concept of beats coming long-short, long-short, which then became known as swing time.

None of that meant anything to J Dilla. With the technological revelation of the MPC, rules like that were nothing more than a musical custom. Thus brought the creation of Dilla Time, fusing both swing and straight time simultaneously. Effectively shredding the shackles of hip-hop producers for eternity, Donuts quite literally reimagined how we view music. 

Donuts was officially released on February 7, 2006 to immediate critical acclaim. Sadly, Dilla passed away just three days following the release of the record, unable to revel in the musical feat he had just accomplished. Although Dilla was relatively underground at the time of his passing, the hip-hop world has never glossed over the significance of his work.

“We have to make music and think ‘if Dilla was alive, would he like this?’” said Kanye West in an interview with HYPEBEAST. “It was like he was making Quincy Jones production sessions out of his MPC. His music just felt like drugs.” Frequent collaborator, friend and fellow member of the Mt. Everest of legendary hip-hop producers Madlib has been outspoken in his praise of Dilla. “ “[His production was] like that human feel, and the selections that he chose to sample. Every producer bows down to Dilla whether they like it or not, because everybody took something from him like Coltrane.”

Madlib isn’t wrong. Dilla’s influence reaches well beyond the borders of hip-hop. From modern jazz to R&B, to funk, to lo-fi, Dilla’s bold defiance of musical rules continues to inspire waves upon waves of producers who think outside-the-box. Every off kilter drum, kick or vocal sample that sounds uniquely out-of-place can be traced back to this record and the mind of Dilla. In that way, much like the shape that a donut embodies, Dilla’s impact on hip-hop will be never ending. Rest in Peace Jay Dee.

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Luke Modugno is the editor-in-chief of StereoVision.

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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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AI’s Threat to Authenticity Within the Music Industry

By Luke Modugno

Flying houses and cars, mailing services powered by rockets, and widespread telepathy. These “Jetson-esque'' innovations represent just a few of the hilariously inaccurate predictions made in the 70’s regarding life in the 2020’s. While most of the educated guesses our temporal brothers and sisters wagered about contemporary life were miles off, they weren’t wrong about one. In fact, their prediction not only came true, but has become one of the biggest threats to all forms of original art today: artificial intelligence. 

No, the robots from “Ex Machina” haven’t started curating art collections just yet. However, the recent advent of both AI-generated artwork and music has sent ripples through both industries. 

“Galactic Archeology With Metal-Poor Stars” created by Wombo Dream AI

Thanks to Tik-Tok, Wombo Dream (available on iOS, and Android) has emerged as one of the most accessible forms of AI artwork. Simply by typing in phrases or keywords, Wombo will generate art using AI that combines the word prompts with elaborate murals made from preexisting images.  Within seconds, Wombo’s AI is able to piece together intricacies in art that would take human artists hours or even days, even with specifically vague prompts like “Galactic Archeology With Metal-Poor Stars”

With billions of images available in an instant to an advanced AI such as the one behind Wombo, the sophistication of AI-generated artwork is startling, but nowhere near as alarming as the music it can create.

AI music’s vast capabilities span a comprehensive set of musical processes, including composition, performance, digital sound processing, and even interactive composition. Plenty of websites out there can emulate something similar to what Wombo presents, offering an AI that can produce millions of songs based on the users’ specifications. But music AI is far more intuitive, as it possesses the competency to react in real-time to a live, human performer. Utilized in this way, AI can replace entire live bands and orchestras by producing the same quality of music in less time, with less confusion and more harmony. 

While less-advanced AIs use internet databases to power their machine learning, music AI use neural networks to mimic how the brain works when creating music. Essentially, if you throw bits of music at these AIs, they will learn its patterns and frequencies by repeated exposure to them. Perhaps one of the most unsettling examples of this technology is its utilization by one of the most musically-deprived fanbases in rap music: Playboi Carti fans. A simple YouTube search yields plenty of AI-generated Carti tracks, created with the application of this technology. Fans even created an EP for Carti using AI, titled DIGITAL BUTTERFLIES. The project uses Carti’s real voice, famous ad-libs, and even frequent Carti collaborator Pierre Bourne’s sound kit to craft a bouncy, psychedelic, six-track trap project, one nearly as polished as something Carti himself would create early on in his career. 

Besides being decidedly creepy and soulless, this clearly presents a plethora of pressing issues for the music industry. From further blurring the already murky lines regarding posthumous music to opening even more avenues for artist exploitation, the mere presence of AI music in its current state can and will be an obstacle. 

One way or the other, original art is about to become more scarce, whether we like it or not. Much in the same way we consume social media, art will have to be viewed with the eye of a skeptic. 

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A Journey Into the Beyond with The Weeknd: “Dawn FM” Reviewed

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By Luke Modugno 

World building through music is a difficult, yet incredible feat. When an artist is able to enthrall audiences by encapsulating a concept with vivid storytelling and sonic scene-setting, that is a unique mark of brilliance. Following the release of his latest album, Dawn FM, The Weeknd should be considered a true master of the art of concept albums.

The pop megastar is back with his fifth studio album after a one-year hiatus. Following perhaps his most critically acclaimed record to date, After Hours, expectations were sky high for this record. 

Continuing to lean into the 80’s synth-pop sonic landscape established on After Hours, Dawn FM picks up the pace a bit, with more upbeat production and lyrical content than its predecessor. Throughout the record, The Weeknd experiments within the synth-pop genre, dabbling in some soulful tones with tracks like “Out of Time,” and embracing disco-dance aesthetics on “Sacrifice” and “Is There Someone Else?” Considering the diversity of moods and directions this record takes within its overarching sonic concept, Dawn FM represents The Weeknd’s best-produced record, surpassing After Hours substantially. Abel has production credits on every song on the record, continuing to show his knack for conceptual execution behind the boards. 

Canonically, Dawn FM picks up right where After Hours left off. In the music video for “Until I Bleed Out,” the final track from After Hours, Abel sees himself inside a room filled with balloons and people, surely a reference to his outstanding mixtape “House of Balloons.” As he stares into the room, Abel sees himself get mobbed and killed by this group of people (likely representing succumbing to his addictions). His escape from the house of balloons symbolizes his efforts to escape his old life, during the climax of the video, Abel passes out from blood loss and dies on the Las Vegas strip, where After Hours takes place. Fittingly, Dawn FM takes place in purgatory, with the Jim Carrey narrated radio station creating a soundtrack for the listeners’ journey toward the light at the end of the tunnel. Sonically and conceptually, Dawn FM is an ethereal pitstop on a journey that began with After Hours. 

As Carrey’s fuzzy narration cuts in to conclude the project, he reminds the listener that in order to reach heaven, you have to let go of the regret and pain from your physical life. With Abel providing angelic background vocals to Carrey’s final message, the record ends with the heavenly sound of birds chirping. As he alluded to on Twitter, Abel will conclude this storyline in his next record, completing yet another trilogy of incredibly refined and distinguished pop/R&B records. 

Although Dawn FM is mostly spotless, some tracks simply do not present the same quality as others on the tracklist, unnecessarily bloating the record. “Best Friends” is repetitive and indistinguishable from countless other Abel songs and “Here We Go…Again” is dragged on far too long and contains a surprisingly disappointing Tyler, The Creator feature.  

However, overall, Dawn FM is an inherently intriguing concept album executed with exactitude and mastery. Abel seems to get more experimental and ambitious with each project, locking our gaze on what he decides to do next. 

Favorite Tracks:

Out of Time 

Take My Breath

Is There Someone Else?

Listen to Dawn FM here:

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“Faces” a Head First Dive Into the Deep End of Mac Miller’s Creative, Splitting Mind

By Luke Modugno

Photo via Brick Stowell

Sometimes, the necessary elements required for a noteworthy album go far beyond musicality. The headspace, circumstances, and career trajectory of an artist often define chunks of time for artists. Oftentimes, these hard-to-reach creative pockets provide the foundations for a career-defining moment. 

This is the case with the creation of the late Mac Miller’s stellar 2014 mixtape Faces, which was added to streaming services on Friday. 

“It was just freedom,” said lead sound engineer Josh Berg in “Making Faces (A Short Film).” “He’d just wanted to make music and the schedule was so jammed up for the previous year. Did a whole US tour for three months, festivals tours for a month, a two-month tour across Europe with Lil Wayne, playing arenas, literally doing shows at every moment. And then, there was nothing, no shows, no anything, just studio.”

After bursting onto the early 2010’s rap scene, Miller had garnered immediate success due to the infectiously carefree nature of his work. Affectionately referred to by many as the poster child of frat rap, Mac’s debut projects Blue Side Park and K.I.D.S afforded the Pittsburgh native a healthy, potent dose of fame. 

Prior to the release of 2012’s Macadelic, Miller moved to Los Angeles. As just a 20-year-old living on his own, the immensity of life under the spotlight paved the way for the creation of something new for Miller. 

“It felt like it was my own world. I felt like I could really grow into my own creatively,” Miller said in the short film. “It felt like I could find myself through the music I was making.” 

In a discography littered with stunning musicality, the project that best portrays Mac’s personality, artistry, and sonic evolution has to be Faces.

As the elegant saxophone and trippy drums cut in on the grandiose opener “Inside Outside,” and with lines like “All my homies philosophers,” and “On the inside, I’m outside all the time,” Miller establishes a motif that presents itself through a variety of artistic decisions throughout the album: psychedelia. From the production and lyrical content to the cover art, something about Miller dabbling in hallucinatory rap simply fits his artistic aurora. However, this creative direction was triggered by more than just music. 

“To have all that space was a pro and a con,” said Miller in an interview with FADER Magazine. "It started with me sitting inside all day. Then I’d get bored, and I’d say to myself ‘Well I can just be high and have a whole adventure right here in this room.’’’ 

It’s an issue that comes to a head on the elegantly dark “Funeral.” 

“Doing drugs is just a war with boredom but they sure to get me/I heard that legends never die, oh this lonely hell of mine,” harmonizes Miller over the track's kaleidoscopic production. 

“Funeral” represents the end of a trilogy of songs in the middle of “Faces” meant to represent the three most significant days of a man’s life: the day he’s born (track 10 is titled “Happy Birthday”), the day he gets married (track 11 titled “Wedding”) and the day he dies. With “Funeral,” Mac comes to the revelation that every second he lives could be his last. This recognition of fragility is amplified by the fact that at this point, Miller had already developed a crippling drug addiction that saw him have plenty of close encounters with death. “Funeral” and the trilogy it belongs to is a monumental step forward for Mac in terms of his development into one of the most skilled confessionary songwriters in hip hop. 

Art by Brandon Spahn

Another strong suit of “Faces” is its considerably strong guest list. As Miller and Berg describe in the short film, Mac’s home studio acted as a collaboratory. 

“I think one of the coolest things about being down there was that different people would always come through,” Berg said as images of Earl Sweatshirt, Vince Staples, ScHoolboy Q, Thundercat, and more collaborators flashed across the screen. “He was eager to learn from others, eager to make people feel comfortable and welcome.” 

Tracks like “New Faces v2,” featuring Earl Sweatshirt and Da$h exemplify exactly how integral collaboration was in Miller’s artistic process. Earl delivers what easily could be argued as one of his most impressive verses, while Da$h puts in a solid feature. The exceptional performances by both feature artists had to have compelled Miller to perform at his peak on this track, as that’s exactly what he did. Delivering thought-provoking, yet unfortunate bars like “All my life I’ve been afraid of powder, all my life I’ve been afraid of power, where did all that go,” Miller’s verse is a microcosm of everything Faces does well. 

“Faces” was a springboard of an album for Miller. Going on to create classic records like GO:OD AM, Swimming, and Circles following its release, Faces afforded Mac the artistic confidence necessary to fully realize his untapped potential as a boundary-pushing artist. Ultimately, Faces is a mixtape that pushed Mac’s artistry forward in so many ways while staying true to himself. Rest in peace Mac.

“That’s like Mac’s personality,” Berg said. “That’s what Faces is, that’s the most Malcolm album you’ll get.”

Favorite tracks:

Funeral

Friends (feat. ScHoolboy Q)

Rain (feat. Vince Staples)

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One Step Toward Artistic Reinvention: The Melodic Blue Reviewed

By Luke Modugno

Contradictory to what most people think, trap music is a wildly diverse landscape of artistic direction and vision. While the genre has its doppelgangers and clones, it boasts boundary-pushers and innovators like Young Thug, Playboi Carti, and Travis Scott. The list of trap visionaries might have to make room for one more: Baby Keem. 

The Las Vegas rapper’s most recent project The Melodic Blue shows the most potent boldness of Keem’s artistry at work, as the 20-year-old takes a detour away from the sounds he cultivated in prior records. 

Keem has been silently building a blue-ribbon catalog of trap albums. 2019’s DIE FOR MY BITCH was contagiously aggressive, focused, and energetic. Keem’s first project, The Sound of Bad Habit, executively produced by Cardo is pure potential on full display. 

Keem’s consistency hasn’t slowed whatsoever in 2021. Besides the release of The Melodic Blue, Keem dropped two standout singles, “no sense” and “durag activity” featuring Houston’s own Travis Scott. Additionally, Keem found himself featured with Scott on Kanye West’s latest classic record “Donda” on the exceptional “Praise God.”

The Melodic Blue is a continuation of so many artistic strokes found in various of his previous works.

The abrasive opener “trademark usa” is as assertive and grand as “STATS” from Keem’s last album.

“issues’’ toned-down production and delivery from Keem harkens back to the sonic palette utilized on “HONEST.”

While Keem builds on what he’s established in the past, he pushes his creative direction forward in a plethora of ways with The Melodic Blue. The most ear-catching and compelling track on the record comes with the foreshadowing “scapegoats.” The soulful pitched-up looped sample accompanies Keem as, of course, he boasts about “how fast these Porsches get” and how he’s “borderline more than rich.” However, “scapegoats” requires a closer examination, as Keem lets us see a more vulnerable and confessionary side, “One day I’ll tell you how my life was unfortunate/Who I made this tape for? I’ll tell the story two years later, for now the case closed.” In its closing seconds, the looped production gives way to an alluring piano and intimate guitar. The remarkable production on “scapegoats” sounds as if a veteran and established producer constructed it. However, Keem is credited with production on this track. “scapegoats” is a culmination and exhibition of Keem’s full potential behind the boards as well as a storyteller. It’s a one-minute track that impresses from start to finish. 

Immediately following “scapegoats” on the tracklist is the grandiose “range brothers,” featuring Keem’s cousin, the elusive genius Kendrick Lamar. Keem’s production on “range brothers” is inherently intriguing. Defined by stumbling and fluid kicks, high hats and 808’s, Keem’s flows fit perfectly. When Kdot cuts in after the first beat transition, “range brothers” is rejuvenated by his urgent delivery. Keem and Kendrick trade bar for bar, making for one of the best moments in rap this year. Of course, we get a classic Kendrick Lamar moment on the cusp of the third beat of “range brothers,” spitting some of the most hilarious adlibs in rap history. “range brothers” is a microcosm of what Keem does so well as an artist. He demands respect simply due to his raw talent as an emcee and producer, but prioritizes keeping his art purely fun and light in nature. 

Lamar also appears on the lead single of the record, “family ties,” which happens to be my personal pick for song of the year. Keem displays his full skillset as a rapper on this track, as his wordplay, flow, and rhyme schemes were intricate enough to draw praise from both Tyler, The Creator and Vince Staples on Twitter. After a second beat switch, Lamar enters attack mode, crafting his best verse since the release of “DAMN.”  “family ties” is a brilliant union of exceptional rappers destined to cross paths many more times in the future. 

Considering this is an experimental effort from Keem, not everything here is worth pursuing artistically. “pink panties” is a bit scattered (although Keems flows stay impressive ) as the hook derails the song. “cocoa” with Don Toliver is high energy, yet lacking substance. 

All in all, The Melodic Blue is a slow burn of a project. After your first listen, you may not totally understand what makes this project stand out, that’s because it’s a wildly unique and peculiar listen. While Keem’s experimentation with trap doesn’t always stick here, it’s surely the start of artistic evolution that will define rap for years to come. 

Favorite Tracks:

family ties (feat. Kendrick Lamar)

scapegoats 

lost souls 

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Music as Utility: Donda Album Review

By Luke Modugno

Kevin Mazur/Getty Images

While most view music as a form of artistic expression, others use it as a means to an end.  Kanye West’s latest studio album “Donda” is perhaps the most potent example of music as utility. Ye finds himself again at a low-point in his life with 27 beautifully cathartic, solace-seeking songs which see the 44-year-old confronting the death of his mother and a failed marriage with Kim Kardashian. 

Since the death of his mother in 2007, Kanye has hardly had time to cope with her passing. Around the same time, Ye and his fiance Alexis Phifer split dramatically. About a year later, Kanye was thrusted into what was one of the most infamous periods in his career after interrupting Taylor Swift’s acceptance speech at the VMA’s. For the next several years, Ye fought an uphill battle to stay in the good graces of the public. Later entering into the fashion industry, meticulously building a multi-billion dollar business and returning to religion, Kanye’s life has been running at nothing short of lighting speed since his ascent to stardom. 

Perhaps the fact that the pandemic forced everyone (yes, even Kanye West) to slow their lives to a staggering halt is why 2021 is the year we receive a cathartic tribute to Donda West, nearly 14 years after her passing. 

Coming off what was widely considered Kanye’s weakest project, JESUS IS KING, Ye takes many of the gospel-inspired elements and fuses them with avant-garde trap-soul sound he honed in projects like “The Life of Pablo” and “Yeezus.” However, the project has influence from nearly every other album in Ye’s discography. 

“New Again” sounds as celebratory and futuristic as something scraped off of 2007’s “Graduation.” 

The guest appearance of Kid Cudi on the alluringly spacial “Moon” sounds like the sonic brother of “KIDS SEE GHOSTS.”

The visceral soundscapes employed on “God Breathed” are akin to many that can be found on both “The Life of Pablo” and “Yeezus.” 

​The track “Junya” with Playboi Carti represents a creative and somewhat stunning trap gospel fusion, a sonic direction that seems to guide much of “Donda.”

Duality has been a continual motif in Kanye’s music and “Donda” is no exception to the rule. During the first half of the project, Ye seems to be basking in sin. “I’ll be honest, we all liars/guess who’s going to jail tonight?” Ye sings on the second track featuring Jay-Z titled “Jail.” Donda's first twelve songs are reactionary, they paint a picture of a broken man who gave way to sin in the face of grief and despair. “I was out for self, I was up for sale but I couldn’t tell/Made the best tracks and still went off the rail” harmonizes Ye on “Hurricane.” 

Sonically, the first twelve tracks on “Donda” are uptempo, energetic and boast some of the most notable guest appearances on the record. “Off the Grid” and “Junya” see Ye recruit Playboi Carti’s infectious trap intensity, while Baby Keem and Travis Scott deliver aggressive features on the trunk-rattling “Praise God.” 

“Donda” noticeably pivots starting with track 11 titled “24.” The ever-impressive Sunday Service Choir joins Kanye as he mourns the passing of a close friend, Kobe Byrant. Kanye opened up about the shock of his sudden passing in an interview with GQ Magazine, “He was the basketball version of me, and I was the rap version of him,” West said. “We came up at the same time, together. Kobe was one of my best friends.” The grandiose organ requires a high-level signing performance which Kanye delivers. The track represents a paradigm shift of how Ye approaches the rest of “Donda.”

Instead of numbing his pain through sinful deeds, Kanye surrenders to Christ in order to heal himself following the string of traumatic events that have left an indelible scar on his soul. The shift in perspective also comes with a shift in the musicality, as gospel influence seeps into tracks like “Lord I Need You,” “Keep My Spirit Alive,” and the angelic closer “No Child Left Behind.” 

Although the tracklist is littered with what will become timeless Kanye West songs, the definitive penultimate track “Come to Life” encapsulates the “Donda” era both sonically and philosophically.  

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

While mostly polished, Donda is not free of criticism. Ye’s latest project is by far his longest, clocking in at one hour and 48 minutes. At times, the album is bloated, insisting upon itself on multiple occasions. The outro of “God Breathed,” is dragged on far too long, while the remix versions of four of the tracks don’t offer much, simply extending Donda’s runtime. Additionally, the mix on plenty of songs sounds incomplete, including “Tell the Vision,” “Pure Souls,” and Kanye’s verse on “Hurricane.” 

Donda is the acceptance of duality for Kanye. The conflicted Gemini, Kanye is willing to move past his former life, leaving behind the pain, hurt, and struggle of it in order to preserve the peace he has found through his family. “New me over the old me,” sings Ye on “24.” Somewhat unsurprisingly, Kanye West has produced brilliance yet again.

Favorite Songs:

Junya pt. 2 (feat. Playboi Carti & Ty Dolla $ign)

Lord I Need You 

Come to Life

Rating: 8.5

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Finding Solace in a House Ablaze: “The House Is Burning” Album Review

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By Luke Modugno

Staring into a fire is an unequivocally human experience. Watching idly by as the heat of the flames melt away the old to give way to something new seems almost therapeutic, that is when those flames aren’t engulfing your own sanctuary.

Isaiah Rashad’s The House Is Burning, presents the pressing duality of this very scenario. “God’s not going to save you. I mean, he can. Because I believe in God. But God alone is not going to save you,” Rashad said in an interview with FADER Magazine. “When your house is on fire, are you going to go into that bitch to get the personal possessions, or are you just going to trust in yourself and in God that you’re going to be able to bounce back?”

Following up his debut masterpiece Cilvia Demo with an LP as intricate as his 2016 effort The Sun’s Tirade, had most rap enthusiasts pinning Zay as the crown prince of the game. 

However, Zay was dealing with his own struggles at the time. From essentially giving up rapping and becoming dead broke to battling drug addiction and eventually entering rehab, putting out a new album was the least of Zay’s concerns over the past five years. “I was doing whatever I could to escape,” said Rashad. “Being out in L.A. without anything anchoring me down fucked me up. You can float off out here. You can get lost in this bitch.”

Since our first introduction to his music, Isaiah Rashad has proven time and time again his mastery of presenting profoundly existential concepts with a potent joviality. The House Is Burning is really no different, as Zay recounts his struggles over his music hiatus over energetic yet psychedelic trip-hop production. 

Photo Courtesy of Carlos Gonzalez

Perhaps the most definitive example of the dichotomy that is The House Is Burning is its two opening tracks, “Darkseid” and “From the Garden.” On the album opener, Zay speaks of attempting to stay out of trouble and the perils of the music industry, comparing them to DC Comics’ infamous villain Darkseid. On the ladder, Zay absolutely lays loose with braggadocious bars over an 808 ridden beat featuring Lil Uzi Vert. 

The project has plenty of sonic diversity, while mostly focusing on the theme of recovery and what Zay has been up to these past five years. Tracks like “RIP Young,” “Wat U Sed,” and “Chad” have a head-bopping energy, as well as unmistakable Tennessee trap influence. Zay’s skill and versatility as an R&B singer shine through as he slows things down on “Claymore,” “Headshots (4r Da Locals),” and “Score.”

As usual with Zay projects, the guest list on this project is stacked to the brim with talent. SZA, Smino, 6LACK, Amindi, and Iamdoechii provide beautiful vocals on their respective tracks, allowing Zay to handle the rapping. Jay Rock, Duke Deuce, Jay Worthy, YGTUT, and Uzi lend compelling guest verses (especially Jay Rock, wow). 

“Score” is a clear standout from the tracklist. Over silky Kenny Beats production, Zay harmonizes about a lost lover. SZA and 6LACK accompany him on the chorus and their own verses, giving the song a velvety smoothness. 

But perhaps the best song on the record, and one of Zay’s most honest songs is the closer of The House Is Burning titled “HB2U.” Opening with a conversation, Zay immediately establishes the stakes of the predicament that the title of the album implies. “Is there a heaven?” a child asks, a voice replies with affirmation. The child asks “How do you know that?” prompting the stale voice to reply “You don’t.” The first half of the record is triumphant, a declaration of victory for Zay who has been to hell and back, or rather into the burning house and back. Zay asks “If you don’t ever get yourself straight, who the fuck is you gon’ help mane?” “HB2U’s” first half is a recollection of the lessons Zay has learned: trusting in oneself to pull through even when it seems your life is collapsing around you. A tear-jerking celebration of a life renewed, “HB2U” takes a darker turn after a beat switch.

After a brief pause, a hallucinogenic melody cuts in with Zay harmonizing “You are now a human being.” This chorus possibly refers to the fact that most of Zay’s previous work was recorded under the influence of alcohol. The House Is Burning was recorded without the tempting escapism of being drunk, again hammering home the theme of the project. “This ain’t as hard as it gets, but I'm still on drugs,” sings Zay in the closing seconds of the project. “HB2U’s” second half acts as an intimidating warning to Zay himself, to continue his progress in life, or lose it all again and succumb to his old ways. “Am I cheating myself, I'm imploding.” As a whole, the song is haunting, victorious, revealing, sobering, a masterpiece. 

“The House Is Burning” is a concept executed with razor-edge precision. A passionate, soulful project with the healing power of 100 hours of therapy, Isaiah Rashad has blessed his fans with something truly sentimental.

Favorite tracks: 

RIP Young 

Wat U Sed (feat. Iamdoechii & Kal Banx)

HB2U

Listen to The House Is Burning here:

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Tyler The Creator: Call Me If You Get Lost Review

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By Luke Modugno

In many ways, Tyler, The Creator has come so far as an artist, without actually going anywhere at all. Perhaps the best example of this artistic dichotomy is the presence of his newest masterpiece record CALL ME IF YOU GET LOST.

The LA rapper is back with his sixth studio album, continuing his consistent musical output of dropping new projects every odd year. Spanning 16 tracks and 52 minutes, CALL ME IF YOU GET LOST is one of Tyler’s longer projects. While the project is longer and features no central narrative, Tyler keeps the listener captivated with near flawless production, intriguing flows, bombastic bars regarding traveling the world, and unexpected featured artists. 

From the opening seconds of the intro track “SIR BAUDELAIRE,” Tyler is taking a major pivot from the artistic direction he pursued with IGOR. Scrapping the lo-fi, synth jazz, neo-soul littered production that defined his last project, Tyler uses “SIR BAUDELAIRE” to ensure the listener understands that CALL ME IF YOU GET LOST is heading back to Tyler’s roots. Co-written by Westside Gunn and produced by Conductor Williams, Tyler clearly wants to prove himself as a bonafide rapper, which he does successfully here and across the record.

Along with the opening track, the first three on CALL ME IF YOU GET LOST reinforce the idea that Tyler is locked in as a rapper for the duration of the project. From the hard baselines of “CORSO” and “LUMBERJACK,” to visceral head nodders “MASSA” and “MANIFESTO” featuring Odd Future standout Domo Genesis, many of the soundscapes favored by Tyler harken back to the early days of his sonic progression that appear on Wolf, and even Goblin. 

While Tyler makes sure to remind us that he is one of the quintessential rappers in the game currently, CALL ME IF YOU GET LOST still features melodic, neo-soul strokes that keep newer fans of Tyler’s music satiated. “RISE!” is a clear highlight of the record, with Tyler taking subliminal shots at A$AP NAST while flowing flawlessly behind a hook aided by DAISY WORLD. “WUSYANAME” is a harmonious love song pushed along by beautiful background vocals from Ty Dolla $ign and a gorgeous feature by NBA Youngboy. But the clear centerpiece of CALL ME IF YOU GET LOST comes from the tenth track, “SWEET / I THOUGHT YOU WANTED TO DANCE.” Tyler again favors the sounds that characterized portions of IGOR and Flower Boy, flexing his singing voice while serenading a lover. Tyler recruits the help of the angel-voiced Brent Faiyaz for “SWEET,” who completely steals the limelight with a verse and vocals that simply melt in your ears. The track only gets better when it transitions to “I THOUGHT YOU WANTED TO DANCE.” The song emits the same energy as the title, with reggae and samba production that makes for one of the best songs released this year. Fana Hues turns in a stunning feature on this track as well, fitting the sonic vision of the track entirely. 

There is an endless amount of things to praise CALL ME IF YOU GET LOST about. From DJ Drama’s valuable contributions on various tracks to the eight-minute catharsis that is “WILSHIRE,” this project is unquestionably flawless. CALL ME IF YOU GET LOST is a summation of everything Tyler does well musically. He revisits and refines the edgy, rap-heavy days of his early career and the Wolf era while building on the ingenious innovation he’s displayed with Flower Boy and IGOR. CALL ME IF YOU GET LOST checks all the boxes, it’s by far and away the best album that has dropped this year and debatably the best work he’s released.

Favorite Tracks

SWEET / I THOUGHT YOU WANTED TO DANCE (feat. Brent Faiyaz & Fana Hues)

RISE! (feat. DAISY WORLD)

HOT WIND BLOWS (feat. Lil Wayne)

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Mach-Hommy: Pray For Haiti Review

By Luke Modugno

In hip-hop, it’s said an ear-piercing and definitive voice is worth its weight in gold. If that’s true, New Jersey’s underground rap purist Mach-Hommy’s intonation is worth millions. Since his departure from rap super label Griselda, Mach has been unequivocally discreet, dropping independent mixtapes from the shadows. However, Mach and Griselda boss Westside Gunn have had their reunion with Mach’s latest project “Pray For Haiti,” executively produced and curated by Westside Gunn.

Pray For Haiti, is easily Mach-Hommy’s most ambitious project to date, featuring relentless and refined bars over dusty, yet lavish Griselda drumless loops and chops. 

Mach is one of the most unique acts in rap at the moment. He wears his influences on his sleeve shamelessly, yet carves out his own soundscape and style that is ruggedly exclusive to the Haitian emcee. With strokes of MF DOOM and Jay-Z, Mach blends his idols’ characteristics with those of contemporary avant-garde hip-hop. Pray For Haiti, puts his artistic versatility center stage. Whether he’s rapping over minimalistic, dreary beats (“Murder Czn,” “The 26th Letter”) or far more eccentric, in-your-face production (“Makrel Jaxon,” “Kriminel”), Mach is a master of almost every stylistic facet of hip-hop. “Pray For Haiti,” is Mach realizing and acting on his natural talent as a rapper and he makes sure the listener is aware of that on highlight “Makrel Jaxon,” “Next tape you might hear me sliding on flamenco or calypso, maybe you should tip-toe.” 

Westside Gunn’s curation of this project benefits Pray For Haiti incredibly. Almost every project released by Griselda is a masterclass in production. Because of their consistency behind the boards, the quality of Griselda albums is best determined by how compelling their rappers can illustrate flipping packs and living lavishly. Hearing a rapper beside Conway The Machine or Benny The Butcher over beats from the distinguished and frequent Griselda collaborators Conductor Williams and Camoflauge Monk was certainly a treat. From the exquisite clarinet sample on “The Stellar Ray Theory,” to the soulful “Kriminel,” there's something for every hip-hop fan on this record. 

Throughout the record, Mach allows the listener glimpses into his native Haitian culture, particularly with an enthralling interlude appearing in the second half of the record titled “Kreyol (Skit).” The album is a layer peeled away from one of hip-hop’s most reclusive acts, unveiling an emcee with deep cultural roots and influence. Mach gets fairly personal on Pray For Haiti, speaking on his own struggles in life on tracks like “Kriminel.” Usually unapologetically braggadocious, Mach reveals a thoughtful rapper with many of the same issues as the listener. While he isn’t the most talented vocalist, Mach uses singing on Pray For Haiti, as a vehicle for the pain he feels, harmonizing in creole throughout the album transmitting feelings of longing and anguish. 

Mach isn’t the only artist who impresses on this album. Westside Gunn appears as a featured artist on three occasions, as well as providing his legendary ad-libs for unmitigated effect. He brings a needed diversity to the record, trading bars with Mach. Pray For Haiti also recruits singer Melaine Charles to assist Mach with his own weakness and add melodies on “Au Revoir.” Perhaps my only gripe with the project comes with the absence of other Griselda members Benny and Conway. Seeing Mach, Gunn, Benny and Conway on one track together would’ve been something special. 

Pray For Haiti is easily one of the best offerings in hip-hop this year. It’s Mach’s most outstanding project to date that flexes his range of artistry, while also displaying what he does best. 

Favorite tracks:

Blockchain

Makrel Jaxon

The 26th Letter

Rating: 8.5

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MF DOOM x Czarface: SuperWhat? Review

By Luke Modugno

The hip-hop world came to a standstill on New Year’s Eve of 2020 with the bombshell news of the passing of legendary New York rapper MF DOOM. During DOOM’s illustrious career in hip-hop, he crafted a legacy of mystery and boundary-pushing musical innovation, leaving behind a catalog littered with classic records. Known as a chronic collaborator, one of DOOM’s final projects before his passing came in the form of a joint project with the rap super-collective CZARFACE (consisting of producer 7L, Esoteric and Inspectah Deck), on their 2018 effort “Czarface Meets Metal Face.” Although DOOM has since passed, the combination of the two hip-hop giants has returned, with the release of the first official posthumous DOOM project coming in the form of Super What? the follow-up to their 2018 collab project. 

Originally slated to drop before the pandemic and the passing of DOOM, Super What? is a sharp 10 track project spanning 28 minutes and doesn’t overstay its welcome. The project does exactly what it sets out to do: build on the chemistry formed between DOOM and CZARFACE with comic-book inspired production and raps. 

The project opens with quite the attention-grabber in “The King and Eye,” featuring Darryl McDaniels, best known as the founding member of collective Run-D.M.C. The track is a peek into the rest of what's to come from the rest of Super What?; a masterclass from Esoteric that simply carries the song and project. 

The track that made me fall in love with this project had to be “Mando Calrissian.” Over a main menu-esque beat, Inspectah Deck opens the track with a triumphant, braggadocious verse followed by a stunning yet brief DOOM verse, perhaps his best in years. The track concludes with Esoteric spiting arguably the best verse on the project, with countless Mandalorian and Star Wars references. 

On prior CZARFACE projects, Inspectah Deck and Esoteric usually go hand-in-hand, trading bars and verses that formed a chemistry between the two emcees that made the supergroup so intriguing. However, with Super What? Esoteric carries the weight of the project, along with DOOM. Inspectah Deck’s verses are shorter and less attention-grabbing, almost as if he put less effort into the project than the rest of the collective. 

Similar to CZARFACE Meets Metal Face, DOOM’s involvement on the project is a bit passive at times. One of DOOM’s strong suits as an artist is his inventive production. However, DOOM has zero production credits on the album, leaving 7L to shoulder the entire load. While the production certainly isn’t stale, the unutilized presence of a monolithic producer in hip-hop history is disappointing. Additionally, DOOM has short verses on this record, none exceeding a minute or so. At times, DOOM’s presence on the record is thin and calling this project a comprehensive collaboration could be seen as a stretch. 

Overall, Super What? is a fun and light-hearted project. Although it’s a noticeable step down in quality from their former collaboration, when artists as talented as MF DOOM and CZARFACE get together, there are sure to be fireworks, ill beats and rhymes, and plenty of comic book references. Rest in peace MF DOOM.

Favorite Tracks: 

Mando Calrissian 

Break in the Action 

Czarwyn’s Theory of People Getting Loose

Rating: 6

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The Alchemist: This Thing of Ours Review

Super-producer The Alchemist Links up with Earl Sweatshirt, Boldy James, Maxo, and Others to Continue his Impressive Run

By Luke Modugno

The Alchemist is setting the rap game ablaze over the last 12 months. Since 2020, the legendary producer has dropped a slew of impressive projects, including the Grammy-nominated Freddie Gibbs collaboration tape “Alfredo.” 2021 has simply been a continuation of the success he found last year, with The Alchemist’s latest project “This Thing Of Ours” showcasing exactly why he’s one of the most respected producers within the genre. 

Across a brief four tracks, The Alchemist recruits familiar faces to accompany his experimental, dusty, drum-looped production. Frequent collaborators Earl Sweatshirt and Boldy James impress on tracks “Nobles,” “TV Dinners,” and “Loose Change,” while upcoming underground rappers Pink Stiifu and Maxo slow things down on “Holy Hell.”

However, the clear standout track is the lead single and the opening track “Nobles.” Earl and Navy Blue have formed a compelling duo with substantial chemistry, as they trade bar for bar on this track. The sample is immaculate, consisting of looped strings and horns that give the track a euphoric and triumphant feel. Considering both Navy Blue and Earl tend to favor darker, rougher production in their own discographies, hearing them on upbeat, higher-tempo beats provided by The Alchemist displays their artistic versatility. 

Earl Sweatshirt and The Alchemist in the Studio

The only valid criticism of such a well-done project such as “This Thing Of Ours” is its obvious brevity. At the end of the project, the listener is simply left wanting more. However, considering Al has already dropped two projects this year prior to the release of “This Thing Of Ours,” criticizing his musical yield isn’t valid.  

“This Thing Of Ours” is a microcosm of what makes The Alchemist successful. Each beat is wildly unique and intriguing, although simple in construction with mesmerizing, harmonious loops. Despite the project being four tracks long, any output from The Alchemist is a blessing, especially considering his unmitigated consistency in the past year. Overall, “This Thing Of Ours” is a great offering from the veteran producer and easily one of his best solo projects to date. 

Favorite Tracks

Nobles (feat. Navy Blue & Earl Sweatshirt) 

TV Dinners (feat. Boldly James & Sideshow)

Loose Change (feat. Earl Sweatshirt)

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DJ Khaled, Jay-Z, & Nas Drop New Video "SORRY NOT SORRY"

A reunion like no other.

By Luke Modugno

“Sorry, that’s another B.
Haters still ain’t recover from the other B.
Mm, that’s a double B.
Nah that’s a triple B, can’t forget ‘bout the other Bey. (Hey)”

— Jay-Z

JAY-Z and Nas hopped on DJ Khaled’s track “SORRY NOT SORRY,” off his latest record “KHALED KHALED.” The two rappers haven’t linked since their notorious beef in the early 00’s, so seeing two rap legends on a track is an undeniable blessing. The track also features James Fauntleroy, who provides a heavenly hook for the two rappers to boast about their success in the rap game. 

Khaled really assembled the Avengers for these features. Which track is the best off “KHALED KHALED?”

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