An Indomitable Spirit and Hunger: “Beware of the Monkey” by MIKE Reviewed

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by Luke Modugno

Art will always be a haven for the ambiguous and the obscure. No matter the medium, art provides grounds for creatives to test the status quo, borrow from the past and amalgamate it with a progressive future. From the onset of his career, Brooklyn’s resident underground hip-hop vanguard MIKE has found himself at home within his experimental niche.

Bursting onto the underground scene with the elusive New York collective sLUms, MIKE’s undisputable mic presence fused with a uniquely warped production style has turned heads since day one. Augmenting his pen, wordplay, introspection and skill as a producer with each release, MIKE has silently become one of the most talented acts in rap’s avant-garde sector. Beware of the Monkey, his latest project, only solidifies the emcee as one of his generation’s most powerfully forward thinkers.

Courtesy of HYPEBEAST

Preluding the release with a slew of notable singles and a three-track EP with Wiki and The Alchemist, those who were paying attention to MIKE’s trajectory could see what lens Beware of the Monkey was peering through before its arrival. A continuation of so many of the idiosyncrasies that made 2021’s Disco! a dense and head-swirling composition, Beware of the Monkey picks up the pieces of MIKE’s despair and refigures them, recontextualizes them, harbors them in his pen and hands them off to the listener in the form of 13 comprehensive tracks.

While usually borrowing a page of Some Rap Songs’ burned and tattered blueprint of confessionary, gut-wrenching writing focusing on crumbling, crushing depressive states, MIKE has a unmistakable hunger for more on this record. Sure, his drab tonality and lyrical content are here, but there’s an ambition and boldness to Beware of the Monkey. If MIKE was asking questions on projects like MAY GOD BLESS YOUR HUSTLE and War in my Pen, he’s moving significantly closer to the answers on Beware of the Monkey. The result of astute solitary observation and theorization, MIKE’s growing up with his music. “Live like it’s my all, gotta give a bunch/Sit tight through the fog it be bigger floods” he spits on the stunning opener “nuthin I can do is wrng.” MIKE’s moved past allowing the vapid dystopia he occasionally inhabits affect his outlook on life, a sentiment that’s backed by the follow-up track “As 4 Me.”

Stating his intention to showcase why he should be consider amongst the greatest rappers in the world, MIKE lays down a viscous flow over a intoxicating beat. This craving is demonstrated by his clever one liners, existential psychology and technical ability throughout Beware of the Monkey. Perhaps the most potent illustration of MIKE’s intricate commentary comes in the form of “Tapestry.” Struggling to make a distinction between complacency, success and converting his passionate hobby into a lucrative business, MIKE’s mind state leads him right back to his greatest asset as a writer: asking alluringly pertinent questions about himself and the world around him. “We in the crib making classics/It be hard making a living in catastrophe/At our darkest this shit be hidden in fallacies,” MIKE raps. “Tapestry” and the commentary it makes regarding MIKE’s past, present and future as a rapper is an absorbing example of his maturation as a writer and human being.

Sonically, Beware of the Monkey is utilizes a decisively brighter palette. Sticking to the use of distorted vocalizations as the backbone of his production, MIKE’s skill behind the board is boundless. MIKE uses this inherent skill to convey a broad range of feelings and moods. Utilizing his features in the same vain as a sample, “Stop Worry!” is pushed along by a head bopping chorus from dancehall legend Sister Nancy. From the determined and nearly motivational horns of “No Curse Lifted (rivers of love)” to “Ipari Park’s” haunting piano loop, MIKE has continually proven that the some of the most inventive production from this batch of avant-garde rap producer emits from his discography.

With Beware of the Monkey, MIKE has proven that he has all he needs. He has the raw feel of a contemplative writer. He has the ear and mind of a producer capable of baroque sonic tapestries. And he certainly has the ability to merge it all into a sweeping hip-hop masterpiece. At this point, all he needs is your attention, and more importantly, your respect.

favorite tracks:

nuthin i can do is wrng

As 4 Me

Ipari Park (feat. Klein)

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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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Boldy James is strictly business on new album “Killing Nothing”

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by Sydney Fluker

Boldy James does not waste time. 

Six months after dropping “Super Tecmo Bo” with frequent producer The Alchemist, James is back with the full length project “Killing Nothing.” Produced entirely by Los Angeles clothing and production collective Real Bad Man, “Killing Nothing” shows that even after over a decade in the underground game, James is still continuing to rise. 

While James’s most notable works come from The Alchemist, “Killing Nothing” is his second project with Real Bad Man after finishing out his four-project run in 2020 with “Real Bad Boldy.”

“Lyrically, a lot of rappers are so caught up in what everything thinks they’re supposed to be doing, that they don’t kill records anymore,” James said on his new record. “I feel like even though I don’t make the biggest energy records, or club records, for girls to shake their ass too, I feel like I got the most consistent flow in the game… There are others who try their hardest, but they ain’t killing nothing or letting nothing die.”

Everything he said can be felt through the record.

Echoing D.J. Premier’s production on “N.Y. State of Mind” on opening track “Water Under the Bridge,” James wastes no time setting up the album for what he’s known for — tight, almost punch-like bars about drug trade. Despite lacking the vocal range found in rappers like Childish Gambino and Drake, James’s monotonous vocals are still notable. 

No time is wasted throughout the album  — James keeps it short and sweet, ending songs early when the story is told and relying on lyrical flow to deliver his message. Staying true to himself, there are no overly flashy choruses or background beats, making his music feel personal to him and with each song taking the listener on a journey through various successful drug trade experiences.  

While there are no outright earworms, some tracks are catchier than what one would expect from a previous James album. “All the Way Out,” one of the two singles from the project, feels more upbeat than a normal Boldy beat, but he holds it down with bars like “Airing shit out only way I know how to vent.” On “Ain’t No Bon Jovi,” James tackles it alone, spitting over the soulful Madlib-esque beat with a smooth flow that’s riddled with hip hop references. 

“Medellin” features an unexpectedly catchy chorus and jazzy background instrumentals, with CRIMEAPPLE almost outshining James with his Spanglish feature. “We the Medellín, while these n***** just be medellin,’” will probably get stuck in your head for hours, but the subtle reference to the Medellín Cartel led by famous drug lord Pablo Escobar is a true Boldy move.  

On “Cash Transactions,” the chorus is catchy but simple and just about sums up James’s entire discography — “I’ll probably never love this rap shit more than these cash transactions/I got a passion for sellin’ drugs.” James leaves no room for confusion about what he does, owning the good, bad and ugly that comes with drug trade. 

The second half of the album brings it back to Boldy, where he goes solo for the final six tracks. Real Bad Man’s diverse production keeps it lively, providing steady beats for Boldy to body alone. Despite not having a ton of records out, Real Bad Man and Boldy James have apparent chemistry that will hopefully return in the future. The mysterious beat on “Sig Sauer” is the perfect background for James to deliver sharp bars about his version of success, with “Amiri denim with the clip hanging/See the strap pokin’ in my Chrome Heart.”

“Killing Nothing” shows the beauty of Boldy James — despite the rate at which he releases mixtapes and albums, nothing ever feels repetitive or reused. Throughout his discography, he holds his own against impressive features and notable producers, building a name for himself as an active rapper addicted to the game. Forever original, James will continue to surprise and thrive in the underground. 

favorite tracks:

Medellin (feat. CRIMEAPPLE)

Cash Transactions (feat. Knowledge The Pirate)

Sig Sauer

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Sydney Fluker is a staff writer.

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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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Diving Into the Swamp of El “Cocodrillo Turbo” with Action Bronson

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by Sydney Fluker

Crocodiles, squealing pigs, wrestlers and an out-of-this-world protagonist — what else should we expect from the creative mind of Mr. Baklava?

Action Bronson has established himself as one of the greatest creators of this time, tying together the worlds of food, fragrances, acting, writing and self-improvement. Hailing from Flushing, Queens, the city’s influence on Bronson rings clear through his music as he stays unafraid to take risks and live his truth. Cocodrillo Turbo is the result of Bronson being in a place where he can be himself creatively, bringing to life an action-filled album that still features his classic allusions to all sorts of athletes and New York sports teams.

Summoning a range of producers to execute the mission, Bronson’s experimental Cocodrillo Turbo plays out like a psychedelic cowboy film in audio form. While the background noises set the scene, Bronson’s absurd characters live the story with an unapologetic style that dares to be skipped.

“I love to get experimental,” Bronson said in an interview with Complex. “I feel like I’m known for that. One of my attributes is beat selection and off-kilter rhythms, and being able to flow and fucking finesse anything to make it sound crazy.”

Cocodrillo Turbo is proof that Bronson is a master of his craft, as he makes and then glides over gaudy beats that don’t seem much like beats at all.

Bronson welcomes more features onto this album than its predecessor Only for Dolphins, bringing back Mayhem Lauren and Hologram and welcoming Conway the Machine and Roc Marciano. Yung Mehico of Bronson’s live band “The Special Victims Unit” lends him another killer saxophone piece, helping Bronson sign off the album with “Storm Of The Century.”

The movie-like album starts with a bang as “Hound Dog” focuses on setting the scene for the psychedelic Indiana Jones character Bronson emulates. With more crocodile screams and high-pitched crashes than words, producer Daringer helps set the vibe for what’s to come: a roller coaster of action underscored by a mix of beats ranging from traditional country to Arabian instrumentals.

Cocodrillo Turbo weaves in and out of action, moving from gloriously chaotic “Tongpo” to the more reflective “Estaciones.” Bronson’s experimentalism screams through “Tongpo,” one of the two Bronson-produced tracks, as monstrous growls and a whining saxophone highlight Bronson and Conway’s laid back delivery. The two tracks also feature conversational riffs that give “Cocodrillo Turbo” a cinematic feel. Conway matches Bronson’s notorious wittiness in “Tongpo” when he delivers “I feel like Cuomo, I see titties, I'm like, "Let me grab it" (Come here)/Then I said I'm not a pervert, I'm just half Italian (Hahaha)/Aye, why y’all laughin?” before Bronson goes on to interrupt Hologram’s initial delivery in “Estaciones.”

As what feels like the mirror for “C12H16N2” of Cocodrillo Turbo, The Alchemist’s production on “Estaciones” gives a sense of maturity to the album while staying true to the absurdity of the theme. “Estaciones” is the reflective portion before the protagonist begins his true journey, as Bronson opens in third person with “and now coming down the aisle/Accompanied by no-motherfuckin'-body, it's young Bronny.”

El Cocodrillo’s adventure kicks off after “Estaciones”, dropping bars in “Jaws” and “Subzero” over Alchemist beats that feel like video game background music for country and aquatic themed mini-games, respectively. Despite the funkier background, Bronson’s lyrics are more reflective and progressive than previous albums, rapping on Jaws “All my family immigrants/Mixed with cinnamon and allspice” and on Subzero “Easily triggered by old trauma (true), motherfucker/And you know I voted for Obama.”

In “Zambezi,” Bronson and Roc Marciano glide over Stephen Gray’s “Bulldozer,” making use of its heavy percussion and Santana-like guitar to nudge the album to a close. Followed by the upbeat piano of Eddie Floyd’s “Lay Your Loving On Me,” “Ninety One” brings the fun adventures to a close before “Storm Of The Century” wraps up the album with a beautifully tied shiny gold bow. Produced by Daringer and Yung Mehico, El Cocodrillo’s journey comes to an end here, as Bronson delivers confessional-style bars accompanied by Yung Mehico’s incredible saxophone solo.

El Cocodrilo stays consistent throughout the album, maintaining flow and theme over a cacophony of sounds that sometimes shouldn’t work, but does. Cocodrillo Turbo is Bronson at his rawest self — ingenious and electric, holding nothing back in the name of ultimate artistic exploration.

favorite tracks:

Estaciones (feat. Hologram)

Zambezi (feat. Roc Marciano)

Storm Of The Century (feat. Yung Mehico)

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Sydney Fluker is a staff writer.

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

By Miles Hagan

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

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

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

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

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

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

Favorite Tracks

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

Skinny Suge

Scottie Beam (Feat. Rick Ross)

Rating: 10

Listen to Alfredo here:

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

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StereoVision's AOTY Power Rankings: April

By StereoVision Staff

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

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The Teams Picks:

The biggest change in my rankings this week is the slip of Eternal Atake. Although it is home to some of the best songs of the year, I have come to the realization that there are just too many forgettable tracks to call it a top five project of the year at this point. The Weeknd continues to grow on me as Abel jumps one spot. I’m glad to say that Mac Miller’s posthumous album Circles is an album that’s aging extremely well for me thus far this year. As someone that’s been following Mac since Kids, I don’t think I was ready for Circles at the beginning of the year. Now in today’s climate where thousands of humans are dying daily due to COVID-19, I feel desensitized to death and finally able to overcome my emotional barriers to the music and appreciate it for the excellent body of work it is. I can honestly see it jumping A Written Testimony or 3.15.20 which would be quite the accomplishment as I’m crazy about both records. Lastly, a new release that made a big splash in my power rankings this week is Giveon. His debut EP Take Time is ultra-smooth, rich with excellent song-writing, and most importantly, different than anything anyone else is currently doing in R&B. Check the site this weekend to read my review of Take Time. -Spencer Lobdell

My Top three stays the same this week and it looks like it's going to take a really impressive body of work to move 3.15.20 and A Written Testimony. The first new entry to my ranking comes at the four spot with an excellent project from Giveon. Drake’s “Chicago Freestyle” brought a lot of attention to this up and coming voice in R&B, and he delivered on all expectations with his project Take Time. Another new addition to the list this week is Knxwledge 1988. Without the help of many features Knxwledge is able to really shine on this album for his talent as a producer (I would be wrong for not mentioning the greatness of “Don’t Be Afraid”. The final new additions come in the form of The Price of Tea in China by Boldy James and After Hours by The Weeknd. Boldy and The Alchemist sound like they have been working together for years on one of the most impressive albums from a rapping standpoint. After Hours has grown on me since its release and from the way it looks now it has a legitimate chance to keep advancing up the list at least marginally. -Miles Hagan

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After receiving requests to listen to several albums, my rankings from week one have obviously shifted. As much as I love a good debate, I must give credit where it is due. Remaining at the top of my list is CHILOMBO. Again, name another album as captivating and versatile that is also 20 tracks long with no skips! As a person who is inspired by the stories of others, PTSD, A Written Testimony, and Black Habits will likely remain on my list for some time. Opposed to last week, I now recognize the January release date of Time Served allowed time for it to grow to be a fun favorite of mine. Lyrically, Moneybagg Yo is unable to compete with other projects on my list, making my decision easy to move his album from position two to ten. My Turn found its way onto my list because upon reaching the end, I was urged to listen again. Whenever Lil Baby lost my interest, he managed to regain it within the next song or two. Ultimately, I need to sit with all of these projects some more and I am still just waiting for new music. -Amaya Lorick

No changes this week. I’m still moving through my backlog and trying to decide whether or not I like the new PND album so expect more on that in the future! -Carter Fife

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For the most part, the top half of my list remained the same from week one. I’ve found that, typically, the albums that leave the best impression on me do a great job of balancing the traditional with the experimental or lean towards the latter characteristic. Artists who reinvent themselves or present entirely innovative sounds manage to impress me the most, which is why artists like The Weeknd, Childish Gambino, 070 Shake, Mixed Matches, Gupi, and Denzel Curry currently dominate my list. Another way to get on my good side is to simply give me a fun album with high replay value, which Lil Uzi Vert and Don Toliver both managed to do extremely well. Looking forward, with under-the-radar acts such as Mixed Matches, Gupi, and polearm coming through with such captivating material, I can’t wait to see what 2020 has in store for independent music and emerging artists. -Owen Tait

Before my fellow Chicagoans even say it, I know the absence of G Herbo’s PTSD is alarming. Despite it being one of my favorite releases of the year, the album’s dull moments become more obvious when lined up next to projects like the 10 on the list.  After Hours is probably the most well written, produced, and executed albums this year.  The battle between #1 and #2 is a close one. A Written Testimony has such a powerful message and motive behind it, as well as multiple Jay-Z features so it’s hard to beat. Man Alive makes it’s debut at #10 since I’ve found more time to sit with it. -Courtney Fields

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This week, a few albums have really grown on me and others have simply lost their charm and replay value. Namely, LUV vs. The World 2 has proven to be a fantastic album to listen to during quarantine. The album has a plethora of melodic trap beats and has proven to be catchy background music when I mute my mic during online classes. Mac Millers Circles is similar, as it also has every mood you’ll go through during these times, along with soulful, jazzy instrumentation. Tame Impala’s new record, The Slow Rush, has also grown on me. Kevin Parker’s newest effort is everything his psychedelic rock experiment set out to do. While it doesn’t nearly compare to Currents, it’s a notable entry to an already legendary discography. Along with strong releases from Ant Clemons and PARTYNEXTDOOR, this week has only been a continuation of 2020’s unbelievably solid run of music. -Luke Modugno

Now that March has concluded, I found my picks from last week have not changed much. Still Sitting at top three are Circles, PTSD, and A Written Testimony, which are all thoroughly strong projects. I recently started getting into Jhené Aiko’s album Chilombo and Brent Faiyaz’s hot new album Fuck The World which seem to be very well-crafted pieces thus far. Another thing I noticed is that I wasn’t listening to A Boogie Wit Da Hoodie and Lil Wayne as much. -Colson O’Connor

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The Alchemist and Boldy James Link up Again to Create a Dark, Grimey Project in the Price of Tea in China

By Luke Modugno

There’s something intoxicatingly grim about Boldy James’ apathetic, lackadaisical delivery. The Detroit MC’s flat, monotone vocals have been helping him kick ill bars so smooth, a passive listener might gloss over the haunting tales about dead friends, drug trafficking and the mental trauma that comes with life in the underbelly of society. If anything has been a constant in Boldy’s relatively overlooked discography, it’s that he’s a master of utilizing minimalistic tones. Fittingly, for his latest LP, The Price of Tea in China, Boldy has once again linked up with raps most distinguished minimalist: The Alchemist.

From the moment they linked up on their 2019 effort Boldface, the partnership was clearly special. Almost favoring silence over noise, The Alchemist’s notoriously unique production fits Boldy’s laid-back style flawlessly. From the opening moments of the intro track “Carruth,” it’s apparent the pairs innate chemistry; a dusty piano sample accompanied by Boldy’s eerie lyrical output. “My friends came and went but most of them was murder victims/dead before 20 or caught a frame and had to serve a sentence/grew up in a hell hole, that’s why I think so twisted,” raps Boldy. The track sets the tone for the rest of the project, with both Boldy and The Alchemist sticking to their strong suits. 

You know exactly what to expect from an Alchemist project and The Price of Tea in China is no different. The usual unbelievably nuanced production behind the table from The Alchemist and an impressive showing of intimacy and deep cuts from Boldy: the project is exactly as advertised.

The Price of Tea in China represents a complete evolution of Boldy James’ artistry and skillset as an MC. Usually rapping over hard hitting, unapologetic trap beats, production from The Alchemist couldn’t be more of a sonic foil to the production on the rest of his projects. But Boldy welcomes the challenge with open arms, as he kills each and every one of the beats cooked up for him on this project. From crafting a perfect flow on “Slow Roll,” to trading bars with BENNY THE BUTCHER on “Scrape the Bowl,” Boldy solidifies himself as one of the more talented rappers in the game right now. But Boldy didn’t stop there, as he outshines his other guests, Freddie Gibbs and Vince Staples on “S.N.O.R.T.” and “Surf & Turf.” The Price of Tea in China really feels like a coming out party for Boldy James thrown by The Alchemist, making the album feel like a victory lap for Boldy. 

For The Alchemist, this album ranks amongst the best of his collaborative efforts. His crate-digging, ambiguous, sample-heavy production is at the top of its game on The Price of Tea in China. While the variety of the beats rarely changes, the project alternates between uptempo trunk rattlers (“Scrape The Bowl,” and “Slow Roll,”) and slow paced, lethargic, grimey deep cuts with “Carruth” and “Phone Bill.” The lack of sonic variety presents a sort of duality for the project. While The Alchemist perfectly establishes the main thematic elements of the album through his minimalistic style, he also limits the versatility of The Price of Tea in China cornering Boldy’s versatility as an MC by giving him similar beats. Half way through the album, the album begins to show itself as a one-trick-pony. An extremely engaging and compelling one-trick-pony, but one nonetheless. 

Overall, The Price of Tea in China is a pleasant surprise for a project. From the outset, Boldy and The Alchemist were an unlikely pairing. But both of their collaborative efforts have been hits, and the pair seems to be only improving upon their newfound chemistry. 

With Boldy James joining the Griselda crew, look for him to continue to make splashes in the underground rap scene. 

Favorite Tracks

Carruth

Surf & Turf (Feat. Vince Staples)

Speed Demon Freestyle 

Rating: 8

Listen to The Price of Tea in China here:

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