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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Continuation of Excellence or Lack of Innovation? “It’s Almost Dry” Review

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by Asher Ali

Pusha T’s status as one of the most preeminent figures in “cocaine rap” has been in the work since he went under the moniker of Terrar as one half of the duo Clipse. Layered over beats almost exclusively produced by none other than Pharrell Williams, Terrance Thorton and his brother Gene slang bars like they were on a street corner.  

Push then caught the eye of Kanye West, and after signing with GOOD Music label in 2010, Thorton was promoted to company president two years later, and has been guided by Ye’s production and industry insight to a fruitful solo career. Push’s “DAYTONA” in 2018 was an elaborate composition arranged by West that took Push’s sound to new heights far and above what other coke rappers were doing then.  

Now, the duality of Push’s past career has conjoined on his newest project “It’s Almost Dry,” featuring six songs produced by Pharrell and six songs produced by West. The two hip hop maestros go toe to toe bringing some of the most solid beats heard this year, but outside of a few of tracks, this album doesn’t advance Push’s sound, much less the sound of contemporary coke rap.  

Pharrell immediately kicks it back to the Clipse days with “It’s Almost Dry’s” first track “Brambleton.” A smooth kick drum driven beat comes with Push’s malfeasance bars that cover his young life in Brambleton, Virginia where his mother worked and his adverse feelings toward ex-Clipse manager Anthony Gonzalez, who aired some dirty laundry with Push in a recent interview Gonzalez did with VladTV.   

Push immediately jumps onto another, more bombastic Pharrell beat with “Let The Smokers Shine The Coupes” where Push paints himself as the “coke game’s Dr. Seuss.” 

The first Ye backed track is introduced third on the track list with “Dreamin Of The Past” which is both lifted and brought down by Kanye. The track soars thanks to a well-pulled sample from Donny Hathaway’s “Jealous Guy” that lifts Push’s fluid drug-laced bars to a euphoric plane. As Push’s final verse fades, listeners are bombarded with an unwelcome verse from West, an awkwardly mixed 30 second feature the West rounds out with an uncomfortable line about how his family is currently unsafe.

Ye once again manages to be the greatest advocate and detriment for Push on “Rock N Roll” the alleged final song with Kid Cudi and West. Once again, a beautifully assembled beat on Ye’s end comes with a heinous guest verse from him, this one sounding more like the nonsensical bars that Kanye gave on the first rendition of DONDA 2. Cudi’s hook sounds muffled and over-produced as well, while Push delivers some strong verses about his premiere status at the top of the rap and the drug-dealing game.  

At his best on this album, Pusha T is elaborating on the narrative of authenticity, or lack thereof, in a world of glamor and fame. The two singles on the project, “Neck & Wrist” and “Diet Coke” address the lengths that people will go to fabricate a glamorous drug lifestyle in order to avoid actual hardships.  

“Neck & Wrist” sees Push and feature Jay-Z spitting over a whining synth and sharp piano key beat while they boast about a lifestyle they live but others pretend to have. HOV’s cutthroat line, “y’all spend real money on fake watches shockingly,” getting to the core of the absurd lengths people will go to construct facades.  

“Diet Coke” then expands on why people aspire to have a certain kind of life but aren’t willing to assume the risks.  

It seems on the latter portion of this project that Thorton lost motivation to push any boundaries however, which is disappointing when listeners come to expect that from him and his pen constantly. Not only did Push lose interest, but it appears Pharrell did too on “Call My Bluff” which is completely dry of energy and motivation.  

“Scrape It Off” is definitely this album’s attempt at a top charting club banger, featuring Don Toliver on the hook and Lil Uzi Vert. Toliver is as reliable as ever giving an ethereal hook, but Uzi phones in his verse and Push doesn’t bring an interesting flow to spice up the track on its back end.  

The final three songs on the albums are decent in their own right, but all come off as watered-down versions of more innovative cuts Push had earlier on the album. Even the final track “I Pray For You” doesn’t do much despite a beautiful intro and a Malice feature to rekindle a Clipse cut.  

“It’s Almost Dry” comes out strong to show that Push is still among the one of the most elite in the game, but a weak back half of the project doesn’t propel him to the new heights that people wanted to see. 

Favorite tracks: 

Just So You Remember 

Neck & Wrist (feat. JAY-Z & Pharrell Williams)

Dreamin Of The Past (feat. Kanye West)

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Asher Ali is a staff writer. Follow him on Twitter.

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Return of the Jewel Runners: ‘RTJ4’ Album Review

By Carter Fife

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

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

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

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

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

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

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

Favorite tracks:

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

walking in the snow

holy calamafuck

Rating: 8

Listen to RTJ4 here:

RTJ4, an album by Run The Jewels on Spotify

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