A Storied History of Racism at the Grammys

By Luke Modugno

Have you ever wondered what a physical manifestation of systemic racism looks like? Look no further than the Grammys. 

Winning a Grammy is undeniably considered the pinnacle of musical artistry. Being recognized by a reward as distinguished as the Grammys is surely an honor any artist would kill for. But for some artists, getting acknowledged by the Recording Academy is much more complicated than others. 

The Grammys has a storied and ugly history of racial bias in giving awards, nominations and determining genres in which albums fall under. Don’t believe me? Frank Ocean, Kanye West, JAY-Z, Beyonce, Sean (Diddy) Combs and countless others in the music industry have refused to attend the Grammys due to its clear favoring of music made by white artists. Michael Jackson and Prince’s all-time classic records “Off The Wall” and “1999” were not even nominated for album of the year. Kendrick Lamar’s 2012 project “good kid, m.A.A.d city” lost rap album of the year to Macklemore’s “The Heist,” a decision that left every fan of rap music scratching their heads. 

In her piece about racism’s presence at the 2017 Grammys, NPR staff writer Ann Powers writes, “When artists of color only win awards that are not included in the telecast — the only artist other than Beyoncé to get behind the podium on Sunday was Chance the Rapper — that's systemic racism, buried so deeply within the structures of an institution that it can be read as inevitable.”

Two years later, we are in the same place as we were before. After winning rap album of the year for his 2019 effort “IGOR,” Tyler, The Creator pointed out the Grammys’ tendency to categorize music based on race. "It sucks that whenever we — and I mean guys that look like me — do anything that's genre-bending or that's anything they always put it in a rap or urban category. I don't like that 'urban' word — it's just a politically correct way to say the n-word to me. Why can’t we just be in pop?"

To anyone who listened to the album front-to-back, “IGOR” was far from through-and-through rap. Incorporating elements of neo-soul, jazz, synth pop and funk, the only reason the album is considered anywhere close to rap is because it was created by a black man, who has been categorized as solely a hip-hop artist. 

Based on its continual favoring of music made by white pop artists, the Grammys seems to operate under the assumption that real music comes from standing-still, and playing an instrument, rather than the sample-driven, grungy nature of a genre like hip-hop. The Recording Academy’s dogma surrounding genre placement has led to pop or country music to dominate the album of the year category, as it's more accessible for their idea of what authentic music sounds like.  The last time a project that was not pop, country or rock won album of the year was 17 years ago, when OutKast won the award for their double album Speakerboxx/The Love Below. Furthermore, no black artist has won album of the year since 2008. Since then, landmark albums such as Kendrick Lamar’s To Pimp a Butterfly and Kanye West’s My Beautiful Dark Twisted Fantasy have left indelible marks on music, yet were spurned by the Grammys for album of the year. 

At this point, it's no coincidence that mostly black art in music (like rap, R&B, soul) is pushed to the side by the Grammys. Just days before the 2020 Grammys took place, reports surfaced of vote-rigging and even sexual misconduct. In addition, no one besides the Academy itself actually knows how the nomination system and voting even works. It remains an ambiguous process The Academy has some serious soul-searching to do ahead of the 2021 awards. In order for it to be “music's biggest night,” all of music has to be included, especially the talented and well-deserving black artists. Introducing a system of voting that is inclusive, transparent and more-genre blind is something the Grammys desperately needs. 

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A$AP Twelvyy and Sam Silver cross unlikely paths on ‘New Beginnings’

By Carter Fife

2020 certainly seems to be A$AP Twelvyy’s year. Though it has only been a few months since the A$AB Mob member released Before Noon, Twelvyy’s first studio record since his 2017 debut 12, this week the Harlem icon returns with a collaboration with producer Sam Silver. While Before Noon was an exercise in Twelvyy doing what he does best, synthesizing intricate wordplay and melodic delivery over hard-hitting mixes - as seen on tracks like ‘Daytona’ and ‘Baby Driver’ featuring A$AP Ant - this week fans are treated to an innovative and subversive track from one of A$AP Mob’s lesser-known members.

‘New Beginnings’ is a rare moment of introspection from Twelvyy. On this track he delivers lines like “Had to make it happen, took the whole day. Tryna make it home, I took the wrong way“ over Sam Silver’s lurching electronic bass patterns and ethereal and ambient melodies. This style of music is not what you may think of when you think about A$AP Mob, but A$AP Twelvyy does a phenomenal job of lending his efforts to Silver’s production in order to create a chill yet energizing track.  If you’re unfamiliar with producer Sam Silver, he’s a 17-year old powerhouse that has spent the past few months pushing out releases after his 2017 project DIRECTORS CHOICE. Some of his tracks have reached six-figure streaming numbers on Spotify, and it’s not hard to see why. After a brief verse where A$AP Twelvyy dwells on fame, luxury, and personal growth, the vocals contort and speed up as the track transforms into a thundering house instrumental contrasted with aggressive kick drums. ‘New Beginnings’ is just that for both Twelvyy and Silver. It is an embrace of change and success, working past prior personal frustrations in favor of a life of glamour, art, and paparazzi. It is hard to deny the talent of either Twelvyy or Silver, and given both of the artists’ demonstrated versatility on this track, weaving together hip-hop and electronic music styles, it may be fair to say this will not be their last collaboration.

You can stream the track on Spotify and Soundcloud now using the link below. Hopefully, this means we’re poised to get more music from the two artists soon, but if not, ‘New Beginnings’ will surely hold fans over until then.

Listen to New Beginnings on Spotify. Sam Silver · Single · 2020 · 1 songs.

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Keem Ain’t Done: “Hooligan / Sons & Critics Freestyle” Single Review

By Owen Tait

Upon realizing Keem was going to be absent in the 2020 XXL Cypher performances, I was pretty disappointed. After all, Die For My Bitch stood out to me as one of the most unique, left-field trap albums of 2019, and I was anxious to hear more from Keem as a growing artist. Well, we may not have gotten a cypher verse, but the two singles we received in return were more than enough to demonstrate Keem’s staying power in the industry. Released under Sony Music Records, “hooligan” and “sons & critics freestyle” both feature everything one could want from a standout Baby Keem track. Catchy hooks, bouncy beats, memorable quotables, and a long list of amusing ad-libs can all be found in these singles, all in a matter of six minutes and change of runtime.

“Hooligan,” a sleek banger led by dramatic keys and a whistle sample that gave me stank face, sees Baby Keem boasting his status as an up-and-coming star in the industry. From a production standpoint, it’s nothing unusual for a nocturnal trap song; however, Keem’s delivery on this track unlocks a potential that I believe few other artists could unlock over a beat like this. He flows effortlessly across the verses, finding time to add charismatic ad-libs in between hilarious lines such as “dripped in all black like an emo bitch” and the already-infamous “I ain’t done / Bitch, go to your room.” To top it all off, Keem delivers a refrain so ridiculous that only he could pull it off, with the triumphant “Fa fa fa, fa fa fa” he sings in between each bar growing so infectious that you just have to sing along.

The following track, “sons & critics freestyle,” is one that I unfortunately think will be overshadowed by its predecessor. It’s a much stranger experience, but that doesn’t mean it won’t get stuck in your head just as easily. The hook on this single is truly different, as Keem combines an almost unnatural flow with a repeated ad-lib he delicately sprinkles over the beat (which is also strange as hell). The 808 pattern ramps up over and over throughout the track, ducking out in the first half of every measure to let the instrumental breathe. As one would imagine, this creates a really bouncy rhythm for Keem to weave his punchlines over, which he succeeds at yet again. And while I would argue that Keem’s lyrics here are not on par with the rest of his discography—if this really is a freestyle, you can tell—his charisma still carries him leagues ahead of his competitors. 

As I said, these singles have nearly everything a person could ask for in a Baby Keem track, and even better, the replay value on them is through the roof. I’ve likely listened to “hooligan” well over 30 times as of writing this review, and rather than growing sick of it, I’ve only found myself wanting more. If these singles are truly our first look into his next project, then Baby Keem’s sophomore studio album can’t arrive soon enough.

Listen to “Hooligan / Sons & Critics Freestyle” here:

Listen to hooligan / sons & critics on Spotify. Baby Keem · Single · 2020 · 2 songs.

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Jaden Smith, Sunset Sovereign - CTV3 Album Review

By Carter Fife

We all have guilty pleasure artists that we like to put on when nobody’s around, right? Maybe if you’re a guy, you like to throw some Ariana Grande into your workout mix so nobody at the gym can tell you’re listening to Sweetener when you’re doing crunches in a pool of your own sweat. If you’re a girl maybe you like to put on the occasional Toby Keith song driving home from work - and you know your friends would roast you if they knew but in a way, it makes the experience that much better. A little secret between you and your choice of music streaming service. For a long time I thought that for me, this was my affinity for Jaden Smith’s music (but now he just goes by Jaden). I knew he wasn’t the most innovative or original artist out there, but I couldn’t help but enjoy his laid-back flow and his ear for a good instrumental. I was first put-on to his music back when Syre came out in 2017, and I remember feeling amazed that this was the same Jaden that released the poorly-aged hip-hop remix to Foster The People’s “Pumped Up Kicks”. 

Years later Jaden has only grown as an artist, trying out new sounds with every project while honing his craft in the process. He’s been featured on tracks with Young Thug, Brockhampton, and A$AP Mob, and has explored genres like punk, pop, alternative, rock, industrial, and trap in the process. His newest record, Cool Tape Volume 3 (stylized as CTV3), is the third installment in a series that hasn’t had a new release since 2014, despite Jaden’s consistent release schedule always keeping fans well-fed. The project is much more laid-back than his 2019 release Erys, with acoustic-heavy mixes that occupy an aural register closer to an alternative or indie-rock album, despite hip-hop’s influence still being heavily present throughout. It is on CTV3 that Jaden’s expertise in melody writing proliferates to a point where almost every track, while admittedly formulaic, is incredibly catchy and inoffensive. While he may play this record a little too safe, writing new tracks that parallel some of his most memorable moments over the past few years, he is still able to deliver a solid record occupying a space that few other rappers are able to exist in. 

Like I said previously, it is easy to clown on Jaden for being occasionally derivative of his peers, or for writing bars that could only sound great on paper, as fans may recall his anti-choking pun from the opening tracks of Syre. With that being said, it is hard to deny Jaden’s talent, candor, and consistency when it comes to songwriting and delivering projects that come close to being universally enjoyable. In many ways this is one of my favorite things about Jaden’s music - that despite persisting in an industry that rewards emulating whatever is the newest trend, there are still elements in his tracks that are unapologetically him. I mean, who else would try to emulate the Beatles’ genre-defying Sgt. Pepper’s 50 years later?

CTV3 itself is full of many high-points that capitalize well on Jaden’s melancholic aesthetic of perpetual euphoria and heartbreak. The record’s leading single “Cabin Fever” is an ambient metaphor for quarantine’s romantic frustrations, with hard-hitting percussion and a infectious bass-line. It is a difficult song to describe - it’s something that you would play with a special someone driving at sunset, but you also wouldn’t mind hearing it at a house party. “Bad Connection” is similar in this respect with a more low-fi mix and less-indie rock, more-hip-hop vibe. “Deep End” features watery guitar chords that sound like they could have been taken from the Tame Impala chopping block, with Jaden’s faded vocals starting out soft before erupting “LET’S NOT WAIT UNTIL THE WEEK-END” on the chorus. If you thought I was exaggerating about the Beatles’ inspiration before, cuts like “LUCY!”, “Muted Sunrise”, and “Drops of Sun” are just a few tracks that definitely try to capture the same magic of an endless summer like the Beatles did a lifetime ago.

Fans may be disappointed over the lack of harder-hitting tracks on CTV3, as the track-list definitely hangs on the softer side of Jaden’s repertoire, but this shouldn’t be too shocking as much of his discography, especially the Cool Tapes that preceded this one, shares similar vibes to this one. Frankly, all you have to do is look at the album cover to know what this record is about. While I would have enjoyed Jaden to take a few more risks on this album, like he did with his last few projects, I’m not complaining about new music of his anytime soon. His consistent work ethic makes me feel bad that I ever felt self-conscious for liking his music. In 2018 I saw Jaden’s performance at Camp Flog Gnaw, and while my friends didn’t seem to enjoy it much, I pretended like I didn’t like it either - though I had gone to Jaden’s tour months prior. Hopefully we’ll all be able to hear these songs live sooner rather than later, but until then this is a solid project that will be sure to keep fans at bay. Here’s to then!

Favorite Tracks

Cabin Fever

Bad Connection

Deep End

Rating: 7

Listen to CTV3 here:

Listen to CTV3: Cool Tape Vol. 3 on Spotify. Jaden · Album · 2020 · 17 songs.

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Community Is Care - Detroit 2 Album Review

By Carter Fife

Earlier this September Detroit rapper Big Sean released his fifth solo studio record Detroit 2. This album follows his last project, a collaborative record with Atlanta super-producer Metro Boomin titled Double or Nothing, by almost 3 years, and we haven’t heard much from Sean Don since. A handful of loose tracks were released in 2019, but luckily fans were treated to a full-length project this year, with two of the album’s 21 tracks teased on Travis Scott’s .WAV radio in the late summer. After a long wait, the album dropped, and as fans had their first listen of Detroit 2 it became apparent that Big Sean made a few noteworthy changes to his formula this time around.

Compared to Sean’s last solo studio record, 2017’s I Decided, this record is a lot less personal with a heavier focus on performance and production. This is a good thing, as I’ve always admired Big Sean’s sincerity in spite of how lackluster and inconsistent some of his writing and mixes have been in the past. The themes on this tape revolve around success, power, battling demons while at the top of your game, and perhaps unsurprisingly - community. In many ways, this is something that is woven into every song and every feature, of which there are many; the idea of cultivating energy and wellbeing through personal spaces and family. This is at first apparent when looking at the title and cover of the project, which features Sean literally placing Detroit street performers above him, but this is also seen in the camaraderie of the people involved with the project. Behind the scenes, producers like Hit-Boy, Boi-1da, Travis Scott, No I.D., Mike Will Made-It, and even Take a Daytrip are all over this thing. On the surface, Sean pulls out all the stops to get guests like Dwele, Diddy, Jhené Aiko, Lil Wayne, Anderson .Paak, Ty Dolla $ign, Post Malone, Travis Scott, Young Thug, Eminem, and even the late Nipsey Hussle on the record. There are even little interludes from people like Stevie Wonder, Erykah Badu and Dave Chapelle peppered throughout Detroit 2 as well. While I was worried that they would collectively overshadow Big Sean on an album that clearly has been a long time coming, each one does a great job at not overstaying its welcome, and lending its energy to help amplify Big Sean’s. This time around, Big Sean also seems to be doing a lot better than we last heard in 2017, as his self-doubt has seemingly turned into a sage kindness despite the fact that we’re all trapped in quarantine for the foreseeable future. 

One of my favorite things about this record is how well Big Sean seems to adapt to this new energy - new energy that is reflected in both the album’s themes as well as its writing and mixes. On a boisterous and victorious album opener “Why Would I Stop?”, Sean says “I don’t complain about life, I adapt” after delivering my personal favorite line of the record, “I don’t jump, I dive in it”. With this new energy, Sean’s raps are more aggressive, more well-thought-out, and composed, carrying a confidence not before seen from the Michigan native. The following track “Lucky Me” has Sean casually flowing over a classic sample before the beat dramatically changes into a fast-paced trap banger akin to Huncho Jack’s Black and Chinese. The intriguing and uncommon nature of many of the mixes is what makes me enjoy this record, mostly because Big Sean makes his job look so easy as we’re being introduced to these tracks for the first time. Something must also be said about the variety of tracks on Detroit 2 as well, as one moment Sean’s steady flow is accompanied by thundering 808s on “ZTFO”, and then the next he’s confidently spitting game with Travis Scott over desolate and metallic guitar and lurching bass signals. Though there are too many tracks to write about each individually, the album has its softer moments on “Body Language” and “Guard Your Heart” that offer a nice contrast against tracks like the nine-minute “Friday Night Cypher” which features a host of Detroit natives trading bars over different beats.

Detroit 2 was a welcome surprise from the GOOD Music rapper, as I honestly did not think that Sean would come as hard as he did on this tape. Between the long list of guests and the overall positive themes of community and love for Detroit throughout the record, this was a welcome change following his last projects. Though it is admittedly easy to criticize Sean for the chronic oversharing and pseudo-intimate moments that have plagued earlier entries in his discography, this time around there really isn’t too much to pick apart with this project. Detroit 2 features Big Sean at his best, or at least the strongest he’s been since his reign in 2015 following the release of Dark Sky Paradise, and with 21 tracks there is certainly something here for everyone. Though the album could have benefitted from being half as long and more consistently subversive with its mixes, I’m glad that we were able to get some new music from Sean before the year was up.

Favorite tracks

Why Would I Stop?

ZTFO

Lithuania (ft. Travis Scott)

Rating: 7

Listen to Detroit 2 here:

Listen to Detroit 2 on Spotify. Big Sean · Album · 2020 · 21 songs.

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The Sam Lachow Interview: The Seattle Music Scene, Personal Health, and His Upcoming Album ‘Corduroy’

“what interests me the most is finding people from all different places and make something that is totally unique. A lot of my music is just a lucky combination of cool people that I’ve met.”

By Colson O’Connor

Listen to our favorite Sam Lachow songs while you read this article with our complementary playlist available on Apple Music and Spotify:

When discussing the Pacific Northwest Hip-Hop scene, Sam Lachow is a name that must be in the conversation.

It all started with Shankbone, an early rap collective Lachow was a part of that consisted of him and his friends back in high school. They started to gain traction and eventually Sam parted ways and started to make a name for himself. His music was rapidly making its way across the state, and he first made his way onto my playlist when I was in high school. Almost immediately, I began showing all my friends his cuts, and everyone loved him. It didn’t take long for me and my friends to start taking dabs while listening to “Banana Goo Pie”, or chugging beers and bumping “Half Past Twelve”. He created anthems for our weekend nights, and soon we were screaming all the words at his concerts.

After the release of his debut studio album “Brand New Bike” back in 2011, Lachow began carving a different lane alongside his Seattle Hip-Hop predecessors, like The Blue Scholars, Sir-Mix-a-Lot, & Macklemore. Similar to these artists, he does an incredible job of capturing the essence of the 206, but I guarantee it’s unlike anything you’ve ever heard. What separates him from the rest is his ability to draw influences from so many diverse genres and create a hit every time. Lachow can rap over virtually anything, whether it’s a jazzy beat with a crazy saxophone solo like “The Idea”, intense grand pianos like “Good To Be Home”, or just heavy 808’s & vocals like “Friends, Funk, & Liquor”.

Now the Seattle native is currently on the brink of releasing his fourth studio album Corduroy, to accompany his four EP’s and countless singles, following a two-year hiatus to focus on his personal health. Sam has grown and matured so much over the last few years, and as he does, the album evolved with him. I like to think of this album as sort of a ‘coming of age’ moment in his career, and I am so happy to see him thriving so much both in his personal life and his music. This combination is a guaranteed recipe for success.

Due to the pandemic and current movements delaying the release of the album (which was originally set to release earlier this year), ‘Lachowder’ made sure to not leave us hanging out to dry. He has dropped six tracks thus far, three of which accompanied by remarkable music videos. Four of these songs are currently available on streaming services, and you can get the other two by pre-ordering Corduroy on Apple Music. On these six cuts alone, Sam includes numerous outstanding features from other local icons, including Travis Thompson, Watsky, Dave B., and more.

As if those weren’t enough to hold us over, he even added two new cuts to his epic EP “5 Good Reasons”, a collaboration project with Raz Simone, which just maneuvered its way onto streaming services in May. This EP is one of my favorite body of works in his discography, and the two added songs tied the project together in a way I didn’t think possible. Now I sit here wondering how I ever even listened to the project without them. I really can’t recommend that project enough.

Back in April, we reached out to Sam and scored an interview with the legend himself. I got a chance to sit around a picnic table at a park in Capitol Hill on a beautiful day, discuss the new album, while the dogs ran around in the meantime.

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Colson O’Connor, StereoVision (CO): When did you discover your passion for music and start making music?

Sam Lachow (SL): “I started writing raps really early, like 4th/5th grade. I didn’t really know what to do with them. My dream was to be able to find a way to put the beats I heard in my head onto something. At a very young age, I would sneak into my dad’s room, who had a computer, and work on making beats and shit. Then that turned into Shankbone with my friends and we would actually make money cause we would sell burned CD’s in the hallways. We were known at our high school, we got written up in the school paper and for us that’s all we needed. One time we went to another school’s party and they were playing it, and we were like woah, this could be something that’s not just a silly joke with me and my friends.”

CO: When experimenting with Garageband, were you learning by yourself or was somebody showing you the ropes?

SL: I was just learning by myself. I kinda figured out how to create melodies, my best friend Maggie Brown was really into guitar and piano, she would kinda write melodies for me, and I played drums, so I learned how to form melodies on top of drums. When it comes to finding the right kick with the 808 I go to my guy Jake Crocker who knows how to really make it trap. I work with mostly people that do a lot of pop stuff, I like taking their ear for that, catchy/melody aspect of pop and turning it into some gangster shit.

CO: You have a very unique sound, a lot of bounce and a lot of instruments you don’t hear a lot, like horns. Who inspires that?

SL: That right there is a perfect mix of my two big influences which is bay area hip-hop, which has the bounce, and then the horns which comes from Outkast.

CO: How would you describe the Seattle music scene?

SL: Seattle has never really had like a sound to me, but now everyone I work with in Seattle we all have such different sounds. I don’t know how to categorize us.

(Us discussing the release of the album)

SL: So all these songs I always expected for people to hear them in with the rest of the album. It’s kind of hard to give someone one song, when in the back of my head I’m like ugh only if you knew what else I had! But it’s been a learning process too.

CO: Do you prefer doing collabs?

SL: I fully love collaborating, and that’s one of my main skill sets I think is hiring my weaknesses. That’s what interests me the most is finding people from all different places and make something that is totally unique. A lot of my music is just a lucky combination of cool people that I’ve met. I like a lot of variety.

CO: You seem to be a big music video guy-

SL: That used to be my job, I would shoot, edit, and direct videos for other artists around Seattle. That was late high school / out of high school.

CO: How was your creative process for the new album? Did you approach it differently, Or is the workflow pretty similar?

SL: This album sounds better than anything I’ve ever made. I almost put the album out a long time ago, and then I got sober, and looked back and was like this album is not finished. In some ways there’s parts of the album that are a little cringey to me now because I was writing about getting fucked up and now I know so much more about what was going on in my head that I didn’t realize at the time. This album is a huge turning point in my life.

CO: Are you planning to go on tour?

SL: Yeah I need to tour this album, I can’t wait to tour. I’m definitely nervous to tour sober, never done it. Part of this was like a little blessing in disguise, like I don’t know if I was ready.

CO: What’s your favorite project you’ve released?

SL: I would say Friends, Funk & Liquor because every song goes, it’s a bangin’ project, and I like the way it was mixed.

CO: If you could work with any artist dead or alive, who would it be?

SL: Pharrell, he’s just been so inspirational. All of my beats have a little ‘Drop It Like It’s Hot’ in it somewhere.

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We’ve been anticipating the release of this album all year, and now the time has come. Corduroy is officially set to release on Thursday, October 1st. So much time, energy, and effort went into this project, easily making it his most pivotal project to date. Take a look below for a sneak peek at the album artwork and track list:

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Consider the Cactus - A Retrospective on 'Rodeo' 5 Years Later

By Carter Fife

In the early fall of my senior year of high-school, I loaded up my car full of camping gear and close friends, and set off one Friday afternoon to go on a last-minute camping trip. It was a small group, and I had recently broken up with my then-girlfriend (a break-up that had left me plagued with confusion, guilt, and emotional insecurity) so they knew the weekend was going to be out of the ordinary. Hours later on a chilly California night, we arrived at our campground, made a fire in the dust and settled in to what was about to be one of the most formative experiences of my life. One of my friends asked to be put on aux so he could play Travis Scott’s Rodeo, an album that had been leaked earlier that week much to his dismay. I didn’t object, as I didn’t know much about the relatively unknown rapper besides his legendary mixtape Days Before Rodeo, and the fact that Upper Echelon was one of my favorite tracks on GTA Radio. As T.I.’s narrative on Pornography began to fill the arid mountain campgrounds, I could tell that I was in for something special. A Complex article accompanying the record’s release would describe Travis as the “head of a snake governed by a primordial instinct leading a winding body behind”, and it wasn’t until many years later that I understood what this quote meant despite it sticking with me for so long.

I mention this trip and the break-up that inspired it because I think that in a weird way, this formative outing happening at the same time as Rodeo dropping is a rare moment of stars aligning. I was in an emotional space that, depending on how I pushed through, would pave the way to my future relationships and the way that I would later conceive what a relationship actually was. I was also in the final year of high-school, and felt haunted by the sobering reality of all my friendships and relationships being merely provisional and a product of fortunate space and time. Hip-Hop music was on the brink of great upheaval, as bling-rap has overstayed its welcome and it felt like recent hip-hop that was on the charts wasn’t doing enough to sonically push the landscape of music further. Future’s DS2 and Young Thug’s Barter 6 were newly-released harbingers of what was to come, a new take on Atlanta-trap that artists like Gucci Mane and T.I. helped usher-in, though it wasn’t going to be for a while that these records would get the respect they deserved. The person to do it would debatably be Travis Scott - and by releasing what many would consider to be his finest work, and a time-tested opus of the genre that it helped define and innovate, Rodeo would pave the way for hip-hop music for years to come.

Five years later and this album still holds the same charm and wonder that it did on that cold night at the Juniper Campground. A charisma yet-unseen from a young and hopeful Kanye West protegée, and star-potential that was waiting to be tapped into. Though a rising star at the time of Rodeo’s release, Travis Scott would be propelled into super-stardom with his conceptually striking and musically innovative debut record. Since its release, I have gone through different phases falling in love with each different track upwards of 100 times, and it is clear that I am not the only one. To this day Rodeo still remains in the conversation surrounding Travis Scott and what is influencing hip-hop music today. Tracks like “Maria I’m Drunk”, “Oh My Dis Side” and “90210” are seen as having a near mythical-status, and would later help establish artists like Young Thug, Quavo, and Kacy Hill as industry heavyweights. Radio hits like “Antidote” and “3500” with Future and 2 Chainz still command sweaty fans that know every word to the center of every party that they’re played at. Lesser-known hits like “Impossible” and “Piss On Your Grave” with Kanye West are still put in heavy rotation by hip-hop fans today, and it is partially because of tracks like these that a culture of gatekeeping Travis Scott has developed in the wake of his commercial success following 2018’s ASTROWORLD. Everybody wants to raise their hand and say that they were there in 2015 when Diamond Supply Co and Travis Scott made a collaboration parka, and nobody wants to feel like they were left out of an era where you could pull up to a house party blasting “Flying High” featuring the Bay Area’s own Toro Y Moi.

Like how my senior year was my indoctrination into a new era of my life, Rodeo was a sort of indoctrination for hip-hop music and Travis Scott himself. When he would later produce tracks on Rihanna’s 2016 record ANTI, less than a year prior he was a relatively unknown blip that managed to be featured on Drake’s 2015 mixtape If You’re Reading This, It’s Too Late. The trap artists that would go on to borrow from the Houston rapper/producer include names like Lil Uzi Vert, Lil Yachty, 21 Savage, and countless others. Everybody wanted to make tracks with an ambiance like “Pornography”, with beat-switches like “Oh My Dis Side” or “90210”, with drums like “Nightcrawler” or with an abrasive rawness like “Piss On Your Grave” or “Ok Alright”. I personally used to mix his songs into live sets, then into radio shows in Portland, and eventually would do the same thing when I transferred to LA. Today Travis Scott has multiple collaborations with Nike, sold out arenas on multiple different tour stretches, gotten a Kardashian pregnant, and even acquired the holy grail of brand partnerships; his own McDonalds burger. Five years later many things have changed because of Rodeo, so it is important that we look backwards so we can be more informed when we ask: What’s next?

I remember watching an interview with Travis Scott before Rodeo was released, and it it he described hearing Kanye West’s 2013 record Yeezus, and said noted how it was the first time he had ever heard “god-level music” (makes sense). While I’m sure Travis Scott has no intentions of retiring anytime soon, I can’t help but be curious as to who/where the next artist is that will change the landscape of modern hip-hop music. Somewhere out there someone listened to Rodeo and thought the same thing, and now it is just a matter of time until they surface, if they haven’t already. People write about albums coincidentally finding them at the right time, or discovering artists in moments where they need them most, and an album like Rodeo is sure to be just that for countless fans, just like it was for me. Though the five years since Rodeo has passed more quickly than I’m sure any of us have anticipated, there is no denying the insurmountable personal and cultural value that this album holds. Personally - I would place it as one of my favorite records of all time, and I’m really just excited for whatever comes next from the Houston extroardinaire. The Rodeo era may have came and gone, but it was sure to influence the genre of hip-hop as we know it in its wake. Who knows - maybe its full impact hasn’t been seen just yet. This album, like that camping trip changed my life for the better, and I hope that this record continues to move and inspire others like it did for me. La Flame says, “Let your ambition carry you”, so here’s to five more. 

Listen to Rodeo here:

Listen to Rodeo (Expanded Edition) on Spotify. Travis Scott · Album · 2015 · 16 songs.

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From The Underbelly - What To (Hopefully) Expect From DONDA: WITH CHILD

By Carter Fife

It has been about a month since Kanye West announced (and didn’t release) his potential upcoming record DONDA, or as it was later called, DONDA: WITH CHILD. This album will be his tenth solo studio project, and if it hits streaming services soon, it will have been released less than a year since his last record Jesus Is King, which received mixed reviews from fans and critics alike. 

Though the past few years have seen a relatively secretive Kanye West rarely communicating with fans outside of interviews and Twitter rants, the past summer has seen the Chicago rapper more active on twitter showcasing everything from shoe designs, blueprints for his YEEZY domes, cool chairs, and even getting Chick-Fil-A with Steve Harvey. Announced at the end of July on his Twitter, Kanye West let fans in on his recent creative ventures - an album and a movie titled DONDA: WITH CHILD, as well as repeatedly changing the tracklist in cryptic and vowel-absent pictures. As many Kanye West fans could probably tell you, the chance of this record being released seems like kind of a toss-up, as West is no stranger to announcing projects that never seem to materialize, but given his recent leaks and studio presence, we’re hoping DWC’s release is on the way.

If you subscribe to the idea that Kanye West is working on his tenth record and that it is indeed coming soon, the next question is obvious: What can we expect, and am I ready to be hurt again? The answer sadly is not as apparent, as West’s demos and musical efforts these days can be as mercurial as the man himself. Many fans are convinced that Kanye West’s “2020 Vision” presidential run is nothing short of a way to gain press for the record, while others speculate that it is the other way around. While it is true that West has voiced his passion for being president in the past, the timing of his publicity and political efforts, combined with his lack of both policy and reasons for running besides not liking Joe Biden (which sadly, same here), makes me skeptical that WEST 2020 is anything more than a publicity stunt. An annoying one to be sure, but it certainly did make a big impact musically, with artists like 2 Chainz tweeting his support for his label-mate. But all this stands as merely theoretical ideas circling the big picture: What can we reasonably expect from this DONDA: WITH CHILD?

As it stands there are around half a dozen leaked demos or reference tracks that have seemingly emerged from the DONDA era. There are also two tracks that Kanye himself released - “DONDA” (marked as DND on the twitter tracklist) and “Wash Us In The Blood” featuring Travis Scott. The former features West’s mother reciting KRS-1 lyrics over a classic soul-sample beat with a short verse from West at the end, and the latter is a more intense banger that sounds like a drum kit and Yeezus had a child together. Both are miles ahead of what was given to fans in 2019’s Jesus Is King, and the demos additionally give a reason for fans to be hopeful. While they are unfinished, cuts like the track “By Your Side” are ambient, melodic, and transcendent in a way that makes me anxious to have the album released. The recently leaked “Future Sounds” featuring Travis Scott and Victory Boyd makes use of the same TNGHT sample from West’s 2013 hit “Blood On The Leaves”, and with an infectious and dramatically grand-scale melody, it is hard not to get too hyped up for this record. The track almost sounds like a synthesis of every era of Kanye from 2010 to 2016, so hopefully, it makes the final cut of the record. The tracklist from Ye’s twitter also includes tracks like “Alien” (also known as “SpaceX”), “Hurricane”, and the hotly-anticipated “New Body”, all of which were cut from the scrapped project YANDHI which I will never stop begging Kanye for. “Alien” is an interesting addition considering it is notorious for having so many versions - some include Ant Clemons or Young Thug, others include Migos, and one is even a longer version with only Kid Cudi on it. Though my excitement for “New Body” has waned since the release of the religion-appropriate clean version sans Nicki Minaj, “Hurricane” is a track that I have been anxiously awaiting since it’s teasing in Fall 2018 and inevitable leak in Summer 2019.

But who can we expect to be involved with the album? Not much is known about the record’s guests yet, but both Dr. Dre and Rick Rubin have been working recently with Kanye, with Rubin actually being spotted at Kanye’s ranch in Cody, Wyoming. Galaxy-brained sleuthing fans also have been speculating about a Lil Baby feature after Kanye tweeted support for the rapper, and a private jet was chartered from Atlanta to Wyoming shortly thereafter. Snoop Dogg was also seen in the studio with Dre and Kanye, though that session was likely related to Ye’s “upcoming” release Jesus Is King II, produced by Dr. Dre. Whether or not that project will ever come to fruition and see the light of day is truly a mystery, though a leaked track, “Up From The Ashes”, certainly shows promise as it displays a more cohesive blend of hip-hop percussion, powerful vocal performances and choral arrangements than West’s 2019 effort. Scrapped or not, the track certainly shows great promise for DONDA: WITH CHILD, though it is hard to bye certain judging off of leaked tracks that are mostly unfinished.

I know what you may be thinking and yes, there is a high chance the album will probably not come out, and this will be yet another project that turns to a pipe dream for us Kanye fans to speculate about. With that being said. new tracks and snippets from Kanye West’s camp are leaked every week so it will be interesting to see how the record evolves, and hopefully we will see the release of a new project soon from Yeezy himself. Though I respect the album-making process as one that cannot be rushed, this is me crossing my fingers that DONDA: WITH CHILD sees release by the end of 2020.

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27 Summers Later: King’s Disease Album Review

By Carter Fife

This week Brooklyn MC and hip-hop legend Nas returned to release his twelfth solo studio record King’s Disease, following the release of his 2019 mixtape The Lost Tapes 2 and 2018’s NASIR, executive produced by Kanye West. Known best for his first two projects, 1994’s genre-defining Illmatic and 1996’s It Was Written, Nas has spent most of the past decade out of the limelight, returning only just a few years ago to return to rap’s center stage. While The Lost Tapes 2 wasn’t much to write home about, 2018’s NASIR was packed with hard-hitting political raps over pristine production. It was a record full of opportunities most rappers only dream of, and since then many have been wondering when Nas would return to form like that. Thankfully King’s Disease sees the NY rapper join forces with CA rapper/producer heavyweight Hit-Boy, who you likely know from his smash hits like Travis Scott’s “SICKO MODE”, Kanye West’s “Clique” or “N****s in Paris”, Kendrick Lamar’s “Backseat Freestyle”, or even from older A$AP Rocky cuts like “1 Train” or “Goldie”. Together, the two journey through verse and beat alike to create one of the most memorable hip-hop albums of the year.

If you’ve heard a Nas record before then the lyrics on King’s Disease won’t come as much of a surprise to you. Nas has an exceptional affinity for the political as well as strengths in hip-hop’s usual lyrical cornerstones like braggadocios flexing and menacing narrative-weaving. This truth becomes incredibly apparent on tracks like “The Cure” and “The Definition” featuring Brucie B, the latter of which features Nas delivering powerful punches over an overstimulating but victorious instrumental. It is also on this track that Nas interestingly gets political about the threat of global warming, which came as a surprise to me because I didn’t expect him to believe in the danger of greenhouse gases after his outspoken anti-vax beliefs on NASIR. Nevertheless, Nas’s writing is effortlessly overwhelming and brilliant as usual, and the songwriting on this project is far more cohesive and logical than the projects that preceded it. On The Lost Tapes 2, many enjoyable tracks were hindered by how at times they felt like a word soup of politics, trauma, and fame, but luckily this is not the case with King’s Disease. 

Though Nas’s lyrics don’t necessarily reinvent the wheel, what he lacks in innovation he makes up for with consistency, flow, delivery, and tone. These elements paired with Hit-Boy’s incredible production ability makes for some solid tracks that immediately were replayed on my first listen. The record’s first two tracks flow from a classic and laid back composition to a beautiful and intense combination of lurching 808’s and snares that juxtapose the track’s delicate piano melodies. I remember leaning back and thinking, “How did we go from A Written Testimony (which Hit-Boy also produced for) to Port of Miami so quickly?” I didn’t really have an answer but that was beside the point. Three tracks later and “27 Summers” was probably one of my favorite mixes from Hit-Boy so far. I’m not kidding - put on the song now. Hear the punchy snares and the 80’s synthesizer that transitions into those glittering melodies? The composition and rhythm of the beat, especially towards the end, is so weird and memorable I couldn’t help but text my friend to let him know that this album already had potential- there are moments like this across the album.

King’s Disease isn’t all politics and fame though - there are intimate and tender moments that are rare for a rapper like Nas to have on his records. “Til The War Is Won” is a beautiful meditation with Lil Durk about the relationship between men and women in the face of violence. It is a somber but uplifting track about unity and strength where Nas praises the strength of single mothers. “All Bad” with Anderson .Paak is a more intimate break from the record, where Nas and .Paak trade performances about failed relationships and good memories. It’s a sweet moment that is amplified by Hit-Boy’s jazzy drum loops and nostalgic piano chords. Other moments that are worth mentioning include Charlie Wilson’s performance on “Car #85”, a cut that sounds like a more like a chill 70’s R&B classic than a Nas song, and A$AP Ferg’s verse on the bonus track “Spicy” with Five Foreign, where he closes the album and gives a little shout out to Pop Smoke in doing so.

Overall King’s Disease is a nice return to form from Nas and Hit-Boy, and though the album definitely could have taken more risks, it was still an enjoyable project from two artists I didn’t realize how much I had missed. Nas and Hit-Boy both veer across multiple styles of hip-hop on this project, from the boom-bap on “10 Points” to the raw ambience of “Full Circle” with a host of guests including The Firm, AZ, Foxy Brown, and Cormega. The modern and the nostalgic intersect well on this project, as King’s Disease will likely remain in rotation through the coming weeks. Fans of both eras will surely find something to enjoy on this record.

Favorite Tracks

27 Summers

King’s Disease

Replace me (Feat. Big Sean and Don Toliver)

Rating: 8

Listen to King’s Disease here:

Listen to King's Disease on Spotify. Nas · Album · 2020 · 13 songs.

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The Increasing Disposability of New Music in the Digital Age

By Luke Modugno

President of Top Dawg Entertainment (TDE) Terrance Henderson Jr., aka Punch, took to Twitter last month to make a very blunt, yet sobering statement on the music industry today. “Music is very disposable right now,” his tweet read. As ambiguous and vague as the statement may appear, the tweet went semi-viral, sparking debates and vitriolic arguments in the comment section. Punch’s take on the music industry poses the age-old question for label executives like himself to determine how their brand does business: with quality, or quantity?

Since the music world has slowly migrated to and has become fully dependent on the internet, the industry moves at a bullet train pace. Albums release quicker and in larger quantities, artists go viral, make it big and fall off in the matter of months, and the average listeners attention span is dwindling year by year. 

Just like any other business, at the end of the day, the music industry is designed to siphon as much revenue from its customers. And with listeners getting increasingly conservative with their time, the industry has adapted to survive. Albums that have a runtime greater than one hour are virtually extinct, when that was widely considered the norm to be considered a LP years ago. For example, to be considered for album of the year, the Grammy’s only require a project to be 15 minutes long. Record labels are more aggressive in recruiting talent that will satisfy a niche need for the time being rather than a generational talent that might require years of attention and work to produce a singular album. These two noticeable changes in the industry seem to be direct consequences of the dwindling of our collective attention spans, leading to the growing disposability of music. 

But the conversation couldn’t have been started by a more perfect foil to the aforementioned trend. As the president of TDE, Punch directly influences the infamously sparse release schedule of the label. Although TDE is home to multiple once-in-a-generation artists, they rarely release music at the rapidity of their contemporaries. Kendrick Lamar, SZA and Isaiah Rashad all have not released new projects in nearly 4 years. A grand total of zero TDE artists have released an album this year. Additionally, the label is notorious for a lack of communication with its fans, another foil to the transparency required to keep up with the hurried nature of the industry. Despite their refusal to comply with the new norms of music, TDE is widely considered the best rap label in the world. And with founder Anthony “Top Dawg” Tiffith having a net worth of approximately $100 million, TDE is having absolutely no trouble financially. 

So, is music becoming increasingly disposable, or are we simply unwilling to lend a genuinely attentive listen to new music anymore? Is the art of music slowly being replaced by a more disposable product that is made to sell, not inspire? When your parents throw on one of their old classic records, and claim “music died long ago, this is real music,” they might actually not be entirely incorrect, and science may also agree with them. In 2012, the Spanish National Research Council conducted a study analyzing 500,000 songs ranging from the years 1955-2010. Using a complex algorithm, the council measured the harmonic complexity, timbral diversity and the loudness of each of the songs. Unsurprisingly, through the advancements in technology and the rise of genres such as house music and dubstep, timbral diversity steadily decreased in the selected timeframe. Additionally, via technological advancements in music recording, loudness has increased. However, the most interesting statistic of the three was harmonic complexity, which constantly decreased, showing the songs have increasingly less diversity. This trend perfectly fits the narrative that music is being more of a product, one made to sell rather than to be original pieces of art. 

So, music as a whole may be losing creativity and in turn quality, but what about the music that still excites and innovates? 

In a subsequent post, Punch asked his fans to give him specific sets of time that fans would sit with an album based on its quality. One of the top replies read “Meh - 3 days, Mediocre - 1 week, Good - 1 month, Excellent - 3 months, Classic - 1 year.” Clearly, the term “timeless classic” doesn’t hold nearly as much weight as it did in the past. Although classics are fewer and far between nowadays, we still may not have the ability to give them the attentive ear they deserve. According to a study conducted by Microsoft in 2018, the average human being now has an attention span of eight seconds. This is a sharp decrease from the average attention span of 12 seconds in the year 2000. 

Unsurprisingly, the main culprit of the decline is the emergence of streaming platforms. With an artist's entire catalog of music available at the touch of a button, the phenomenon of a new single or album releasing is undeniably diminished. As much as new music from one of our favorite artists may excite us, the temptation to find the next new thing is just too strong due to the accessibility of streaming. For that same reason,  pop star Adele is notably against the disposability of the music medium, discouraging her fans from streaming her music and encouraging them to buy physical copies. 

But the real music will never fade. Sure, more artists will have meteoric rises and falls, releasing music quicker than you can keep up with. But the Frank Ocean’s of the world, the Kendrick Lamar’s of the world, their music will still be analyzed, appreciated and consumed no matter how short our attention spans may be. 

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  Mar 14, 2021, 3:28 PM

645AR and FKA Twigs' “Sum Bout U” Track Review

By Kaila Cherry

Have you ever wondered what Elmo from Sesame Street would sound like if he became a Soundcloud rapper? That is how the internet has described Southern rapper 645AR. 645AR took Twitter by storm in January with his track “4 Da Trap.” Speaking of his experience selling drugs and gangbanging with a cartoonishly high autotuned voice akin to T-Pain on uppers, 645AR quickly became the subject of jokes and memes by many while simultaneously gaining a dedicated cult fanbase (the homies and I included). On Tuesday, 645AR put out a new track that once again became the talk of the internet. Not only due to the oddity of the rapper’s vocal style, but because of who was featured on the track with him. Experimental high profile singer FKA Twigs joined forces with 645AR on arguably the best love song of 2020 so far: “Sum Bout U.”

Released with a music video involving 645AR, who, after meeting Twigs on a cam girl website, falls into a rabbit hole of upgrades to get closer to her, “Sum Bout U” is a novelty like no other. 645AR and Twigs switch off in the chorus and verses, their voices so high pitched it can be hard to distinguish between the two. The interplay between the artists both vocally and lyrically adds to the overall sweetness of the tracks. They echo their affection for each other, express gratitude for each other’s presence in their lives, and state their intentions to grow as people together. Many were shocked to see FKA twigs, a beloved and established musical artist known for her ethereal image to collaborate with 645AR, who is largely taken as a joke by rap fans. Despite sounding like Playboi Carti’s baby voice gone Super Saiyan, 645AR’s vocal style is not a bit. And with tracks like “Sum Bout U,” he utilizes his style in the best way possible. Topped off with the dreamy 2000s style R&B production from SenseiATL & El Guincho, “Sum Bout U” is the perfect track to dedicate to the love of your life. It’s also a great song to walk down the aisle to on your wedding day. The lyrics even make tear-jerking vows. Name a track with more range. It’s impossible.

Listen to “Sum Bout U” here:

Listen to Sum Bout U (feat. FKA twigs) on Spotify. 645AR · Single · 2020 · 1 songs.

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It's Flo Milli Season: Ho, Why Is You Here? Album Review

By Kaila Cherry

If you have been on Twitter anytime between last summer and now, you have undoubtedly heard of Flo Milli. The twenty year old Alabama rapper blew up last year when she released her remix of the song “Beef” by Playboi Carti produced by Etheral. On the original track, Carti drones over the beat for two minutes in classic Atlanta Soundcloud rapper fashion. Flo Milli takes the track and turns it on it’s head. Her voice is bratty and demanding. Her attitude is on 110%. And her lyrics? Iconic. The opening line “I like cash and my hair to my ass” still lives rent free in my head to this day. The “Beef FloMix” and her following single “In the Party” saw massive success not only on Twitter, but Tik Tok as well. 

Flo Milli has continued to sustain her momentum over the past year, her efforts culminating in her first mixtape Ho, why is you here? released in July. Flo Milli’s debut project is a catchy, sassy, and bold introduction into the rap scene. On the tape, Flo Milli is not afraid to brag about her high standards for men, immense popularity at such a young age, her love of parties, and her willingness to step to any ho that tries her. Ho, why is you here? is without a doubt one of the best releases of the summer. Flo Milli shows everyone that she is not just a one hit wonder who will fade into obscurity. She is here to stay, and will talk her shit as she does it. 

The mixtape opens with the short intro track “Mood Everyday.” Clocking in at around 50 seconds, Flo Milli spits over a Dirty South inspired beat heavy with piano and bass eight bragadocious bars about how much confidence she has in herself. In classic rap fashion she acknowledges her haters, shrugging them off because, as she says, “When you shine like I shine you get a whole lotta hate.” She also takes a jab at clout chasers who just wanna befriend her for her fame, telling them that “it’s a little too late.” Although the abrasiveness of “Mood Everyday” is not indicative throughout Ho, why is you here? the sentiment is. If you don’t vibe with the introductory track, it’s likely you won’t be a fan of Flo Milli’s image in general. If you do, however, you are in for a treat for the rest of the mixtape. 

Ho, why is you here? includes the tracks “Beef FloMix” and “In the Party” that initially shot her into stardom. However, these aren’t even the strongest songs on the project. In fact, they may even be the weakest. This is a testament to Flo Milli’s musical growth over such a short period of time. On her mixtape, she explores a range of different flows and vocal styles. On “Like That Bitch,” Flo Milli goes from spitting like a based Southern gangsta to her adaption of the rapid fire rap style popularized by artists like Busta Rhymes. Flo Milli further experiments with her sound on the chorus of “Pockets Bigger.” She constricts her vocal cords in order to give her voice a gritter, grimier quality. This pairs perfectly with the abrasiveness of the bass boosted track. 

Flo Milli is not the only stand out aspect of Ho, why is you here? The production of the project from hip hop legends FATBOI, J-Bo, and J. White Did It, among others, give the mixtape its undeniably Southern sound. The beats ebb and flow between classic R&B stylings of songs like “Weak”  and modern mainstream sound of songs like “Not Friendly” with Flo Milli able to adapt to anything thrown at her. And just like with the “Beef FloMix,” Flo Milli makes every beat and every style her own. 

Ho, why is you here? is a strong introductory project for Flo Milli. On the mixtape she shows that she is not afraid to experiment with production, vocal inflections, and flows. As someone who stated in an interview with Genius that her main goal with her songs is to have fun, Flo Milli truly sees rap as a blank canvas for her to go buckwild on. This is only the beginning for Flo Milli. With all eyes on her, I can’t wait to see what she puts out next.

Favorite tracks

Pockets Bigger 

In the Party 

Send the Addy 

Rating: 7 

Listen to Ho, why is you here? here: 

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  Mar 16, 2021, 9:01 PM

A Unique Rap Legacy: No Pressure Album Review

By Luke Modugno

If any phrase could sum up the 10-year career Logic has crafted, it would be “roller coaster ride.” Although Logic has decided to retire to focus on his family, including his newborn son Bobby, his career and all of its bruises and blemishes will not be forgotten soon. With plenty of solid mixtapes under his belt and a catalog of albums made up of peaks and valleys, Logic is leaving the rap game with no second thoughts, no regrets and No Pressure.

In his sixth and final studio album, Logic seems at peace with how his legacy is going to be remembered. The project is a follow-up and nod to his debut album Under Pressure, which partly focused on the struggles of being a major label artist at Def Jam and VMG, record labels he’s now more-or-less the face of. No Pressure focuses on life as a father and husband, as Logic composes witty punchlines about changing diapers and just how much his current life juxtaposes his early life. 

The project is executively produced by Logic’s friend and mentor NO I.D., the mind behind the sound of Under Pressure and the producer Logic credits the bulk of his artistic development. From the opening moments of No Pressure, the beat selection and production immediately captures the ear of the listener. The beats are light, buoyant, rosy and sample heavy. Logic’s rapid-fire rhymes and clever wordplay fit perfectly on most if not all of the beats. But the production is varied enough to give No Pressure a colorful pallet for Logic to use as he pleases. The project has hype tracks like “Perfect” and “Celebration,” while also possessing smooth, atmospheric songs like “man i is” and “DadBod.” Logic’s close friend and producer 6ix makes valuable contributions to the tracklist as well,  as he flips OutKast classics “Elevators (Me & You)” and “SpottieOttieDopaliscious.” Alongside NO I.D.’s production on Under Pressure and 6ix’s on Bobby Tarantino, No Pressure is one of Logic’s most well produced albums. 

Along with rapping about teaching his newborn son his ABC’s, Logic is rather introspective and meditative on his unorthodox and unlikely journey in the rap game. While with his full length projects he’s always gravitated toward rapping about social issues, it's no longer the focus of his subject matter. However, the outro is a speech from late actor Orson Welles about racial inequities in America. Logic never shies away from discussing pertinent contemporary issues on No Pressure, especially on tracks like “Dark Place” and “Open Mic//Aquarius III.” Unlike recent projects, Logic’s pen game is in rare form, as his intricate flows and wordplay are intriguing and often impressive. “DadBod” is one of the most creatively written songs to come out this year, as Logic takes the listener through the not-so-exciting daily life of being a married father. Logic flows effortlessly and with a sense of swagger over the lavish 6ix and NO I.D. production on “man i is” and “No Pressure (Intro).” Purely referring to the technical side of rapping, this album is only second to The Incredible True Story within Logic’s discography. If you didn’t like Logic before No Pressure, it surely won't act as a revelation to your opinion of him. From the occasional monologue from his fictional artificial intelligence robot Thalia, to nods to his favorite bars from them, Logic is still wearing his influences on his sleeve on No Pressure. There are still the painfully corny lines appearing from time-to-time. But this project is Logic doing what he has made a career of: spitting lightning quick bars with witty word play over top tier production. 

Hip hop has never seen something quite like Logic’s career arc and wildly changing trajectory. From his polished mixtape catalog featuring the Young Sinatra and Bobby Tarantino series, to his great albums like The Incredible True Story, and his not-so-great albums, Logic has truly left his mark on the genre. No Pressure functions as a surprisingly graceful exit for the 30-year-old. He leaves behind a unique rap legacy for a life of solitude, fatherhood and family, a life with No Pressure.

favorite tracks

No Pressure (Intro)

DadBod

man i is

Rating: 7.5

Listen to No Pressure here:

Listen to No Pressure on Spotify. Logic · Album · 2020 · 15 songs.

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  Mar 16, 2021, 9:01 PM

Kacy Hill, Actualized: 'Is It Selfish If We Talk About Me Again' Album Review

By Carter Fife

The past few years have been quite strange for Kacy Hill.

Three years have passed since the release of Hill’s 2017 debut record Like A Woman, which was not only executive-produced by Kanye West but also released by his label, G.O.O.D Music. At the time of its release, Like A Woman was a lightning rod for critical acclaim as it established Kacy Hill both as a powerful force in pop music, and as a contemporary mainstay that masterfully occupied opposite emotional registers of delicacy and power. Even today, sifting through her Instagram comments always yields a few hopeful fans asking Kacy to make another “90210” with Travis Scott, or to work with Kid Cudi or Cashmere Cat again. In 2019, Kacy Hill decided to leave G.O.O.D. Music, citing a desire to regain creative control without having to be flexible to those from the label. Independent and driven, the past few years have seen Kacy starting training for Olympic weightlifting, collaborating with Cashmere Cat on his 2017 record 9, and dropping 5 singles before last week’s release of her sophomore record, Is It Selfish If We Talk About Me Again. 

Is It Selfish If We Talk About Me Again sees Kacy Hill both at her most pensive and vulnerable self, as well as her most inspired and uplifted. This is a welcome reflection of growth considering how on Like A Woman, we heard the Phoenix songwriter delve into her own desires, whether it was to be loved, to find love, to seek fairness in relationships, or to be strong, respected, and powerful. Ultimately the 2017 record was a reflection of Hill’s struggle of self-actualization in the midst of emotional and romantic turmoil. This was even reflected in the wake of the record’s release, as several headlines identified her only by her proximity to her label, or as Kanye West’s protégé. While at the time this may have seemed harmless, it seems likely that his treatment led Kacy Hill to develop a sense of Impostor Syndrome instead of earned confidence after graduating from Yeezus Tour dancer to established industry talent. Even when her label departure was covered by HotNewHipHop, the writer mistakingly included an image of a redhead woman that wasn’t even her. Thankfully years later Hill has no need to find her identity, as now she has found serenity with herself and what she wants. Both of these things are illustrated in the album’s 11 tracks, where Kacy Hill navigates self-doubt and relationship anxieties alongside her own fears of time and everything temporary.

Kacy Hill’s sophomore record completely shattered my expectations, as it is rare that a record like this balances narrative cohesion, profound writing and lyricism, and subversive musical styles that achieve soaring highs and relaxed lows at every turn. The album begins with two songs that grapple with the past, as Kacy Hill looks within and faces her own self-doubt on tracks like “To Someone Else” and “Much Higher”. The former is full of steady and rhythmic moments where Kacy is forced to bravely look to the future, before the chorus breaks through with layered vocal and little falsetto melodies that aid in transitioning to the next track. The latter song, “Much Higher”, is both catchy and glitchy, synthesizing older and newer styles of pop music as Hill looks to the past and accepts her past romances for the good, and the bad.

Hill’s narrative stays on a clear trajectory throughout the project, as the next few songs are concerned with a newer and more positive relationship. On tracks like “I Believe In You” featuring Francis and the Lights (who was a writer and producer for many of the songs on this record), Hill’s optimism and confidence shine as she sings about quelling hopelessness with positivity, love, and mindfulness. She sings “I believe in you / and you are my proof / that everything gets better and / that love can be true” over a space track whose minimal ambiance serves as a foundation to elevate the performances of Kacy and Francis. The song “Porsche” is a glittery and indie-pop banger about unlearning past behaviors and thoughts about oneself, getting a fresh start, and learning to love another person, and in the process, yourself. The whole time this is happening, Is It Selfish If We Talk About Me Again never comes off as indulgently saccharine or emotional, instead providing Hill’s signature touching approach to a broad emotional register.

While there is certainly much to love about Is It Selfish If We Talk About Me Again, the album is not without its moments of weakness. Upon seeing the brief tracklist for the first time, it was strange to see that over half of the record was made up of previously-released tracks, including Dinner that, while a great track, came out almost two years ago. This record may also be too laid-back for some people’s tastes, as many of the songs adopt a much softer aural register than Like A Woman’s, perhaps to more intimately convey their message and meaning. This, however, is done at the expense of making a more universally consumable pop record, and although I have a great deal of respect for every song the album, it is unlikely that I will play “Told Me” next time I get aux in my friend’s car. Despite the fact that these songs are much more relaxed and minimalistic than we may be used to, this is more than made up for with tracks like “Everybody’s Mother” and “Unkind” that are more intense by comparison. 

Is It Selfish If We Talk About Me Again is one of the strongest records of the year so far, and though the album may have benefitted from a handful of additional tracks, it was definitely worth the wait. Kacy Hill once again has established herself as a powerful force in pop music, and I sincerely look forward to what she makes in the future. 

favorite tracks

Everybody’s Mother

Palladium

Unkind

Rating: 9

Listen to Is It Selfish If We Talk About Me Again here:

Listen to Is It Selfish If We Talk About Me Again on Spotify. Kacy Hill · Album · 2020 · 11 songs.

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  Mar 16, 2021, 9:01 PM

StereoVision’s Top 25 Albums of the First Half of 2020

By StereoVision Team

Although 2020 seems to be the year of the L so far with a deadly pandemic, civil unrest, and murderous hornets (that have been ominously silent since they were last reported on weeks ago), it is still hard to deny that this has not been a great year for music. With new projects from The Weeknd, Childish Gambino and Charlie XCX, countless ‘surprise drops’, and deluxe albums that double the size of the original record, there has never been a better time to be a hip-hop fan. When life is tough and hope is lost, we can always count on music to be a righteous force that bring us together even in the harshest times. With so many new projects being released weekly, many might wonder where to start when catching up with the year’s biggest releases. Look no further, as our writers have ranked and compiled our favorite records and projects from the year so far, starting from January 1 to the release of Pop Smoke’s posthumous album. We should note that to keep things fair, we counted the “deluxe” versions of certain records separate from the original, as many of them (like Uzi and Nav) intended on them being separate projects released in one package. Hopefully you spot some albums you recognize and some you don’t in our top 25 Albums of the Year list (so far)!

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25. ptsd - G herbo

Chicago rapper G Herbo shocks listeners with his new level of maturity. After seeing a therapist following a charge for gun possession, the 24-year-old was diagnosed with post-traumatic stress disorder upon unpacking his painful past. His goal with P.T.S.D. was to bring awareness to the severe effects of growing up in a city like Chicago. Within songs like “By Any Means” featuring 21 Savage and “High Speed,” G Herbo validates the lasting emotions that accompany the trauma many experience. -Amaya Lorick

Favorite Tracks

Intro

Death Row

High Speed

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24. Dark lane demo tapes - drake

Drake's surprise mixtape of leaks and throwaways gives every kind of Drizzy fan something to latch onto and reminds us why he’s one of the most successful rappers ever. From R&B tracks too smooth for their own good (Toosie Slide, Desires, etc.) to classic Drake bangers (Chicago Freestyle, D4L, etc.) Dark Lane Demo Tapes checks every box. The six god is far from complacent though as he continues to experiment and draw inspiration from other camps in hip-hop. He showcases this at the end of the album where Drake clearly calls on sounds and styles from UK and New York hip-hop which continues to keep his sound fresh and to give his already lengthy career even more longevity. Also, it’s important to remember at the end of the day that the tape is full of throwaways meant to hold fans over for the time being. It’s hard for me to picture an album where songs like “D4L”, “Time Flies”, and “Demons”, are tossed to the side in favor of other tracks but believe me, that’s an album I’m VERY excited for. -Spencer Lobdell

Favorite Tracks

Chicago Freestyle (Feat. Giveon)

Time Flies

D4L (Feat. Future & Young Thug)

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23. My turn - Lil baby

If you admire Hip-Hop in the slightest, I’m certain you already know all about Lil Baby’s hot new album My Turn. Lil Baby has been in the scene for some time now and he is proving he is here to stay, after this release, I am certain he has plenty more #1’s left in the tank. This album has been running the charts ever since its release in February. Even just by looking at the features on his track list before the release, I knew he wasn’t going to miss. This album has been steady in my rotation and I hope everyone is bumping it when we all get to go back outside. This tremendous project deserves nothing less. -Colson O’Connor

Favorite Tracks

Heatin Up (Feat. Gunna)

We Paid (Feat. 42 Dugg)

Emotionally Scarred

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22. the price of tea in china - Boldy James x alchemist

There’s something intoxicatingly grim about Boldy James’ apathetic, lackadaisical delivery. The Detroit MC’s flat, monotone vocals have been helping him kick ill bars so smooth, a passive listener might gloss over the haunting tales about dead friends, drug trafficking and the mental trauma that comes with life in the underbelly of society. If anything has been a constant in Boldy’s relatively overlooked discography, it’s that he’s a master of utilizing minimalistic tones. But for his latest LP, The Price of Tea in China, Boldy has once again linked up with raps most distinguished minimalist: The Alchemist. While The Alchemist couldn’t be more of a sonic foil to Boldy’s usual beat selection centered around hard-hitting trap production, he welcomes the challenge with open arms, as Boldy kills each and every one of the beats cooked up for him on this project. Luke Modugno

Favorite Tracks

Surf & Turf (Feat. Vince Staples)

Slow Roll

Speed Demon Freestyle

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21. take time - giveon

Well most fans were introduced to Giveon when he was featured on Drake’s “Chicago Freestyle” at the start of 2020, the Long Beach singer will be remembered for far more. On his debut project TAKE TIME  he graces us with his beautifully unique baritone voice that will undoubtedly carry him to R&B stardom. While the 8-track EP only runs for 24 minutes, that’s plenty of time to get to know Giveon as he masterfully walks us through a recent relationship from the promising start full of excitement and potential all the way to the painful end full of heartbreak and jealousy. TAKE TIME should have every R&B fan begging Giveon for new music, it’s so rare for an artist to not only have a generational voice that is aggressively authentic but also be a genius songwriter. There's no doubt that Giveon is going to be one of the biggest stars in music, the only question is when. -Spencer Lobdell

Favorite Tracks

THE BEACH

FAVORITE MISTAKE

HEARTBREAK ANNIVERSARY

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20. ungodly hour - chloe x halle

Grammy nominated sister duo, Chloe x Halle, received an abundance of attention after appearing on the Freeform sitcom, Grownish and singing its theme song. Their second studio album, Ungodly Hour, arrived after the nationwide protests demanding justice for the many Black people murdered by police. Advised by Beyoncé and given creative freedom from Parkwood Entertainment, Chloe x Halle encapsulated the many realities Black women face surrounding personal identity, relationships, and young adulthood. -Amaya Lorick

Favorite Tracks

Forgive Me

Do It

Ungodly Hour

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19. fuck the world - brent faiyaz

If Brent Faiyaz is a name you are unfamiliar with, now is the time to get familiar. Brent slid under my radar for too long, and I soon realized he featured on some of my favorite songs and I just didn’t know it. His new album ‘Fuck The World’ is full of incredible, spacious layering that paint pictures in excruciating detail. This is the perfect album to throw on during a late night drive, you are simply bound to catch a vibe. I enjoy his sound because he just doesn’t sound like anyone else. Not to mention, homie can SING! The R&B scene is in good hands as long as Brent Faiyaz stays in the game, and based off his progress so far, I think his next project will somehow be even more captivating. -Colson O’Connor

Favorite Tracks

Fuck The World (Summer in London)

Clouded

Been Away

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18. unlocked - Denzel Curry x kenny beats

Over the past couple of years, Denzel Curry has become one of the most discussed artists in the current generation of rappers, breaking out of the underground due to his slick flows, high-energy delivery, and clever—often goofy—lyrics. Meanwhile, Kenny Beats has become one of the most sought-after hip-hop producers, largely due to his collaborations with Vince Staples, Rico Nasty, and JPEGMAFIA. With that said, it only makes sense that a joint project between the two would’ve gone this hard. Throughout its tight eight-track runtime, Denzel delivers some of his most aggressive and rowdy performances yet, taking inspiration from legends such as Ol’ Dirty Bastard and DMX. On the production side of things, Kenny arranges an extremely intricate blend of boom-bap, experimental hip-hop, and jazz rap; the tone he sets is immaculate, and it perfectly compliments Curry’s combination of dark and cartoonish bars. The duo truly proved how well they could work together, and I hope to hear more collaborations from them in the near future. -Owen Tait

Favorite Tracks

Take_it_Back_v2

DIET_

‘ Cosmic ’ .m4a

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17. High off life - future

High Off Life is the best project Future has put out since Beast Mode 2. While not perfect, the highs on this album are very high. The production is dark and booming putting you right in the middle of Future’s world. Above all else he sounds hungry and motivated again which is dangerous if he has more music to come this year. -Miles Hagan

Favorite Tracks

Ridin Strikers

Too Comfortable 

Accepting My Flaws

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16. everything - kota the friend

The timing of Kota The Friend’s new 12-track album couldn’t have possibly been better. By the time of his release, I was very cooped up due to the pandemic, and the negative vibes were catching up to me pretty quick. I liked Kota’s previous work, but I wasn’t necessarily a major fan. That all changed after one play through of EVERYTHING. I have probably bumped this project every day and its positive and wholesome energy has really help me stay grounded and calm in a time full of uncertainty. My favorite thing about this album is that Kota has nothing to prove. He is solely trying to catch a vibe and doesn’t care what anyone thinks. This reminds me a little bit of J. Cole in that sense. If you haven’t checked it out, I highly recommend you do so. EVERYTHING has easily made its way to my top five albums this year. Big props to Kota for killing it on this one. -Colson O’Connor

Favorite Tracks

B.Q.E (Feat. Joey Bada$$ & Bas)

Always (Feat. KYLE & Braxton Cook)

Summerhouse

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15. it is what it is - thundercat

A few weeks into many of our quarantines, Thundercat blessed us with his fourth studio album It Is What It Is. Thundercat continues to show the best of his new age jazz and RnB sound with tracks such as “Funny Thing,” “Dragonball Durag,” and “King of the Hill” (feat. Steve Lacy). It Is What It Is has everything you would expect from a Thundercat project: bass, humor, and unrequited love. On this project, however, Thundercat gets more introspective and philosophical than ever before. His ability to hold the space for laughs, grooves, simping, and curiosity all within the scope of a single album is nothing short of an incredible feat. -Kaila Cherry

Favorite Tracks

Funny Thing

Dragonball Durag

King Of The Hill (Feat. Steve Lacy)

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14. 3.15.20 - Childish Gambino

Childish Gambino is a vet. He has earned the right to be trusted in basically all of his artistic endeavors. It seems almost blasphemous to say that 3.15.20 seems to have flown under the radar. This album sonically sounds like nothing else to drop this year. Gambino once again expands his vocal range track after track, never allowing the project to become stagnant or stale. While the production can be off the wall, it makes it equally if not more refreshing than the sharpest albums this year. -Miles Hagan

Favorite Tracks

12.38

47.48

35.31

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13. how i’m feeling now - charli xcx

Following the seamless blend of pop and experimental aesthetics that appeared on her 2019 outing Charli, fans were definitely eager to see where UK pop artist Charli XCX’s sound would venture next. Trapped in self-isolation, she took the time to reflect on her relationships with her significant other, her friends, and herself—a process that resulted in her most intimate and innovative project to date. On how i’m feeling now, Charli pushes further into the strange more than ever before, as the majority of the tracklist is saturated with glitchy percussion, distortion, noise, and busy synths that perfectly compliment Charli’s heavily-manipulated vocal delivery. Additionally, Charli manages to bring one powerful performance after another to the table, delving into a variety of introspective topics such as her love life, friendships, and mental health. If you’re searching for the future of pop music, look no further than this one-of-a-kind album. -Owen Tait

Favorite Tracks

forever

claws

enemy

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12. wunna - Gunna

In the accompanying documentary that was released with Wunna, Gunna talks about needing to leave Atlanta to quiet the noise and find new inspiration well crafting his latest wave. This tactic pays off tenfold on Wunna as the album successfully transports listeners to the Caribbean from the first swirling guitar bend on “ARGENTINA”, the addicting intro to the album. Gunna flexes the best writing of his career on WUNNA meaning there isn’t a single throw away across the 18-track album. More than ever Gunna also steps back and shines the spotlight on YSL’s team of superstar producers (Wheezy, Turbo, Taurus, etc.) resulting in one of the most cohesive projects of the year that is undeniably fun. -Spencer Lobdell

Favorite Tracks

DOLLAZ ON MY HEAD (Feat. Young Thug)

SKYBOX

NASTY GIRL / ON CAMERA

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11. eternal atake - lil uzi vert

The drama this album caused is honestly what makes it one of my favorite drops this year. The wait for this album was insane, but when it finally dropped, it literally shook the industry. Uzi’s journey to get this project to drop is one of the best stories in music this year. It was just a great moment for music as a whole, Uzi beat the label! Drama aside, it’s just a fun album, it’s impossible to be in ai bad mood well playing Eternal Atake. -Courtney Fields

Favorite Tracks

Homecoming

Prices

Secure The Bag

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10. rtj4 - run the jewels

Four years after the release of their last studio LP Run The Jewels 3, the rap duo of Killer Mike and El-P return once more for a healthy dose of their subversive style of hip-hop in what may be their best album yet. El-P’s tangible in-your-face production paired with the aggressive rap styles and political register makes this record perhaps more relevant than the ones that preceded it. The free mixtape’s release timing was perfect, delivering iconoclastic and status-quo shattering bars in a time we needed it most. -Carter Fife

Favorite Tracks

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

walking in the snow

holy calamafuck

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9. chilombo - Jhené Aiko

For an album with 20 tracks, every song on CHILOMBO beautifully transitions into the next. Longtime fans will notice Jhené is happier especially in songs like “Happiness Over Everything (H.O.E)” and “Love.” With features ranging from Future to John Legend, Jhené successfully cultivates a project that appeals to various audiences. The simple yet detailed production shows Jhené’s commitment to the process itself. -Amaya Lorick

Favorite Tracks

Triggered (freestyle)

Tryna Smoke (feat. MicahFoneCheck)

10K Hours (feat. Nas)

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8. pray for paris - Westside Gunn

The resurgence of the grimey boom-bap roots of New York hip-hop in recent years can almost solely be accredited to Westside Gunn, the head-honcho of Griselda Records. Pray For Paris exemplifies the greatest aspects of the boom-bap renaissance, as Gunn’s ever-unique inflection and ad-libs paired with his beat selection make for one of the best debut albums in recent history. With a star-studded line-up of rappers, producers and a few of the best cyphers of the year, Pray For Paris is amongst the elite albums of 2020. -Luke Modugno

Favorite Tracks

$500 Ounces (Feat. Freddie Gibbs & Roc Marciano)

George Bondo (Feat. Benny The Butcher & Conway The Machine) 

327 (Feat. Joey Bada$$, Billie Essco & Tyler, The Creator)

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7. shoot for the stars aim for the moon - pop smoke

Long Live The Woo! Pop Smoke’s debut album gives me a jaded feelings; I’m never sure if I’m happy or sad when I’m playing it. The songs on this project prove two things:

1. I’ll never get tired of Pop Smoke’s signature sound (many dub this as making the same song over and over again), but Pop is the one artist I don’t mind that from. I was actually disappointed that there weren’t more “Dior” or “Welcome to the Party” sounding tracks on there. 

2. Pop Smoke was a STAR. Tracks like “Enjoy Yourself”, “What You Know But Love”, and “Diana” prove that Pop was far from a one-dimensional artist. He clearly had so many different sounds in his bag, and he was destined for stardom.

RIP Woo, a young legend gone far too soon. -Courtney Fields

Favorite Tracks

Enjoy Yourself

Got It On Me

Diana

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6. she already decided - smino

It’s been a minute since we’ve gotten a complete project from St. Louis rapper Smino. Fortunately, Smino is another artist this year that treated fans to a surprise release, though in Smino’s case it was a free mixtape that was partially composed of both original tracks and remixes to the past year’s most iconic hits. On She Already Decided we see Smino at the top of his game, proving himself to be one of the most dynamic and versatile artists in hip-hop today. Synthesizing elements of soul, hip-hop and R&B, this record is full of hits that are certain to stay in rotation. -Carter Fife

Favorite Tracks

Already

Good Ol Julio

2MuchFronto

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5. after hours - the weeknd

There isn’t an album I appreciate more this year than After Hours. Being in the industry for almost 10 years, I’m glad Abel took a step in some uncharted territory. It’s always refreshing to see such a big star sift into new genres and sounds. The Weeknd’s take on 80’s Synth Pop easily makes this my favorite album of his. This album shows Abel’s love for music; he didn’t have to shift his entire identity and sound to sell this project, but he did. He took a huge risk that reaps huge rewards in my books. -Courtney Fields

Favorite Tracks

Snowchild

Escape From LA

Save Your Tears

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4. LUV vs. the world 2 - lil uzi vert

If someone were to ask me what the most fun album of 2020 has been so far, I would likely respond with this project, a deluxe album that Philadelphia rapper Lil Uzi Vert saw fit to drop only a week after the colossal success of his highly anticipated record, Eternal Atake. On the sequel to his 2016 mixtape, not only did Uzi meet the bar he set for himself a week earlier, but completely he flew past it, exceeding everyone’s expectations. The tracklist was tighter, the mixing was cleaner, and Uzi’s vocal performances were far more dynamic, leading to an album with far fewer skips than Eternal Atake and a lot more replay value. Meanwhile, a star-studded list of features and catchy production only added to its appeal, making it one of the most enjoyable and infectious listens of 2020. -Owen Tait

Favorite Tracks

Yessirskiii (Feat. 21 Savage)

Strawberry Peels (Feat. Young Thug & Gunna)

Moon Relate

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3. circles - mac miller

In what may be his final album, Pittsburgh producer, singer, songwriter, multi-instrumentalist and rapper Mac Miller crafts a tear-jerkingly beautiful ending to his discography. Produced and arranged by legendary producer Jon Brion, the project is amongst the most well-produced in Miller’s catalog.  The album serves as both a tribute to Mac’s life and a beautiful love letter to his fans and loved ones. Circles is the final step in a sonic and artistic revolution of one of the music world's most brilliant minds. -Luke Modugno

Favorite Tracks

Circles 

Good News 

Right 

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2. a written testimony - Jay Electronica

After almost a decade of waiting for Jay Electronica’s debut record, fans were rewarded for their patience earlier this year with a surprise release from the man himself. A Written Testimony is a masterfully produced exercise in top-notch writing, production, and lyricism. Over the course of the record’s ten tracks, created in a span of only 40 days and nights, Electronica and the equally mythological Jay-Z trade bars on success, self-doubt, and religion. Together the duo produced a project that was truly worth the wait. -Carter Fife

Favorite Tracks

A.P.I.D.T.A

The Blinding (Feat. Travis Scott)

Fruits of the Spirit

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1. alfredo - Freddie Gibbs x alchemist

Alfredo is the perfect storm. Freddie Gibbs and Alchemist have both been crafting incredible music individually over the past year. It seems strange that such successful artists seem to be getting better as they age, yet this is what we have. Alfredo is coke rap done at the highest level. Alchemist utilizes such unique instrumentation on each track yet still allows Freddie to navigate every beat with ease. There are so many levels to this project, and with each listen another one is revealed. It may be early, but this will not be an easy project to top. -Miles Hagan 

Favorite Tracks

Scottie Beam (Feat. Rick Ross)

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

Skinny Suge 

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Was a 6pc Enough?: “6pc Hot EP” Review

By Courtney Fields

R&B’s favorite crooner is finally back. Fresh off of a 2-year hiatus (as far as projects are concerned), 6lack has delivered his new “6pc Hot EP” fresh at our doorsteps. The Atlanta native has returned with his smooth, reverb-ridden vocals, with a side of bars. A set of songs that’s perfect for those late, summer night drives, with the windows down… I know you know exactly what I mean. 

“ATL Freestyle” was the EP’s only single, it sort of got lost in the whirlwind of events that were happening on, and prior to the songs release date: May 28th, 2020. Along with the song, 6lack gave us yet another reason to stan, providing fans with a message that clearly stated his stance on what his people, Black people face day in and day out.

6lack wrote: “A few words… With the amount of pain & anger, I feel in my heart, releasing a new song at this very moment doesn’t feel like a great priority.Nothing ever prepares you for how to feel when you’re constantly faced with the last dying breaths of Black people, my people, on your television or phone screens every day.”

See the rest of 6lack’s message to the people here. “ATL Freestyle” is one of my favorite songs of the year, it’s a mirror of exactly what I think perfect music is; slow, a mixture of singing and rapping, sad and brash lyrics. It is a “B-side” track, like most of 6lack’s music. The song could fit on Tha Carter II, an album full of B-sides… it’s also one of the few perfect albums if you weren’t aware. 

“Long Nights” is the EP’s second track, and it’s a perfect description for all those sneaky link ups you freaks were doing during quarantine. At its core, “Long Nights” is about a relationship that could last one night, or many. Ari Lennox’s background vocals take the track to a whole new level.

Track 3, “Float” may just be one of the best songs that sum up 2020 so far. Generally, everyone is trying to “stay afloat” but 2020 has been one of the more ruthless years in the 21st century. 6lack speaks on all of the adversity he’s faced in his life up to now. “I gotta put my shit back on track / Been down bad too many times / Know that it’s bad, but it’ll be fine”. He even mentions the racial tensions in America, “It's a big war goin' on outside / Grab your lover, time to slide”. In the midst of COVID-19, civil unrest, and his own personal struggles; all 6lack asks of his presumed partner on this song is for her to love him through it all “Make sure you love me ‘fore the world go out in flames”.

“Know My Rights” ft. Lil Baby is one of those songs that makes you recall the days when 6lack was a battle rapper. The two Atlanta natives rap about the extraordinary amount of fame, and riches they’ve managed to get. They make sure to remind us that they’re self-made men as well, so they tend to shy away from the opinions of others. It’s not often you hear 6lack flex on his songs, so this type of track fit perfect with a Lil Baby feature. 

In “Elephant In The Room”, 6lack is having an argument with a significant other who’s questioning his motives within their relationship, and they’re not sure the rapper’s priorities are in check. Rather than get nowhere with small talk, 6lack lays it all on the line, “You ask me if I'm choosin' my dreams over you, I said, ‘Hell, yeah’ / “I got so much love I can show, but I got so much shit left to do” / “Say what's on my mind don't make me choose, I might piss you off”. The “Elephant” is the issue the two of them have clearly been avoiding for some time now, and it seems to be 6lack’s music career, something he’d never give up on since he’s been chasing it all his life. 

I never thought there would be a way to make the end of quarantine (COVID-19) sound romantic, but sure enough here 6lack is with a post-virus ballad. 6lacks sings about going outside to play again in almost every other bar on track 6, ”Outside”. He reminisces the days where he was able to be with his lover physically, with no fear of getting each other sick. 

So, was a 6pc enough? I’d say so, the project is short but the quality of the tracks makes up for the lack of tracks. 6pc Hot EP may be the only project out right now that sums up almost everyone’s lives at the moment. Quarantine has many of us fairly lonely, not seeing our friends and significant other as much as we want (“Outside”), the civil unrest in America has kept anyone with a single shred of compassion spending days thinking about how fucked up this country is, and in turn trying to find a way to find some peace within all of the chaos (“Float”), and by spending most of our days at home, coupled with everything going on with the world there have been ample opportunities for the door to be opened to some tough conversations (“Elephant In The Room”).

Favorite tracks

Float

Long Nights

Know My Rights (Feat. Lil Baby)

Rating: 8

Listen to 6pc Hot EP here:

Listen to 6pc Hot EP on Spotify. 6LACK · Single · 2020 · 6 songs.

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88rising Is Connecting Asian and Western Culture

How the mass media company is bridging the gap between the two worlds through music and more.

By Matthew Herin

88rising's logo.

What Is 88rising?

88rising, stylized as 88⬆, is a mass media company founded by Bay Area native Sean Miyashiro in 2015. Before starting his company, Miyashiro was working for VICE Media on a project called Thump, a site dedicated to electronic dance music. This wasn't his passion, so he left VICE and founded 88rising. VICE is a multicultural mass media company, and Miyashiro wanted to make a "VICE for Asian culture." (4) The meaning of the number 88 comes from the Chinese character "囍," meaning "double happiness," (14) which happens to be the name of 88rising signee Rich Brian's 2020 tour. The number 8 is also considered to be a lucky number in China, symbolizing fortune and wealth. 88rising is a hybrid record label, talent management, marketing, and media production company all fused into one. Miyashiro was inspired to start the company during a dinner with friends in Los Angeles. He states, "I looked around the table and everyone was a dope Asian motherfucker — the best Asian designer, a next-level Asian chef, a rapper. There were all these fucking incredible Asian creatives killing it in their own fields, and I realized we didn't have a home to tell our stories. Something sparked and it just felt like the right time to build something." (3) Miyashiro took his skills he learned at VICE and used them to create 88rising, bridging the gap between Asian and Western culture. Today, 88rising has over 70 employees and offices in New York City, Los Angeles, and Shanghai.

"Our whole goal and mission is to represent the Asian minority and fight under-representation or misrepresentation." (3) – NIKI, 88rising artist

Dongheon Lee, “Keith Ape”

Keith Ape

Keith Ape, born Dongheon Lee, is a pioneer of connecting both Asian and Western cultures. Born in Seoul, the South Korean rapper made waves in the United States in 2015 following the release of his breakout single "It G Ma," which featured fellow Korean rappers JayAllDay and Okasian, as well as Japanese rappers Loota and Kohh. The song is roughly 50% Korean, 40% Japanese, and 10% English. (13) Keith Ape is heavily influenced by American trap music, so it's no surprise that "It G Ma" features hard-hitting 808s, an eerie melody, complimented by aggressive rapping and garnished with ad-libs and sounds of gunfire. The hook is catchy, very simply just: "It G Ma! (Whoo!)" No matter where you are from, you are able to rap along. The song went viral worldwide; people genuinely liked the song, even though the majority of people are not able to understand most of it. Not only was Keith Ape bridging Korean and Japanese cultures, but now, he was bridging these cultures with the West. Before "It G Ma," any song that really penetrated the West was usually a K-Pop song or a song that perhaps isn't taken too seriously like PSY's "Gangnam Style." Keith Ape's hit was a straight trap song. "I focused on making it sound like music from the West," (2) he states.

Sean Miyashiro reached out to Keith Ape after Dumbfoundead, a rapper that he was managing at the time, showed him the video for "It G Ma." Miyashiro describes his feelings after watching the video, "It was like a what the fuck moment, you know?" (2) Miyashiro called Keith Ape via FaceTime and got him to come to the South by Southwest Music Festival in Austin, Texas. Soon after, Miyashiro became Keith Ape's manager. (4)Following this move, Miyashiro was able to land familiar American rappers A$AP Ferg, Father, and Waka Flocka Flame on the "It G Ma Remix," further pioneering Asian rap culture into the West. To this date, the original music video for "It G Ma" and the video for the remix have over a combined 90 million total views, and the remix has over 38 million streams on Spotify. It didn't stop with "It G Ma." In 2018, Keith Ape went on to work with double-platinum and five-time gold American rapper Ski Mask the Slump God on a track titled "Achoo!" which currently has over 23 million streams on Spotify and almost 30 million views on YouTube. Ski Mask the Slump God has a cult fan base, and through this collaboration, Ski's fans were introduced to Keith Ape, if they hadn't heard of him already with "It G Ma." Keith Ape serves as an inspiration to all Asian hip-hop artists, as he was the first to make it big in the United States rapping in his home language.

"I've always liked American culture, but there is cool Asian culture too, so I try to mix them up." (2) - Keith Ape

Brian Imanuel, “Rich Brian”

Rich Brian

Born Brian Imanuel in Jakarta, Indonesia in 1999, Rich Brian has made a name for himself in hip-hop as the most prominent Asian rapper. Homeschooled most of his life, Brian taught himself English through watching YouTube videos on how to solve a Rubik's Cube and by listening to American rap. (6) Brian became obsessed with America and American culture, and spent most of his time online. "I had more friends on the Internet than I did in real life," (2) he states. Brian would stay up all night, talking to his American friends on Skype, and ordering cheeseburgers via McDonald's delivery. (7) He would watch music videos of American rappers and loved listening to aggressive trap music and hip-hop.

Dat $tick

On February 22, 2016, Brian released a music video for a song titled "Dat $tick" under his old alias, Rich Chigga. The music video currently has over 148 million views, and the song has over 133 million streams on Spotify. The video features Brian in a pink polo (a nod to Kanye West?) and a fanny pack rapping about guns, foreign cars, and killing police officers. The song and video went viral due to many factors. First, it went viral due to just how unorthodox of a rap song and video it was. Brian did not look like who you would expect to be rapping like this. Surely a scrawny Asian boy can't be rapping about killing cops and toting guns, can he? Brian was. Second, the song is actually good! Its catchy hook over an eerie instrumental, similarly to Keith Ape's "It G Ma," complimented by Brian's smooth flow, caught the attention of many listeners, sounding like something we would typically hear put out by an American rapper. Brian says, "When I was making the song, I was listening to all this trap music...listening to them talk about scary shit, I just love it so much. So I was like, I kinda wanna recreate this. I wanna have like some, scary ass lines." (10) Sean Miyashiro, who had been following Brian on Vine, the beloved six-second video sharing service, called Brian upon the release of "Dat $tick" and wanted to fly him out to the South by Southwest Music Festival to perform. Unfortunately Brian, who was only 16 at the time, was unable to get a visa, but took on Miyashiro as his manager. (4)

The Controversy

The song and video also went viral due to Brian's rap name at the time, Rich Chigga, and the fact that he says the N-word in the first verse. Brian explains that at the time while he was recording the song, he wondered, "If this song blows up, and I say the N-word, would people be like 'Holy shit, this song is so cool I'll let it slide'? That's what I was thinking. I was basically just trying to make people less sensitive to the word and take the power out of it, but then I realized I'm totally not in a position to do that. I fucked up." (10) He has since promised to never say the word again. Many people felt like Brian was making a mockery of American hip-hop music and Black culture. Luckily for Brian, Miyashiro was able to flip the bad press about his racially insensitive name and his use of the N-word in his song. At the same South by Southwest in 2016 that Brian was unable to attend, Miyashiro interviewed a handful of already established rappers, having them watch and listen to the "Dat $tick" music video. All of the rappers endorsed Brian. Instead of a follow-up single, Miyashiro uploaded this video to 88rising's YouTube channel, in hopes that it would lessen the controversy around Brian. Multi-platinum recording artist Tory Lanez calls Brian, "the hardest n***a of all time" Rap legend Cam'ron says, "I see the comedic side...but what he was spittin' was dope, though." Grammy-nominated rapper Goldlink says Brian should "never change." (8) At the end of the video, Wu-Tang Clan member Ghostface Killah volunteers to do a remix of "Dat $tick." You can hear Miyashiro in the background who is absolutely puzzled, asking Ghostface if he's serious or not. He was 100% serious, and in October of 2016, the 'Dat $tick Remix' was released, (9) featuring Ghostface Killah and underground rap legend Pouya, further exposing Brian to the rap game. It was evident that American hip-hop artists welcomed Brian, an Indonesian rapper, into their world, so we the fans should, too.

Name Change

"I didn't want to put myself in a box. I didn't want people to be like, 'Yo, Rich Chigga is that dude that just doesn't care about hip-hop and just shits on it, right?'" (2) - Rich Brian

Upon the announcement of his debut album Amen, Brian started getting more slack for his rap name than ever. He first got Twitter when he was just ten years old, (12) and all Brian knew of America was through YouTube. At the time of coming up with his name, he was just a kid from Indonesia who did not know any better. "I do regret it," (12) Brian says. People were not taking Brian and his music seriously, and Brian really wanted to develop as an artist. So, in 2018 to start off the new year, Rich Chigga announced that he will now be going by Rich Brian. He says, "It's best decision I've ever made, and I'm glad I did it." (2)

Brian officially changes his rap name to start off the new year.

Growth

Since the release of "Dat $tick," Brian has become the most relevant Asian rapper in the United States. He's traveled across the world, selling out shows everywhere he goes. In 2017 he, alongside fellow 88rising star Keith Ape, released a track titled "Gospel," with the late XXXTentacion, a pioneer of the aggressive trap movement in the United States. With X's cult-following of a fan base, this collaboration took off, getting more than 130 million streams on Spotify, and 42 million views on YouTube. The song went Gold, selling over 500,000 copies worldwide. Brian released more singles, working with Atlanta rappers 21 Savage and Young Thug, introducing himself to these fan bases. Brian has since released two albums, Amen, in 2018 and The Sailor, in 2019. These albums have a combined total of over 500 million streams, just on Spotify. By giving these albums a listen, it is incredible to see how far the Indonesian rapper has come. Brian has turned away from rapping about weapons and cars, and is now focused on telling his own story through his catchy melodies and passionate verses. The albums feature not only fellow 88rising artists like NIKI, Joji, and AUGUST 08, but they also feature established American rappers, like RZA, leader of the Wu-Tang Clan, and Offset, a member of the multi-platinum rap group Migos. One thing Sean Miyashiro and 88rising knows is that collaborations with already established artists is a surefire way to gain credibility and exposure in the rap game. In 2018, Brian was selected as a XXL Freshman. XXL is an American hip-hop magazine who selects a "Freshman List" of popping up and coming rappers. XXL freshmen alumni include rappers like Kendrick Lamar, Travis Scott, and the late Mac Miller. Most hip-hop fans believe that once you reach the XXL Freshman list, you've "made it" as an artist. More recently, Brian released a heartwarming video for a new song entitled "BALI" featuring American rapper Guapdad 4000. In the video, with the recent quarantine situation due to COVID-19, Brian uses a drone to deliver gifts to some of his friends, including American rappers Lil Yachty and Denzel Curry, as well as fellow Indonesian 88rising singer NIKI. Everyone who received a gift paid it forward, sending the drone back to Brian with money. Towards the end of the video, Brian uses the same drone to deliver these envelopes of money to those in need, including a catering service that was able to use the money to donate over 150 meals to healthcare workers, and to a woman whose family has started to make masks amid the pandemic. Rich Brian's growth as an artist is truly respectable, and it's all because 88rising believed in the kid from Indonesia. Check out Rich Brian's video for "BALI" below:

"I want Asian kids to look at me and say, 'Holy shit, if he can do that, then so can I.'" (2) - Rich Brian

George Miller, “Joji”

Joji

Born George Miller in Osaka, Japan, Joji was already well-known before becoming the soft-ballad singer we know today. He was an extremely successful YouTuber by the name of Filthy Frank, with over 7 million subscribers. He went on to become a viral meme sensation by creating the Harlem Shake dance in 2013. His Filthy Frank videos were filled with vulgarity and crude humor, commonly ridiculing those obsessed with Japanese culture on the Internet. He also released music under the name Pink Guy, a Lycra humanoid in a pink morphsuit, releasing meme-worthy songs like "Please Stop Touching My Willy," and "I Will Get A Vasectomy." (6) Unknown to his fans, George was getting tired of creating this content. He was "going through the motions" (4) and was turned off by the toxicity of the Internet, which seemed to only be getting worse. He credits Sean Miyashiro for getting him out of this creative lapse. George was meeting with Sean at the 88rising offices to collaborate on viral video ideas, but when Sean heard George's demos of the somber music he was recording, he thought it was best to focus on George's music career. (4) In December 2017, George, or Filthy Frank, announces on Twitter that he will be quitting comedy, explaining how he does not enjoy it anymore. He tells his fans he will continue making projects he is passionate about, and it is up to them if they want to come along for the ride. He signs off on the message: “-Joji.”

Filthy Frank explains his retirement from comedy in a post on Twitter.

Making History

88rising takes to Twitter to celebrate Joji's major accomplishment.

As a follow up to his first EP, In Tongues, Joji released his debut studio album, BALLADS 1, in October of 2018. The album debuted at number 1 on Billboard's Top R&B/Hip-Hop Albums Chart, making Joji the first Asian artist to ever do so. (1) The album's cover pays tribute to Joji's past as Filthy Frank, with Joji adorning Frank's iconic crazed smile. The 12-track album featured guests like extremely popular American rapper Trippie Redd, and established hip-hop producer Clams Casino, who has worked with the likes of American artists A$AP Rocky, and the late Lil Peep. BALLADS 1 went Gold in January 2020, and currently has over 1.1 billion streams on Spotify. Joji's most popular song, "SLOW DANCING IN THE DARK" has over 372 million streams alone, and has recently gone viral on TikTok. Born in Japan, being of half-Japanese and half-Australian descent, penetrating the West in such a huge way, Joji embodies what it means to connect different cultures. Joji's success serves as living proof of 88rising showing the West that Asians are just as talented as them.

"Be proud of who you are and rely on your strengths. Identity is very important but always remember who you are." (3) – Joji

Not Just A Record Label

GUESS x 88rising "GUESS Rising" Collection Promo

Through the course of this reading, we have seen how 88rising is bridging the gap between Asian and Western cultures through musical talents like Keith Ape, Rich Brian, and Joji, but 88rising is doing so much more than just music. In August of 2019, to celebrate their 2nd annual Head in the Clouds Music and Arts Festival in Los Angeles, 88rising collaborated with popular American clothing company GUESS, releasing their "GUESS Rising" collection, featuring t-shirts, hoodies, jackets, hats, and more. The promotion campaign featured international 88rising artists like Joji, Rich Brian, NIKI, and the Higher Brothers adorned in the new collection in true yearbook photo fashion. The collection sold out online within just twenty minutes. (11)

Furthermore, 88rising also uploads non-musical content to their YouTube channel, like their "The Greatest Japanese Bartender" series, which stars Kayama San, Japan's Greatest bartender, ever so elegantly craft a variety of drinks, over calming music. The video offers ASMR-like qualities. There is also a series entitled "Eighty ATE" which shows viewers how to make iconic Asian food, such as boba, dumplings, and kimchi. 88rising clearly has respect for Asian culture, and wants the rest of the world the ability to experience it, too.

Sean Miyashiro, 88rising founder

88rising is working. But why?

88rising was never set up to be a music company. It was set up to be a cultural company, showing the world "that Asian people are fire," (2) as founder Sean Miyashiro says. The main reason that 88rising is successful is because they aren't doing Asian culture from a business perspective. Sure Miyashiro and his team at 88rising manage artists, but they are their friends first. "This is what we want to do, it's in our DNA and blood, and when you do that properly, people feel it," (5) Miyashiro says. Another reason 88rising is working is because of the Internet. With the Internet, we are able to go worldwide and reach millions of people we never could've fathomed reaching 20-30 years ago. Lastly, Miyashiro attributes the world being more open and accepting to 88rising's success. (2) Hip-hop nowadays is more than just hip-hop. What started as a place for social commentary has evolved into an incredibly diverse genre of all lyrical content, sounds, and styles. When you make good music, people will listen. It doesn't matter your race or what language you're speaking in.

“They’re creating a big sense of pride for a community that I don’t think has had as much representation on the global scene.” (5) - Nicolai Marciano, director of brand partnerships at GUESS, on 88rising

Artwork from 2018 Head in the Clouds Music & Arts Festival flyer.

What's Next?

In 2018, 88rising hosted their Head in the Clouds Music & Arts Festival in Los Angeles, making history as the first festival in the United States with all-Asian headliners. The festival was a hit, with over 20,000 fans in attendance. This festival has become an annual event, happening this past 2019, and a Head in the Clouds Indonesia festival was supposed to happen in March of 2020, but was postponed due to COVID-19. 88rising has released two albums, Head in the Clouds, and Head in the Clouds II, which feature songs from 88rising artists with collaborations from American artists, as we would expect from 88rising. These songs have gathered millions of streams, including "Midsummer Madness" with 175 million on Spotify, and has since been certified Gold. Sometime later this year, 88rising will be launching its own Sirius XM radio channel, making history again, as the first major Asian radio channel in North America. (5) On May 6th, 88rising is hosting a 4-hour global online music festival called Asia Rising Forever, which will celebrate exciting Asian talent from all around the world, including 88rising's artists like Rich Brian and NIKI, as well as non-88rising talents like K-pop group CLC, and Malaysian singer Yuna. By the looks of it, 88rising is here to stay. With extremely successful movies like Parasite and Crazy Rich Asians breaking barriers in the film industry in the United States, 88rising is breaking barriers in the West in the music industry and other highways. In the future, more things will be made, and there will be some misses, but there will also be some hits, and it's these hits that will continue to push boundaries and move the culture forward.

“I’d rather die than not continue this. I feel like I’m high all the time, even though I’m sober.” (4) - Sean Miyashiro

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References

(1) Anderson, Trevor. “Joji's 'Ballads 1' Debuts at No. 1 on Top R&B/Hip-Hop Albums Chart.” Billboard, November 5, 2018. https://www.billboard.com/articles/columns/chart-beat/8483269/joji-ballads-debut-no-1-top-rb-hip-hop-albums-chart.

(2) Asia Rising. How The Next-Gen Of Asian Hip Hop Is Taking Over The Music World. RedBullMusic/88rising, 2019. https://www.youtube.com/watch?v=_vC2hvHa9T0. 

(3) Dao, Dan Q. “How 88Rising Raised the Bar for Asian Representation.” PAPER. PAPER, June 3, 2019. https://www.papermag.com/88rising-asian-representation-2638625195.html.

(4) Hsu, Hua, Joshua Rothman, and John Seabrook. “How 88rising Is Making a Place for Asians in Hip-Hop.” The New Yorker. The New Yorker, March 26, 2018. https://www.newyorker.com/magazine/2018/03/26/how-88rising-is-making-a-place-for-asians-in-hip-hop.

(5) Ifeanyi, KC. “How Music Label 88rising Brought Asian Rap Culture to the United States.” Fast Company, April 30, 2020. https://www.fastcompany.com/90491415/how-music-label-88rising-brought-asian-rap-culture-to-the-united-states.

(6) Kuo, Fong. "Asian Resurgence in Western Memetic Culture." Chief Copy Editor: 66. http://tinnalam.com/wp-content/uploads/2019/06/focus2019layout_FINAL_2.pdf#page=76

(7) Oktavia, Resky. "Immigrant’s Cultural Intelligence In The US As Depicted In Rich Brian’s Chaos Music Video." PhD diss., Diponegoro University, 2019. http://eprints.undip.ac.id/68635/1/Resky_Oktavia-Thesis.pdf

(8) Rappers React to Rich Brian Ft. Ghostface Killah, Desiigner, Tory Lanez & More. 88rising, 2016. https://www.youtube.com/watch?v=-KMBELyZ_sM.

(9) Rich Brian - Dat $tick Remix Feat Ghostface Killah and Pouya (Official Video). 88rising, 2016. https://www.youtube.com/watch?v=Z4eARl9omVs.

(10) Rich Chigga "Dat $tick" Official Lyrics & Meaning | Verified. Genius, 2017. https://www.youtube.com/watch?v=qAyjL868Ytc.

(11) Ruiz, Derick. “88rising x Guess ‘Guess Rising’ Collection.” Modern Notoriety, August 14, 2019. http://www.modern-notoriety.com/88rising-guess-rising-collection-release-date/.

(12) Tchou, Wei, and Andrew Marantz. “Rich Chigga and the Difficulties of Keeping It Real.” Culture Desk. The New Yorker, June 7, 2017. https://www.newyorker.com/culture/culture-desk/rich-chigga-and-the-difficulties-of-keeping-it-real.

(13) Thomas, Dexter. “‘It G Ma’ Made Asian Rap History (In Addition to Sounding Like OG Maco's ‘U Guessed It’).” Vice. Vice, February 2, 2015. https://www.vice.com/en_us/article/r3znav/keith-ape-jayallday-loota-okasian-and-kohh-it-G-ma-korean-u-guessed-it.

(14) Zhang, Haoran. "A Study of ‘88rising’and their YouTube Approach to Combine Asian Culture with the West." https://www.scss.tcd.ie/publications/theses/diss/2018/TCD-SCSS-DISSERTATION-2018-065.pdf

Images

Cover photo, "Why 88rising is the Future of Music Labels": https://cdn.asiatatler.com/asiatatler/i/th/2019/08/15113316-88rising_cover_1024x683.jpg

88rising logo: https://upload.wikimedia.org/wikipedia/commons/thumb/4/41/88rising_logo.svg/1200px-88rising_logo.svg.png

Keith Ape, "A Rare Interview with Korean Rap Radical Keith Ape": https://dazedimg-dazedgroup.netdna-ssl.com/2000/azure/dazed-prod/1210/0/1210236.jpg

Rich Brian, "Rich Brian Learned How to Rap from YouTube": https://media.gq.com/photos/5a7470ddb0b6765f8c255b67/master/w_1600%2Cc_limit/rich-brian-web-alex-reside10.jpg

Rich Brian name change Tweet: https://twitter.com/richbrian/status/947889914225422336?s=20

Joji, "Closer to the Road: Joji Interviewed": https://www.clashmusic.com/sites/default/files/field/image/111_%20OnlineImage13.jpg

Filthy Frank retires Tweet: https://i.kym-cdn.com/photos/images/original/001/327/338/9b3.png

88rising's Tweet celebrating Joji: https://twitter.com/88rising/status/1059552823468285960

GUESS Rising Collection Promo: https://www.modern-notoriety.com/wp-content/uploads/2019/08/YEARBOOK.png

Sean Miyashiro, "88rising Is Giving Asian Musicians Proper Representation": https://coveteur.com/wp-content/uploads/2020/02/SEAN_MIYASHIRO_DESKSIDE-9-835x1253.jpg

Head in the Clouds Festival Flyer: https://res-4.cloudinary.com/dostuff-media/image/upload//c_fill,g_faces,f_auto,w_800/v1535742155/event-poster-9387697.png

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

By Miles Hagan

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

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

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

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

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

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

Favorite Tracks

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

Skinny Suge

Scottie Beam (Feat. Rick Ross)

Rating: 10

Listen to Alfredo here:

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

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Return of the Jewel Runners: ‘RTJ4’ Album Review

By Carter Fife

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

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

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

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

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

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

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

Favorite tracks:

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

walking in the snow

holy calamafuck

Rating: 8

Listen to RTJ4 here:

RTJ4, an album by Run The Jewels on Spotify

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Gunna Gets Even Further in His Birkin: 'WUNNA' Album Review

By Miles Hagan

We have to address the album covers off rip. Drip or Drown 2 got a pass, and the WUNNA cover is something no one could have expected. I just wanna know who is coming up with the ideas. Gunna has built a reputation through slick flows and creating an unmatched vibe with his music. Outside of music he has a well documented affinity for designer clothes and accessories. The energy and swagger that comes along with this bleeds into almost every one of his tracks. While him and several other members of the Atlanta rap scene have been dubbed as Young Thug’s children, they have begun to separate themselves. Gunna looks to build upon the interesting sounds he began to experiment with on songs like “Who You Foolin”. In the documentary he published along with the album he talks about traveling when making this body of work, and needing to get out of Atlanta for a little. WUNNA stands for “Wealthy Unapologetic Nigga Naturally Authentic”. I would be lying if I said I understood what he fully meant by labeling himself as this. What I can say with certainty is that heavy money talk should be expected.

The appeal of Gunna is what has made us fans of so many Atlanta artists that came before him. He simply doesn't care about what anyone has to say. People across the internet talk about the pants this man wears, his album covers, and everything in between. Through it all he delivers music that exudes this unmatched confidence. Along with this, he has this ability to surf over beats at his own pace, never seeming rushed. While he is spitting, we are in his world. Look no further than a song like “COOLER THAN A BITCH” with Roddy Rich. This is about 2 minutes of Gunna switching between flows seamlessly while he lets the listener know they will never have as much money as him, be around the same women as him, and there is nothing we can do about it. Similar to “Numbers” on A Boogie’s last album, Roddy slides over these perfectly placed spanish sounding guitars on his way to one of many excellent guest features on the project. While this may be the most energetic and versatile Gunna has ever sounded on a full length release, he recognizes that to keep an 18 track album sounding fresh he needs quality features to switch up the sound and pace of the album. He does this beautifully and while still carrying the majority of the rapping workload on WUNNA. 

Even from the first track “ARGENTINA” it feels like Gunna is able to be so comfortable on this project, because he really found the sounds that work for him. The entire album is filled with these laid back beats, that almost allow Gunna’s voice to become a part of the production. Rather than going on top of one another they work hand in hand. The drums are hard enough on every song to still give WUNNA that traditional trap feel. The instrumentation on this project is what makes it different from the traditional trap album. “SKYBOX”, which was the single released before this, is another example of this. The bass is booming but the synths in the background give it a glittery feel, it almost feels like we are in the clouds. While the lyrics may be “hard” the only way that this music could be described is as a wave or a vibe that is absolutely infectious. 

Gunna calls back to the production that got this to this status a few times. At this point “Sold Out Dates” has been remade three times with the addition of “MET GALA”. While not the most experimental during the album’s run time, it’s far from bad. This is in contrast to a song like “TOP FLOOR”, which features Travis Scott and has similar horns and drums to “Hot” off Young Thug’s So Much Fun. While similar to that track this song completely has an energy of its own, and sounds hand made for both Gunna and Travis right down to the ad libs.  

Gunna earned his flowers on WUNNA. Anyone who was already a fan of Gunna heard him with an allstar production team and some new sounds. Those who were not fans of the Atlanta rapper should give this album a listen just to hear “NASTY GIRL”, and if they still don't like his music I’ll let them be. It is great to see that Gunna has taken this early success in stride, and continued to improve his craft. Too often artists get caught chasing trends, or trying to be something they aren’t. Gunna over the years has just gotten further in his bag and this is the culmination of his efforts. 

Favorite Songs:

DOLLAZ ON MY HEAD (Feat. Young Thug)

NASTY GIRL / ON CAMERA

COOLER THAN A BITCH (Feat. Roddy Ricch)

Rating: 8

Listen to WUNNA here:

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