Philadelphia Rapper and Singer PnB Rock Releases Double Album "TrapStar Turnt PopStar"

By Carter Fife

It has been two years since Philadelphia native PnB Rock released his debut album ‘Catch These Vibes’, and since then his career has only gained more traction. After earning a highly-coveted spot on XXL’s 2017 Freshman list among artists like Playboi Carti, Madeintyo, and XXXTentacion, PnB Rock (né Rakim Allen) earned two platinum singles, worked alongside a broad host of artists, and even appeared on Pornhub’s Valentines Day album. Although earlier this year Allen was arrested on drug and stolen firearm charges, that did not stop him from releasing his newest project ‘Trapstar Turnt Popstar’ in early May. 

'TrapStar Turnt PopStar’ is a self-fulfilling prophecy of sorts for Allen, as he has been witness to the appropriation of his sound over the past few years in the commercial music scene. Though Allen is not the originator of his hip-hop synthesis of autotuned R&B crooning and rap, he is still an important figure in hip-hop that helped popularize it. From releasing mixtapes on Soundcloud five years ago to being signed to Atlantic in 2015, PnB Rock's sound hasn’t changed too much, which may or not be a key shortcoming in the reception of his album.

For better or for worse, there is nothing ground-breaking in PnB Rock’s newest project, and perhaps it was meant to be this way. Like Allen indicates in the title, his style has become the mainstream, and he doesn’t need to change anything to be profitable when the spotlight is on him. ‘TrapStar Turn PopStar’ is a double album that begins with ‘Dreamin’ on the ’TrapStar’ side. This track is a quintessential PnB cut laced with pitch-corrected singing, vocal effects, and punchy kicks and snares. On the track, he sing-raps about his rise to fame and the benefits of his new lifestyle. These are themes that are more or less addressed in every song on the album, as the lyrics very rarely stray away from mainstream pop-rap’s topics du jour. 

The following track ‘I Need More’ is much more of a club anthem about love and romance, with the 808s and hi-hats doing most of the leg work for the beat. This project does have a slight deviation from Allen’s past music as Allen sings (or at least, sing-raps) much more frequently than past records.  The next few songs follow the same formula as the previously mentioned songs, though save for the Tee Grizzley feature on ‘Go to Mars’, there aren’t too many memorable moments. That is not to say that the music is bad, but instead, the music is painfully inoffensive. ‘MIDDLE CHILD’ contains one of the tamest XXXTentacion features yet, though things start to turn around with ‘F**k Up the City’ featuring Quavo and production from Mally Mall. Woodwinds in trap beats may have been a trend that died years ago, but Mally Mall refuses to be dated and delivers a really well-produced track that compliments the talents of both PnB Rock and Quavo. One memorable line comes from Quavo himself when he raps “I used to trap in my Concords, Now I’m doing shows in my Tom Fords’. Quavo’s juxtaposition doesn’t stop there, as one cannot help but note the difference between him and PnB Rock when they trade rhymes so effortlessly. 

‘Nowadays’ is another example of PnB Rock delivering a forgettable performance, but the instrumental is incredibly catchy. The 808’s and claps provide a bouncy quality that makes the track definitely enjoyable, and although it is not something that I would put on when offered the AUX cable, I wouldn’t feel compelled to tell my friends to skip this if I heard it either. Before beginning the ‘PopStar’ side of the double album, PnB Rock concludes the first half of the album with a remix of ‘Now Or Never’ by Craig Xen, It is a genuinely sweet moment where Allen sings about a friend’s passing, and the second act of the song shows him playing to his strengths. His bars are delivered well, and although his singing ability leaves something to be desired, he hits some high notes and goes for it. 

Although advertised as a divergence from ’TrapStar’, ‘PopStar’ is more-or-less the same PnB Rock that colonized the first half of this eighteen track double album, though with a few more poppy-singing performances. The first song, ‘Swervin’, features Diplo on production, but though it is more of a stripped-down and chill track, PnB Rock does not fit well on the beat. ‘Swervin’ sounds like it could have been a Katy Perry reference track, especially with the booming 808’s and choppy distorted vocal sounds in the background. While not without its shortcomings, it is a memorable debut to ‘PopStar’, and a unique combination of the two genres. The overly saccharine pop-flavored hip-hop doesn’t stop there.

'I Like Girls’ featuring Lil Skies is not as poppy as the last track, but it is definitely more of a memorable and enjoyable track than many of those in the first half of the album. Though the phrase “I like girls who like girls” is not the lyrical equivalent of reinventing the wheel, it is catchy and fun to rap along to. Hitmaka's lurchy 808’s make the hi-hats and kicks stand out well, and Lil Skies’ feature was well done. PnB and Skies sound great together, and what’s not to like about a Swae Lee shout out?

The rest of the record is pretty drab and though ‘ABCD (Friend Zone)’ was an actually enjoyable and memorable moment, it felt strange ending on such a soft note. The track features PnB sing-rapping in a cadence that very closely mirrors that of Ty Dolla $ign or Choker, with ambient pads and nice sounding hi-hats that don’t dominate the track. It is the kind of song that you could either play driving along the PCH, or at the club with your friends. It is a perfectly fun and summery song to kick off your vacation playlist.

PnB Rock’s newest album adheres pretty strictly to the aural boundaries already laid out him by his past 4 years of music, which for many people might be a positive thing. Allen’s rapping ability paired with his unique brand of autotuned-vocals is a pretty close example of the old adage ‘If it isn’t broke, don’t fix it’, but at this point in his career I cannot help but be disappointed that PnB Rock shows little to no signs of branching out, experimenting, or being willing to take creative risks. 'TrapStar Turnt PopStar’ has its moments in the sun, but for the most part, almost every track comes off as formulaic and uninspired, though that is likely a symptom of the massive influx of artists that have started to make music just like this over the past few years. In addition to this, PnB’s influences are clear and easy to spot, but there are many moments where his music sounds much more like mimicry of a Birds-era Travis Scott, a Nav, or a PartyNextDoor. There is already a heavy over-saturation of artists making music just like this in mainstream pop and hip-hop, so unless Allen decides to become more inventive and original with his melodies, flows, instrumentals or lyrics, his career might hit a wall sooner rather than laterThough I enjoyed certain moments of the music on this album, I can’t help but walk away feeling unsatisfied.

Favorite Tracks:

Go To Mars (Feat. Tee Grizzley)

I Like Girls (ft. Lil Skies)

ABCD (Friend Zone)

Rating: 5

Listen to Trapstar Turnt Popstar here:

TrapStar Turnt PopStar, an album by PnB Rock on Spotify

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Rico Nasty Embraces Her Multiplicity on "Anger Management"

Rico Nasty is one of the most fascinating, dynamic, and badass artists to break into the rap scene in recent years. Her assent through the ranks of hip hop began in 2016 when she came into contact with artist Lil Yachty. Yachty saw potential in the up and coming rapper and lent himself to a remixed version of Rico Nasty’s song “Hey Arnold.” This remix is what brought to bring her into the consciousness of hip hop fans at large. After the “Hey Arnold” remix, Rico Nasty continued to find success and garner an audience with tracks such as “Key Lime OG,” “Poppin” (both from her 2017 mixtape Sugar Trap 2) and “Smack a Bitch,” released in 2018.

With these singles along with her previous mixtapes, Rico Nasty asserts herself as a tough and imposing character who does not take shit from anyone. She lives her life on her own terms. She acts how she wants, dresses how she wants, and does whatever she pleases. Her confidence is not one that comes from a place of ego or arrogance. Instead, it is the result of immense resilience from someone who has been through the pitfalls of love, death, grief, and motherhood all before the age of 21.

Cover Art for Rico Nasty’s breakout 2018 mixtape, Nasty (2018)

Rico Nasty saw her career gain immense momentum in the summer of 2018 with the release of her mixtape Nasty. For many, Nasty was their first introduction to the wonderfully chaotic world of Rico. Here is a rapper who is wholly  in your face for the nearly forty minute run of the project. Nasty in several respects serves as Rico Nasty’s manifesto to the rap scene. On the project, she is loud, her voice is strained and raspy, her flow is punchy, and her rhymes are straight to the point. With Nasty, Rico tells the audience that she is not like any other rapper currently in the game and she will not compromise herself one bit to fit into any kind of mold imposed upon her.

With her stake in the hip-hop scene firmly established, Rico Nasty has only built upon the spotlight she has found for herself within the last year. Since Nasty, she has released several singles and music videos, performed at festivals such as Coachella, starred in a documentary for FADER, and most recently, put out her highly anticipated new mixtape, Anger Management. Produced by her main collaborator Kenny Beats, Anger Management is a strong addition to Rico’s already strong discography. The title alone is a play on the assertion by some that Rico Nasty is “too angry” or aggressive in her musical style and cultural presence. Rico’s mixtape is not a mitigation of anger, but an embrace of it in the most energetic and hyped up way possible.

Anger Management begins with a computerized voice that asks “Aren't you tired of the same old thing? At every day, every minute, every second?” This is the first of several samples and interludes that serve as thematic threads throughout the length of the project. With the questions asked, the tone shifts quickly from contemplative to chaotic as Rico screams “KENNY,” the beat drops, and we are fully launched into the mixtape. In the first track, “Cold,” Rico Nasty spits rapid fire verses about the money she has earned, the designer clothes and jewelry she wears, the luxury cars she drives, and the never ending supply of weed she smokes, broken up with a chorus in which she states in no uncertain terms that “None of these bitches cold as me!”

Rico Nasty’s braggadocious energy does not let up in the first half of Anger Management. On the track “Cheat Code” featuring Baauer, Rico acknowledges the spectacle she has become and how some have tried to mimic her style in order to gain her level of success. This idea of “bitches trying to be like Rico” sees itself come back up in another track featuring Baauer, this time with the duo EarthGang, on “Big Titties.” Rico’s verse largely focuses on her disdain for biters and copiers, Rico spits “You hoes can't pull it off like me/ Talk like me, bet you wanna be the boss like me/ All these hoes wanna sauce like me/ Floss like me, walk up in the club with no ID” to the backdrop of a quirky yet turnt up beat courtesy of Kenny.

After the radio station bumper parody “Nasty World,” the tone of Anger Management takes a somber turn. In the second leg of the album, Rico is more introspective as she contemplates on the ways in which her life has changed since the advent of her fame. “Relative” shows Rico’s wavering trust in those around her. As she has gotten more and more success, she finds people coming out of the woodwork to befriend her out of nowhere. All of these people want to act like her “relatives” but in actuality, they are simply leeching off of her success. The track ends with a sample from the 1950s educational film, “Age of Turmoil.” The sample mentions a girl who daydreams, who replays “success and failures” over and over again.

This outro correlates well with the last two tracks on Anger Management, “Sell Out” and “Again.” Both tracks showcase a more relaxed, melodic flow from Rico. On “Sell Out,” Rico declares to always be herself for her own sake as well as for the sake of her fans who look up to her. The project ends with “Again,” a reflection on the struggles she has been through. With lyrics such as “Thought I fell in love but I found out that it was lust/ I felt like something was missing, it must have been trust” and “Sometimes I get distracted by madness/ Why do tragedies happen? What if I'm not adapting?” Rico opens up to the audience and allows us into the more raw parts of psyche. However, this song, as well as Rico Nasty’s life story, is not one to sob to. At the same time she details her strife, Rico raps, “But you know good and well I'm not the one to put your pity on” and “I just woke up to a check, you dig?/ Let me take a deep breath, I ain't going broke again.” With this assertion of her capability to make through whatever life throws at her, Rico Nasty ends Anger Management on an encouraging note, the final spoken statement being,“Well now, if there's anything you should need, just let me know/ I'd be very pleased to do it for you/You only have to say the word.”

With Anger Management, Rico Nasty reclaims her temper while also expressing vulnerability, demonstrating that the two can coexist without contention. The project is a symbol for the multiplicity of her identity as a black woman. Women are often told, whether through clear verbal cues or subdued societal sanctions, that they are not allowed to be loud, have complex emotions, or speak of themselves highly. To do so would be arrogant, and, in the case of black women, correlated with idea of being “ghetto” or “hostile.” Rico Nasty vehemently denies all stereotypes and notions about what it means to be loud as a black woman, showing with each track that she has the capacity for depth and introspection. In this way, Rico Nasty and Anger Management both are pieces of radical art that stand in resistance to societal norms and expectations. When we get down to the core of Anger Management, it is simply another example of Rico Nasty being unapologetically herself. And it is her commitment to herself, her personality, and her values that make Anger Management the great album that it is.

Favorite Tracks:

Hattin

Big Titties (Feat. Baauer & EarthGang)

Again

Rating: 8

Stream Anger Management here:

Anger Management, an album by Rico Nasty, Kenny Beats on Spotify

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Kevin Abstract Showcases His Musical Talent and Creative Depth on "ARIZONA BABY"

By Izzy Strobandt

Fans have been eagerly awaiting the release of Kevin Abstract’s album after a series of teases were released. Abstract, Brockhampton’s founder and de-facto leader, started releasing elements of his new album ARIZONA BABY in weekly increments on the Brockhampton Youtube channel. On April 26th, Abstract dipped his toe into performance art by live streaming himself walking on a treadmill for 10 hours on Brockhampton street outside his childhood home in Corpus Christie, Texas.

ARIZONA BABY is Abstract’s first solo album since American Boyfriend: A Suburban Love Story. While less cohesive than his previous album, ARIZONA BABY parallels the projects that catapulted Brockhampton into the center of the rap game in 2017—showcasing his fearlessness and experimental energy conveyed by a unique blend of genres and rap style.

The majority of the eleven tracks are produced by both Romil Hemnani, Brockhampton’s resident producer, and Jack Antonoff, acclaimed songwriter and arranger of Bleacher’s fame whose influence can most commonly be seen through the considerable presence of instrumental sampling on many of the tracks.

On some tracks, Abstract is pushing the alternative hip-hop genre to the foreground, while on others he dips into a blend of rap, indie, and rock. Unexpected collaborations produce a unique blend of sounds and vibes, featuring artists like Ryan Beatty on “Baby Boy” (a resurgence of the indie alternative style on American Boyfriend), and Bearface, Joba, and Dominic Fike on “Peach” (a melancholic track reminiscent of late-90’s beach alt-rock).

The album opens strong with “Big Wheels,” featuring powerful rap verses laid over a lo-fi beat. The track spells out Abstract’s darkest inner struggles that stems from his hyper-awareness of the way people perceive him and his fame, and the resulting toll on his mental health. “Got a lot of guilt inside of me/ My n***as back home ain’t proud of me/ They think I’m a bitch, just queerbaitin.” One of the key signs of a well thought out album are the transitions between songs, which Abstract has mastered on this album. The horn leads at the end of “Big Wheels” blend seamlessly into the instrumentals at the start of “Joyride.”

The album is a sample of the artistic depth Abstract possesses. While the tracks that mirror his previous hip-hop successes are undoubtedly stronger, “American Problem,” (a rich and psychedelic blend of emotionally honest lyrics and silky instrumentals) showcases Abstract refining his skills and rejecting the confines of being considered solely a single genre artist. Abstract gives homage to Tyler, the Creator, saying “Ninth grade, Tyler was the illest shit I ever heard/ Going to his concerts, no mask, singing every word.” Many listeners have drawn comparisons between Brockhampton and Odd Future, and it is clear Abstract looks up to Tyler as a creative inspiration.

The theme of inner-conflict and isolation reappear throughout the album.

Some tracks on the album openly confront the Christian church’s hateful attitudes towards homosexuals. “Use Me,” opens with a sample of the New Jersey Mass Choir singing “The Harvest is Ripe” and a smooth beat before transitioning to Abstract rapping about feeling alienated. The vocal distortions on “Use Me” are reminiscent of an early Tyler, the Creator on his album Goblin.

On “Georgia,” Abstract interpolates Ray Charles’s “Georgia on My Mind,” and lays out some of the most personal lyricism of all of the tracks on the album. A pained confession his internal struggles, Abstract goes back to his childhood and his experience growing up still in the closet. “I often question/ I often wonder/ If I told this class I liked the n***a that sit in the back/ How bad would it make me suffer? Agh.”

“Mississippi,” is one of the weaker tracks on the album, leaning too heavily into auto-tune and echoing many of the issues listeners had with Brockhampton’s last album Iridescence. It’s not entirely that the track is a huge miss, but in comparison to the rest of the album—“Mississippi” feels like it would be better received if released as a single after more stylistic development.

Despite a few misses, Abstracts second album sets one thing clear to listeners—he’s got loads of talent and a future to look out for.

FAVORITE TRACKS: 

Georgia 

Joyride

Use me 

Rating: 8

Listen to ARIZONA BABY here:

ARIZONA BABY, an album by Kevin Abstract on Spotify

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Schoolboy Q's "Crash Talk" Is His Most Honest Album to Date

By Miles Hagan

This is nothing new. Schoolboy Q is a member of one of rap's most respected collectives in TDE. They have consistently produced some of raps best new artists and music since the earlier part of the decade. As for Schoolboy specifically, he’s never had more momentum coming into an album. The Blank Face LP was one of the best rap albums of 2016 and was his most well-received project ever. “THat Part” was an absolute anthem, and it arguably was done even better when Black Hippie remixed it. Q solidified his status as a force to be reckoned with in rap because he could not only deliver hit singles but also impressive albums. This album also had some complications before it came out. Schoolboy was very close friends with Mac Miller making Q delay his album after his untimely passing because it didn't feel right. It was then delayed another week out of respect for Nipsey Hussle's passing. Schoolboy remains such a respected figure in the rap community because of moves like this. With all this build up CrasH Talk has the potential to one of his best albums to date.

Schoolboy has been gone for about three years now leading people to have no idea what to expect from this project before it’s release. The lead single CrasH Talk was “Numb Numb Juice”. The only way to describe this song accurately is an absolute banger. Q sounds cut throat and says every word with such focus and passion that he could inspire any listener to get out of their seat and go hit a lick just cause. This was also a sneak peek into just how hard-hitting and diverse the production on this project would be.The guitar loops and bells in the background are a great added touch. “CHopstix” was the other single released before the album, and it ended up being one of the lower points on the album. The idea of a Travis Scott Schoolboy Q song was very exciting for any fan of hip hop, but the song itself fell short of expectations. Both artists verses lack much depth, and the production doesn't live up to the standard of a typical song involving Trav. This left fans with a few questions before this album released.

CrasH Talk opens fast with “Gang Gang”. Schoolboy is coming back with a vengeance. The bass is booming and the energy stays high throughout the track. This leads into “Tales” where Q is more focused on, as the song title says, telling his tale. He starts to queue the listener in on the direction he's going with this project. The lyrics are brutally honest and describe the gangster lifestyle that he comes from, and what he has seen and lost from it. Schoolboy has a lot on his mind, even going as far as to say he thinks his own daughter might be a hoe because of this life. Realness. These raw thoughts and emotions are what makes this album so different from his other bodies of work. Q has been more open about his struggles with depression. His music has always reflected the harsh reality of gang life, but he has never really reflected on how it has affected him personally. Beyond that, he is also delving deeper into just how he sees himself as a man.

These thoughts come through strong on the second half of the album. While “5200” rivals “Numb Numb Juice” as the projects best banger, “Black Folk” is a turning point. The lyrics “Who knew failure would make you better?” echo in the track. Schoolboy is acknowledging some of his shortcomings in life and how they have forced him to grow. The words wasted are beautifully sung in the background throughout the song.

The rest of CrasH Talk  alternates between more introspective and aggressive.”Floating” has one of Qs hardest flows on the whole project, and 21 Savage delivers a very solid verse. “Dangerous” and “CrasH” are two of the most unique beats on CrasH Talk. Schoolboy is able to really get adventurous with his flows on these tracks and it works greatly in his favor. Kid Cudi sounds absolutely incredible on “Dangerous”, which also features Schoolboy looking at just how dangerous his lifestyle is; except not because of gang violence or guns, but because of how many drugs he's taking, and he's wondering of the people around him really have his best interest in mind.

This sound is in complete contrast with “CrasH” which is another one of the more honest songs on the second half of the album. The music behind the track sounds very triumphant. It seems as if this is a song that would be used to lean back and celebrate your accomplishments. Instead, Q decides to discuss how the pressure to always be doing more with your life could eventually lead someone to crash. He is spitting some real actual knowledge on this song that anyone could relate to. We all know that there is something to be worrying about at all times, but if we did that then we would drive ourselves crazy, and eventually crash.

What makes this project so good? Why is CrasH Talk one of the best albums of the year so far? Simply put, because it sounds like Schoolboy Q really tried. He could have come off the Blank Face LP unmotivated and content with his standing in the rap game. He would have stayed the same and delivered another really good gangster rap album that would have reached the same audience. Instead, he made a gangster rap album about the actual gangster. Q gets out of his comfort zone and really talk about himself, and ironically he sounds more comfortable than he has on some of his previous work on Crash Talk. He delivers the same quality rapping and production expected from a TDE artist, and knowing that was a guarantee going in, really allows for the listener to focus in on what is actually being said. There are moments where he could get a little more below the surface level in his lyrics, but that can be attributed to the fact that this is his first time really making a point to do this type of opening up. He should be praised by the rap community because we are living in a day and age where creativity is lacking. Everyone is trying to make the sound that is most popular, and once artists find something that works for them they are often time too scared to move past that. Schoolboy Q isn’t afraid. He embraces who he is, faults and all, and that is what makes CrasH Talk one of the best albums of this year.

Best Songs:

Tales

Black Folk

CrasH

Rating: 8

Listen to CrasH Talk here:

CrasH Talk, an album by ScHoolboy Q on Spotify

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Songs of the Week: April 28th

By Spencer Lobdell

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

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

New Songs of the Week:

“Boyer” by Kevin Abstract

Boyer, a song by Kevin Abstract on Spotify

“Boyer” is the final track off Kevin Abstract’s new album ARIZONA BABY. The song is named after one of Kevin’s closest childhood friends and gives us a vivid look inside of what’s going on inside of Brockhampton’s leaders head. The song is fast paced with a short refrain that beautifully sums up the tone of the song and the entire project for that matter (We cannot run forever now/gotta learn your lesson child). The song lasts just under two minutes and will have you pressing replay over and over again to fully appreciate the genius and beauty in Kevin’s writing which feels oddly familiar and nostalgic.

“I was high as hell, hanging with my white friends
Thinkin’ I’ma be alright if I’m just like them
Then the police pull up on me with the lights dimmed
Had me on the ground begging for my life, man”

— Kevin Abstract "Boyer"

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“Relative” by Rico Nasty and Kenny Beats

Relative, a song by Rico Nasty, Kenny Beats on Spotify

A standout track on Rico Nasty’s new album Anger Management, “Relative” is a fiery freestyle about clout chasers in her life who are suddenly interested in being Rico’s friend now that she’s famous. This Kenny Beats instrumental is one of my favorite beats he made for Anger Management and features an eerie piano riff over hard-hitting trap drums. Rico flexes her lyrical abilities on “Relative” through numerous different flows and polished writing. It was hard to pick just one track off this album, but “Relative” is undeniable.

“I be gettin’ money, now everybody my relative
Talkin’ bout, “It’s all love,” like I don’t know what jealousy is”

— Rico Nasty "Relative"

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“Attention” by ScHoolboy Q

Attention, a song by ScHoolboy Q on Spotify

The outro on ScHoolboy Q’s new album CrasH Talk gives us Q the story teller for one of the first times on the album. ScHoolboy is at his absolute best when he is rapping about his real life experiences and it’s something I wish we would’ve gotten more of on CrasH Talk because of how damn good songs like “Attention” are. Over one verse lasting majority of the 3 minute song, Q raps about his relationship with rap legends, joining the Nifty 50’s Crip Gang as a kid, and a shootout at a Laundromat. The beat is menacing and leaves a perfect pocket for Q’s bars.

“Just imagine some of these rappers that ain’t have Q
The godfather of this street shit that gave y’all truth
From Pac, Snoop, Kurupt, Daz, bitch, I’m déjà vu
You see my homie in the hood ‘cause I hate y’all too”

— ScHoolboy Q "Attention"

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Throwback Song of the Week

“California” by Dom Kennedy

California, a song by Dom Kennedy on Spotify

Few things feel as good as driving the streets of Southern California blasting Dom Kennedy. In his ode to his home state “California” Dom raps about day to day life in Los Angeles. Dom frequently references people and places in LA connecting him in an intimate way with listeners who know what he’s alluding to. The instrumental is as west coast as it gets with a high-pitched, Dr. Dre-esque synth looping throughout the songs. Kennedy has been an under appreciated emcee for years and “California'“ might be the most obvious piece of evidence for his lack of commercial recognition.

“Y’all out of town niggas just don’t understand
We ain’t got the same mindset or the same plans
I done ran with my mans, ‘stead of runnin’ to the man
Two shows back to back, got paid 50 grand”

— Dom Kennedy "California"

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Check back in next week for three new hot songs and one new throwback! Follow us on Twitter and Instagram to get updated when we post:

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Songs of the Week: April 21st

By Spencer Lobdell

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

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

New Songs of the Week:

“10 Purple Summers” by 03 Greedo

10 Purple Summers, a song by 03 Greedo on Spotify

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

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

— 03 Greedo "10 Purple Summers"

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“God’s Warrior” Tee Grizzley

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

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

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

— Tee Grizzley "God's Warrior"

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

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

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

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

— DaBoii "Family Not A Group"

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Throwback Song of the Week:

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

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

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

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

— Kendrick Lamar "Hood Gone Love It"

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03 Greedo Remains One of Rap's Most Intriguing Players on His Newest Effort "Still Summer in the Projects"

By Spencer Lobdell

03 Greedo is a living legend. If his face tattoo of that exact phrase doesn’t convince you, a mix of his story and music should do the trick.

Greedo was born in Gardena California but grew up in Watts, a neighborhood just north of Compton known for its gang violence. As an early teen, he lived in the housing projects on Grape Street and became deeply involved with the infamous Grape Street Crip Gang, some even labeling him as “The Wolf of Grape Street.” Greedo always had a fascination with music but begin to pursue it seriously in 2016. He begin to gain a serious buzz, first in his neighborhood, then eventually throughout all of LA. With a sound unlike anything before him and a prolific attitude towards releasing music, his rise to fame seemed inevitable, that is until he was sentenced 20 years in prison for drug and gun possession charges he received in 2016. While Greedo was preparing to go in, he worked extremely hard in the studio to make sure that there was enough music that we wouldn’t forget the name 03 Greedo anytime soon. 2018 saw the release of an two exceptional mixtapes (The Wolf of Grape Street and God Level) before he left for jail and now the incarcerated rapper is back with his newest release Still Summer In The Projects.

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

Five tracks later we get the beautiful “Gettin’ Ready”. This slower cut is dedicated to the women in Greedo’s life and is an emotional listen. 03’s ability to layer his one-of-a-kind voice is unlike anything I’ve ever heard and on songs like “Gettin’ Ready” it’s easy to be reminded of his tragic fate. This causes listeners to feel every word he says and experience his music in a totally different headspace. This track is a powerful listen.

“Grapevine” is the second to last track on the album and contains every element of 03’s music we’ve come to adore. Greedo’s lays down some impressive verses and a catchy hook over a flute driven instrumental. I’m unfamiliar with Trilliano, the featured artist, but an impressive final verse inspired me to explore his music.

The final track “Visions” has a similar effect as “Gettin’ Ready” but is undeniably more emotional as Greedo raps about visions of the outside world that are constantly frequenting his head as he’s locked up. The guitar-driven instrumental is absolutely beautiful and creates a perfect soundscape for 03 to pour his heart out on this impactful outro. If you aren’t choked up by the end end of the last hook, the message of positivity that Greedo delivers over the phone from Potter County Texas Adult Detention Facility at the end of the song should do it for you. This is a perfect way to end a powerful project.

“Lately I been having these visions
Locked inside a cell with no windows
Hope I make it out of this prison
I’ll be coming back with a vengeance”

— 03 Greedo "Visions"

Overall Still Summer In The Projects is another exceptional release from 03 Greedo. While the first half of the album bleeds together slightly, this is not a big issue with an artist as unique as 03. The standout songs are some of the best music he’s put out and although in overall rating I might put God Level a tick higher, Still Summer In The Projects is undoubtably his most cohesive project and professional release. Recent news says that Greedo might be able to get out after five years on good behavior, so until then we can only prey this is the case and continue to support his truly unparalleled music. Greedo is a musical anomaly, a figurehead for his hood, an LA icon, but above all, a living legend. Free 03!

Best Songs:

10 Purple Summers

Gettin’ Ready

Visions

Rating: 7.5

Listen to Still Summer In The Projects here:

Still Summer In The Projects, an album by 03 Greedo on Spotify

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Songs of the Week: April 14th

By Spencer Lobdell

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

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

New Songs of the Week:

“Sanguine Paradise” by Lil Uzi Vert

Sanguine Paradise, a song by Lil Uzi Vert on Spotify

Finally, for the first time in over half a year, Lil Uzi Vert has released new music on streaming services. “Sanguine Paradise” was one of the two singles the rapper released this week and it did not disappoint. On the track we hear Uzi spit classic Uzi bars and melodies over a horn driven instrumental that is right in his wheel house. After so much drama and delay it’s so good to finally hear official new music from Uzi. Hopefully this signals that we are close to the elusive Eternal Atake but at this point I’ve learned not to get my hopes up.

“Only time I be walkin’ when I’m on the moon, so I feel like Michael
I was talkin’ to my little slime, that’s a lil’ lizard, call her Geico”

— Lil Uzi Vert "Sanguine Paradise"

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“Jet Black” by Anderson .Paak (Feat. Brandy)

Jet Black (feat. Brandy), a song by Anderson .Paak, Brandy on Spotify

Anderson .Paaks Ventura is my album of the year so far and while it’s impossible to pick just one track to highlight, “Jet Black” featuring Brandy is an early standout and easy track to fall in love with. A pulsing kick drums keeps the song moving forward and perfectly complements with funky piano chords to make this song sound like a perfect night out on the town. “Jet Black” is sexy, up-beat, and just like everything else on Ventura, conceptually layered.  

“Jet black hair, baby, jet black hair
At least two grams in your blunt wrapped there
These two hands always land up on the small of your back
Should I ask if eyes can go there?”

— Anderson .Paak "Jet Black"

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“Georgia” by Kevin Abstract

Georgia, a song by Kevin Abstract on Spotify

Fans of the Brockhampton frontman have waited three years for the follow up to 2016’s American Boyfriend and with the release of his three-song EP ARIZONA baby it looks like the wait might finally be over soon. “Georgia”, my favorite song off the EP, is a slower song where Kevin goes into detail about his homosexuality and how it has complicated his life in unfair ways. The guitar driven instrumental creates the perfect soundscape for Kevin to float on top, tapping into a slower flow that emphasizes the meaning of every bar he spits.

“I lay on your chest, you wonder what’s next
I love when you breathe, it make me reflect”

— Kevin Abstract "Georgia"

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Throwback of the Week:

“Westside Story” by The Game (Feat. 50 Cent)

Westside Story, a song by The Game, 50 Cent on Spotify

In 2005, The Game released his Aftermath debut The Documentary. Largely accepted to be his best work and a classic, with The Documentary, Game gave fans over an hour of gangsta bars, relevant features, and clever name drops. “Westside Story” is the first song on the album and perfectly embodies everything there is to love about The Documentary. Every bar Game spits on this track is quotable and has meaning making each verse extremely entertaining. Fellow G-Unit member 50 Cent delivers with a killer hook that fits perfectly between Game’s aggressive verses. “Westside Story” is a defining track of the mid 2000s.

“Since the West coast fell off, the streets been watchin’
The West coast never fell off, I was asleep in Compton
Aftermath been here, the beats been knockin’
Nate Dogg doin’ his thing, DPG still poppin’”

— The Game "Westside Story"

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Anderson .Paak Is Authentically Himself on His Exceptional New Album "Ventura"

By Spencer Lobdell

Ever since the release of his debut album, Venice, Anderson .Paak’s undeniable talent has been unanimously appreciated and celebrated by music critics and fans alike. The soulful California MC could seemingly do no wrong, that is until his 2017 release Oxnard was met with mixed reviews. The album was his Aftermath debut and executively produced by Dr. Dre and while everything seemed to be lined up for Anderson to deliver the best album of his career, some fans felt as if the project had major identity issues.

Just five months later, Anderson .Paak began the rollout for his forth solo studio album with the release of the excellent single “King James”. Paak took to Twitter to announce that he would continue to work his way up the California coast and title his album Ventura. Three weeks after “King James” Paak released one of the best songs of 2019. The beautiful “Make It Better” features music legend Smokey Robinson and is about the pain of falling out of love and still trying to make things work. Excitement for Ventura continued to build as fans felt Anderson return to his sound and make the music that they had come to adore on previous releases.

On April 12th Anderson dropped Ventura and any identity issues that existed on Oxnard were absolutely nowhere to be found.

The album opens with “Come Home” and after the first 30 seconds it is clear that listeners are in for a treat as .Paak’s soulful voice floats over a precisely arranged instrumental that we’ve come to expect from the multi-talented artist. The elusive Andre 3000 makes an appearance for the last verse and absolutely snaps with the best verse we’ve heard from the legendary MC in years.

The third track “Reachin’ 2 Much” is as groovy as it gets and showcases some of the best drumming I’ve heard. Regardless if you can get down with Anderson’s style or not, his ability as a pure musician is indisputable and “Reachin’ 2 Much” is a prime example.

On “Winners Circle” Paak sings about how ever since the fame he’s use to girls throwing themselves at him left and right, so when the particular girl he’s singing about makes him work for her it is oddly refreshing and allows him to experience something he rarely gets to anymore, the thrill of the chase. His third verse is one of my favorite on the album. Anderson is in his element when rapping about girls and the minimal beat allows his seductive wordplay to take center stage.

“Bring her home and I’ma bust it out the residence
When I get the gushy, I go dumb like the President
Yes, lawd, I’m way up
word to Sacagawea
If the gushy was a sneaker, it’d be moccasin trainer”

— Anderson .Paak "Winners Circle"

“Good Heels” is far too short with a run time of one minute and 38 seconds and leaves listeners craving for more of the addicting chemistry that Paak shares with featured artist Jazmine Sullivan. Fans can only hope that the two collaborate again in the near future.

The up-beat bop “Chosen One” features Anderson yet again searching for a women who loves him for him rather than his fame. Musically, the song delivers on every level and halfway through the beat switches introducing an infectious piano-driven instrumental. On Anderson’s verse he beautifully mixes current slang and witty punchlines (bonus points for the clever bar about MF Doom).

“Jet Black” features Brandy and just might be the catchiest song on the album. A pulsing kick drums keeps the song moving forward and perfectly complements with funky piano chords to make this song sound like a perfect night out on the town. “Jet Black” is sexy, up-beat, and just like everything else on Ventura, conceptually layered.

The album ends with the timeless “What Can We Do?” featuring the late Nate Dogg. There is something beautifully ironic about the fact that we received a rare feature from the deceased LA legend the same day that Nipsey Hussle was buried. Nate Dogg and Anderson compliment each other so perfectly on the hook making any west coast purist shed a tear upon first listen. Paak’s conversation with Nate Dogg at the end of the song is reminiscent to Kendrick speaking to Tupac on the To Pimp a Butterfly outro and is the perfect icing on the cake for an excellent piece of art.

Anderson .Paak’s Ventura showcases everything we love about the soulful California native. It is musically unmatched and conceptually rich. It’s both sexy and politically charged but always in moderation to keep it tasteful. Ventura is my favorite album of the year so far and potentially my favorite album in the talented artist’s deep discography. Thank you for existing Anderson .Paak.

Best Songs:

Winners Circle

Chosen One (Feat. Sonyae Elise)

Jet Black (Feat. Brandy)

Rating: 9

Listen to Ventura here:

Ventura, an album by Anderson .Paak on Spotify

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Billie Eilish's Album “When We All Fall Asleep, Where Do We Go?” Debuts at No. 1

By Izzy Stroobandt

It’s hard to call Billie Eilish’s new album ‘long-awaited’ because she hasn’t been a well-known artist for really that long.

Eilish rose to high levels of fame in no time after the online drop of “Ocean Eyes”, her first released bedroom-production. If her vocal range and songwriting hasn’t impressed you enough on it’s own, consider the fact that she was just 14 years-old when “Ocean Eyes” was released.

She began making music with her brother, Finneas, in their one-bedroom Los Angeles home from a young age and have continued to work as a production-songwriting team since. They’ve continued to release hit-singles since her first EP, don’t smile at me, giving listeners hints to what her first album could sound like.

She teased the album with four separate song releases prior to the drop. After she released “you should see me in a crown”, “when the party’s over”, “bury a friend”, and “wish you were gay” listeners were hyped up and anxiously awaiting the rest of the album to be released. Soon after the drop, Eilish’s first album When We All Fall Asleep, Where Do We Go? hit no. 1 on the Billboard 200 albums chart.

What I find most impressive is Eilish’s ability to seamlessly mix comedy and tragedy on one cohesive album.

The album opens with “!!!!!!!”, a 13-second recording of her removing her Invisalign and laughing with her brother. “!!!!!!!” showcases Eilish’s comedic side, reminding us that despite the deep lyricism and emotionally-mature content in many of her songs—Eilish is still only 17 years-old.

Eilish explores the dangers and toxicity of recreational drug use on “xanny”. The title of the song references Xanax, a drug prescribed to treat anxiety that is commonly mentioned in hip-hop music for its recreational abuse. Eilish told The Guardian that the intended message behind “xanny” wasn’t “‘don’t do drugs’ it’s more; ‘be safe’.” The message is deeply rooted for Eilish, who said “I don’t want my friends to die anymore.” Eilish’s vocals on “xanny” are slightly off-beat, soft and slow which mirror the effects of Xanax.

“wish you were gay” allows listeners to see a softer side of Eilish. She’s hurt by the person she loves and wishes that there was an explanation (like them being gay) for why they don’t love her the way she loves them.

On “my strange addiction”, Eilish samples parts of The Office’s “Threat Level Midnight” episode. An unexpected sample on the album, Eilish explained to MTV News that the original beat they made for the song reminded her of the music they play during the ‘scarn dance’. Yet another example of the innovation and creativity that went into the production for When We All Fall Asleep, Where Do We Go?

In an interview with Pop Buzz, Eilish explained that she wanted the track names at end of her album to sound like a sentence. Eilish said there was a song titled “i don’t know, i just wish i wasn’t breathing” on the original track list, but they cut it because the lyrics weren’t ever actually written. On the album, “listen before i go”, “i love you”, and “goodbye” are the last three songs. Together, even after “i don’t know, i just wish i wasn’t breathing” was cut, the final song names on the album create an emotionally dark and cohesive statement— “listen before I go, i love you, goodbye.”

In a variety of ways, Eilish has shown her creative mastery and deep thoughtfulness on this album. Her songs focus on mature content, from heartbreak to drug abuse, and the metaphors in her creative vision lie deeper than just her lyrics. From track list organization to music videos to album art and beyond, Eilish uses all mediums at her disposal to convey her creativity and emotion to listeners.

There’s no doubt that Eilish has talent. She is breaking the stereotype that female pop-artists need to sell sex and wear revealing clothing to be successful, and taking risks by following her creative inspirations. Her horror film-inspired music videos compliment her signature angelic-yet-haunting vocals and tie audio and visual elements together in a unique way that many artists haven’t explored yet.

FAVORITE TRACKS

bad guy

xanny

wish you were gay

Rating: 9

Listen to When We All Fall Asleep, Where Do We Go? here:

WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, an album by Billie Eilish on Spotify

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Songs of the Week: April 7th

By Spencer Lobdell

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

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

New Songs of the Week:

“Make It Better” by Anderson .Paak (Feat. Smokey Robinson)

Make It Better (feat. Smokey Robinson), a song by Anderson .Paak, Smokey Robinson on Spotify

This week Anderson .Paak released the second single off his upcoming album Ventura which is starting to look like a can’t-miss album. On “Make It Better” the soulful rapper recruits music legend Smokey Robinson to help him craft a track about lovers who have fallen out of love but are determined to reignite the spark they once shared. Anderson’s vocals are absolutely to die for as he rides one feel-good melody after another on the way to a musical masterpiece. The instrumental, which was aided by legendary producer The Alchemist, is just as impressive as the production team uses a stringed orchestra beautifully to create a modern symphony that is equal parts fun and brilliant. If you haven’t already, you need to hear this cut.

“Remember when we first met?
We were havin’ so much fun
So, now, how can we both forget
Tellin’ each other, “We’re the one”?”

— Anderson .Paak "Make It Better"

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“Song 32” by Noname

Song 32, a song by Noname on Spotify

Claiming that Nonmame is the most talented female MC in the game right now is far from an outlandish statement and on “Song 32” we see exactly why this is the case. The Chicago rapper absolutely snaps bouncing between unique flows that we’ve only heard in other Noname tracks. It would be more accurate to call her a poet than a rapper and she makes this clear on the hook when she raps “Started getting money from writing the haiku.” Both of Noname’s recent releases have been excellent and we can only be excited for what the talented artist has in store for us in 2019.

“I’m patriarchy on Sunday, don’t push me, I’m Viacom
Y’all niggas got Diddy money, don’t push me, I’m atom bomb
I’m Obama pushing the button, in Lybia, Pakistan
Humanly a hypocrite, the sinner and the civilian”

— Noname "Song 32"

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“UDIGG” by Cheeks Bossman (Feat. Young Thug)

UDIGG (feat. Young Thug), a song by Cheeks Bossman, Young Thug on Spotify

Florida rapper Cheeks Bossman has been making waves in the underground scene for awhile now and with a solid Young Thug feature, it might finally be his time to share some of the spotlight. “UDIGG” is an extremely catchy cut that lacks context but makes up for it with a rattling hook, braggadocios bars, and an instrumental that kicks like crazy.

“I’m gettin’ straight to the check in the morning
I’m tryna double my bag while you snoring
I got your bitch givin’ top in a foreign
If they ain’t talkin’ ‘bout racks, I ignore ‘em”

— Cheeks Bossman "UDIGG"

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Throwback Song of the Week:

“Traumatized” by Meek Mill

Traumatized, a song by Meek Mill on Spotify

Meek Mill’s biggest strength as a rapper is his ability to pump an absurd amount of emotion into every bar he spits and make you truly feel everything he’s saying. No song in his catalogue displays this skill like “Traumatized” and while it may be an unpopular opinion, I believe it to be the best song on his classic mixtape Dreams and Nightmares.” Over the course of the four-minute cut, Meek tells us the story of his fathers murder and how it effects him everyday of his life. The rhyme schemes in this emotional anthem are extremely complex and allow this song to have the power and impact that it does. Do yourself a favor and revisit the Dreams and Nightmares mixtape today.

“So I’mma let this flame hit you just to let this pain hit you
And for all them cloudy days I’mma let this rain hit you nigga”

— Meek Mill "Traumatized"

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Saweetie Keeps it Cool with "ICY"

By Kaila Cherry

If you aren’t familiar with Saweetie, now is your time to get hip to her. Hailing from the Bay Area, California, Saweetie first got attention for her music back in 2017 she released her single “Icy Grl.” On “Icy GRL,” Saweetie raps over Khia’s 2002 hit single, “My Neck, My Back” with a flow that is utterly smooth and dripped in cool. Since the breakout success of “Icy GRL,” Saweetie has gone on to release two EPs since then; High Maintenance in 2018 and most recently, ICY (2019). ICY is a strong launch point for Saweetie and the rest of her rap career. The project is a refreshing change from much of what is expected from hip hop projects today. Saweetie is sexy, braggadocios, and unbashful in both her music and her persona on ICY. With this newest project, the Bay Area baddie shows us that even though she is a newcomer, she is going to have a lasting stake in the rap game.

ICY has a kitchy and vintage sound. Tracks like “Tip Toes,” “Emotional” and “Dripped in Ice” take me back to the early 2000s with their structure, samples, and overall style. “Tip Toes” is one of the two songs on the EP that features Quavo of Migos. “Tip Toes” functions as a rap duet between Saweetie and Quavo, with each talking about their lust for the other in short, 30 second segments as they go back and forth for the entirety of the track. “Emotional” is the other track with a Quavo feature. In this song, Saweetie utilizes a sample that sounds much like the one used in Beyonce’s 2003 hit single “Crazy in Love.” “Dripped in Ice” is a slower and more mellow track with much simpler production compared to the other tracks on ICY. “Dripped in Ice” showcases the swagger of Saweetie's flow. She doesn't try hard to hit certain rhymes or emphasize certain words. Her lyrics roll off her tongue, allowing her style to seem effortless. The effortlessness of her flow makes “Dripped in Ice” and all the other tracks on ICY easy for the listener to latch onto. This allows us to easily enter into the world of Saweetie, one which makes anyone who listens feel like a bad bitch.

Saweetie does not hide her Bay Area lineage on ICY. She takes pride in where she is from, which is the tradition of Bay Area artists everywhere. Quavo references Oakland sideshow culture on the song “Tip Toes” when he says “And she from the Bay, she ghostwrite every morning.” Saweetie herself makes reference to late innovator of the Bay’s Hyphy hip hop movement, Mac Dre on the track “My Type” with the lyric, “Do it on his face with a thizz (Ugh)/ I'm a boss tycoon with the shit.” She also refers to her “Pussy from the Bay” on the song “My Type” and calls herself a “Bad bitch from the Bay with a ratchet side” on the track “Hot Boy.” The Bay Area influence is very prevalent on ICY and as a fellow resident of the Bay Area myself, ICY gives me an undeniable sense of hometown pride.

ICY is a short project, comprising of seven songs that amount to a runtime of  21 minutes total.This is the perfect length for this EP. Each song is able to stand on its own, have its own space to breath, and express its own sense of personality. No song on ICY sounds exactly like the other, which is something that is all too common in longer rap projects today released by more established artists. ICY may be short, but it packs a punch regardless. And after the first listen, I can guarantee you’ll want to listen to it again and again.

Saweetie continues to impress with ICY. With this project, she has shown the public that she is more than a one hit wonder. Saweetie is here to stay, and she is going to do so on her own terms. Her confidence on Icy is infectious, the tracks sound unique yet classic at the same time, and her flashy persona is extremely fun and attractive. I was extremely impressed with Saweetie’s work on ICY, and her potential to be star is all over this project. I know I will be keeping a lookout for what she comes out with next. Are you?

Favorite Tracks

Tip Toes (Feat. Quavo)

Dipped in Ice

Hot Boy

Rating: 8

Listen to ICY here:

ICY, an album by Saweetie on Spotify

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Songs of the Week: March 31st

By Spencer Lobdell

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

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

New Songs Of the Week:

“Tip Toes” by Saweetie (Feat. Quavo)

Tip Toes (feat. Quavo), a song by Saweetie, Quavo on Spotify

Tip Toes, the standout track off Saweetie’s new seven-track EP “ICY,” gives us a look inside of her and Quavo’s young relationship. The way the two consistently gas each other up while sliding from one overt sexual innuendo to another is fun and empowering. The beat is lively and infectious and creates a specific mood where it’s hard for the listener not to love everything the two MCs have going on.

“Icy wifey like it rocky, so he take me out so often
All these bitches try to cop me but he know he never swap me”

— Saweetie "Tip Toes"

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“AINT GOIN BACK” by Russ

AINT GOIN BACK, a song by Russ on Spotify

The internet’s least favorite DIY rapper is back with a motivating new track called “AINT GOIN BACK.” Russ delivers two honest verses and an echoing hook that will be stuck in your head after one listen. Throughout the song, the Atlanta MC raps about all the positive ways his life has changed since the fame. This topic is one we’ve heard from Russ before, but on this new track his boasting seems to come from a place of authenticity and comes off as far less annoying.

“Mom was applying for the food stamps
Every night studio boot camps
All I had there was a lot of free time
Cheap wine and my mind and my two hands”

— Russ "AINT GOIN BACK"

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“KICK THE CUP” by Fenix Flexin (Feat. Rob Vicious)

This week, 50% of Shoreline Mafia comes through on the new single “Kick the Cup.” At its core, the song is one about struggling to kick a lean addiction, but Fenix Flexin’s tone and word choice on the hook puts me under the impression that even if he thought this task obtainable, he would choose to keep sipping. His layered vocals on the hook sound larger than life and even without Ohgeesy this sounds like a classic Shoreline track.

“I really wanna kick the cup but I can’t
Everywhere I go a nigga sippin’ drank
Said he gettin’ to the fetti but he ain’t
I just pulled out 20 thousand out the bank”

— Fenix Flexin "Kick the Cup"

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Throwback song of the Week:

“Keys 2 the City” by Nipsey Hussle

Keys 2 the City, a song by Nipsey Hussle on Spotify

Rest in peace Nipsey Hussle. Nipsey was a true legend and an absolute leader in the LA community. With all that he did to make the city a better place, he was absolutely right when he rapped that he had the key to the city. The second track off the excellent mixtape The Marathon shows every reason why we love Nipsey Hussle. From his witty wordplay, to the OG west coast instrumentals, to his unmatched love for LA, Nipsey Hussle is a true king and will be deeply missed.

“Like a broke weed head, my pistol will smoke for free
Imani ain’t gonna know the streets
Got to keep her close to me
Put that on the man that’s on the cross on my rosery
Wasn’t always banging but I speak about it openly
No shame in my game
I did my thing, on the coldest streets
Who’s the hottest on the West
All you niggas know it’s me
So tell whoever got it lock that Nipsey Hussle stole the key”

— Nipsey Hussle "Keys 2 the Streets"

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Meet Foreign Jay, the Hottest Act Currently Coming Out of the Midwest

By Spencer Lobdell

In an industry saturated with so much of the same, Foreign Jay is a breath of fresh air. The young Cleveland MC is energetic, different, and the next big thing to come out of the midwest. Jay has been slowly gaining traction since releasing the visual to his eerie cut “Choppa Go” almost a year ago. There is a lot to love about the plethora of singles the young rapper has released since. Jay seems to draw inspiration from a number of regions making his music incredibly diverse and widely appealing. While his up-front flow and provocative punchlines remind me of the rap renaissance currently taking place in the bay area, his cool and unique dialect and bass heavy instrumentals are reminiscent of Drakeo the Ruler and the Los Angeles underground. Jay seamlessly connects these styles as well as many others to craft his own distinct sound that will carry him to stardom in the near future.

Foreign Jay first caught my attention when a friend sent me his EP Lil Jet Pack last fall. This three-song tape begins with the hard hitting “One Take Shawty.” While this song has received more attention than anything else in his catalogue, it was the second track, “Flashy” that really made me a fan. “Flashy” is menacing, purposefully ignorant, and home to one of the catchiest hooks I’ve heard in recent memory. Jay’s flow throughout the chorus manages to emphasize every punchline perfectly and the rattling bass in the instrumental makes this cut an essential for every joyride.

Jay followed his EP up with one of my favorite songs he’s put out to date, “Keyshia Cole.” The Cleveland rappers delivers a worthy vocal performance but ultimately it’s the ominous instrumental with a powerful ascending bass line that steals the show. With this being said, Jay yet again brings his insanely fun energy to this track and again uses unique flows to make his most critical bars unignorable. There is something different about “Keyshia Cole” that is somewhat difficult to place, but I believe to be foreshadowing for the new lane I see Jay carving out in 2019.

Currently my favorite song by Foreign Jay (and one of my favorite songs of the year) was the late January release, “Bad Guyz.” On this groovy cut we see Jay tackle a new kind of 80s-inspired instrumental that few rappers are currently spitting too. This risk paid off in full as “Bad Guyz” is infectious, high-energy, and so much fun. A portion of this can be attributed to the unique beat but majority of the credit belongs to Jay’s witty word play that never comes off as anything close to corny. The Midwest MC dropped a dope music video for the bop that perfectly captures the care-free vibe of this song.

In one short year Jay has crafted an impressive catalogue of singles, gained a following of loyal fans from his hometown and the rest of the country, and has created a buzz for himself by receiving frequent attention from the music publication Elevator. The young rapper is now in perfect position to release his breakout mixtape, which according to his instagram, is exactly what he plans to do next. Last week he posted the following picture on his instagram announcing that his debut mixtape should be arriving very soon. In the post, Jay proclaims that All Graved Up will be his biggest piece of work yet and needless to say here at StereoVision we are beyond excited for the release. With Jay’s mix of influences, unique flows and dialect, and prolific release strategy, 2019 is bound to be a hell of a year for the Cleveland MC.

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NAV Bores With His New Project, "Bad Habits"

By Kaila Cherry

NAV has slowly been integrating himself into rap/R&B scene for the past few years. He has collaborated with some of the hottest names in contemporary hip hop today, like Travis Scott, Lil Uzi Vert, The Weeknd, Metro Boomin, and Quavo. NAV has his hand in several facets of the music making process. The range of his skills has led him to have rapping, producing, and songwriting all under his belt. After recently coming out of his two month retirement from music prompted by Lil Uzi Vert’s own step back from the industry, NAV dropped his second studio album entitled Bad Habits.

NAV’s foray back into music (although he barely left) is just as impressive as his previous project and features. Bad Habits encapsulates NAV’s strict adherence to the OVO type cloth he has been cut from. Because of his resistance to diverge from the sleepy and emotionally driven (in NAV’s case, devoid) sing-rap archetype popularized by the likes of Drake and The Weeknd, NAV delivers a project we have all undoubtedly heard before.  

Bad Habits gets pretty boring pretty quickly. Nav’s voice follows very simple melodies over slow trap beats. The sound of this album is fairly predictable. Once you’ve heard the style of the first two or three tracks, you have a good sense on what the the entire 50 minutes sounds like. Despite the lack of ambition NAV demonstrates on the project, the tracks do follow a formula that works. Even though they are extremely basic both musically and lyrically, NAV has a voice that is easy to sing along with. The beats are catchy and effortlessly danceable. Bad Habits is undeniably a product of its time. Very little within the project on its own holds any longevity or stand-alone merit. However, if I were to hear songs like “To My Grave” or “Taking Chances” at a party, I wouldn’t be opposed to having it play. However, I wouldn’t be able to distinguish these songs from artists like Raury or Majid Jordan, either.

The strongest track on Bad Habits is “Price on My Head” featuring The Weeknd. I believe this is largely due to the fact that the first two verses of the song are carried by The Weeknd himself, with NAV not coming in with his rap until the last third of the song. Even so, I thought the production on “Price on My Head” was refreshing in comparison to the rest of the album.  The synth piano progression gives the ear an interesting sound to latch onto throughout the track. The Weeknd’s voice is smooth and cool as he sings about the recklessness of his party lifestyle and how he attracts jealousy from those who wish they could live like him. NAV’s verse uses a healthy amount of autotune both to add to the sort of frantic nature of the song as well as to compensate for any vocal disparities between him and The Weeknd. The Weeknd’s feature is also the best feature on the album by far, with big names such as Young Thug, Meek Mill, and Gunna falling short.

On the whole, NAV’s Bad Habits is less of a complete flop and more of an underwhelming release. None of the songs are awful. In fact, they each sound nice on their own and would fit seamlessly into a night out playlist. The tracks are catchy enough to stick to the ear for the duration of the songs. But that is about it. NAV fails to bring anything new to the subsection of rap in which he operates in. And because of that, Bad Habits is nothing special as an album or as a reflection of NAV’s artistry. This album will come and go, and is utterly forgettable.

Favorite Tracks

To My Grave

Price on My Head (Feat. The Weeknd)

Vicodin

Rating: 5

Stream Bad Habits here:

Bad Habits, an album by NAV on Spotify

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Rich The Kid's New, Feature-Heavy Album "The World Is Yours 2" Is a Solid Sequel to His Debut Project

By Miles Hagan

Rich The Kid seems to love the life he lives. He won't let you forget that he’s richer than you for a second, and he could steal your girl whenever he wants (which might be why he doesn't trust women). He had a great 2018 with huge singles off his debut album The World Is Yours. Though the hype for this album wasn't nearly as crazy, Rich has been grinding and released some solid singles in preparation for this project. If The World Is Yours 2 is a success it could really prove that Rich The Kid is here to stay for a while.

One thing must be made clear to start. This is a Rich The Kid album. He knows exactly who he is and sticks to it throughout. That being said this is 45 minutes of straight flexing. It seems like he was able to understand the sound that his fans love from him and get the best producers and features to create an album tailor made for him. Though not very diverse or adventurous in subject matter, Rich never seems like he's out of place or uncomfortable for a second on any track. All of these things come together perfectly on the first half of the album.

The first seven songs on the album are Rich at his best. The opening track has a beat that can only be described as pleasant. It sets the tone for the album because even though it has aspects of the typical trap banger, things like the whistling in the background and the piano throughout makes it something that Rich is able to absolutely kill. He basically spends the track talking about how nice it is to be him since he came up in rap. Then there's “Splashing” which was released back in 2018. As soon as the track starts it has the same feeling of a “New Freezer” or “Plug Walk” meaning it’s sure to be an undeniable hit. With booming bass and incredibly catchy hook, this has club banger written all over it. The standout on this first half of the album might be “Fell Threw” with Gunna and Young Thug. Thug delivers one of his best contributions to a track since his last project. He comes with energy and the way he trades lines back and forth with Rich is seamless. Each of them has creative flows and the flute in the background is a great addition. Gunna comes in at the end and although he doesn't do anything special, the way that he strains his voice while rapping makes his verse a little more interesting and it doesn't hurt the track.

The great tracks continue until we get to “Woah.” These are the two main features that stick out on the album. Miguel and Ty Dolla $ign are two very talented R&B singers in their own right, but they aren't normally collaborating with artists like Rich The Kid. That being said it almost seems like the song is catered for them rather than Rich. The song comes off as a little corny and his lyrical shortcomings really come through when his flows demand too much attention and the beat can't take center stage. This starts off a very disappointing finish to the album. Aside from “Rockets” with Takeoff and Lil Pump, which is surprisingly entertaining, the rest of the features on the project are largely disappointing. Rich doesn't change much about what he does, but the beats don't hit the same on this half of the project and begin to sound the same. It does end on a high note with “For Keeps” which functions as a very good outro for The World Is Yours 2. Both Rich and NBA Youngboy speak on how they can't afford to associate with fakes and they are just focused on making their money.

This was not a surprising release from Rich The Kid. He stays true to form from The World Is Yours. He has reached some level of mainstream appeal and it will be interesting to see where his career evolves from here. His best moments on The World Is Yours 2 are when he is talking about how great is life is over an interesting beat. This is simply just fun music to listen to. That being said without much depth in terms of subject matter or concept he runs the risk of his ideas becoming stale, and it isn't a guarantee that each beat he goes over will be the hit that will set the club on fire. The first half of the album offers a solution by providing Rich with some different kind of weird beats that grab the listeners attention and then Rich is able to come through with solid flows and energetic rapping that keeps their attention. The World Is Yours 2 is far from a perfect album but it is saved by the fact that aside from a few moments it never tries to be something it's not. Rich never sounds like he's phoning in a verse, his subject matter simply gets played out. The interesting thing will be where he goes from here. He has now proven that he can make solid albums and release hit singles, but if he really wants to stay rich forever then he has to now show us something new.

Best Songs:

Splashin

Fall Threw (Feat. Young Thug & Gunna)

Racks Today

Rating: 7

Listen to The World Is Yours 2 here:

The World Is Yours 2, an album by Rich The Kid on Spotify

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Songs of the Week: March 24th

By Spencer Lobdell

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

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

New Songs of the Week:

“CAPO” by NLE Choppa

CAPO, a song by NLE Choppa on Spotify

At the beginning of the year the world was introduced to 16 year old NLE Choppa when his high energy underground hit “Shotta Flow” broke onto the charts. The Memphis rapper is back this week with a cut even more exciting than his breakout hit. On “CAPO” Choppa once again shows his ability to lock into an instrumental and snap on verses but this time it’s his menacing hook that steals the show. This is the best song we’ve heard from the promising young artist only adding to the already existing excitement surrounding his name.

“Ran down in the street, man, this nigga tried to play me

I hit one in the head but his gun was on safety

They askin’ how I been, what I been feelin’ lately

I got good aim in the pocket like I’m Brady”

— NLE Choppa "CAPO"

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“WOAH” BY RICH THE KID (FEAT. MIGUEL & TY DOLLA $IGN)

Woah (feat. Miguel & Ty Dolla $ign), a song by Rich The Kid, Miguel, Ty Dolla $ign on Spotify

This week Rich the Kid dropped The World Is Yours 2. While Rich sticks to his tested formula for most of the album, the occasional detour into a more experimental direction lead to the best moments on the album. This is the case with the slower, wavy cut “Woah” which is the best song on the album. Everything about this song is pure bliss from Miguels beautiful harmonies on the chorus to Rich’s tasteful and entertaining first verse. This song can fit many different vibes giving it serious potential when it comes to sales. Regardless of how it sells, I don’t see this song leaving my constant rotation any time soon.

“She got that woah

She got that drip slow

She got that I might pull up on her buy a Range Rove”

— Rich The Kid "Woah"

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“Jailbreak the Tesla” by Injury Reserve (Feat. Amine)

Jailbreak the Tesla (feat. Aminé), a song by Injury Reserve, Aminé on Spotify

This week, critically acclaimed rap trio Injury Reserved teamed up with Amine for their second release this year. “Jailbreak the Tesla” is a grinding cut anchored by a futuristic instrumental filled with high-tech sound effects. Injury Reserve and Amine go bar for bar throughout the song rapping about their cars and connecting it to when everyone was obsessed with jailbreaking their apple products. It appears an album is on the near horizon for Injury Reserve which is always a reason for excitement.

“Had the iPod Touch with the Redsn0w
Cydia, but you could pirate all the apps though
They would have security cams by the back doors
Nigga, this was Limewire on crack, though”

— Richie With a T "Jailbreak the Tesla"

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Throwback song of the week:

“M.F.T.R” by Pusha T (Feat. The Dream)

M.F.T.R., a song by Pusha T, The-Dream on Spotify

In 2015 Pusha T released King Push, a perfect precursor for his masterpiece that was Daytona. The third track on the album “M.F.T.R” stands for “More Famous Than Rich” and showcases King Push coming for the throat of all clout chasers in the industry. Pusha has always made a point of his authenticity and “M.F.T.R” is one of the best examples. The Dream assists on the song and sings an epic hook that sits perfectly on top of the polished instrumental. “M.F.T.R” is a sleeper in Pusha T’s excellent discography and a personal favorite.

“King Push is synonymous with kingpin
Chess moves on your checkerboard, king him”

— Pusha T "M.F.T.R"

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Chief Keef and Zaytoven Disappoint on Their New Album"GloToven"

By Kaila Cherry

Chicago trap and mumble rap pioneer Chief Keef collaborates with Atlanta producer Zaytoven for the second time on their newest release GloToven. Chief Keef has become known over the span of his career for his aggressive and intelligible rap style, quirky lyrics, and unique personality, all of which come together through his unwavering pride to his Chi-town roots. However, much of Chief Keef’s charm and individuality is not present on his latest album. GloToven shows Chief Keef succumbing to the popular trap style he helped to popularize in the early 2010s. Yet unlike those who have taken the style in new directions, Chief Keef does nothing to set himself apart from all the other trap projects out today. His inflection is watered down, the production is bland, and the lyricism falls flat. Suffice to say, GloToven is my least favorite Chief Keef project to date.

I am immediately turned off by the language used in the opening track, “3rd Person.” A little over halfway through the song, Chief Keef drops a variation of the f slur used towards LGBT community to create a rhyme that is wholly ignorant and uncreative from start to finish. “Shawty bounce' that ass, I think she want me to smack it/ That H3, niggas ain't fuckin' 'round with these f**gies.” Chief Keef also sounds eerily like Gucci Mane on this song. It took me a few listens to convince myself that the chorus was not a feature from Chief Keef’s idol, but Chief Keef himself.

After “3rd Person,” the rest of GloToven blends together into one indistinguishable mess. Out of the 12 songs on the project, the only that stood out to me was “Sneeze.” “Sneeze” sounds the most like Chief Keef to me. His accent is more present in this than in the others, which I thoroughly enjoy. It’s a fun track with heavy bass and lots of autotuned adlibs. There are so many things happening within the track production wise that in a project that is largely homogenous, “Sneeze” served to be the main track that had any salient musical qualities and could hold its own outside of the GloToven conglomerate.

Chief Keef enlists Lil Pump as the sole feature on GloToven. The two collaborate on the track “Old Heads and Regretful Hoes” and it is nothing to write home about. Chief Keef’s mellow and melodic flow is abruptly interrupted by Lil Pump’s awkward, youthful vocal inflection. The two voices simply do not mesh well together. Lil Pump changes his flow several times throughout his feature, and each one is more annoying than the last. By the time he’s finished, I am left with a slight headache.  

GloToven is far from Chief Keef’s best work. As a Chief Keef fan, I am left unsatisfied with what he has offered not only to me, but to rap fans at large. GloToven lacks the fun and the infectious energy of his most famous tracks such as “I Don’t Like,” “Hate Being Sober,” and, of course “Love Sosa.” What we receive from Chief Keef instead is a project that envelops itself within the trap landscape, so much so that the innovator cannot be told apart from his copiers. All of this comes together in an album that is only somewhat enjoyable and largely forgettable.

Best Tracks:

Batman

Fast

Sneeze

Rating: 4

Listen to GloToven here:

GloToven, an album by Chief Keef, Zaytoven on Spotify

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Songs of the Week: March 17th

By Spencer Lobdell

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

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

New Songs of the Week:

“King James” by Anderson .Paak

King James, a song by Anderson .Paak on Spotify

The most soulful voice in hip-hop is back with his first single off his upcoming album Ventura. “King James” is a groovy ode to those using their fame as a platform to uplift their community and better the world. Where many fans felt like Dr. Dre’s production on Oxnard created an identity crisis for Paak, on “King James” he seems to rediscovers himself in a fantastic way. It’s looking like Ventura could shape out to be another outstanding album from Anderson .Paak.

“We couldn’t stand to see our children shot dead in the streets
But when I finally took a knee
Them crackers took me out the league”

— Anderson .Paak "King James"

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“Numb Numb juice” by Schoolboy Q

Numb Numb Juice, a song by ScHoolboy Q on Spotify

“Numb Numb Juice” is the first single off ScHoolboy Q’s long awaited fifth studio album. On this menacing track we hear Q call out industry rappers and fake gangstas for all kinds of “bitch shit.” The TDE rapper also dropped a dope video for the new single which you can check out here. Q is out for blood on this new track which should only intensify the anticipation surrounding the new project. 

“Faking like you got it in your pockets, yeah, that’s bitch shit
Talking to them hoes, you steady gossip, yeah, that’s bitch shit
Telling on your mans so you can scram, yeah, that’s bitch shit
Pull it out and acting like it jam, yeah, that’s bitch shit”

— ScHoolBoy Q "Numb numb juice"

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“Wasteland” By Tierra Whack

Wasteland, a song by Tierra Whack on Spotify

Tierra Whack has been building a buzz lately through a series of singles which she refers to as “Whack History Month.” While everything she’s released recently has been very good, ”Wasteland” might just be my favorite track she’s put out since Whack World last year. This slower ode to curving guys is anchored by a pulsing chord progression played on an organ giving this song a hypnotizing feel. 

“I was brought up by myself
And it’s by choice
You was on a bike
I was Rolls Royce ”

— Tierra Whack "Wasteland"

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Throwback song of the week:

“Rush hour” by Mac Miller

Rush Hour, a song by Mac Miller on Spotify

“Rush Hour” is the third track off Mac’s major label debut GO:OD AM. The track is boastful yet insightful and honest as Mac frequently was. The song is about making money and basking in wealth but it is so different than most tracks with the same topic. Somehow Mac flexes how easily he makes money without ever putting himself on a pedestal and seeming unrelatable. Mac’s ability to connect with listeners while still being sincere about his insane life is one of the many things that made him so special and makes this song so special.

“I give a fuck less and less every day
The more you give a fuck, I guess the less you make
Homie we just out here tryna elevate
Heaven is a crime scene, stay behind the yellow tape”

— Mac Miller "Rush Hour"

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Happy Birthday, “To Pimp a Butterfly”

By Kaila Cherry

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

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

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

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

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

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

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

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

To the album that changed my life: 

Happy anniversary, To Pimp a Butterfly. 

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