Baby Keem’s New Offering “Die for My Bitch” Is Captivating, Refreshing, and One of the Best Projects of the Year

The Vegas rapper/producer won a grammy months before releasing his debut mixtape. Now he’s back to show exactly why that grammy won’t be his last.

By Spencer Lobdell

Hykeem Carter (AKA Baby Keem) is hip-hop’s most exciting young voice. The young Las Vegas artist has been deeply rooted in the industry since long before any of his own solo music was released. He is particularly connected to powerhouse label TDE as he got his big break when he landed a spot producing tracks on Kendrick Lamar’s 2018 Black Panther movie soundtrack. Since then he won a grammy for producing tracks on Jay Rock’s Redemption, produced hit songs like ScHoolboy Q’s “Numb Numb Juice”, and created a large buzz for his own solo music.

In October of 2018, Keem released his well-received debut mixtape The Sound of Bad Habit. The tape boasted impressive songs like “Baby Keem”, “Gang Activities”, and “Miss Charlotte” which all point to early signs of stardom. The tape showcases Keem’s stylistic diversity as well as his unique dialect and vocabulary. Anyone who heard Sound of a Bad Habit spent nine months in intense anticipation for the promising projects follow up.

While Keem and his manager, Brock Korsan, both teased album snip-bits on their Instagram for months during the conception of the album, the official rollout for Die For My Bitch began on June 11th with the release of his absolutely addicting single “INVENTED IT”. The upbeat, infectious cut only lasts a minute and a half and will have you hitting replay for hours. The hook boasts his unique vocabulary that takes some deciphering (“Big protein I’m smoking lonely for the culture/No Ted Talk I’m stepping on a little roach”) leading to the consumption of Baby Keem’s music being somewhat reminiscent of that of fellow LA artist Drakeo The Ruler.

A month later Keem released the album’s second single, “FRANCE FREESTYLE”. The cut is gritty, tough as nails, and couldn’t sound less like the radio-friendly “INVENTED IT”. The menacing song hits every beat and should be added to weight-lifting playlists across the country.

A week later on Hykeem released the final single off Die For My Bitch, “ORANGE SODA”. The song’s title is one way that Keem refers to the women in his life yet again shining a light on his uncommon way of talking.

On July 19th Baby Keem independently released Die For My Bitch. The mixtape is 14 tracks long, runs for 34 minutes, and has no featured artists.

The album starts with a voicemail from an unnamed girl who is furious with Keem and tells him to call her back immediately. This voicemail is a reoccurring theme throughout the project although the mystery women’s tone changes from angry to desperate as the tape progresses. After the short voicemail commences the beat hits and it hits hard. “STATS” is an excellent attention-getter and introduces new fans to Keem’s intentionally-provocative rapping and his unmatched confidence (“Baby Keem just humbled a model”). Halfway through the song, there is a soulful ten-second interlude that alerts us that Keem is far more than your standard trap rapper. This interlude is interrupted by Keem’s slicing ad-libs as we are instantly transported back to chaos.

On the second track “HONEST” Keem makes it known that he is far from one dimensional as he turns the intensity down for the emotional cut about returning to your ex when things aren’t going so well. Keem’s brutal honesty is on display throughout the whole tape but is especially present on this track (“You’re not who I love, I just need to pass the time”). In the second verse, Keem sings “Baby Keem, shit I’m chosen” and even though we’re only six minutes into the tape, it’s hard to not believe him. 

After we hear two of the afro mentioned singles (“INVENTED IT” & “FRANCE FREESTYLE”) we are transported to the beautiful soundscape that is “BULLIES”. The team of producers that worked on this track masterfully created an instrumental that is layered with swirling synths and harmonies that make this track feel like it exists in its own world. Keem’s hook on this track is one of the most addicting stanzas on the album making chill cut an early favorite.

The ninth cut “TOP RAMEN” is undeniably peculiar and gets better with every listen. Keem flexes his whisper-rap flow over a minimalistic instrumental leading to the same awesome effect that Chicago rapper Valee has mastered.

“TOP RAMEN” is instantly followed by the most dramatic deviation on the album “MY EX”. On this track, Baby Keem is no longer a rapper but rather a rock star singing over a punk-inspired acoustic guitar chord progression. Keem spits facts that anyone who has had a bad breakup can relate to while simultaneously ruining any shot he ever had at a partnership with Trojan (“And I want to see you naked but I hate safe sex”).

The last song on the album is a sure-hit if it gets the exposure it deserves. On the pulsing banger “APOLOGIZE”, Keem effortlessly fuses the creative and sophisticated soundscape of a song like “Wolves” by Kanye West with the catchiness and addicting nature of a Juice WRLD hook. “APOLOGIZE” is such an excellent song because of the conflicting emotions Keem feels and how effectively he articulates these emotions. This song belongs on every hip-hop radio station in America and I believe it’s only a matter of time before it gets there.

Baby Keem’s Die For My Bitch was highly anticipated by fans and artists alike and it certainly didn’t disappoint. The LA artist showed significant growth since his last project highlighting his aggressive rise to inevitable stardom. The tape sacrifices unity and cohesion to instead display Keem’s wide variety of sounds and styles that he is proficient in, a great decision for an upcoming rapper looking to catch the attention of unfamiliar fans. Die For My Bitch is thoroughly entertaining, giving fans fourteen new bangers as we begin the painful wait for his debut album.

Favorite Tracks:

INVENTED IT

BULLIES

APOLOGIZE

Rating: 8

Listen to Die For My Bitch here:

DIE FOR MY BITCH, an album by Baby Keem on Spotify

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Maxo Kream Remains the Rap Game’s Most Honest Storyteller on His Excellent New Album “Brandon Banks”

I’d say “Brandon Banks” is a top rap album of 2019, but Maxo Kream isn’t a rapper, he’s a f*****g grave digger

By Spencer Lobdell

Maxo Kream is the heart and soul of Houston rap. Hailing from the Alief specifically, the notorious trapper has been making waves since 2012 when he released his debut mixtape, Retro Card while he was still in high school. The project was followed up by a string of well-received tapes leading up to his critically acclaimed debut album Punken. The album was released independently in 2018 and boasted features such as Trippie Redd and 03 Greedo as well as solo cuts like “Bussdown” and fan favorite, “Grannies”.

Since the beginning, Maxo has hooked fans by telling hood stories with brutal honesty and locking into a unique flow that can be near hypnotic. Even when Kream is rapping about robbing and killing it’s hard to ever antagonize him because of how well he articulates his intentions as while as the circumstances that lead to his action. Maxo Kream’s music gives anyone who wasn’t raised in the trap a unique and important perspective that allows them to understand the lives of their fellow Americans far better.

The rollout to Maxo’s newest album was insanely fun to witness and showed early signs that Brandon Banks was going to be something special. It started in late January with the release of his excellent single “Meet Again”. Over the course of the five-minute song, Maxo locks into the instrumental and opens up about all of his homies that are either locked up or passed away with. His stories are captivating and every bar is masterfully crafted.

After a three month hiatus, he dropped the second single off the album titled “Still”. On the pulsing bop, Maxo announced that he had signed a record deal with RCA records for 1.5 million dollars making his forthcoming album his major-label debut.

A week later, the Texas trapper dropped his last single “She Live” which featured Houston hottie, Megan Thee Stallion. The song is so fun as the two rappers go back and forth over an infectious instrumental produced by TJ OSINULU. After the release of “She Live” the hay was in the barn for Maxo and Kream fans prepared to wait however long it would take to get the rappers highly anticipated new project.

On July 25th Maxo Kream released his major-label debut, Brandon Banks. The album runs for 48 minutes and is host to 15 tracks with impressive features from ScHoolboy Q and Travis Scott to Maxo’s blood brother KCG Josh. 

The aforementioned single “Meet Again” acts as the album’s intro and is a perfect way for Maxo to hook any listeners unfamiliar with his music onto Brandon Banks. 

The second track “Bissonnet” opens with a spoken anecdote from who we can only assume to be Brandon Banks. The voice condemns Maxo’s blue bandana and tells him to “take all his gangsta shit off and have a real discussion” with him. Maxo’s first four bars immediately following the narration is about his father leading us to infer that Brandon Banks is indeed Kream’s father. The song is enthralling, authentic, and dripping in southern swagger.

The third track “Change” is an easy standout on the excellent album in large part due to the exceptionally smooth instrumental which was actually derived from the same sample that fellow Alief emcee Travis Scott used on his Astroworld hit, “Yosemite”. On the track, Maxo dives into how his newfound wealth has changed his life. For Maxo, the only thing the money has changed is the size of his chain but for those around him, it totally warped the way they interact with Kream. While the money failed to alter his identity, he finds himself deeply affected by the murder of his little homie who told Maxo all he wanted was to be like him. The song is fantastic and a new sound we haven’t yet heard from the talented artist.

The fifth song “8 figures” is another standout on an album of keepers. The song again dives into the topic of wealth and how everyone wants to be rich but no one is ready to put in the work necessary. Kream uses the verses to specifically spotlight the years of work that it required him to acquire the bag he currently sits on. Halfway through the song, there is an epic beat switch that I believe to represent the wonderful moment when all the work finally paid off for Maxo and he began to make real money due to the fact that the song switches from a motivational song about the grind to a fun flex with a celebratory tone.

“3AM” features TDE rapper ScHoolboy Q and is absolutely sinister. The songs showcases the two menacing emcees robbing a house and flexing their lyrical prowess the entire time. Everything from the instrumental to Maxo’s tone is dark and foreshadowing and it's impossible to shake the fear that you might be next on Kream’s hitlist. ScHoolboy Q pulls up for the second verse and delivers an excellent offering with Q’s classic intensity, something that I would’ve liked to see more of on his most recent album CrasH Talk.

Perhaps the most eye-opening track on the album is the eleventh track “Prey 2 The Dope”. The song gives us a perspective into the life of a drug dealer and how threatening a potential drug drought can be. Maxo raps about how difficult it can be to get a real job when you’re raised in the hood leading to the only alternative source of income, dealing dope. This can be profitable but also unpredictable because if one’s supply of drugs gets cut off it could be life-threatening. These themes are articulated precisely by Maxo and the D.A. Doman instrumental makes this song absolutely addicting.

Two songs later we get the heart-felt “Brothers” which features Maxo’s real blood brother, KCG Josh. It must be a special sort of feeling to be able to give your brother a feature on your major-label debut. The song is simple and to the point: Maxo will ride for his brothers no matter what.

Maxo Kream’s Brandon Banks is undoubtedly his best work to date. The album is cohesive and sticks to its major themes of life in the hood and Maxo’s appreciation of his father. Spoken interjections from Maxo’s dad frequent the album and contribute to the overarching story that is the relationship between the two. It also seems that the more we understand the dynamic between Maxo and Brandon the more we understand Maxo Kream the artist and where he comes from. This context makes Kream’s hood stories all the more captivating and impactful. 

While the album is certainly cohesive this didn’t take away from his innate ability to craft bangers. The album is packed full with hard-hitting tracks that don’t miss a beat. Songs like “8 Figures”, “Drizzy Draco”, and “Murda Blocc (Feat. A$AP Ferg)” provide OG Maxo fans with exactly what hooked them on the Alief emcee years ago; brutally honest hood bars over rattling southern trap instrumentals. Brandon Banks shows terrific growth from the heart and soul of Houston and is one of the best offerings so far this year.

Favorite Tracks:

8 Figures

3AM (Feat. ScHoolboy Q)

Prey 2 The Dope

Rating: 8.5

Listen to Brandon Banks here:

Brandon Banks, an album by Maxo Kream on Spotify

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Songs of the Week: July 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. To stay up to date on all new music, follow our playlist “Hot 30” on Apple Music and Spotify. “Hot 30” is updated daily to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

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

SONGS OF THE WEEK:

“Apologize” by BAby Keem

APOLOGIZE, a song by Baby Keem on Spotify

With this weeks release of Die For My Bitch, Baby Keem season is officially upon us and the future is now. The Los Angeles rapper/producer has been making waves in the music industry far before his music had any buzz thanks to him producing tracks like Jay Rock’s grammy-winning “Knock It Off” and “Rotation 112th” as well as ScHoolyboy Q’s “Numb Numb Juice”. While the entire Die For My Bitch project is well worth a listen, the outro “APOLOGIZE” is a must-hear. On the pulsing banger, Keem effortlessly fuses the creative and sophisticated soundscape of a song like “Wolves” by Kanye West with the catchiness and addicting nature of a Juice WRLD hook. “APOLOGIZE” is such an excellent song because of the conflicting emotions Keem feels and how effectively he articulates these emotions. The song is a sure hit, hop on the Baby Keem wave before it’s too late.

“Grab ‘em back the neck, don’t let go
Baby Keem been top five, what you smokin’?
I could put a wish on her tippy toes
No more opinions, I’m done bein’ open”

— Baby Keem "APOLOGIZE"

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“3AM” by Maxo Kream (Feat. Schoolboy Q)

3AM (feat. ScHoolboy Q), a song by Maxo Kream, ScHoolboy Q on Spotify

This Friday, Maxo Kream dropped his major-label debut album and it blew all expectations out of the water. The albums 8th cut “3AM” features ScHoolboy Q and shines brightly amongst an entire album of standouts. The songs showcases the two menacing emcees robbing a house and flexing their lyrical prowess the entire time. Everything from the instrumental to Maxo’s tone is dark and foreshadowing and it's impossible to shake the fear that you might be next on Kream’s hitlist. ScHoolboy Q pulls up for the second verse and delivers an excellent offering with Q’s classic intensity, something that I would’ve liked to see more of on his most recent album CrasH Talk. While I believe the whole album is an essential listen, make sure you at least know this sinister slap.

“Front door, backyard, two story, one garage
Four cameras, no alarm, two dogs, burglar bars
Four deep, six sticks, one Blood, three Crips
Gon’ drop, hesi-stick, Lollipop, hit lick”

— Maxo Kream "3AM"

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“Brothers” by Bankrol Hayden (Feat. Luh Kel)

Brothers (feat. Luh Kel), a song by Bankrol Hayden, Luh Kel on Spotify

Rising emcee Bankrol Hayden has managed to create quite the buzz for himself while only releasing limited music. The young rapper has amassed nearly 400,000 monthly listeners on Spotify with only four tracks out and 40,000 followers on SoundCloud with merely six songs on the platform. This quick rise to fame can be attributed to his distinct voice, smooth delivery, and a terrific ear for beats, all of which can be found on his newest track “Brothers” which features Luh Kel. “Brothers” will grab your attention from the first note and refuse to let go for the following 130 seconds. On the track, the two rising rappers reiterate the golden rule of “bros before hoes” over a mellow instrumental centered around a beautiful acoustic guitar riff. This track can fit any mood and is just another reason to pay close attention to every move that Bankrol Hayden makes.

“But fuck it, it’s all cap
Your brother, he a bitch and my brothers, we all that
You actin’ like a female you call me and call back
I wanna make it out my city and give back”

— Bankrol Hayden "Brothers"

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Mississippi Emcee Big K.R.I.T Returns with His New 19-Track Album, “K.R.I.T IZ HERE”

The Mississippi M.C. Returns With 19 Tracks 

By Carter Fife

Last week, Mississippi rapper Big K.R.I.T released K.R.I.T Iz Here, his newest album since 2017’s 4Eva Is A Mighty Long Time, which was independently released off his own label Multi Alumni. The title serves as a reference to his 2010 mixtape K.R.I.T Wuz Here, reminding listeners that despite his relatively underground following, he still remains an important figure in hip-hop today. Over the past year, K.R.I.T has released various EP’s and singles that led many to begin anticipating a new album, and fan’s hopes came true in June when K.R.I.T took to Instagram to announce his newest album coming the next month. 

K.R.I.T is very rarely given the attention he deserves, but following the release of 4Eva Is A Mighty Long Time, many music publications praised the album’s unique synthesis of jazz, soul, gospel and hip-hop, in addition to its masterful use of electronic elements and storytelling. The album remains a hidden gem of 2017, full of harmonious and melodic soul-trap songs that do well to show how far K.R.I.T (né Justin Scott) has come. Gone are the days of gracing the cover of 2011’s XXL class alongside artists like Mac Miller, Kendrick Lamar, and Meek Mill; Today K.R.I.T exists as his own artist. Many hip-hop fans (myself included) have been keeping K.R.I.T’s 2017 effort in rotation all these months later, and K.R.I.T Iz Here finally arriving is sure to add some new tracks into the mix.

4eva Is A Mighty Long Time, an album by Big K.R.I.T. on Spotify

K.R.I.T Iz Here sits at just under an hour long, and although it isn’t a double-album like Scott’s 2017 record, the album boasts 19 mostly-new tracks. Though songs like “Energy” and “Learned From Texas” were released over the past year, both appear on the album in addition to the record’s two leading singles “Addiction” featuring Lil Wayne and Saweetie, and “K.R.I.T Here”. Altogether K.R.I.T Iz Here’s 19 tracks carry a significant departure away from Scott’s 2017 sound. K.R.I.T Iz Here strays slightly away from the gospel and trap inspired tracks, instead favoring an aural register that aligns much more closely with triumph, victory, and nostalgia. The single “K.R.I.T Here” leads the album in a victorious flurry of soul samples, horns and percussion where he makes the user fully aware of the present: K.R.I.T is here right now. His lyrics simultaneously respect the past and his journey while looking forward in an optimistic and energetic performance. 

Scott acknowledges the wait that he has experienced in the music industry on the next two tracks, and on “I Been Waitin” K.R.I.T reaps the benefits of his patience. Obscure string instrument samples and trap percussion dominate this track where K.R.I.T details how he had “..been waiting just to talk that shit”. Scott’s journey and wait in the music industry in many ways mirrors his fan’s waiting for new content, and now that K.R.I.T has arrived, it makes sense that both parties are happy. Feelings of overjoyed euphoria are seen in the next track “Make It Easy” where an old Burt Bacharach string and chorus sample softly sways in the background while K.R.I.T reflects on his life over a punchy drum track.

The following song “Addiction” is a notable moment on the album where we receive performances from Saweetie and Lil Wayne. Sweetie seductively says “Dive in, this shit feel like water” on the chorus, and K.R.I.T and Wayne both rap about the affordances of fame and money. There is a dualism in the song’s theme as addictive things like fame and substances come with both their moments of victory and loss. The track features some ominous vocals in the background with a drum track and an infectiously bouncy bass-line. “Energy” and “Obvious” featuring Rico Love are where we see the album take a more tender turn inwards. Now that K.R.I.T is on top socially and economically, his pursuits exist largely within the romantic realm, and both songs are catchy and unique to the point where they resonate with the listener well without being too shallow or basic. 

'K.R.I.T. IZ HERE' ALBUM JULY 12: https://BigKRIT.lnk.to/KRITIZHEREID First Single 'K.R.I.T. HERE' OUT NOW: https://lnk.to/KRITHEREID Directed by child SUBSCRIBE to the Official Big K.R.I.T.

There are many moments on this album that stand out, but unfortunately the tail-end of the album fails to stay consistent with the first half. Though tracks like “Prove It” featuring J. Cole contain thought provoking bars that both offer external views of the life that both K.R.I.T and Cole live, while also containing elements of introspection, the album fails to consistently provide beats or instrumentals that pair well with K.R.I.T’s rapping abilities. “High Beams” doesn’t really even sound like Big K.R.I.T song, as the guitar that plagues the track is more frequently perceived as annoying and distracting than beneficial to the track. “Life In The Sun” sounds like it should be on the tail end of a Zacari or Tory Lanez album, and K.R.I.T’s rapping is wasted on such a bland piano-stricken beat. 

It is because of these tracks that is so bizarre to hear tracks like “Blue Flame Ballet”, “Outer Space”, or “M.I.S.S.I.S.S.I.P.P.I”  placed in-between them. ‘Blue Flame Ballet’ carries a Thundercat-level amount of infectious and dense funk, “Outer Space” carries a unique Rhodes-esque piano track with really intense drums that could have made this a cut off of Cadillactica, and the record’s closing track ‘M.I.S.S.I.S.S.I.P.P.I’ is an introspective anthem into K.R.I.T’s inner monologue, where the listener can hear clear and apparent influences of Kendrick Lamar, A Tribe Called Quest, Andre 3000, and UGK. These tracks are high-caliber, exactly what one would expect from a rapper like K.R.I.T, but it is hard to enjoy them when they are sandwiched in-between tracks that frankly sound unfinished.

With that being said, it is worth noting that despite this hiccup, the album still stands just as solid as any other album in the K.R.I.T discography. Once again Scott has been able to stick to his skillset while also venturing out into new themes, ideas, and sounds. While 2017’s emotional register and aural theme felt much more fleshed out and unique, K.R.I.T Iz Here has a little bit of something for everyone even if you’re not a fan of triumphant and energetic tracks that are laden with soul samples and trap drums. Hopefully this will be the album that pushes K.R.I.T into receiving the mainstream attention he’s deserved since 2010.

Favorite Tracks

Addiction (Feat. Lil Wayne & Saweetie)

Blue Flame Ballet

M.I.S.S.I.S.S.I.P.P.I

Rating 7

Listen to K.R.I.T IZ HERE below:

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Songs of the Week: July 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. To stay up to date on all new music, follow our playlist “Hot 30” on Apple Music and Spotify. “Hot 30” is updated daily to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

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

Songs of the Week:

“Melee” by Tory Lanez

Melee, a song by Tory Lanez on Spotify

Lanez’s #ToryTakeover2019 continues this week with the sure-hit and summer anthem “Melee” which showcases the duality of the multi-talented Canadian artist. On the addicting hook we get the Tory Lanez we saw on last fall’s LoVE me NOw, the singer with limitless range who has an ear for radio smashes. The verse gifts us with the Tory Lanez that was present on last Spring’s Memories Don’t Die, the fast rapping emcee who keeps it real and is liable to snap at any given time. While the song doesn’t have much lyrical substance besides Tory’s lavish stunting and threats of hitting his enemies with the “melee,” his wordplay and vocal inflections do more than enough to keep any listener entertained for the duration of the three-minute cut.

“I took the drop to the block and my niggas they like “He done did it again”
Hop in the wop, a convertible drop in the spot that I hit in the Benz
Clapping the heat from the passenger seat and I had to get rid of the Benz, I did it and did it again
I seen a opp, clock, shots, litty again”

— Tory Lanez "Melee"

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“Time” by RJmrLA (Feat. Young Thug)

Time (feat. Young Thug), a song by RJMrLA, Young Thug on Spotify

Los Angeles rapper RJmrLA has been growing a buzz for the past five months with the release of four intriguing singles, with the most exciting of the bunch being dropped on us this week. “Time” fits perfectly into RJ’s discography with a DJ Swish instrumental that screams West Coast and one of his classic melodic hooks. The chorus on this song is equal parts motivational and honest as RJ raps about how he has no time to waste because he is a visionary, hard worker, and a man of action. This lack of time isn’t all good though, as he lets it be known that it hinders his relationship with his family even though they are the ones he’s working for. I couldn’t help but think of Jamie (Ghost) St. Patrick from Star’s TV show Power when listening to this conflicting hook. Whatever all these new singles are for, I’ll be here patiently waiting.

“I ran outta patience for you and that fake shit
Put your feelings aside, throw your hood in the sky
What’s your sign? Speak your language
I ain’t got time to be tied up in crime
But I slide with my slime when it’s tank time”

— RJmrLA "Time"

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“Rich” by Rexx Life Raj (Feat. ALLBLACK)

Rich (feat. ALLBLACK), a song by Rexx Life Raj, ALLBLACK on Spotify

This week, Berkley’s Rexx Life Raj linked up with Oakland’s ALLBLACK for what is hopefully the first of many collaborations between the two talented bay area artists. The result was the high-tempo and overtly fun single “RICH” which will be featured on Rexx’s forthcoming EP. The bouncy song showcases a braggadocious tone and an infectious hook. ALLBLACK’s distinct voice slices through the instrumental for an excellent second verse that is extremely refreshing even though we were far from bored of Rexx’s spot-on vocals. You won’t be able to get enough of the two-and-a-half minute track leaving you know option but to keep “RICH” on repeat all week.

“Balling on you niggas like a high school jamboree
Extra  molly on me, I might put it in my daiquiri
Look, I pay more in taxes than your salary
Uncle Tom asked, see me run it up annually”

— Rexx Life Raj "RICH"

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Thanks for reading, check back in next week for three new songs of the week. Make sure to follow us on Instagram and Twitter to get notified when we post:

"Revenge of the Dreamers III" Finally Arrives and It Does Not Disappoint

By Miles Hagan

Well, it finally happened. When Revenge of the Dreamers III was initially announced it seemed too good to be true. Invites to the session were sent out to the biggest names in pop culture like golden tickets. This was a different set up than the first two Revenge of the Dreamers tape. The two previous efforts featured only Dreamville signed artists and the publicity surrounding them was almost nonexistent. Since then, the label has expanded and added some top tier talent in J.I.D, EARTHGANG, and Ari Lennox. Alongside the album, a documentary on the creation of the project was released on YouTube. This captured just how incredible the collaboration between artists and producers was during the 10 day period in which Revenge of the Dreamers III was created.

The album starts off absolutely on fire. “Under the Sun” is a perfect example of what everyone was expecting going into Revenge of the Dreamers III. The beat features a beautiful soul sample, and Cole absolutely eats his verse. The beat bangs in the background as Lute and DaBaby deliver killer verses and truly set the tone for what this collaboration is about to be. After this, we get two songs that were singles before the album officially released. Dreamville really flexes their muscles as a group on “Down Bad” with excellent verses from Bas, J.I.D., J. Cole, and EARTHGANG. Then it goes into “LamboTruck” which has actually turned into a meme since the release of the documentary, because of Cole’s reaction. This reaction makes a lot more sense after hearing the track where REASON and Cozz sound absolutely murderous and rap about robbing their respective label heads. These first three songs really give most rap fans all they could want out of a Dreamville project, and after this is where the project beings to show how diverse it is.

Dreamville Presents: Revenge (Documentary) This is the official documentary chronicling the Revenge of the Dreamers III sessions in January 2019 at Tree Sound Studios in Atlanta, Georgia.

This is an album that also doesn't take itself too seriously. From the most hardcore hip-hop fan to more casual listeners, everyone was   this project. Even with those lofty expectations Revenge of the Dreamers III still manages to show just how much fun these artists had making the album. A song like “1993” functions almost like a skit or interlude. It would be difficult for anyone not to crack a smile while hearing Buddy clown J. Cole about taking too long to pass the blunt. Artists also weren’t afraid to get a little experimental on tracks like “Don’t Hit Me Right Now”. J.I.D is known to be able to keep up or out-rap anyone on any given song, yet on this cut, he choose to go with more of a pop sound and it works well.

Cole said that the main goal of this project was to not only show just how talented the top tier of Dreamville is, but to also highlight some lesser-known artists who deserve some shine. Buddy was seen by a lot of people as the MVP in the making of this because of just how many verses he was laying down over the 10 day recording period and it shows on the album. Others like Guapdad 4000, Drezzy, and Baby Rose used this as a chance to make a name for themselves and showed out when they got the chance. Ari Lennox who is also a Dreamville artist also brought and amazing R&B feel to the project whenever she was featured on a track. She makes a song that cant be described as anything more than a vibe with “Self Love”.

 On the flip side established artists did what they were supposed to do and even though not every song completely hits the mark the ones that reach their full potential are some of the best musical moments of this year. A prime example of this is the closing song on the “Sacrifices”. This leaves an otherwise lighthearted album off in a reflective way. Everyone from EARTHGANG and J. Cole to Smino and Saba had to give something up to where they are now. Not many artists get a chance to be a part of something as monumental as this and everyone featured on this song seems not only well aware of that fact, but thankful that they got to participate at all.

It seemed nearly impossible for Revenge of the Dreamers III be able to live up to the expectations set when it was first announced. The label was very smart to be patient in releasing rather than putting it out in the midst of all the hype. Overall the project is very enjoyable throughout and there is not a single bad song. That being said, not every track is without flaws and the album does have moments where it can begin to drag just by virtue of it being over an hour long. What saves it is that at every moment just when it seems like it may lose your attention a song pops up at immediately grabs you back in. Who knows when we will next get a cohesive project with this many talented people involved, so until then we should all be glad Dreamville came through with this latest effort.

Favorite Tracks:

Under the Sun

LamboTruck

Sacrifices

Rating: 8.5

Listen to Revenge of the Dreamers III here:

Revenge Of The Dreamers III, an album by Dreamville, J. Cole on Spotify

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The Dichotomy of SYRE: ERYS Album Review.

By Carter Fife

Few rising hip-hop stars are as polarizing as Jaden Smith. Although he now is known by the moniker ‘Jaden’, the son of Will and Jada Smith has been making waves in the genre ever since his guest appearances on Childish Gambino’s Kauai project back in 2014, and some could argue earlier. In 2019, gone is the young and rebellious kid making music with Ta-Ku, or hip-hop remixes to Foster The Peoples’ hit “Pumped Up Kicks”. Today Jaden is a figure in hip-hop whose discography contains appearances on tracks by A$AP Rocky, Brockhampton, Tyler the Creator, and even Young Thug. While many were quick to write him off as the pseudo-intellectual spouting platitudes from his twitter account for years, many people started to change their minds after the release of Smith’s conceptual album SYRE in the fourth quarter of 2017. The top-heavy album received generally positive reviews, with many praising the young artist’s versatility, originality, and passion for the music he was putting forth. 

Over the next year and a half Jaden would release a few singles, most notably the single “GHOST” featuring production from Christian Rich, and a performance of incredibly skilled and infectiously intense rapping. In 2018 his mixtape ‘The Sunset Tapes: A Cool Tape Story’ released, and although the project was received warmly, some fans were hesitant to accept the more intense and abrasive style of some of its tracks, though the majority of them were still adjacent to the melancholic and calculated style that Jaden had been previously known for. Half a year later in early 2019, Smith released the ERYS Is Coming EP which at only three tracks long, still contained a hefty amount of abrasion and a far more intense style than his previous works. This musical profile is essentially what is present on Jaden Smith’s sophomore album ERYS, the conceptual follow up to SYRE. 

The dichotomy between these two musical styles is representative of the two SYRE and ERYS characters. While the former’s style is top-heavy, relaxed, melancholic, and confident, the other’s is bottom-heavy, energetic, and aggressive. Despite being two characters within the same narrative, the two albums are not as similar as one may be led to believe. While certainly ERYS is has many similarities when compared to SYRE, ERYS is much more more intense and trap influenced. Both albums start out with a four-track mega composition, and while SYRE’s is spelled out as “B-L-U-E”, ERYS instead opt’s for “P-I-N-K”. The chord progressions found in these tracks are intentionally similar, and despite the fact that “BLUE” has many emotional ranges, meandering from flourishing romanticism, to intense feelings of urgency and catharsis, “PINK” starts as the melodic sibling - and with few moments of exception - gets more and more hectic as it progresses.

ERYS is a 17-track long (21 if you count the deluxe version) project that features artists like Trinidad James, A$AP Rocky, Tyler the Creator, Willow, and Kid Cudi. While many of the songs are energetic in fun, many of them do little to avoid them being confused with the track that followed it. Tracks like “i-drip-or-is”, “Got it”, “Chateau”, and the first act of “Again” feature Smith aggressively adopting the trap persona, abandoning the casual and melancholic sunset-vibes of SYRE in favor of a much angrier and maximized sound. Smith’s rapping no longer rides on top of the beats, his lyrics no longer being on the center stage. Now his rapping almost acts as just another instrument in the arrangement, his lyrics being obscured in his strange ERYSian delivery that is vaguely reminiscent of when Kanye West’s jaw was wired shut in 2006’s “Through the Wire”. 

This is the style that dominates the album, though there are brief moments of punk-rock sonics that Jaden does not pair too well with. I admire his desire to add some variety to the album, but tracks like “Blackout” and “Fire Dept” seem much more like detours than meaningful stops in the narrative of ERYS. The album’s intense tracks are fun to listen to individually, but as a collective they do little more than contribute to an album that feels bloated. ERYS’s saving grace however are the brief moment of soft vulnerability, where Jaden returns to sing and remind his audience that he can write a fucking good melody. 

“Summertime In Paris” with Willow is one such moment like this. Acting as an oasis in the desert of ERYS, moments like these are rare. The track contains a vintage guitar track with punchy drums and beautiful singing from Jaden and his sister. The lyrics are nothing to write home about, but they are genuine and they are sweet, and I believe in Jaden enough as an artist to validate his feelings of romance that are largely obscured by many other moments on this album. Another such moment is in the tail end of “Again”, which may possibly be my favorite moment in a Jaden song yet. The lyrics are accessible but the message is there. The melody is forlorn and almost akin to an elegy, but it is saccharine and it is a nice way to end the song before ERYS cuts back in, complaining about how the song wasn’t as hard as the one’s before it. It’s almost as if the album is about ERYS as an obstacle in SYRE’s path. Other songs like “On My Own” with Kid Cudi try to emulate this moment again, but Jaden’s Kid Cudi impression makes him sound much more like a discount Joji.

This contrast between the two Jaden albums is one that persists almost constantly through ERYS’s 80 minute runtime, and this is a very great source of tension for both fans and critics of Jaden alike. While the Jaden we see on SYRE is unpolished and sometimes unfocused, the space in which he occupies is solely his own. His rap style is unique, and his brief moments of confidence are so powerful and casual that some may even interpret them as telling signs of Smith’s unenthused laziness. There are moments of hype and excitement, but there is an overwhelming presence of intentional and articulate arrangement, an emphasis on melodies and a constant harmonic conversation that persists from start to finish. While his songwriting and lyricism can be painfully cringe-inducing and surface level at points, it is clear that Jaden is not the shallow thinker people may assume him to be. Like other hip-hop artists that strive in the pursuit of intentional and authentic “art”, he is a lightning rod for unjust criticism and skepticism. While this can take away from the enjoyment of the album for some, for many others this makes Jaden Smith a much more endearing character.

The problem is - that this is not the Jaden that we see on ERYS.

ERYS is the perfect example of the abrasive album that comes close to going the distance, but falls short through no fault of its own. While listening to ERYS, I could not  help but grow tired of the very direction that I originally praised Jaden for pursuing. Think back to Vince Staples’ 2017 LP Big Fish Theory. While the album impressed many upon its release, many of the songs were unable to age well because the aural profiles of the majority of the project’s songs did not do enough to deviate away from just ‘bass and hi-hats’. Very few abrasive hip-hop albums are able to withstand this test of time, even Kanye West’s 2013 masterpiece Yeezus is still a source of discourse for many of his most devote fans. Though one could draw many parallels between West and Smith, it is frankly quite unlikely that ERYS will age as well as Yeezus will. 

Between the painfully unfinished remix of “GHOST” that A$AP Rocky sadly struggles through, and the melodic euphoria of Jaden’s singing on “Again”, ERYS is an inconsistent lover. Though ERYS may be enjoyable as small doses, the lack of engaging variety prevents one from loving it the same way SYRE was two years ago. Moving forward, it will be interesting seeing where Jaden goes with his musical style, but for everyone’s sake, lets hope he finds a happy medium between the sunset-inspired melancholy, and the trap bangers we were given this year.

Favorite Tracks:

N

Again

Mission (Feat. Trinidad James)

Rating: 6

Listen to ERYS here:

ERYS (Deluxe), an album by Jaden on Spotify

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Songs of the Week: July 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. To stay up to date on all new music, follow our playlist “Hot 30” on Apple Music and Spotify. “Hot 30” is updated daily to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

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

Songs of the week:

“Sunset” by J. Cole & Young Nudy

Sunset (feat. J. Cole & Young Nudy), a song by Dreamville, J. Cole, Young Nudy on Spotify

Although Dreamville’s Revenge of the Dreamers III collaborative album was packed full of high energy hits, it’s no doubt that head-honcho J. Cole and Young Nudy snatched the best joint on the tape with “Sunset”. The menacing track was originally titled “God Flinch” and featured Drake and while he may have been left off the Dreamville project there is still hope that this verse could appear on producer ChaseTheMoney’s debut album. This track is anchored by a sinister hook from J. Cole that is equal parts addicting and epic. Cole and Nudy both take full advantage of their respective verses, rapping about the dangers of their hometowns without ever forgetting to flex their excessive wealth. “Sunset” is an excellent track that should always be discussed when speaking on Cole’s impressive discography.

“Just made a mil’, I counted it once
I think I go spread it around in the slums
2-6 boy, that’s where I’m from
Help me get used to the sound of the drum”

— J. Cole "Sunset"

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“Phone Numbers” by Dominic Fike

Phone Numbers, a song by Dominic Fike on Spotify

Every morning when we wake up from our night's rest we are one day closer to the inevitable hour where Dominic Fike is the biggest star in music. The young pop-rapper’s overflowing potential is obvious on all three singles leading up to his forthcoming debut album with this weeks release, “Phone Numbers”, potentially being the best of the batch. On “Phone Numbers” Fike takes two perspectives: on the hook, he is an old acquaintance of the artist wondering why Dom won’t call him back or give him something, while on the verses, he is simply Dominic Fike rapping about how fast his incredible life is moving. Fike flexes some serious bars on this track as well as an infectious chorus that’ll have you hitting repeat all day.

“And yes, I moved lil’ shawty from ‘round
And she’ve been all in my business as of late
I got rich so goddamn fast
They want this break, can’t catch a break”

— Dominic Fike "Phone Numbers"

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“Cellout” by 03 Greedo & Travis Barker

Cellout, a song by 03 Greedo, Travis Barker on Spotify

New music from locked-up living-legend 03 Greedo always warrants immediate play regardless of what else is going on. This week, the Los Angeles icon released a brand new EP with drummer/producer Travis Barker titled Meet The Drummers and the intro titled “Cellout” is an instant hit. Throughout the whole song 03 cleverly goes back and forth between “not wanting to sell out” and “wanting to get out of his cell”. While the double meaning of sell/cell is extremely entertaining throughout the whole song, the cut is far deeper than witty wordplay as Greedo dives into what he expects from his homies well he’s locked up and also how life is inside the pen. With every release, Greedo’s musical catalog grows stronger and the chorus of voices simultaneously yelling “Free 03” gets louder.

“So much work keep weighing, think the scale off
Niggas out here broke, steady faking like they well off
Don’t let me go to jail and then get out and heard you fell off
I’ma peel these calendars inside the dirty cell off”

— 03 Greedo "Cellout"

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Top 20 Hip-Hop and R&B Albums of the First Half of 2019

By Spencer Lobdell, Miles Hagan, Kaila Cherry, Carter Fife, & Izzy Stroobandt

Welcome to StereoVision’s top 20 albums of the first half of 2019. It has been a great six months for Hip-Hop, R&B, and music in general making this list challenging yet insanely fun to form. The creation of this list came from compiling all of our writers personal AOTY (Album of the Year) lists as well as extensive album debate and conversation throughout the first half of the year to ensure we have the perfect list that represents exactly what we dig at StereoVision. To get this list out in time, we had to cut off all albums released after June 23rd from consideration meaning albums like “Bandana” by Freddie Gibbs that were released in the last week of June are not eligible for selection. Listen along to our top 20 albums of the first half of 2019 by tapping in to our Spotify and Apple Music playlist which contains three spotlight songs from each selection. Stream it here:

This platylist contains three spotlight songs off of each of our top 20 Hip-Hop/R&B albums released during the first half of 2019

Without further ado, our top albums of the first half of 2019:

20. Still Summer in the projects by 03 greedo

Release Date: April 19th, 2019

Record Label: Alamo Records

03 Greedo is a living legend and if his face tattoo of that exact phrase doesn’t convince you, one listen through Still Summer in the Projects should do the trick. The album is Greedo’s most cohesive effort to date and plays smoothly from start to finish. Greedo raps about familiar topics such as living life in Watts (“10 purple Summers”) as well as unfamiliar ones like a new perspective he received from being in the middle of a 20-year prison sentence (“Visions”). Overall Still Summer In The Projects is another exceptional release from 03 Greedo and with news that Greedo might be able to get out after five years on good behavior, 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! -Spencer Lobdell

Favorite Tracks:

10 Purple Summers

Gettin’ Ready

Visions

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19. Grey Area by Little Simz

Release Date: March 1st, 2019

Record Label: Independent

At the beginning of March majority of the United States was introduced to London-based emcee Little Simz and the pleasure was all ours. Deviating from the eccentric, dreamy, synth sounds that characterized her last album, on GREY Area, Simz opted for a blend of aggression, vulnerability, and genre-splicing to convey her experiences growing up and developing as an artist in a male-dominated industry. While following a theme of self-discovery and personal development, Simz displays true artistry through the presence of influences from a variety of musical genres that elevate her voice and message. The English artist displays great strength with hard hitting verses on cuts such as “Offence” and “Boss” but reels it back allowing us to invade her headspace on songs like the excellent “Venom”. With every bar she spits it’s clear that Simz has something to say and she demands you listen. -Izzy Stroobandt

Favorite Tracks:

Offence

Wounds

Venom

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18. diaspora by goldlink

Release Date: June 11th, 2019

Record Label: RCA Records

Diaspora is an ambitious project. GoldLink tasked himself with consolidating the global sounds of the black experience into a single album. And with each genre he explored, he owed it to the culture in which he drew from to do their music justice, to represent them accurately and genuinely with his audience. Diaspora is just that: the amalgamation of the black cultural experience as told through the sound we engage with in each pocket of the world we inhabit. GoldLink features afrobeat, house, Carribean dancehall, reggaeton, trap, classic hip hop, and more on his extremely diverse and funky project. Not the most lyrically strong, GoldLink nearly makes up for it with how well he executed the concept for the album. Diaspora is an accessible project for anyone, from the person who wants to globalize their ear to the person who just needs some tunes to vibe to. -Kaila Cherry

Favorite Tracks:

Joke Ting (feat. Ari PenSmith)

Maniac

U Say (feat. Tyler the Creator and Jay Prince)

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17. Baby on Baby by Dababy

Release Date: March 1st, 2019

Record Label: Interscope Records

DaBaby shows the world that short men do in fact have rights with his infectious breakthrough project Baby on Baby. DaBaby does not take himself too seriously in his music or his visual aesthetic. His music videos are completely kitschy and absurd. He has posed as figures such as Scarface and Suge Knight, and even filmed a video that parodied sitcom television. DaBaby’s bars are hilarious and clever. But do not get it twisted: He is not one to mess with. He is tough as hell, and, as he spits in the track “Suge,” if given any disrespect he will “... beat your ass up all in front of your partners and children.” Baby on Baby is a refreshing project that is funny, surprisingly crude, and full of dope bangers prime for all your summer antics. -Kaila Cherry

Favorite Tracks:

Suge

Pony

Carpet Burn

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16. We All shine by ynw melly

Release Date: January 18th, 2019

Record Label: Independent

YNW Melly’s We All Shine is far and away the best music he has every released. The Florida rapper is packed with personality and it comes through on every track. His songs are filled with authentic emotion giving them a powerful effect on listeners. “Ingredients” is fun and infectious to the point where you can’t listen without smiling while “No More” is a passionate public service announcement where he calls out a homie on his bullshit. If it wasn’t for a timely jail sentence, We All Shine showed every sign of being Melly’s coming out party and ushering him towards being a household name. Hopefully he can get out soon and continue to make excellent music full of emotion, substance, and his unparalleled pipes. -Spencer Lobdell

Favorite Tracks:

Robbery

Mixed Personalities (Feat. Kanye West)

Ingredients (Feat. Fredo Bang)

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15. Flamagrama by Flying Lotus

Release Date: May 24th, 2019

Record Label: Warp Records

Very few names carry the weight that Flying Lotus’s does in music. A mysterious prodigy who masterfully meanders through genres like electronic, experimental, R&B, jazz, funk, and hip-hop, Lotus returns from a long hiatus to deliver ‘Flamagra’, a 27-track record that spends approximately an hour showcasing Lotus’s musical prowess. It is impossible to sum up this album in just one paragraph, but listening to this album is an experience very akin to Alice’s trip through Wonderland. While some tracks may not last as long as one might wish, they each leave lasting impressions that resonate within long after Flying Lotus transitions to another musical ideas. Featuring help from artists like Thundercat, Toro Y Moi, Solange, David Lynch, Denzel Curry, and Anderson .Paak (just to name a few), Flamagra was certainly worth the wait. -Carter Fife

Favorite Tracks:

Post Requisite

More (Feat. Anderson .Paak)

9 Carrots (Feat. Toro Y Moi)

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14. Assume form by james blake

Release Date: January 18th, 2019

Record Label: Polydor Records

James Blake’s presence in contemporary music has grown heavily over the past several years. No longer is the singer-songwriter confined to the occasional appearance or feature on throwaway tracks, instead now Blake has evolved into a cultural mainstay. While previously established as an expert in the realm of laments and dejected tracks laced with heavy electronic instrumentation or glitchy production effects, Assume Form sees Blake exiting a depressive period. Blake quite literally assumes form on tracks like “I’ll Come Too” or “Power On”, where the listener can track in real time Blake shedding his reserved and destructive tendencies in the enjoyment of a new love interest. Each track is just as incredible as the last, featuring help from artists like Travis Scott, Moses Sumney, Andre 3000, Metro Boomin and ROSALÍA. Although some of the moments on this record could be explored more thoroughly, James Blake offers a precise and relatable emotional tone on this record that will not soon be forgotten. -Carter Fife

Favorite Tracks:

Assume Form

I’ll Come Too

Power On

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13. Foto by kota the friend

Release Date: May 14th, 2019

Record Label: Independent

FOTO was the perfect album for the summer. Kota the Friend is an artist who seems to have really found a signature sound on this project. He mixes his slick flows and relatable lyrics with laid back gorgeous beats. Rather than attempting to force a message on the listener, he paints a vivid picture with each track. A stand out single from the project was “Birdie”. On the album, he added a beautiful saxophone from Hello Oshay which compliments the song perfectly. He captures what it feels like to really be in love with the girl of your dreams. He shines on this project when he is really just rapping about his thoughts and feelings because Kota is a very relatable character. “Hollywood” offers a realistic perspective on fame and all that comes with it. Kota doesn't want to be that stereotypical rapper who went “Hollywood” and forgot who he was, but rather wants to attain this success in the industry through remembering and honoring where he came from. This idea of him paying homage to the people and experiences that brought him to this point is what makes FOTO so endearing to even the most hardened of listeners. -Miles Hagan

Favorite Tracks:

Church 

Birdie (Feat. Hello Oshay)

Alkaline

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12. Outer Peace by Toro y moi

Release Date: January 18th, 2019

Record Label: Carpark records

Within the first few weeks of 2019, fans of Toro Y Moi were blessed with a new album from Chaz Bear himself. During the promotion for Outer Peace, Bear frequently mentioned how he was tired of making sad love songs, and on Outer Peace there is a clear shift from the pensive sadness of 2017’s Boo Boo into a emotional range that while being fun and optimistic, still has its moments of melancholy and doubt. At 10 tracks long, the Bay-Area native provides his fans with a diverse family of tracks, some low-fi and melodic like “New House” or “Monte Carlo” featuring Wet, others infectiously catchy and uplifting like “Freelance” and “Who Am I”. Although I wish it were longer than half an hour, this summery record has something for everyone. -Carter Fife

Favorite Tracks:

Laws of the Universe

Freelance

Monte Carlo (Feat. Wet)

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11. Rap or go to the league by 2chainz

Release Date: March 1st, 2019

Record Label: Def Jam Recordings

It seems like whenever 2 Chainz releases a project at least one song off of it is a hit single in clubs and at parties all over the country. He has made some solid projects over the years, and is an established vet in the rap game. That being said Rap or Go to the League felt different. From the lack of singles before its release, to it being executively produced by LeBron James, this had the potential to be a great album from the well-versed trapper. What we got was actually one of the most cohesive projects of his entire career. A Standout track like “I’m not Crazy Life is” shows just how good this project is when it’s at its best. 2 Chainz flows over stellar production that allows him to really get across a point to the audience. There is a constant parallel between rap music and basketball throughout the album which intentionally alludes to America’s current social climate where young African American males feel like those are their only two ways out of their current situation. While Rap or Go to the League does have a message, there are still some bangers. “Momma I Hit a Lick” may take some listeners a few times to appreciate, but eventually the hard beat and unique flows from 2 Chainz and Kendrick Lamar are too much to deny. Overall this project succeeds because its feels like 2 Chainz really had a goal in mind this time around, rather than aim for as many radio plays as previous works. -Miles Hagan

Favorite Tracks:

Forgiven (Feat. Marsha Ambrosius)

Momma I Hit a Lick (Feat. Kendrick Lamar)

I'm Not Crazy Life Is (Feat. Chance the Rapper & Kodak Black)

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10. the falling man by duckwrth

Release Date: May 17th, 2019

Record Label: Republic Records

For those whose know Duckwrth solely from his earlier works such as I'm Uugly (2016) and An Extra Uugly Mixtape (2017), they will be quite surprised to hear the direction the South Central rapper went for his latest EP, The Falling Man. A complete divergence from the pop influenced lo-fi aesthetic he leaned on for the first leg of his career, The Falling Man shows Duckwrth experimenting with genre, voice inflection, and lyrical depth in a way he has never done before. Duckwrth dips his toes into rock, gospel, and trap throughout the course of the album and each venture is a success. The Falling Man is, for lack of a more creative term, a very solid album. It is a reliable listen that keeps listeners engaged and intrigued. Seeing Duckwrth explore and expand the scope of his music is exciting, and I am eager to see what he has in store for us next. -Kaila Cherry

Favorite Tracks:

Bow

King King

Nobody Falls (feat. Kiana Lede, Terrence Martin, Madasin)

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9. Arizona baby by Kevin Abstract

Release Date: April 25th, 2019

Record Label: Question Everything Inc/RCA Records

Kevin Abstract has managed to maintain his individual stardom while being part of the wildly successful super-group, Brockhampton. He has been able to accomplish this rare feat by always making sure his music contains emotion. Each track on ARIZONA BABY, no matter what the subject matter or actual lyrics are, is uncompromisingly honest. Sometimes this honesty is beautiful like on the track “Peach”, which features two of Kevin’s Brockhampton band mates in Joba and Bearface as well as rising star Domonik Fike. Like many of the songs on this project, it is able to mix a more sing song chorus and beautifully played guitars with some solid rap verses from Kevin. While the appeal of this track mainly stems from it just simply sounding beautiful, Kevin really shows his talent as a rapper on a track like “Use Me”. This has one of the most interesting and unique beats to be used in a rap song. Kevin experiments with different flows and tells a compelling story on this cut, but is so impressive because like most of the other tracks on ARIZONA BABY we have never heard anyone spit over sounds like this. This project shows what the bright future of rap in this generation has the potential to be. A seamless combination of rap and incredibly produced pop music. No other mind would be better equipped to spearhead this new sound than the very talented Kevin Abstract. -Miles Hagan

Favorite Tracks: 

Baby Boy

Use Me

Peach

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8. The Life of pi’erre 4 by Pi’erre bourne

Release Date: June 21st, 2019

Record Label: SossHouse/Interscope Records

The return of famed rapper/producer Pi’erre Bourne has been long awaited. Since wrapping up 2018 with his collaborative record with fellow producer Cardo, many have been anxiously awaiting the fourth installment in the ‘The Life of Pi’erre’ saga. When the album finally dropped in June 2019, fans were not disappointed. TLOP 4 is a rollercoaster through contemporary hip-hop from the eyes of the man who has helped shape it. From forming the careers of artists like Young Nudy, Playboi Carti, and 6ix9ine, Pi’erre Bourne’s influence and expertise in modern hip-hop/trap synthesis cannot be understated. On his newest record Pi’erre constantly flexes his production skills and his songwriting abilities, delivering heartfelt and saccharine tracks like “Ballad” and “Racer” in one moment, and fast-paced bangers like “Routine” and “Speed Dial” the next. Each track is dense with expert engineering skills and tactics, while still being accessible enough to appeal to hip-hop fans both old and new. -Carter Fife

Favorite Tracks:

Ballad

Doublemint

Speed Dial

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7. Anger Management by Rico Nasty

Release Date: April 25th, 2019

Record Label: Sugar Trap Records

Rico Nasty is one of the most awesome, if not the most awesome female rappers to enter the game over the past few years. To take note of her womanhood is not to say that she does not hold her own in comparison to male rappers. It is instead to say that what Rico Nasty does as an artist and a personality is extremely revolutionary, and her gender is a large part of what makes what she is doing right now so impactful. On her newest project Anger Management, Rico Nasty does not water down the aggressive, in-your-face rap style she became known for with singles such as “Smack a Bitch” and “Key Lime OG.” Rico Nasty reclaims anger not as something inherently negative. She rejects the notion that black women are angry without cause. On Anger Management, Rico Nasty explores the various facets of aggression, frustration, and how such emotions dissolve into, or are perhaps fronts for, melancholy and exhaustion. And with the entire tape produced by the dynamic Kenny Beats, Anger Management is not a project to sleep on. -Kaila Cherry

Favorite Tracks:

Cheat Code (Feat. Baauer)

Hatin

Big Titties (Feat. Baauer and EarthGang)

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6. Everythings for sale by boogie

Release Date: January 25th, 2019

Record Label: Shady Records/Interscope Records

Compton MC Boogie made some major waves last October when he received a huge Eminem cosign and an actual record deal from Shady Records. In January, the young rapper returned with his Shady Records debut Everythings For Sale and it did not disappoint. Over the 40-minute run time, Boogies honestly reflects on a broken relationship, new fame, and his current day to day life. Throughout the tape Boogie proves why Pitchfork called him one of the best young emcees in the country. The tape is exceptionally cohesive and if you immerse yourself in Boogie’s world and experiences you should find that 40-minutes will feel more like 20. Boogie’s lyricism is a perfect mix of cool California dialect and witty lines that emphasize his smart and reflective themes. He gives us up-beat bangers like the JID assisted “Soho” as well as introspective reflections like “Lolsmh” or “Whose Fault”. This album is complete, thought-provoking, and one of the best releases of the year. -Spencer Lobdell

Favorite Tracks:

Silent Ride

Soho (Feat. JID)

Live 95

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5. Crash talk by schoolboy q

Release Date: April 26th, 2019

Record Label: Top Dawg Entertainment/Interscope Records

When a TDE project drops it is almost a lock that it will be one of the best of the year and CrasH Talk seems like an album that Q really made for himself. This album finds the Los Angeles artist in a vulnerable headspace as he not only was going through depression, but also dealing with the passing of two of his peers in Mac Miller and Nipsey Hussle. What came out of this tragedy was an album that really gave us an audience a look into the inner workings of Schoolboy Q’s mind. A track like “Numb Numb Juice” is still able to be one of the standouts on CrasH Talk because of just how hard hitting and quality the beat is, and the way Q is able to sound so cut throat during the duration of the song. That being said this is in stark contrast to a song like “Black Folk” which is very self deprecating. Q acknowledges his shortcomings and fears not even just as a rapper, but as a man walking through life. He no longer has the gangster exterior that audiences have grown so accustomed to, but instead is now a vulnerable man who is just trying to do right by himself and the people he loves. That is the whole theme of CrasH Talk and it can be seen even more clearly in the title track “CrasH”. Though we all may not be famous rappers or have grown up in the streets of California like Schoolboy Q, we all could “crash” at some point. No person is invincible to the struggles of life, and Schoolboy reminds us that we should embrace these difficulties and use them to make us that much better in the long run. -Miles Hagan

Favorite Tracks:

Numb Numb Juice 

Drunk (Feat. 6LACK)

Black Folk

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4. ventura by anderson .paak

Release Date: April 11th, 2019

Record Label: Aftermath Entertainment/Interscope Records

Anderson .Paak’s Ventura showcases everything we love about the soulful California native. Said to be a counter-part to his prior album Oxnard which was released five months earlier, Ventura showcases Paak in his ideal environment being authentically himself. It is musically unmatched and conceptually rich. It’s both sexy (“Jet Black”) and politically charged (“King James”) but always in moderation to keep it tasteful. With Ventura Anderson truly created timeless music as I foresee songs like “Make It Better” and “What Can We Do” staying in my musical rotation until I can no longer hear. -Spencer Lobdell

Favorite Tracks:

Make It Better (Feat. Smokey Robinson)

Jet Black (Feat. Brandy)

What Can We Do (Feat. Nate Dogg)

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3. When I get home by solange

Release Date: March 1st, 2019

Record Label: Columbia Records

Solange Knowles’ radical album When I Get Home is easily the most artistic project of the year so far. When I Get Home is not easy to explain, to start, what exactly is the genre? Is it hip hop, as suggested by features with prominent rap artists Playboi Carti and Gucci Mane? Is it soul? R&B? Further, what is the “home” that Solange is referring to? Is this place literal or figurative? Solange manages to answer all of these questions throughout the course of the album. When I Get Home is an iconographic representation of the black experience in the most celebratory sense. Solange embraces her black womanhood and embraces Houston, Texas. The project radiates warmth and familiarity. It creates a home within itself. When I Get Home is wholly inviting, sonically stunning, and lyrically beautiful album that I cannot help but come back to when I am in need of empathy, of comfort, of a place to call home. -Kaila Cherry

Favorite Tracks:

My Skin, My Logo (Feat. Gucci Mane)

Jerrod

Beltway

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2. Zuu by denzel curry

Release Date: May 31st, 2019

Record Label: Loma Vista Records

Coming off his most conceptual album to date (TA13OO), many wondered what direction Denzel would head next. The answer to that was obvious to Curry: he would go home. With ZUU, Denzel tastefully simplified his music showing us that sometimes the obvious answer can be the best answer with proper execution. ZUU is a short album with no skippable tracks. It’s abrasive and in-your-face without being inaccessible for less intense fans thanks to cuts like “WISH” and “SHAKE 88”. Songs like “BIRDZ”, “AUTOMATIC”, and “RICKY” provide long term Denzel fans with his unmatched flow and clever lyricism that they have grown to expect. All-in-all, Denzel made an excellent career decision and the result is a Miami masterpiece. -Spencer Lobdell

Favorite Tracks:

ZUU

RICKY

AUTOMATIC (Feat. Tay Keith)

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1. IGOr by Tyler, the creator

Release Date: May 17th, 2019

Record Label: Columbia Records

Tyler, The Creator can't be ignored any longer. It is officially his time. Gone are the days of him trying to shock the audience more and more with each track on an album. On IGOR, Tyler manages to continue his incredible growth while also remaining appealing to mainstream audience. A song like “EARFQUAKE” sounds like nothing else that has been put out this year, but is also topping the charts and is able to seamlessly utilize one of the most unique talents rapping today in Playboi Carti. Not only is IGOR sonically interesting, but it also tells a story of falling in and out of love that any listener could relate too. While a song like “A BOY IS A GUN” has some of Tyler’s best rapping on the project, what shines through is what he is saying about the dangers of falling for someone who may not feel the same way back. What makes this the album of the year thus far is that we are seeing an artist who knows his talents as a lyricist, yet still tries to make an album that is great without the traditional constraints of the rap genre. Each track is produced with great care and focus so that the beats aren't just something in the background of him rapping, but actually what helps the listener really feel what Tyler wants them to feel. The perfect example of this is the closing track of the album “ARE WE STILL FRIENDS”. This is a beautiful conclusion to the journey that Tyler just took us on. On this conclusion, Tyler doesn’t even rap but instead he once again lets his amazing production take the stage and what comes out of it one of the most heartfelt and emotional tracks on an album that deserves every bit of critical acclaim that it has received. Though clearly not a trained singer, Tyler doesn't shy away from his more melodic side and it comes across as honest and real. IGOR is one of the best albums of the year because it isn’t just a great rap album, but a great musical experience throughout. -Miles Hagan

Favorite Tracks:

Earfquake 

A Boy is a Gun

Are We Still Friends

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LA Super-Producer Mustard Sets the New Standard for Collaborative Albums with "Perfect Ten"

By Spencer Lobdell

Los Angeles super-producer DJ Mustard is back with a tracklist full of high-level features, club bangers, and an unmistakable west coast sound that he helped pioneer.

Dijon McFarlane (Mustard) has been riding the streets of LA since he was born in 1990 and his hometown pride shines brightly in all his music dating back to 2011 when he co-produced YG’s classic mixtape Just Re’d Up. The decorated DJ has worked with nearly every modern Los Angeles rapper from Dom Kennedy to Nipsey Hussle. Mustard commonly refers to his sound as “ratchet music” that is inescapable at clubs and parties leading us to wonder if he would ever abandon this pop-driven style for something with more substance.

DJ Mustard began Perfect Ten’s rollout at the beginning of the new year when he dropped “Pure Water” on January 16th. The track features the Migos with Mustard cooking up the perfect high energy instrumental allowing the three Atlanta rappers to have an instant hit. Following in-stride with the producer’s earlier work, this song was constantly in rotation on the radio and in the club for months.

Five months later Mustard followed up his smash with another star-studded track “100 Bands” which features Quavo, 21 Savage, YG, and Meek Mill and while I love all these artists individually the track came out as overly generic. Although the single sold well it was easily the most disappointing out of his three pre-releases. 

Exactly one week prior to the album's release, Mustard dropped “On God” aided by A$AP Ferg, A$AP Rocky, YG, & Tyga. While this song was unimpressive to me upon release, over the past two weeks it has grown on me every time I hit play. Now I believe “On God” is one of the hardest hitting tracks on the album and home to Tyga’s best verse of the year.

On June 28th Mustard released Perfect Ten on his new sub-Interscope label, 10 Summers Records. The album is ten songs long and runs for just over thirty minutes. Upon release, Mustard took to Twitter to say that he didn’t care about sales but rather just creating timeless music.

The album gets right into things with the first track “Intro” being potentially my favorite joint on the album. The track showcases a classic Mustard beat that uses a pitched vocal sample making the human voice sound like a trap whistle. Rising LA rapper 1takejay is featured on the track and is tasked with being Perfect Ten’s attention getter, something he is very good at. Jay’s nasally LA drawl slices through the instrumental with a certain cockiness and swagger that is near impossible to match. The hook is catchy and Jay keeps us coming back for more with his unique flow that is sure to gift him many hits in the near future.

After two of the three pre-releases, we are graced with the sure-to-be fan favorite “Baguettes in the Face” which features Playboi Carti, NAV, and A Boogie Wit Da Hoodie. NAV takes the hook with Carti and Boogie each getting a verse to themselves. Each artist stays very much in their specific lane making this song familiar yet fresh and pleasing all three artists' somewhat culty fan bases.

Mustard experiments with a very Latino-inspired instrumental on “Interstate 10” with Future but really the track sounds more like filler than any sort of creative deviation.

This album peaks at the end with the last two tracks being emotional, exceptional, and as West Coast as it gets. The first of the two, “Ballin’” features the young LA legend Roddy Ricch. Mustard’s relaxed instrumental is the perfect home for Roddy’s street bars allowing him enough room per line to continue to switch his flow and pack rhyme after rhyme into each stanza. Roddy’s melodies are addicting and “Ballin’” is a song that can be played anywhere anytime.

The album concludes with the somber “Perfect Ten” which shines the spotlight on Mustards frequent collaborator and friend, the late Nipsey Hussle. The instrumental is anchored by beautiful guitars and allows plenty of open space for Nipsey to inspire listeners with his laid back flow and speaking interludes where he drops knowledge about LA, hip-hop, and life in general. The marathon continues.

Perfect Ten is the new standard for how entertaining a collaborative album headlined by a producer can, and should, be. Mustard seamlessly recruited high-level features for every track without allowing the project to sound like a shallow dinner party for the famous, like his peer DJ Khaled frequently does. He maintains some level of cohesion throughout the entire project which is a near-miracle since his voice/writing is not featured on the project. On Perfect Ten Mustard achieved exactly what he set out to accomplish, the creation of a fun album with no skips, proving that less truly is more.

Favorite Tracks:

Intro (Feat. 1takejay)

Baguettes in the Face (Feat. NAV, Playboi Carti, & A Boogie Wit Da Hoodie)

Ballin’ (Feat. Roddy Ricch)

Rating: 7.5

Listen to Perfect Ten here:

Perfect Ten, an album by Mustard on Spotify

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Songs of the Week: June 30th

By Spencer Lobdell

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

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

Songs of the week:

“BIG” by Young M.A

BIG, a song by Young M.A on Spotify

Brooklyn emcee Young M.A is back and as good as ever on her newest single “BIG”. On the track, M.A raps about her pimp lifestyle with her normal confident and to-the-point delivery leading us to believe that every word she raps is all fact and no fiction. Even though the talented rapper no longer receives the media attention she once did, she has a great chance to return to those heights with “BIG” which is sure to be a hit.

“Yo, I just copped a pocket rocket
For all you niggas pocket watching
Why your rollie tick-tick-tocking?
Ayy, uh, I fuck her during tax season, perfect timing”

— Young M.A "BIG"

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Ballin’ by Mustard (Feat. Roddy Ricch)

Ballin' (feat. Roddy Ricch), a song by Mustard, Roddy Ricch on Spotify

If it seems like we write about Roddy Ricch every week it’s probably because we do. The Los Angeles artist has been on an absolute tear lately with every track released sounding different and fresh while still containing his totally unique flow and addicting melodies. “Ballin’” is no exception and Mustard’s relaxed instrumental is the perfect home for Roddy’s street bars allowing him enough room per line to continue to switch his flow and pack rhyme after rhyme into each stanza. Roddy Ricch is hip-hop’s next superstar and with “Ballin’” being a perfect example of the terrific music the LA emcee is capable of making.

“I see you swerve back, ‘cause I’m in the black ‘Bach
New diamonds on me, fuck a flash, this ain’t Snapchat”

— Roddy Ricch "Ballin'"

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restore the feeling by daniel ceasar (Feat. Sean Leon & Jacob Collier)

RESTORE THE FEELING, a song by Daniel Caesar, Sean Leon, Jacob Collier on Spotify

This week R&B all-star Daniel Ceasar released his newest album CASE STUDY 01. The album is packed with emotional slow jams essential to anyone and everyone’s library, one of which being the sixth track “RESTORE THE FEELING” which brings an energy that is unmatched on the album. While Caesar is excellent on the track laying down a poetic first verse and assisting Jacob Collier on the beautiful hook, Sean Leon steals the show with his half-sung half-rapped second verse. All-in-all the song is a relaxing cut that brings a lot of energy without raising the tempo or tone from the rest of the album.

“I’m peeling back Backwoods, I guess I’m back to work
Make a mill’ off a classic verse
Will I make a mill’ or a classic first?”

— Sean Leon

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Lil Nas X Shows He's More Than A One Hit Wonder On New EP "7"

By Kaila Cherry

The man, the myth the legend: Lil Nas X

Lil Nas X has been the earworm of 2019. The 20 year old rapper went from obscurity to the center of the public eye with his breakout song: The kitschy, infectious, and undeniably unique track “Old Town Road.” With its massive streaming and radio success, it is likely that you are already aware of the track. “Old Town Road,” first released in 2018, is a song that mashes up hip hop and country in a way that is funny, extremely catchy, and somehow wholly authentic to both genres. As the song gained circulation on the popular mobile video app TikTok, it began to slowly leak out of the confines of dancing preteens and into the consciousness of the greater public. By the spring of 2019, Lil Nas X and “Old Town Road” were everywhere. On the radio, on TV, and in the playlists of frat parties across the country. 

The track gained even more attention after Billboard removed Lil Nas X from the Hot Country 100 chart in March 2019. In a statement to Rolling Stone, Billboard stated,“While ‘Old Town Road’  incorporates references to country and cowboy imagery, it does not embrace enough elements of today's country music to chart in its current version.” This received backlash from the public for several reasons. Some asserted that Billboard was exhibiting racial bias based upon them not allowing a black artist with a successful song within the country community because he does not fit the “country” aesthetic. Others were angry that Billboard insinuated that “Old Town Road” was not “country enough” for the chart because it had a hip hop influence, yet many of today’s  white country artists have blatantly ripped off black R&B and rap styles yet have received no flack for it. Billboard upheld its position until country icon Billy Ray Cyrus gave his cosign on the track by lending his voice to feature on the remix. 

Since the Billboard controversy, Lil Nas X has continued to ride the “Old Town Road” wave. He released a music video for the remix in May and has performed on a myriad of awards shows and events. Despite the fun of “Old Town Road,” listeners have been wondering: Will this be Lil Nas X’s only popular track? Does Lil Nas X have any longevity in music, or is he simply just a one hit wonder? To begin to answer this question, Lil Nas X has released a new body of work entitled his first commercial EP 7. 

Beginning with the Billy Ray Cyrus remix of “Old Town Road” and ending with the original version, 7 (which actually contains eight songs overall) showcases six brand new Lil Nas X songs. Over the course of these six songs, Lil Nas X experiments with tracks that pay homage to genres other than country and hip hop. Songs like “F9mily (You and Me)” and “Bring U Down” are heavily influenced by the sounds of pop and rock, both utilizing smooth guitar licks, rhythmic bass, and catchy lyrics that, like “Old Town Road” itself, one does not expect to like but quickly grows on them. “Kick It” and “C7osure (You Like)” have a more contemporary rap/R&B sound. Lil Nas X employs some of the sing-rap style popularized by the likes of Drake in the early 2010s on both tracks. He even hits some higher notes on “C7osure (You Like)” that are a nice surprise for the listener. Lil Nas X does not confine himself musically on this project. He allows himself to explore the different conventions of music, dipping his toes into several genres and putting his own spin on each. 

Even tracks like “Panini” and “Rodeo” manage to set themselves apart from the rest of trap bangers out currently. “Panini” clearly draws on the musical style of artists like Travis Scott with the quick flow, lower vocal register, and clean, straightforward production style. Yet Lil Nas X’s lyrics are totally his own. The song’s motif of “Hey Panini, don’t you be a meanie” is both funny and hilarious, which seems to be indicative part of Lil Nas X’s brand. Yet despite how silly the lyrics may seem, it gets stuck in your head and is not long before you are singing along without reservation. 

“Rodeo” had the potential to be the strongest track on 7. “Rodeo” combines a surf rock inspired guitar riff with trap production and tops it off with a vocal style that plays up his Southern accent. “Rodeo” is the closet track stylistically to “Old Town Road,” being what I would consider to be the only other country/rap mashup on the project. The track does lose appeal due to the unexpected Cardi B feature in the last third of the track. Cardi B’s verse is short and does not add to the ambience of the track. Her vocals are not mixed in the same way Lil Nas X’s are, making her stint on the track feel wholly out of place. Her addition on the song feels more like a corporate move to keep the traction on Lil Nas X alive more so than a genuine collaborative effort. Without Cardi B’s feature, “Rodeo” would have undoubtedly been my favorite track on 7. 

Thematically, 7 does not have much of a locus. Each track deals with different combiniations of sex, relationships, newfound success, and the most recent changes to his lifestyle. He references the Billboard situation on some tracks as well. Other than that, there is not much to gleam lyrically from this EP and the subject matter is fairly generic.

Overall, Lil Nas X’s debut commercial EP 7 is a very intriguing project. There are some tracks that are super fun, catchy, and sonically interesting to listen to and others that fall flat. For the tracks that hold up, though, they are so addictive. I believe that Lil Nas X has a little more than fifteen seconds in the spotlight. He is not yesterday’s news just yet. 

Favorite Tracks:

Panini 

Kick It 

Bring U Down

Rating: 6.5

Listen to 7 here:

7 EP, an album by Lil Nas X on Spotify

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The Prodigy Is Back: Pi'erre Bourne Returns to Form with "The Life Of Pi'erre 4"

By Carter Fife

The wait is over. Almost three years after the release of producer/rapper-powerhouse Pi’erre Bourne’s mixtape The Life of Pierre 3 (often styled as TLOP), Pierre (né Jordan Jenks) has finally released his newest body of work. After years of scattered rumors and details, Pi’erre blessed fans last Friday with the hotly-anticipated TLOP 4. 

For many like myself, seeing him finally confirm the release date over Twitter was surreal. Pi’erre’s 2018 mixtape Pi’erre and Cardo’s Wild Adventure (entirely produced by fellow producer-prodigy Cardo) was an incredibly diverse and well-produced project, even though all but two of the songs were recorded in just one day. This led many to ask: How would an album that had been worked on for potentially years compare? Even the older entries in the ’TLOP’ saga were only released weeks apart, and those came out at the tail-end of 2016. Since then Pi’erre’s discography and credits have increased significantly, with his ubiquitous producer tag being spread across artists from NAV to Playboi Carti, 21 Savage to Travis Scott, Young Nudy to Warholl.ss. Every year, the list grows, and today Pi’erre Bourne’s cultural preeminence as a hip-hop producer is almost unrivaled. Perhaps with the exception of Metro Boomin, or Pharrell, very few others can claim that they have come close to doing what Pi’erre has done. The biggest difference separating Metro Boomin and Pharrell from Pi’erre? Pi’erre only needed four (some could argue fewer) years to reach such a level of notoriety, while Metro soon enters his second decade in music, and Pharrell his third. 

Notoriety and clout aside, TLOP4 is a great album. Pi’erre’s ability to both rap and produce is something that makes many draw comparisons to this generation’s Kanye West, and I believe that those comparisons are not as farfetched as they may seem. The album lasts 50 minutes spanning sixteen tracks, and it is a wild ride from start to finish. Each track on the album (which is not a mixtape like the ones before it) features writing, production, engineering, and a performance that comes from Pi'erre and Pi'erre alone. 

The album begins with “Poof, an aptly titled track for an album that dropped quite literally out of nowhere. The song title however, is actually in reference to the producer’s late Uncle, who was nicknamed ‘Magic’. The track had been teased multiple times over the past two years, so hearing it leading the album feels almost like coming home. The song’s crisp hi-hats and 808’s contrast nicely with the ambient and eerie pads and instrumentation. This track, like every track that follows it, is mixed and produced perfectly, no manipulation required. It is here that Pi’erre sings/raps to a love interest of his, and while he doesn’t re-invent the wheel lyrically or thematically, the lyrics remain complex enough to contain substance while being simple enough to be accessible to hip-hop fans old and new. 

Every track flows perfectly into the next, and as quickly as it began, ‘Poof’ ends and ‘Try Again’ begins. ‘Try Again’ is a much faster pace and typical Pierre Bourne track. Fast rapping and melodic singing are paired over a Rhodes synthesizer-esque emulation, and while the percussion may be a touch too similar to the track before it, the stuttering hi-hats help provide the track with a more upbeat and energetic feel. 

The tracks represent the two realms in which every track on TLOP4 inevitably falls. The dichotomous nature of these songs isn’t always as clear as night and day, but almost every song is pretty easily classifiable as one of the following: a more melodic and hazy concoction of singing, unique instrumentation and innovative harmonic conversation, or a more conventional but undeniably energizing and fun burst of rapping both with and without autotune. 

Songs like “Be Mine” fall under the former group, with a sound font that could be borrowed from Runescape and saccharine lyrics about love and wanting. “Balled” falls under this group too, with a romantic mix that contains a guitar-laden track so nostalgic this could have been a cut from the upcoming Blood Orange project. It is on this track that Pi’erre opens up about the pitfalls of fame, and how where love may appear to be, distrust, manipulation and disappointment are sure to follow. 

Once ‘Ballad’ ends, the tone quickly shifts as “Routine” begins. Easily one of the highest points on the album, Pi’erre still dwells on ideas of love and fame, but seems to lean into them this time around. Like the shift in message, the aural flavor of the track turns on its heels to produce one of the most fun cuts that I have heard from Pi’erre this year. Spacious and glistening pads take the main stage in this mix, with the percussion and Pi’erre’s sing/rapping providing the listener with enough depth and energy that makes this song one worth coming back to.

Throughout TLOP4, Pi’erre delivers close to 50 minutes of occasionally thoughtful, and occasionally reckless tracks that sometimes do not do much to depart from Pi’erres previously established repertoire of talents and capabilities. There is one exception however, with the album’s final track ‘Speed Dial’. Pi’erre Bourne takes a page out of the lilbootycall/Drake playbook and raps some “Sailormoon” / “In My Feelings” cute rap bars over a beat that is simultaneously fast enough that one could rage at a function to it, while also being slow enough that It could be a moody track to play during your long drive home afterwards. Despite this, somehow it ALSO has a bounce to it that was previously only ever heard by Bay-Area natives and YG. The song is a total clusterfuck of elements of writing and percussion that shouldn’t work, but totally do. 

This seems to be the overarching theme with the second half of the album, where Pi’erre takes the very tropes and ideas that he worked to popularize into the mainstream, but he uses them in ways that would only be a success if he was the one behind the mixer. The many-times-leaked “Doublemint” is a prime example of this. The upbeat and fast-paced beat shouldn’t work with Pi’erres autotuned crooning, but it does. “Juice” is the exact inverse of this track, with Pi’erre’s raw rapping over a dark and moody track succeeding in ways that you need to hear to believe. 

Pi’erre’s performance has also picked up a few tricks since we last heard from him. There are moments throughout the album where one can hear traces of Playboi Carti, Trippie Redd, Meek Mill, Partynextdoor, Lil Uzi Vert, Lil Yachty, and even Nav. The presence of his contemporaries on his own musical style in interesting, because one could easily make the argument that he’s played a large part in giving those artists careers. Without Pi’erre, there is no Carti or Nudy at least, so where do we draw the line? Maybe there is no real answer to this question, but maybe we’ll have to wait and see. 

TLOP4 is a fantastic album for fans of contemporary hip-hop, made by one of the leading tastemakers and trendsetters in modern music today. Though he may spend most of his time outside of the limelight, it’s about time that changed. Many producers try to break out of their shell like Kanye did almost two decades ago, and while most are prone to flop (looking at you, Ronny J), there are the rare few that can break those barriers. Time and time again, Pi’erre has proven that this is something he can do. 

Favorite Tracks:

Routine

Doublemint

Speed Dial

Rating: 9

Listen to The Life Of Pi’erre 4 here:

The Life Of Pi'erre 4, an album by Pi'erre Bourne on Spotify

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Songs of the Week: June 23rd

By Spencer Lobdell

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

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

Songs of the Week:

“That’s Life” by 88-Keys (Feat. MAc Miller and Sia)

That's Life (feat. Mac Miller & Sia), a song by 88-Keys, Mac Miller, Sia on Spotify

Just one week after Mac Miller’s first posthumous verse was released another excellent feature for the late Pittsburgh emcee has been unearthed. “That’s Life" by 88-Keys came out last Thursday and features Mac Miller and Sia. Mac is clearly the star on the song as he handles both verses and the beautiful hook with Sia on the bridge and 88-Keys responsible for the tear-jerking, piano-anchored instrumental. Mac uses the first verse to tell us about the struggles that he faced with his mom and drugs while growing up while on the second verse he offers advice to anyone going through something similar. The hook exists to remind us that if we are indeed going through things similar to Mac, sometimes that’s just life.

“So hard to stay sober when you feeling fucked over so much
Always coming up short, you like the roach of a blunt ”

— Mac Miller "That's Life"

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“Slayerr” by TM88 (Feat. Lil Uzi Vert)

Slayerr, a song by Tm88, Lil Uzi Vert on Spotify

This week TM88 and LilUzi Vert finally released a track that the duo has been teasing for over a year. “Slayerr” is an upbeat bop with a classic Uzi hook that sounds right at home over TM88’s hard-hitting instrumental. Throughout the song Uzi discusses his relationship with a rockstar girl, most likely Brittany Byrd who Uzi dated on and off throughout his career. He acknowledges the fact that she is probably no good for him, but being a rockstar himself, he cannot resist. The song is infectious and full of energy, hopefully Eternal Atake drops soon enough that “Slayerr” adequately holds us over until the elusive album is finally released.

“Yeah, she’s in love with a rager
She’s a rockstar, everybody said, “Don’t date her”
I’m no dummy, no I do not have a cape, sir
I just wanted to have my way, didn’t mean to save her”

— Lil Uzi Vert "Slayerr"

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“Be Mine” by Pi’erre Bourne

Be Mine, a song by Pi'erre Bourne on Spotify

“Be Mine” is the fourth track off Pi’erre Bourne’s excellent new mixtape The Life Of Pi’erre 4 and is only one of the thrilling cuts worthy of a “songs of the week” spot off the fascinating new project. Ever since he burst onto the scene with Playboi Carti, Pi’erre Bourne has been always been early to new sounds and a true trendsetter. “Be Mine” is a classic Pi’erre track with swirling, dreamy synths and a bouncy bass line. Pi’erre’s tackles a simple topic of wanting to hook up with a girl but he does it in such a tasteful way that it doesn’t sound like something we’ve heard thousands of times before.

“Wait, ayy, baby give me migraine
Baby, give me my space, pull up, yeah, to my place
Show me like it’s my estate, she want me ‘cause my name
Rubber on so I’m safe, livin’ life is so strange”

— Pi'erre Bourne "Be Mine"

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GoldLink Explores the Diverse Landscape of Black Sound on Debut Album "Diaspora"

With summer almost here, Goldlink has given us something to groove to with the release of his debut studio album entitled Diaspora. Hailing from the DMV, Goldlink has put out three mixtapes prior to Diaspora, the most recent and most successful of which being the 2017 commercial project At What Cost. The mixtape is scattered with contributions and features from an array of artists such as Wale, Steve Lacy, and Kaytranada among others. At What Cost is a demonstration the stylistic diversity GoldLink utilizes in his work. Although the project is mainly known for its two most pop oriented and R&B inspired tracks “Crew” and “Herside Story,” At What Cost also calls upon the genres of funk, East Coast hip hop, and alternative rap with songs like “Hands on Your Knees (feat. KoKayi),” ''Kokamoe Freestyle,” and “Some Girl (feat. Steve Lacy).”

Two years later, GoldLink has furthered embraced the many different styles of music which have made him into the artist he is today. Diaspora is a homage to the sounds originated and developed by different pockets of black culture from all around the world. When placed together on a single project, these sounds are able to be threaded together, compared, contrasted, and skillfully coalesces various aspects of the black soundscape onto a single album.  

To understand the concept and intention of GoldLink’s album, one must have an understanding of what a diaspora is. Defined as “the dispersion of any people from their original homeland,” diasporas are seen within the histories of several displaced minority groups. The most well known example of this spread is the Jewish Diaspora. Beginning in 587 BC, the Jewish Diaspora was marked by the exile of the Jews from Israel by the Romans and their subsequent spread to various parts of Europe and, thousands of years later, to North America. With the advent of the Atlantic Slave Trade, Africans were abducted from their countries and shipped to different parts of Europe, South America, and North America for over 300 years. Even after slavery was abolished in most parts of the globe, most freed people did not have the means to go home to their native lands and thus stayed in the places they were. This is what is called the African Diaspora.

Map of the Trans Atlantic Slave Trade which led to the development of the African Diaspora.

GoldLink explores the genres of reggae, dancehall, afrobeat, trap, house, R&B, afropop, and traditional rap on Diaspora, fully living up to the project’s namesake. After a 23 second intro entitled “//error,” Diaspora kicks off with the infectious bouncy track “Joke Ting.” Featuring South London R&B singer Ari Pensmith on the chorus, GoldLink begins the album with light, catchy, and contemporary tune that could easily fit onto a summer party playlist. GoldLink’s flow is smooth and punchy with an effortless cool, due in part to the melodic tone of his D.C. drawl.

The next track, however, sounds nothing like the first. This is a trend that is prevalent throughout Diaspora. As one listens through the project from beginning to end, they clearly recognize that they are to expect the unexpected, to accept that the cohesion of the album hinges less on the consistency of a particular sound and is instead the collage of diversity of music styles. The following track, “Mania” is an eclectic trap song dressed with vocal effects like autotune and echoes, lyrical repetition, electric piano, bass drums, and high hats. After “Maniac” is “Days Like This,” a mellow self reflective track featuring Khalid that showcases a much more stripped back production style and some of GoldLink’s most poignant lyrics on the entire project.

“Zulu Screams” is the first time the international influence on Diaspora is presented to the listener. Featuring artists Bibi Bourelly and Maleek Berry, “Zulu Screams” is a loud, in-your-face dance/house banger headed straight for the club. The following track “More” is inspired by the Jamacian genre of dancehall, with its roots in reggae and reggaeton music. One of the most well known singles from Diaspora prior to its release is the flirty afrobeat track “U Say,” featuring Tyler the Creator and Jay Prince. The song’s production is minimal, allowing GoldLink and Tyler to spit sexy verses about the women they want to bring home.

The last two standout tracks on Diaspora are “Yard” and “Spanish Song.” “Yard” is a mix between dancehall and R&B while “Spanish Song” is a latin inspired dance song. Although there are four more songs after “Spanish Song,” they fail to make much of an impression. Coming back to the contemporary rap styles showcases at the start of the album, these tracks sound more like slightly altered versions of the three opening songs than as stand alone songs. The exception to this assessment of the last quarter of the album is the song “Tiff Freestyle,” which has a more classic East Coast hip hop sound in comparison to the other three. Still, however, “Tiff Freestyle” does not engage my ear in the same way the songs before it did.

In addition to the weakness of the last leg of Diaspora, GoldLink’s lyrical prowess leaves more to be desired. A common pitfall of newer rappers is the inclination to rap about the same subject matter in the same ways. Throughout Diaspora, GoldLink speaks on topics such as fame, parties, sex, crime, and overcoming struggle. However, he rarely raps about these subjects in a way that is unique. It is clear that the production and the concept of Diaspora took precedent over the creativity of the lyricism. If GoldLink’s bars were as fresh and inventive as the sound of the album, Diaspora would be close to a perfect album.

GoldLink’s Diaspora is an auditory tour of the expanse of the black musical landscape. GoldLink demonstrates his ability to hop seamlessly from genre to genre, finding a place for himself in each without trying to cheaply intimidate or rip off another’s sound. Instead, he engages in a dialogue with the various genres of black music, adding his own sense of personality and style to each genre he takes inspiration from. The collaborative sense of the album is further enforced by the slew of artists featured on it as well. Despite the last few songs falling flat and the blandness of the lyrics, Diaspora is still a solid album that is as fun as it is educational on the diversity of black sound. A great collection of songs to vibe out to, I definitely recommend checking out Diaspora and bumping it all summer long.

Favorite Tracks:

Joke Ting (feat. Ari PenSmith)

Days Like This (feat. Khalid)

U Say (feat. Tyler the Creator and Jay Prince)

Rating: 7

Listen to Diaspora here:

Diaspora, an album by GoldLink on Spotify

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Songs of the Week: June 16th

By Spencer Lobdell

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

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

Songs of the Week:

“Down Bad” by Dreamville

Down Bad (feat. JID, Bas, J. Cole, EARTHGANG & Young Nudy), a song by Dreamville, JID, Bas, J. Cole, EARTHGANG, Young Nudy on Spotify

J. Cole’s powerhouse label “Dreamville” has been teasing their third collaborative album “Revenge of the Dreamers III” for awhile now and last Wednesday we finally got a taste of what they’ve been working on. While both songs on their EP “1-800-88-DREAM” were very good, “Down Bad” is already one of my favorite songs of the year. JID, Bas, J. Cole, and Johnny Venus, all deliver excellent verses to the point where it’s hard to pick a favorite. If I had to pick, I think JID’s verse barley edges out the other three but it is very close. This song is so fun and succeeded in adding to the excitement for the forthcoming album.

“I had to tighten the fuck up, but I’m here for the crown
Board of Education vs. Brown
I was bored of education, left the town
Fuck a résumé and fuck a cap and gown
Fuck a background check back ‘round when I get the check
Nigga, that’s now”

— JID "Down Bad"

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“Time” by Free Nationals (Feat. Mac Miller & Kali Uchis)

Time, a song by Free Nationals, Mac Miller, Kali Uchis on Spotify

Ten months after his passing, Mac Miller’s first posthumous verse has arrived, and it’s nothing short of perfect. The track is titled “Time” and released by Anderson .Paak’s band, Free Nationals. Kali Uchis is called upon for the first verse and hook and sounds angelic over the groovy soundscape provided by Free Nationals. One minute and thirty seconds into the record, Mac smoothly makes his presence known and spits a reflective verse about the benefits of letting time run its course in a relationship. He utilizes the same flow and style that was very present in Swimming allowing every introspective bar to resonate. We miss you Mac, rest in peace.

“Well, I don’t trip, but I slip, I fall
Sleep all day, maybe miss your calls
Like I been missing you
Still, I continue, tied up and tripping up
I’m making the wrong decisions and you sick of it all”

— Mac Miller "Time"

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“Money In The Grave” by Drake (Feat. Rick Ross)

Money In The Grave (Drake ft. Rick Ross), a song by Drake, Rick Ross on Spotify

Thursday night the Toronto Raptors won their first ever NBA championship meaning that their biggest fan and spokesperson, Drake, would be dropping new music in celebration before the weekend was over. On Friday night, the Canadian rapper dropped a two song EP titled The Best In The World Pack. The second track “Money In The Grave”  features Rick Ross, reuniting the dynamic “I’m On One/Lord Knows” duo. While the song has nothing to do with the Raptors, it’s a classic Drake freebie which always seem to go especially hard. The song features the two decorated emcees rapping about their success and how people will continue to try and feed off their image even after death.

“When I die, put my money in the grave
I really gotta put a couple niggas in they place
Really just lapped every nigga in the race
I really might tat “Realest Nigga” on my face”

— Drake "Money In The Grave"

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After a Five Year Hiatus, LA Native Casey Veggies Returns with His New Independent Offering “Organic”

By Spencer Lobdell

Casey Veggies dropped his first mixtape in 2007 when he was 14. He was a founding member of Odd Future and then left to work with fellow Los Angeles native YG. He signed a major record deal with Epic Records, released his debut album Live & Grow, and quietly disappeared.

As we recently learned in a telling interview with DJ Booth, Veggies didn’t disappear but rather was at war with his record label, Epic Records. Veggies believed that the label didn’t believe in him as an artist and only wanted hits. “They had me waiting a little too long to drop music, and from them telling me they want this type of records, them telling me “We want hits,” we kind of hit a wall. It’s like, y’all want one thing, but y’all not necessarily helping me get that.”

Fast forward four years and countless piles of paperwork later and Casey Veggies is back with his most personal offering to date, a tape called Organic which was released independently free from the ropes that Record labels had used to tie him down.

Veggies released three singles prior to the release of Organic starting with “Mirage” back in February. The single allows us to dive into Casey’s psyche while reminding us that the veteran spitter has flow. A single called “Awarded” came next and would end up being the albums lead single and the only track to get a music video upon release. “Stop Playing” featuring LA peer Dom Kennedy was the final single coming out a week before the release of Organic.

Organic was released on June 7th as a 10-track effort with a run time of 36 minutes.

The album gets right into things with the intro track “Dream$” being one of my favorite joints on the project. Casey raps about his come up over a dreamy instrumental with a classic Los Angeles drawl and a back and forth flow that we’ve been missing since his last release in 2015. Veggies vocal layering is terrific on the hook and solidify this as one of the best offerings on this tape.

Casey keeps his momentum with the second track and lead single, “Awarded”. The track is insanely catchy and a flex at the root of the term (“When I walk in the building  I’m very important/I kept it real and ain’t get awarded). Two tracks into the album and there is already a strong theme of resiliency and independence.

“I Came Up” is the fifth song on the album and is host legendary west coast features YG and E-40. The song is as California as it gets with a G-Funk inspired instrumental that sounds like a perfect home for LA rapper 03 Greedo. YG and E-40 both live up to expectations and deliver solid verses that showcase their signature styles.

The seventh song on the album is “Candy” which features another iconic Los Angeles rapper, The Game. “Candy” is a love song about a true ride-or-die girlfriend who is good for more than hitting the town and popping bottles. I think Game precisely sums up the demeanor of this track on the last two lines of his second verse when he raps, “She from the 30's and I fuck with her/Witness to my first murder, nigga, so I'm stuck with her”.

“No Favors” follows “Candy” and is filled with joy and pride. On this track, Casey is transparent as an independent emcee who signed a record deal and learned that his artistic freedom is priceless. He brags that he is now free from Epic Record’s restrictive collar and able to do exactly as he pleases without needing to ask for favors.

Casey Veggies’ was gone for four years. He slowly floated out of relevance and it seemed like everyone had forgotten about the OG Odd Future emcee. That is until 2019 when the resilient rapper reinvented himself and burst back into the rap game with his independent offering Organic. The album is focused, entertaining, and delivers a clear message of toughness and independence. Casey’s pen game is sharp and while the topics are presented in a way we’ve seen before they are executed well. Casey Veggies has returned from the sunken place and is here to stay.

Favorite Tracks:

Dream$

Awarded

Candy (Feat. The Game)

Rating: 7.5

Listen to Organic here:

Organic, an album by Casey Veggies on Spotify

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The Tudor Interview: Finding His Sound, Inspiration, and What's up Next

“I'm no longer trying to make something I think other people will enjoy, I'm making it because I think it's dope and it's fun to make”

By Izzy Stroobandt

Hailing from Boulder, Colorado, Tudor (pronounced two-door) has been perfecting his musical talent since a young age. He remembers “slamming random keys on a piano” as young as three years old. Determined to share his love for music, Tudor has been building his discography for many years. “I've always had the urge to create, and I guess around [15 years old] was when I decided I had honed my musical skills to the point where I was down to give writing my own stuff a shot,” he said. He’s currently in his third year at the University of Washington (UW) in Seattle and takes any chance he can to share his musical talent with his fellow students. 

Originally releasing music under his acoustic alias, Luca (titled after his middle name), Tudor has already hit significant milestones in his career. Despite only having started releasing music in 2018, he recently reached over 1 million total streams on Spotify between both his artist profiles. His first drop, “Quite the View,” released under Luca, is on its way to hitting the 1 million streams mark on Spotify. 

For Fun, a song by Tudor on Spotify

As a relatively new artist, Tudor is still working on finding his specific sound. Embracing the journey to discovering his brand, he has dabbled in making music as a one-man-show as well as working with producers and other musicians. Tudor typically works with two producers, John Laga (based out of San Francisco, Calif.) and Roy Miles (working in Denver, Colo.). When making music under Luca, the music is almost entirely his own work—unless he brings friend and fellow UW student Nico Bilbao into the studio to lay down piano tracks. “Huge shout-out to that man as well. Literally, junior Bach,” he said. 

On June 7th, Tudor dropped his latest single, “For Fun,” a stylistic and moody shuffle of devilish vocals over beat-driven and groovy instrumentals. “For Fun” is a prime example of the emotional and stylistic maturation Tudor has undergone since the beginning of his public music career. 

If you haven’t heard his released music already, with the tracks he has lined up to drop in the future it’s likely you will hear of him again.

I spoke with Tudor about his musical journey, where he draws his inspiration from, and what’s up next. My conversation with the Seattle artist, lightly edited for content and clarity, follows below:

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Izzy Stroobandt, StereoVision (IS): Where do you find most of the inspiration for your music? 

Tudor (T): For the most part, I find inspiration from the music I listened to growing up and the artists I currently listen to today—but I'm also inspired by other types of art as well. It's not uncommon for me to get the idea for a song concept from poetry, a movie, or even a photograph. I've also written songs based off of a single sentence that someone said to me or a specific feeling I had-inspiration is everywhere, I try not to limit where I get it from.

IS: Can you explain your creative process a bit?

T: Yeah, definitely. If I'm writing over a beat that was sent to me by one of my producers I'll typically give it a listen through and try and catch a vibe, as in try and decide what the track makes me feel/think of. Once I choose an emotion to go off of, I'll start messing around with melodies that fit the beat and that emotion. After I've found a solid melody for a hook/verse that's when I go in and actually start writing lyrical content. Rhyme-zone is my best friend.

IS: What are your favorite tracks you’ve made? Why? 

T: Damn, that's a really tough question. If I had to pick one I'd say "Lately," which is a single I released in late December last year. The beat was co-produced by both of my producers which I thought was really cool, and I feel like I really showed range in that song. I go from an alternative/emotional sounding hook to basically rapping in some of the verses which I thought was really cool. I'm kind of all over the place in terms of the music I make, and I feel like that song really encapsulated that.

Lately, a song by Tudor on Spotify

IS: How do you think you’ve grown as an artist since starting? 

T: I think when I first started making music I was always trying to create something I thought other people would want to listen to—which isn't necessarily a bad thing. The music industry is the same as any other industry, you have to create something that other people want to consume. But, I think my work has grown in the sense that now when I sit down to create I'm no longer trying to make something I think other people will enjoy, I'm making it because I think it's dope and it's fun to make. 

IS: What has been the most rewarding moment for you so far? 

T: I attended a party a few months back and somebody hopped on the aux chord and play my first single under the name Tudor called "Rent". Everyone got stupid lit to it, and it made me so damn happy to be jammin’ to my own music with all of my homies around me. Yeah, definitely that one.

IS: Any advice for other up and coming artists?

T: Be patient. There's a ton of steps you have to take in order to turn music into a full-time job, it takes time. I'm really only just getting started myself. Just focus on what you can do today. Write some lyrics, come up with a riff, anything. The only way you'll get to where you want to be is if you completely devote yourself to your craft. There's no way around the work. Don't lose sight of the fact it's supposed to be fun though, that's why you're doing it in the first place. Enjoy the creative process and if you get paid to do it, sick. If not, it's still sick.

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Polo G’s Pain Is Palpable on His Debut Album “Die a Legend”

The young rapper seamlessly blends Chicago drill music and popular melodic rap to morph himself into a hybrid of Lil Durk and A Boogie Wit Da Hoodie on his newest release

By Spencer Lobdell

“Pop Out” rapper Polo G is here to make sure that he’s remembered for more than his smash hit.

The North Chicago artist begin releasing music in 2017 on YouTube and gained a small following. Upon getting out of prison in 2018 Polo G promised himself he wouldn’t go back but rather dedicate his life to music. Shortly after, he began to see his decision pay off as his following grew and he signed an independent distribution deal with Columbia. At the beginning of 2019, he dropped “Pop Out” featuring Lil Tjay. The single exploded and is currently just short of 100,000,000 streams on Spotify.

The only prerelease that Polo G dropped from the album besides “Pop Out” was a song titled “Deep Wounds” which came out on May 17th. The song has been in my constant rotation for the past three weeks and is my favorite track on the album. Deep Wounds is a reflective track where Polo G is extremely personal about his come up and the life that he is so ready to escape. The song is powerful and his melodic hook is as catchy as anything on the album.

On June 7th, the Chicago spitter released “Die A Legend” and was met with a positive response.

The album heats up quick with its intro “Lost Files” being one of the tapes strongest tracks. Polo raps with a rapid-fire delivery, finds his pocket, and stays in it for the majority of the two-minute track. The instrumental hits harder than any other beat on the tape and gets listeners excited for what is to come.

The third cut “Through Da Storm” is a chilling track that feels colder than an iced out Rolex. The track is prefaced with a recorded message from Polo G’s little sister who says she always knew he’d be a star. The instrumental is anchored by chimes that you would expect to hear in a child’s nursery adding to the somber personality of this track.

“Battle Cry” is the sixth song and another clear standout and is home to him opening up about his abuse of ecstasy pills. In an interview with Pitchfork, he opened up about the E pill epidemic in Chicago: “I’ve gone through some bad times with the pills. In Chicago, what’s messing up the youth right now is the ecstasy pills. Almost everybody in the city pop pills—kids, older people—and they look at you like you crazy if you don’t.” When asked why pill popping is so prevalent in Chicago, Polo G explained, “It’s a coping mechanism, and that’s their escape. We desensitized to murders and shootings; if we hear shooting we don’t even move, it’s the norm. I’ve seen at least six or seven altercations that’s left someone bleeding out. And there’s nobody in the neighborhood checking on these kids. After a kid in our school dies at 13, no therapists are there. We just deal with it ourselves. Nobody ever comes to check on these kids, and without that, it’s just a never-ending cycle.”

“I’ve gone through some bad times with the pills. In Chicago, what’s messing up the youth right now is the ecstasy pills. Almost everybody in the city pop pills—kids, older people—and they look at you like you crazy if you don’t.”

— Polo G

The track “Last Strike” follows the excellent pre-release “Deep Wounds” and is another moving track where Polo forces his important message of escaping the struggle on his listeners. His lyrics are raw and honest on “Last Strike” and he sounds bitter at those who wronged him in ways we can’t understand.

The album concludes with a remix of “Pop Out” which features Gunna and Lil Baby instead of Lil Tjay. The two Atlanta emcees reinvent the song in a great way by both delivering solid verses and using their trademarked styles over a song we’re all already familiar with. With this being said, I’ve simply heard “Pop Out” too much since its release making this remix a skip for me even though it was done well.

Polo G’s intention for this tape is clear: show the world what North Chicago is really like. He succeeds in reeling us into his life with his passionate storytelling and wounded, melodic delivery. The songs are moving and are filled with purpose and emotion.

While emotional songs for the streets are excellent, there is such thing as too much of a good thing and we start to see this towards the end of “Die A Legend”. While Polo’s theme is supposed to be making it out the struggle, at some points it seems like his theme is repetition for repetition’s sake. Don’t get me wrong, every story Polo tells on this album is intriguing and needing to be told, I just believe that some of the more profound tracks on this project could’ve had more of an impact if it wasn’t the only type of track on the album.

All-in-all, Polo G’s “Die A Legend” is a solid debut project that solidifies the Chicago emcee as a top new rapper with lots of potential. While he will need to work on his stylistic diversity, the passion that he raps with cannot be taught or emulated and will serve him properly in the remainder of his musical career.

Favorite Tracks:

Lost Files

Through Da Storm

Deep Wounds

Rating: 7

Listen to Die A Legend here:

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Future Tries to Be Honest with Himself on His New Seven-Song Album "SAVE ME"

By Miles Hagan

Future is going to be 36 years old this year. He has cemented his status as a legend of Atlanta trap music through his numerous hit singles and quality albums, yet one has to wonder just how much longer can he continue to rap about all the drugs he's doing and all the women he has at his disposal before it becomes boring to listeners.

After a 2017 that saw him release HNDRXX, which was one of his most experimental projects to date, he came back in 2018 with another quality record in BEAST MODE 2. In terms of solo efforts Future had seemed to be heating up, and the release of 2019’s The WIZARD was met with much excitement from fans. Unfortunately, aside from a few solid tracks the album as a whole largely failed to impress. Now Future has returned and seems to have a new motivation for making his music this time around. SAVE ME has been marketed as an album where Future is going to be honest with his audience about himself for one of the first times in his career. He is someone who has shied away from letting his music reflect his personal reality, but that was supposed to change on this new body of work.

SAVE ME clocks in at a very short 20 minutes. Though this eliminates a lot of the room for error that comes along with a more lengthy project, it also allows for Future to stay focused and locked in for 7 strait songs. The opening track “XanaX Damage” quickly sets the tone for the album. Future sounds lost and almost defeated on this song as he addresses a woman who he wants, but he knows is bad for him. The interesting thing about this song is the parallels between the girl he is talking about and the Xanax and it raises the question, which vice is he turning to at his darkest moments? That is why this album presented such an interesting opportunity for Future. Drugs and women have been the two most constant things in his music since he first blew up, yet in this album he seems aware that these two entities will be his ultimate downfall. Future ends up making his experiences with women the ultimate focus of this project.

On the third track “Please Tell Me” future floats over one of the best beats on the album and tells a woman he is with that he wants to give her the world, all she has to do is ask. He knows that this love interest of his wants all the finer things in life and he is there to provide each and every one of them to her. This as well as the following song “Shotgun” have a production style very similar to some of the tracks on his 2017 effort HNDRXX. Future’s aim isn't to create another club banger, like the countless ones he has in the past, rather he is experimenting with a sound that focuses less on his rapping and his image, and more about his crooning and feelings. These songs are good and will most likely be some of the more played cuts off the album, but this isn’t anything that Future hasn't done before. Simply put, while these are solid tracks they have a sound that was done much better on HNDRXX.

While the effort is commendable, it is far from perfect. “St. Lucia” fails to capitalize on the momentum of the opening track. It could largely be because of the placement of this song that it sticks out like a sore thumb. It comes after two of the better tracks on the album where he is talking honestly about how women and drugs are making him feel on the inside. Yet on “St. Lucia” he takes the stance that he doesn't really care about these girls and he just is in lot for the sexual glory. No one is coming at Future for having slightly misogynistic lyrics, and this is nothing new from him. The issue is that SAVE ME was marketed as an album where Future would be showing us a different side of himself, and there were glimpses of it on this project.

“Extra” is one of the best songs on the entire album and it sees Future at his lowest point saying he needs to keep pouring up until he can't feel anymore pain. The drugs and women are no longer cool and for a moment, it allows the listener who typically could never relate to a superstar of Futures status feel like he knows what he is going through. This along with “Love Thy Enemies” and “XanaX Damage” also have music behind them that almost seem to be dragging but in the best way possible. The songs feel like what it is like to be drugged out for days just searching for answers. These moments are when SAVE ME shines brightest, yet too often he goes back to sounds and concepts that he has already worked with.

As mentioned earlier, no one is doubting Future’s legend status. Fans of hip hop will never be able to doubt the greatness of some of the most famous songs and projects that he has produced over the duration of his career. That being said the one thing that can be challenged is his longevity. How is he going to remain relevant in a rap scene that is ever evolving and changing. He may have pioneered the sound, but there are people now taking it and running with it in directions everyone, including Future himself, could have never imagined. He still has a sound and voice that works more often than not, and he is more than capable of producing a great track. But what does the general public really know about Mr. Future Hendrix. He has done such a good job of only letting us fans and media into the parts of his personal life that live up to his rapper persona. No one really knows what this guy is truly thinking or feeling, maybe not even him. Some of his more recent work has shown that he is very diverse in terms of the sounds that he can work with, and this album, though not perfect at least hints at him eventually delving deeper into what the true effects of this lifestyle are. He tells us he only turns to the drugs and women when he is at his lowest, and then on the next track he says that those are the only things that matter to him other than money. The title of this album is “Save Me”, but the future doesn't seem to want to admit why he actually needs saving.

Favorite Songs:

Please Tell Me

Extra

Love Thy Enemy

Rating: 7

Listen to SAVE ME here:

SAVE ME, an album by Future on Spotify

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