Songs of the Week: March 10th

Solange is no stranger to the music industry. It is easy for someone less familiar with her discography to believe that she was not active in the community prior to her seminal album A Seat at the Table, released in 2015. Solange has been making and releasing projects for nearly two decades. In that time, she has defined her sound, solidified her personal aesthetic, and delved deeper and deeper into her own artistry. The culmination of these facets of her image manifest themselves without trepidation on her new studio album When I Get Home.

The title of the album communicates a sense of longing and a desire to go back to where she came from. The concept of “home” for Solange is her city and state of origin, Houston, Texas. References to Houston culture are apparent throughout the project. In “Way to the Show,” Solange sings of chrome decorated “candy painted” cars. The song titles “Almeda” and “Binz” are named after streets in Southern Houston, and she pays homage to the late Houston hip hop legend DJ Screw throughout the project.

When I Get Home is not simply a love letter to Solange's hometown. It is also a love letter to black culture. In tracks such as “Almeda,” “My Skin My Logo,” and “Binz,” Solange celebrates the beauty of blackness with full conviction. In “Almeda,” the chorus is the naming of “black” things, both in color, like molasses, and in cultural significance, such as braids. She then asserts, “These are black-owned things/ Black faith still can't be washed away.” “My Skin My Logo” is a collaboration between Solange and Gucci Mane, in which they both take pride in the things they enjoy, whether that be, in Solange's case, drinking and shopping, or in Gucci’s, “slanging” and “banging.” “Binz” features the lyrical couplet “Dollars never show up on CP time/I just wanna wake up on CP time.” CP time is an abbreviation for “colored people time” which plays into the stereotype that black people are always late. Solange reclaims this negative rhetoric and turns it on its head in such a clever way that I couldn’t help but grin when I first heard it.

When I Get Home also carries within it the themes of self love, sexuality, and female empowerment. Of the 19 tracks on the project, five of them are interludes. Some of these are wholly instrumental while others include some kind of narration. On “Can I Hold The Mic?” Solange embraces the multiplicity of her identity with the lyric: “I can't be a singular expression of myself, there's too many parts, too many spaces, too many manifestations…” making it clear to us that she will not be contained, limited, or kept in a box by any person, institution, or entity. Later on the album, the interlude “We Deal with the Freakin” takes a sample from an Alexyss K. Tylor video entitled “Sperm Power 2” where she says, “It's not about the physical manifestation of sex...First, I’m tryna get women to understand the dynamic power and the spiritual energy. Do you know how magnificent you are?” The interludes work to connect the various themes of the album together and they heavily aid to the overall cohesiveness of the project.

Outside of being thematically solid and artistically strong, When I Get Home has the additional benefit of being worked on by an array of extremely talented and cutting edge artists. Big names such as Earl Sweatshirt, Gucci Mane, Cassie, Pharrell Williams , Tyler, the Creator, Steve Lacy, Metro Boomin, Playboi Carti produced tracks, provided instrumentation, sang background vocals, or, in the cases of Playboi Carti and Gucci Mane, had full features on the project. Solange did not only pull from this prominent pool of hip hop and alternative artists. She also collaborated on tracks with Dev Hynes of Blood Orange, Sampha, The-Dream, Panda Bear from the experimental pop group Animal Collective, and female rapper Abra of the Atlanta rap label Awful Records.

The amount of artists that came together to work on the project added a new layer of depth and interest to Solange’s floaty, dreamy, jazzy R&B sound. When I Get Home incorporates sparkly instrumentation, with bright piano chords, high pitched synths, and deep bass hooks all bolsted with echo effects and reverb. With the sweet and calming tone of Solange’s vocals and harmonies, the album is wonderfully enchanting, addicting, and undeniably vibey.

It can be hard to believe that with 19 tracks the duration of the album is only 40 minutes. With most songs being under or slightly above three minutes long (with the exceptions of “Down With the Clique” and “Time (is)”), Solange is able to pack a lot of content into a small package. Although Solange’s melodies and some of the instrumental aspects of the album can lose their definition as the album nears its end, When I Get Home does not drag significantly or feel too long. Moreover, many of the songs on the project feature lyrical repetition. This could be seen as a detriment to some, but I believe the repetition throughout the album is never done absentmindedly or as filler. Solange’s repetition of certain lyrics or certain flows is intended to bolster the album’s easy listenability, give attention to the beauty of the instrumental work and production, and to reinforce themes and ideas that she wants to ensure we continue to think about and engage with long after the last track finishes.

When I Get Home is a patchwork quilt of the most interesting, creative, and innovative musical minds in the industry today. Outside of that, Solange uses the album as a declaration to all that she loves. She loves Houston. She loves her blackness. She loves her femininity. She loves sex. She loves wealth and prosperity. And Solange is able to express this love for herself and her life in way that is not braggadocious. Solange invites us through her album on a journey of self actualization. When I Get Home is a mechanism through which we can reflect upon our own values, legacies, and desires and encourages us to not be afraid to show admiration for all the parts of us that make us who we are.

Solange, you beautiful black cowgirl, you truly created an incredible piece of art.

Best Songs:

Binz

Almeda (feat. The-Dream and Playboi Carti)

Stay Flo

Rating: 9

Stream When I Get Home here:

When I Get Home, an album by Solange on Spotify

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Little Simz’s “GREY Area” Is Unique, Profound, and One of the Best Releases This Year

March 06, 2019 by Guest User in Read

By Izzy Stroobandt

In 2016, Little Simz released Stillness in Wonderland. Since then, fans have been eagerly awaiting another drop, anticipating the artistic evolution Simz was sure to provide.

Deviating from the eccentric, dreamy, synth sounds that characterized her last album, on GREY Area Simz opted for a blend of aggression, vulnerability, and genre-splicing to convey her experiences growing up and developing as an artist in a male-dominated industry. While following a theme of self-discovery and personal development, Simz displays true artistry through the presence of influences from a variety of musical genres that elevate her voice and message.

The album opens with “Offence”, a lyrical assault where she challenges anyone who questions her artistic abilities and calls to question the fate many have laid out for her as a woman in the hip-hop industry. Starting with a drum beat, Simz blends a variety of sounds by dipping into electronic vibrations and live instrumentation breakbeats. The verses ooze confidence, through allusions to artists such as Jay-Z and a certainty that she is making a name for herself no matter the obstacle; “I said it with my chest and I don’t care who I offend, uh-huh.”

Simz shows great musicality and depth on many tracks across the album. “Boss” showcases multifaceted electronic sounds, bass-guitar lines, and vocal distortions reminiscent of ‘90s all blended together by Simz’s fresh flow and unique voice. On “Wounds”, Simz incorporates string samples and reggae influence by hitting us with another track featuring Chronixx, who she collaborated with on “LMPD” in 2016. “Selfish” featuring Cleo Sol is a smooth and vibey track with soft vocals behind flawless rap delivery highlighting the depth of her emotional variation and is sure to capture listeners.

Many critics of the current hip-hop landscape point out that the focus in many recently released tracks has shifted from clever wordplay and mastered lyricism to a focus on vocals and catchy-yet-lackluster verses following the same formula that details successes surrounding sex, money, and cars. Simz challenges these critiques by producing a unique sound while spitting lyrics that stimulate thought and dive into a conversation on important topics such as mental health, women in the music industry, and the anxieties surrounding growing up.

Amid the strength displayed by bristling verses in “Offense” and “Boss”, Simz opens the door into her headspace on tracks like “Venom”—casting her in a vulnerable light in contrast to other tracks on the album. Not shying away from difficult topics, Simz tackles the struggles she and many of the people in her life have faced.

“Venom” starts unexpectedly with orchestral strings, over which she lays out the same dark energy that captured listeners in her 2015 breakout song “Dead Body” paired with strong lyrics and deep voice distortion. Through fast and heavy delivery laid over a strong composition, Simz creates a space appropriate to discuss mental-health and suicide. “Life sucks and I never tried suicide / Mind’s fucked even more than I realize.” Shifting gears, Simz deadpans phrases sure to draw attention such as ‘ovaries’ and ‘pussy’ to attack the misogyny that she faces in the industry. “They would never wanna admit I’m the best here / From the mere fact that I’ve got ovaries / It’s a woman’s world, so to speak / Pussy, you sour / Never givin’ credit where it’s due cause you don’t like pussy in power / Venom.” As soon as she lays down her last word in the verse, the strings cut out into a grimy drop that’ll have you playing the track over and over.

Simz manages to master composition, lyrics, and delivery with this new drop which is no small feat. She’s direct, strong, and wants people to listen. Simz’s artistic evolution over the last couple of years has been paralleled by few, and it should be interesting to see how her sound is further developed and refined as she releases more music.

Best Songs:

Offence

Wounds

Venom

Rating: 9

Stream GREY Area here:

GREY Area, an album by Little Simz on Spotify

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Lil Skies Picks up Where "Life of a Dark Rose" Left off on His New Emotional Album "Shelby"

March 05, 2019 by Spencer Lobdell in Read

Atlantic Records rapper Lil Skies has received mixed reviews since he broke on to the scene last year with his mixtape Life of a Dark Rose. While some are turned off by his basic lyrics and standard flow others can’t get enough of his creative auto-tuned melodies and infectious swagger. This week Skies followed up his 2018 mixtape with his debut album Shelby. The album only contained one pre-released single, that being the slow and emotional “Name in the Sand.” Skies rarely calls for back up on Shelby with the only features being from Gucci Mane, Landon Cube, and Gunna. Prior to release Skies took to Twitter to preface the album and let his fans know exactly how emotional of a project this was for him:

Screen+Shot+2019-03-05+at+2.16.47+AM.jpg

The album starts hot with potentially the best track on the album. While “i” has been heavily teased on Skies’s instagram over the past year, it doesn’t take away from the addicting nature of the pulsing hook and swirling instrumental. The chorus on the intro track encompasses Skies at his absolute best: hitting simple yet impactful bars with a certain kind of painful energy that few can achieve as well as him. The third track “Breathe” achieves a similar energy as “i” and Skies raps about his current love interest who means everything to him. Somehow Skies still manages to sound depressed while rapping about who he makes out to be the love of his life.

Lil Skies - i (Official Music Video) Prod. Danny Wolf Directed + Edited by Cole Bennett 3D Animation by Marco Mori + KAYO + Cole Bennett Director of Photography by Logan Meis Executive Produced by Sal Tarantino -- Official Channel of Lyrical Lemonade / Cole Bennett Subscribe for updates on music videos, interviews, performance videos, etc.

The fourth track and sequel to Skies’s breakout hit “Nowadays” doesn’t live up to the OG cut but is still listenable. “Flooded” and “Blue Strips” hold the fastest tempos on the album and contain a boastful Skies with a certain confidence that seemed to evade him on the first four tracks. After “Blue Strips” the album slows down and the songs start to become indistinguishable and overly generic. Fans who love his sound and were fans of Life of a Dark Rose shouldn’t have an issue with this as it was the same story on the 2018 tape, but the casual listener probably won’t make it to the end of this tape.

On Shelby Lil Skies gets personal about his depression and other issues. While it’s always great to hear rappers channel deeper emotions, listeners are already very familiar with sad boy Skies and his debut album shows minimal growth from the Pennsylvania MC. On the same note, Lil Skies’s palpable passion is excellent but still cannot fully make up for his lack of diversity in his flows and lyrics. Shelby picks up exactly where Life of a Dark Rose left off, delivering a handful of bangers but still leaving the listener dissatisfied with the project as a whole. Skies will always be worthy of our attention but at this point it seems safe to say that we should know exactly what to expect from the young artist.

Best Songs:

Breathe

Blue Strips

Rating: 6

Stream Shelby here:

Shelby, an album by Lil Skies on Spotify

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2 Chainz Tells a Story on His New Feature-Rich Album "Rap Or Go To The League"

March 04, 2019 by Miles Hagan in Read

2 Chainz has been in the rap game for a long time. His first mixtape Me Against the World dropped all the way back in 2007. He is now 41 years old and has still managed to remain relevant through all these years. That being said, when it was announced that he would be dropping his fifth studio album Rap or Go to the League many fans had to wonder what direction he would go in next.

Something felt a little different about this release. 2 Chainz is an artist who has thrived on having at least one or two hit singles before the release of a full-length project to build up significant hype. This time around he gave us nothing. Also, and probably more significantly, the A&R for the album was LeBron James. Based off of this decision in addition to the title of the project, it is clear the 2 Chainz will be talking about the various parallels between rap and sports, specifically basketball. We get this from the very first track of the album where the first thing we hear after pressing play is a high school announcer calling out 2 Chainz real name (Tauheed Epps) for the starting line up for a basketball game.

The intro track is actually one of the standout songs on Rap or Go to the League. “Forgiven” is very cinematic and commands your attention from the start. Marsha Ambrosius comes through with some stellar vocals throughout the duration of the song and 2 Chainz actually impresses the listener as a fairly compelling storyteller. Though it doesn't fall along the lines of his normal upbeat braggadocious trap rapping, “Forgiven” and moments like it on the album where 2 Chainz makes an effort to communicate a point are what really shine on the album. This continues onto the second song “Threat 2 Society.” There is a gorgeous gospel loop playing in the background, and 2 Chainz comes for anyone who would question his authenticity and standing in the rap game. This is one of the few solo tracks in which 2 Chainz is able to carry himself successfully.

Although on this album he expands on his subject matter and is able to keep a consistent theme throughout, his actual rapping is the true issue with the album. He doesn't get too adventurous with a lot of his flows and wordplay. It's not bad by any stretch of the imagination but nothing he does is something new. Though the message he is pushing out is admirable and something that did deserve attention, it's nothing groundbreaking. This leads to an album with some very solid highs and not many lows, just several average tracks.

Stream & Download - https://2chainz.lnk.to/HotWingsAreAGirlsBestFriend Follow Chainz: https://www.instagram.com/2chainz/ https://twitter.com/2chainz https://www.facebook.com/2Chainz/ http://www.2chainz.com Music video by 2 Chainz performing Girl's Best Friend. © 2018 Gamebread, LLC, under exclusive license to Def Jam Recordings, a division of UMG Recordings, Inc. http://vevo.ly/wiMQCt

What helps pick the album back up are the string of features in the middle of the album. The Kendrick Lamar feature on “Momma I Hit a Lick” might be one of the most strange and divisive verses Kendrick has done in a while. This is one of the few spots on the album where 2 Chainz has to switch up his flow to fit such a strange beat. Lil Wayne comes through on “2 Dollar Bill” which features a surprising E-40 verse as well. The most impressive of all the features has to come from Chance the Rapper and Kodak Black. “I'm Not Crazy, Life Is” might be the best song on the album, because it features all the best elements from other songs in the project and puts them into one track. It remains socially aware while 2 Chainz delivers a thought-provoking verse on his come up and all that it took. Kodak and Chance take similar somber approaches to their verses and it makes for a stellar moment on Rap or Go to the League.

Overall this is a good 2 Chainz album. There aren't any songs on here that are really bad or unlistenable. The only thing that the album suffers from is that it does drag at points because it isn't a quick listen. The fact of the matter is that this isn't anything special. Rap or Go to the League knows exactly what it is and doesn't stray too far away from that. The features all deliver solid contributions that significantly help spots where the album loses its steam. All of these factors lead to a good but not great final product.

Best Songs:

Forgiven (Feat. Marsha Ambrosius)

Girls Best Friend (Feat. Ty Dolla $ign)

I’m Not Crazy, Life Is (Feat. Chance the Rapper and Kodak Black)

Rating: 7

Stream Rap Or Go To The League here:

Rap Or Go To The League, an album by 2 Chainz on Spotify

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Songs of the Week: Mar 3rd

March 03, 2019 by Spencer Lobdell in Read

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

New Songs of the Week:

“Dreams” by Aaron May

Dreams, a song by Aaron May on Spotify

This week Houston newcomer Aaron May dropped his debut project, Chase. The buzzing 18-year-old clearly has a lot to say and “Dreams” is the best track on the exciting new mixtape. Over the two minute and forty second duration May flexes his excellent lyricism and polished flows over a simple yet pulsing instrumental that tastefully takes a back seat to his bars. Tap into Chase and make sure Aaron May is on your radar.

“I serve em like it’s nothin’ til I’m stuntin’ overseas
Bitch stop frontin, hoe you know you can’t put nothin’ over me
I’m the hottest fuckin youngin they been bumpin my releases
You gon see this,
Wavy flow gon’ make them seasick”

— Aaron May "Dreams"

“Trap” by SAINt JHN (Feat. Lil Baby)

Trap (feat. Lil Baby), a song by SAINt JHN, Lil Baby on Spotify

SAINt JHN is one of the most intriguing artists in the game right now. It seems likely that “Trap” is the third and final single off his newest album and here at StereoVision we couldn’t be more excited. “Trap” is a dreamy cut which features a mesmerizing hook sung by JHN. Lil Baby comes through for the second verse and delivers with a refreshing feature that compliments JHN’s melodic style exceptionally well.

“I ain’t never tellin’ lies, cross my heart and hope to die
If it’s real, it’s real forever, maybe never testify
Put the pedal to the floor, look the devil in the eye
If you tell me that you love me, promise not to change your mind”

— SAINt JHN "Trap"

“i” by Lil Skies

i, a song by Lil Skies on Spotify

The intro to Lil Skies newest project Shelby is an emotional reflection on his negative experiences with love, drugs, and other struggles. While lyrically the song is average, Skie’s auto-tuned voice makes this looping hook extremely addicting. On “i” you can hear the pain in his voice making it a powerful listen about loss.

“I ain’t never tellin’ lies, cross my heart and hope to die
If it’s real, it’s real forever, maybe never testify
Put the pedal to the floor, look the devil in the eye
If you tell me that you love me, promise not to change your mind”

— Lil Skies "i"

Throwback Song of the Week:

“Blow My High (Members Only)” by Kendrick Lamar

Blow My High (Members Only), a song by Kendrick Lamar on Spotify

In this classic Section 80 cut Kendrick samples Pimp C’s iconic verse on big pimpin’ to create a fun and familiar hook. The verses are equally entertaining as Kendrick dances over the funky Tommy Black instrumental impressing us and seemly one-upping himself with every line. The song’s bounce is indisputable and the way Kendrick switches between a deep voice and his layered singing flow on the chorus is genius.

“Wonder what’s behind them Ray Bans
Eyes of a coward, I understand
Niggas like the gossip, like bitches
Sip Don Perignon, when we finish”

— Kendrick Lamar "Blow My High (Members Only)"

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

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Trippie Redd Drops Previously Unreleased Old Music on His Surprise Mixtape "Trippie Redds Old Self"

February 28, 2019 by Spencer Lobdell in Read

Last night at midnight, Trippie Redd surprised his fans with previously unreleased old music in the form of a SoundCloud mixtape Trippie Redds Old Self. While the project didn’t drop on his official SoundCloud (rather on “hnrzhunter” page), Trippie took to instagram to validate and promote the release:

“In my bio right now is a lot of my old music I had In my email that u need to hear if u love the old me 💕 OLD SELF OUT NOW GO TURN UP TO OLD LIL BABY-14”

— Trippie Redd

While these styles may be old to Trippie they will be new to a large portion of his fan base. The most obvious example of this is “2014 Freestyle” where he forgoes his classic melodic style for two minutes of bars in a style that is reminiscent of his essential early cut “Can You Rap Like Me?” The tape contains two tracks produced by super-producer Pi’erre Bourne and a slew of features most listeners will be unfamiliar with.

Stream Trippie Redds Old Self here:

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Doja Cat Gets Weird With Rico Nasty for Her New Single "Tia Tamera"

February 26, 2019 by Kaila Cherry in Read

Doja Cat is an eclectic figure. Her stake in the musical landscape is as diverse as it is fascinating. Her discography ranges anywhere from the slow spacey R&B vibe of her breakout hit “No Police” from 2014 to the totally absurd and unbelievably fun track “Mooo!” that dropped in the summer of last year that had everyone proud to say that they were a cow. Doja Cat is an artist who does not take herself too seriously. This adherence to her individualism and her persistent “Fuck you” attitude to the concept of being in any sort of box has reaffirmed itself yet again with her newest single “Tia Tamera” with a feature from one of rap’s baddest bitches: Rico Nasty.

Tia Tamera (feat. Rico Nasty), a song by Doja Cat, Rico Nasty on Spotify

A reference to the famed twins Tia and Tamera Mowry who starred in the 90s sitcom Sister, Sister, this Doja Cat and Rico Nasty collaboration has as much quirk and silliness as the song’s namesake. The duo rap over an obnoxious beat with a two note droning base melody that changes only in its pitch. This melody is the thread that guides the song instrumentally. It never changes, but is instead dropped out with the rest of the beat during specific alterations in both Doja Cat’s and Rico Nasty’s flows during their respective verses.

The structure of the track lyrically is heavily dependent on a build up-punchline style of delivery. Most of the lines set up a concept that is then given relief at the end of the lyric, such as “Cheese like pizzeria, have a seat bitch, please, Ikea/From the Westside like Maria, I'm hot like grits, Madea” in Doja's verse to “Ride-ridin' in a foreign, no Prius/He keep callin' my phone, Nokia” in Rico’s.

The flow from both Doja Cat and Rico Nasty follows a consistent vocal pattern, with both of their verses beginning with the motif of getting some sort of compliment and replying with “Thank you very much.” From there, each of them takes the verse in their own direction, with Doja Cat flexing her sex appeal and Rico Nasty bragging about her money and her readiness to step to anyone who tries her. Both women use their verses to talk about themselves in the most exaggerated way possible, the lyrics obviously corny and the delivery undeniably bratty.

But that is why I love this track. “Tia Tamera” is weird, silly, and utterly over the top. At first, I was not sold on the song. Something about Doja Cat’s repetitive flow, the cartoony video game esque beat, and the admittedly awkward lines that don’t always land did not attract me upon first listen. This is the type of track you have to let grow on you and in doing so allowing the song to be just what it is trying to be: pure fun. The track is not meant to be groundbreaking, it’s meant to get your energy up. It’s meant to make you feel both sexy and capable of getting into a fist fight. It’s meant to make you spend three minutes and thirty three seconds of your time to enjoy something simply because it is enjoyable. And that is what makes it so great.

“Tia Tamera” sees Doja Cat continuing to explore what she wants to do with music, which at this point seems to be anything she wants. She continues to interest and engage her audience while attracting new listeners to what she has to offer musically and aesthetically. With the cosign of Rico Nasty, one of the prominent newcomers in the rap game today, there is no way to know what is in store for Doja Cat’s future or what she will do next. If she continues to put out tracks on her own accord, full of authenticity and personality to match, then there is a good chance you’ll be seeing her name again soon.

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Offset Opens Up on His Debut Solo Album “Father of 4”

February 25, 2019 by Kaila Cherry in Read

The most talked about Migo of last year is here to keep the conversation going with the release of his newest album Father of 4. Offset forgoes the rest of the Migos on this project, making this album his first independent studio project ever. With the stage to himself, Offset uses Father of 4 to delve into several aspects of his personal history. With an array of features from J Cole to Gunna to his wife Cardi B, Offset gives us an album that is as much trap influenced as it is touching and introspective.

Offset opens the project with a slow and moving track entitled “Father of 4.” The song begins with the words of Big Rube, who sounds less like he’s rapping and more like he is talking to someone, maybe even himself, in a candid and honest sense. He denounces how the media has portrayed him, makes mention of rehab, and asserts himself as more than what the public sees him as. He is “A son, a brother, a husband, a father” and he is “More than this generic term ‘artist.’” This sets up not only Offset’s rap for the rest of the song, but the entire album as well. For the next 16 tracks, Offset acknowledges mistakes he’s made, his criminal past as a means of survival for himself and his children, his appreciation for his children, struggles with depression and mental illness, and celebrations of fame and the success and stability it has brought him.

Thematically and lyrically, Father of 4 is undeniably strong. Tracks such as “Father of 4” and “North Star” featuring Ceelo Green are shockingly poignant meditations on the regret, fatherhood, and the resiliency needed to get through it all. These are moments on the album where we also see some refreshing instrumentation and production, with the focus being less so on the catchiness of the beat and instead on the plucking of guitars, the ruminative piano playing, and the melodic “oohs” of background vocalists. These aspects of the production give a spotlight to Offset’s lyrics, which in moments like these on the project are what matter the most.

Despite the serious tone of the album, Offset still makes sure to work in tracks that are more trap based and party friendly. “Tats on My Face,” “Made Men” and “Legacy” featuring Travis Scott and 21 Savage are songs that are more braggadocios in their nature and the high hats and triplet flow make them more function friendly. These tracks are more in line with what most people would think of when describing the “Migos” sound. With a project that deals with such heavy subject matter, these tracks help to give the project a sense of familiarity to the audience, who have an expectation for what music made by a Migos member should sound like.

Although Offset does an array of interesting thing thematically, lyrically, and sonically with Father of 4, the album is plagued with the same problem that is rampant in most other Migos projects: it lacks the ability to sustain itself for more than about half an hour. After the eighth track “After Dark,” Father of 4 begins to sound homogenous. The production drags, the flow is repetitive, and Offset runs out of ways to discuss the themes of the album in a creative way. To put it simply, the album goes on for too long with little being added after the halfway mark.

Father of 4 is a boldly ambitious project from Offset. It sees him telling his own story and expressing his vulnerability in a way he has not done before. To see him open up to his audience is refreshing and at times on the album, even beautiful. Offset is onto something with this project. As someone who did not expect much from Offset outside of the classic Migos hit making formula, it was a pleasant surprise to see him go beyond the surface and give us some insight into the complications of his life and struggles. However, the adage “less is more” is very much applicable to this project. I am curious to see whether or not Offset will continue to venture into himself in the way he did on this project in future endeavors, or if Father of 4 is where it starts and ends. No matter what, it is clear that Offset is still someone to play attention to in the game, and for the time being, it seems that we will continue to do so.

Best Songs:

Father of 4 (Feat. Big Rube)

Made Men

North Star (Feat. Ceelo Green)

Rating: 7

Stream Father of 4 here:

FATHER OF 4, an album by Offset on Spotify

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Songs of the Week: Feb 24th

February 24, 2019 by Spencer Lobdell in Read

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

New Songs of the Week:

“Blurry Nights” by Thutmose

Thutmose is on fire. Since January first he’s dropped three hot singles and “Blurry Nights” might be the best one yet. This song has major mainstream appeal and sounds like it could be the breakout hit Thutmose has been waiting for. While there isn’t anything exceptional about his writing, his flow and captivating melodies keep this song looping on repeat. I expect that we’re blessed by Thutmose’s debut album sometime in the next two weeks and I couldn’t be more excited.

“Bottles on the rider Sip before I go
Crowd is waiting Bad boy about to kill the show
Shades on I swear I keep seeing kaleidoscopes
Life is getting Trippy can’t complain this the life I chose”

— Thutmose "Blurry Nights"

“Yao Ming” by Gunna

Yao Ming, a song by Gunna on Spotify

“Yao Ming” is an early favorite of mine off Gunna’s new album Drip or Drown 2 and while I enjoy his vocal performance, Wheezy and Turbo steal the show with one of the best instrumentals of the year. This beat samples a sick guitar riff and you can feel the crushing bass deep in your chest. The openness leaves perfect pockets for some really cool sound effects making this beat a vibe in itself. Gunna is the perfect artist for this dope instrumental as he hits his signature flow making this song impossible to not like.

“You got my backend, I bend it off top, ain’t no playin’
Every other day is a backend, people relate to what I’m sayin’ ”

— Gunna "Yao Ming"

“Wouldn’t Be Nothing” by Yung Pinch

Wouldn't Be Nothing, a song by Yung Pinch on Spotify

The Beach Boy is back with a wavy track that is more intriguing than anything off of 4EVERFRIDAY SZN TWO. On “Wouldn’t be Nothing” Yung Pinch addresses all the naysayers of his past while at the same time wrestling with an apathy for fame. The reoccurring bit before the hook is a beautiful build up that climaxes into a mesmerizing chorus. Yung Pinch is gearing up for his major label debut, it’ll be interesting to hear how Columbia will transform his beachy sound we all fell in love with.

“I hope you all feel stupid
I was right, just face it
Hope it feels good to be losin’
You was starting up college, I was starting up a movement
And everybody started changing, soon as everything started moving”

— Yung Pinch "Wouldn't be Nothing"

Throwback Songs of the Week:

“Survival Tactics” by Joey Bada$$ (Feat. Capital STEEZ)

Survival Tactics (feat. Capital STEEZ), a song by Joey Bada$$, Capital Steez on Spotify

The forth track on Joey’s classic 1999 mixtape is potentially the most iconic cut to come out of the beast coast movement. It’s made up of two absolutely vicious verses, the first coming from Joey and the second the late Capital STEEZ. Both New York MCs lock into the boom bap instrumental and tap into their own god flow. Bar for bar, it’s difficult to find a song to match this timeless 2012 track. Joey recalls recording this bop in his bedroom with at least 12 of his friends going crazy at every punchline. That explains how the two rappers packed so much energy into the epic three minute song. Every rap fan should be required to know this track.

“‘Cause when niggas start equippin’, and throw the clip in
Your blood drippin’, and got you slippin’
Another victim, don’t know what’s hit them—through his spinal
Just another man who defeated by survival”

— Joey Bada$$ "Survival Tactics"

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Gunna Sticks to What He Knows on His Underwhelming New Album "Drip or Drown 2"

February 24, 2019 by Miles Hagan in Read

The popularity of trap music is at an all-time high. This new “culture” is coming straight out of the city of Atlanta, making some of the city’s biggest artists, the most influential in the rap genre. Many believe the hottest out of this group of new-wave rappers is Gunna. He posses one of the most unique voices in the industry today and is signed to YSL (Young Stoner Life) which is led by fellow Atlanta rapper Young Thug. Gunna has captivated audience since his first release in 2016, but he really blew up in 2018 when he popped up with impressive features with Travis Scott (“Yosemite”) and Quality Control signee Lil Baby (“Sold Out Dates”). Baby and Gunna also linked up on a joint project called Drip Harder which featured the likes of Drake, Young Thug, and NAV, as well as their hit single “Drip Too Hard.” After a very eventful and productive 2018, Gunna looks to kick off 2019 on a good note with the highly anticipated release of his album Drip or Drown 2.

Gunna delivers on what is expected from him for the most part on this album. Production value is of high importance for artists like him and on Drip or Drown 2, it doesn’t disappoint. He has enough talent around him to ensure that everything is mixed and mastered well and some of the beats really go above and beyond and are very unique. A great example of this is “Yao Ming.” This song contains an awesome guitar loop and a booming bass, both of which are coupled with signature Gunna flow and lyrics about an extravagant lifestyle. This happens a few more times throughout the rest of the album. Drip or Drown 2 is at its best when the beat hits and Gunna finds a pocket during a song to rap about experiences most normal people could only dream of.

The problem is that there is nothing on the album that we haven't already heard. Nothing on this project rivals some of his best works as a solo artist or as a feature and has failed once again to show a substantial lyrical prowess. One can only hear so much about women, drugs, and money before they want a little more. No one is looking for Gunna to out rap the likes of Kendrick or J. Cole, but at least tell a compelling story or talk about something else. The majority of the album isn't terrible it is simply just boring because it's nothing new.

It would be foolish to write Gunna off as someone without a future in music. He still possesses the potential to be a very successful and influential artist in rap today. This is the first real release of his with all eyes on him and even though this isn't the ideal product, he still has some time to grow and improve. There is much more to him as a human being other than the “drip” persona we are all familiar with, we just need him to express it in his music. That being said if he doesn't want to become a more personal artist then he has to either ensure that he only picks the best beats to rap on, which is impossible to guarantee, or he has to be more adventurous with his flows and experimenting with his voice. People who came before him like Future and Young Thug who create a similar type of music have been able to stay relevant for so long despite limited subject matter because of how they bend genres with their voices and use them almost like instruments. Gunna has this type of potential but it fails to shine through often of Drip or Drown 2.

Best Songs:

Yao Ming

Derrick Fisher (Feat. Lil Baby)

3 Headed Snake (Feat. Young Thug)

Rating: 5

Stream the entire project here:

Drip or Drown 2, an album by Gunna on Spotify

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Features Carry Lil Pump Through His Mediocre Major Label Debut "The Harverd Dropout"

February 23, 2019 by Spencer Lobdell in Read

Lil Pump’s major label debut, The Harverd Dropout, has been a long time coming. Initially the tape was suppose to drop in August of 2018, but due to an ill-timed jail sentence for driving without a valid license, the release date came and went. After half a year and countless missed release dates The Harverd Dropout was finally released last week posing the question, was it worth the wait?

The album rollout for The Harverd Dropout was messy, disorganized, and seemed like something I’d expect from a highly-anticipated independent mixtape not a debut album being released under one of the largest record labels in the business, Warner Bros Records. Over 40 percent of this album was released as singles dating back to last April. The track “Esskeetit” has been out for ten months and some how made this album. The fact that I already knew almost half the album upon release definitely hindered the listening experience for me.

As for the songs that weren’t pre-released, it’s more of the same from the Florida rapper. The songs lack creativity, taste, and hold a minimal amount of replay value. The amusing ignorant nature and catchiness of Pump’s hooks makes up for this lack of creativity on select songs, but majority fall flat and aren’t worth a second listen. Pump recruits some quality features which makes the album a little more entertaining and save the tape from being a total miss. The album ends far stronger than it begins and the last five songs actually make for an enjoyable 15 minutes. It contains quality features from Lil Wayne, YG, and 2 Chaniz, to go along with my favorite pre-released single on the album, “Drug Addicts.”

While the album as a whole leaves lots to be desired, I can see specific tracks off this project being very successful. One early standout is Pump’s ode to Virgil Abloh on the cut “Off White.” While the song is catchy and easy to move to, it only contains one short verse and its two-minute run time will hurt its replay value. The best moment on this album comes in the form of Lil Wayne’s guest verse on the overtly boastful “Be Like Me.” Wayne snaps and gives this song serious hit potential. While Pump’s contributions to the cut don’t hold a candle to Weezy’s, this is one of the moments on the album where the novelty of Lil Pump over shadows his mediocracy making it a fun listen.

At its best, The Harverd Dropout is a fun tape to turn up to. Some of the tracks are enjoyable and will make it into my short term rotation. At its worst, it’s a disorganized dumpster fire that is hard to listen to. As hard as I try to give it the benefit of the doubt, I just can’t imagine a demographic that can seriously enjoy this album for a long period of time.

Best Songs:

Off White

Be Like Me (Feat. Lil Wayne)

Who Dat

Rating: 4

Stream the entire project here:

Harverd Dropout, an album by Lil Pump on Spotify

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“Free’d” By Tyson Crookmind: A Deeply Authentic Album Made in the Streets, for the Streets

February 22, 2019 by Spencer Lobdell in Read

LA native Tyson Crookmind writes stories for the streets. In 1999 he found himself in jail for robbery, kidnapping, and later, murder. At only 23, Tyson faced the terrifyingly real possibility of dying in jail. Thankfully, two years ago at the age of 39, he was released and chose to devote his entire life to music. While it was far from ideal, Crookmind wasted no time while being locked up. He used his 16 years in prison to learn from those around him and sharpen his pen game. In an interview with Hip-Hop DX, he spoke on how his writing evolved while in prison:

“I just started writing about shit that was going on around me. Next thing you know, my freestyles sort of fell off and my writing game stepped up. Every day I wrote a song. That’s how that started and evolved.”

— Tyson Crookmind

Tyson’s early life presented him with a rare perspective on life and a set of deeply authentic stories made to be rapped over grooving g-funk instrumentals. His lyrics are deeply authentic and gives the average American a glimpse into a life they can barley comprehend. On the flip side, his music is primarily played in his neighborhood, giving his peers relatable bops from a source that understands them more than anyone else could. Whatever side of the spectrum you’re on, Tyson Crookmind’s music is impactful and tells a story that needs to be heard.

Last Friday, Tyson dropped his sophomore project Free’d. It is a follow up to last year’s Free The Real which acts as a prequel to this cinematic album. Free’d is an album about resiliency, an album about success, but more than anything, it’s a captivating story that will keep you hooked through all of its twists and turns. Five days after the albums release I was lucky enough to speak to Pusha Rod (A&R of urban music at Interscope) about the new release that he solely spearheaded. When talking about how he went about sequencing the project he made it clear that there was no choice when it came to how the songs were ordered. The album tells a story and the order the songs reside in are the only logical sequence without running into major flow and cohesion issues. The production on the tape perfectly compliments Crookmind’s LA drawl and every instrumental is soaked in South Central swagger.

The project open with “Bounty Jail Bus,” a synth driven cut about riding on the jail bus and all the trouble that can come while on your way to the slammer. While this seems like it could trigger poor memories, it’s actually quite the opposite for Crookmind. He makes these rides out to be more like a chaotic function where anything could happen. According to Crookmind, handcuffs are frequently broken for the sole purpose of attacking another convict. The third track and lead single “Lead The Way” is my favorite song on the album and contains an addicting hook with ascending background vocals that stops listeners in their tracks. Another standout is “Did That” with LA legend G Perico. This track is braggadocios to the max and sounds like a victory lap as Tyson alludes to his underground hit “Keep it Cherry” which dropped last year.

While Tyson Crookmind’s Free’d may not be original, it is real. His anecdotes are personal and you can hear the emotion in his rapping. His voice is a perfect fit for the relentless west coast beats that occupy every track and he seems like a natural successor to the LA underground. While I find it unlikely that Free’d will make any waves on a mainstream level, I can already hear “Lead The Way” and other rattling bangers echoing through the streets of Los Angeles. Tyson Crookmind writes stories for the streets, from the streets.

Best Songs:

Lead the Way (Feat. RJMrLA)

Breathe

Did That (Feat. G Perico)

Rating: 7

Stream the entire project here:

Free'd, an album by Tyson Crookmind on Spotify

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How "Wolf" Helped Tyler, The Creator Become the Voice for an Entire Generation

February 19, 2019 by Miles Hagan in Read

Tyler, The Creator is the general of one of the biggest armies in the world. His army is filled with teens and young adults in cuffed pants, polo shirts, and converse shoes. But how exactly did he get to this point? While Flower Boy is the album that brought him much of his mainstream fame, Wolf is what many of his core fans believe to be his best body of work. From the beautifully sung “fuck you” at the start of the album in the song “Wolf” all the way until the sparkling piano chords on the final song “Lone,” Tyler takes us on a journey through his mind from the perspective of some crazy kids at a summer camp. It's astonishing that someone who was barely 21 years of age was able to convey so many different powerful emotions while also using sounds that no one in the industry had ever touched before. He had been making noise in music years before this, but it was at this moment that he was finally heard.

Bastard was Tyler’s first project that he put out as a 18 year old kid who was supposed to be attending community college, but was instead making one of the most controversial mixtapes in recent memory. Tyler struggled with people mislabeling his music as “horrorcore” because he was speaking about murder, rape, and other subjects that are seen as very taboo in music. He did not actually mean the things he was saying, but as a young artist he didn’t understand why people would ever take his lyrics seriously. Though it was divisive, it was undeniable that he had immense talent as both a rapper and producer as he begin to gain praise from several established artists in the industry including the like of Kanye West.

The traction that he was able to gain carried over into the second commercial release, Goblin. This is what truly put him on the map as a force to be reckoned with in the rap genre. It featured hits like “Yonkers,” “She” featuring Frank Ocean, and “Tron Cat.” Audiences got a much more in depth look into the mind of Tyler, The Creator on this album as compared to Bastard. The aforementioned songs as well as a few other tracks are seen as cult classic in many circles, and Tyler showed continued growth as a lyricist. All the while, he was also the leader of one of the biggest collectives in music: Odd Future. This was much bigger than anyone, including Tyler, could have ever imagined. Middle and high schoolers all over America had their OF donuts plastered over everything they owned. He was seen as a voice for the youth as kids everywhere were filled with the belief that he and his friends were the coolest people in the world. Tyler inspired thousands of kids everywhere to want to wear Supreme, Vans, and learn to skateboard. His career and popularity were the highest they had ever been, and everyone was excited to see what crazy thing he would say or do next, yet Wolf was still able to catch everyone by surprise.

Wolf, an album by Tyler, The Creator on Spotify

“Domo23” was the only single released prior to the album coming out. It featured signature Tyler talking about his controversial views on homosexulaity, and even more controversially, how he is pretty much superior to every other rapper in the industry. He is also not afraid to name drop celebrities of all sorts including Jada Pinkett, David Beckham, and even One Direction. The track opens with horns that immediately command the listener's attention. After that, it all descends into other chaos, similar to the video which accompanied the song. The music video quickly changes scenery and begins to play another cut from the album titled “Bimmer.” This is closing piece of the three part masterpiece that is “PartyIsntOver/Campfire/Bimmer.” Tyler really shows his chops as a producer on these moments of the album. Though his rapping takes a back seat on each of three shorter tracks, the amazing instrumentals are what carry the tracks. “PartyIsntOver” features glistening chords that would make any fan of music melt. “Campfire” transports the listener to the woods sitting around a fire making smores. “Bimmer” features amazing vocals from the always incredible Frank Ocean. Tyler and Frank manage to take the last two minutes and 40 seconds of the song to make a killer track in which Tyler talks about a girl he is chasing and how she reminds him of his car.

Love is a very large theme on this album. The two main characters in the skits throughout the album, both voiced by Tyler himself, are fighting for the love of a girl named Salem. The song “Awkward” beautifully describes the nerves and awkwardness of a first date with someone you are really interested in, and what that first kiss feels like. Then a song like “IFHY” talks about what it feels like to love someone who always hurts you. Moments like these are what make an album like Wolf and an artist like Tyler, The Creator so accessible to young people. It isn't that he has the most complex rhyme schemes or creative beats, rather it is the fact that he is able to communicate such raw emotion into a three minute song. He puts into words the things that every young person has felt during at least one point in their life. The reason it is so polarizing is because these emotions, feelings, and thoughts aren't always pretty or clean cut, most of the time they are vulgar and sometimes controversial.

Today, Tyler, the Creator is one of the biggest voices in the music industry. The crazy kid from the Ladera Heights neighborhood in Los Angeles, California who once ate a cockroach for a music video, has gained the respect of some of the greatest voices in rap history. Wolf may not be regarded as his best body of work, but it is the album that really pushed him forward as an artist. This was the album that showed that he was more than a young rapper trying to cause controversy using his crazy lyrics for shock value. He got people to listen to what he had to say, while still staying true to a sound that was absolutely him. It set him up for all of the success that he has gained today. His music festival that he started when he was 18, Camp Flog Gnaw, is now so big that it had to be hosted at Dodger Stadium in 2018. Tyler is also expanding his reach to fashion with the launch of his Golf Le Fleur clothing line. In addition to everything else, he also just finished scoring his first film in the animated version of the Christmas classic, The Grinch. This is the same kid that back in 2013 on Wolf’s only song “Domo23” said, “And while y’all are rolling doobies, I be in my bedroom scoring movies.” It looks like he might have known what he was talking about all those years ago.

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A$AP Ant Asserts His Independence on His New Mixtape “Addie Pitino”

February 18, 2019 by Kaila Cherry in Read

“Addie Pitino/ This that fuckin’ solo shit.” This is the assertion Baltimore rapper A$AP Ant shares on his 2019 musical debut with his newest mixtape Addie Pitino. After releasing a whopping four mixtapes over the span of last year and his recent departure from superstar hip hop conglomerate A$AP Mob, A$AP Ant’s grind continues with this 24 minute project. The mixtape’s title combines the name of A$AP Ant’s other alias, YG Addie, and basketball coach Rick Pitino and consists of the lyrical stylings of Ant himself in addition to various members of the Marino Gang collective, including Lulu P, Benji Blue, Baby 9eno, and lil 2dow.

A$AP Ant packs 11 songs into the short duration of the project. Each is under three minutes, with the exception of “Purge Button” near the end of the tape. Throughout the progression of the album, Ant delivers lyrics littered with cultural references to figures such as Michael Jackson, Hercules, Fidel Castro, and Scarface, each of these men known for their talent, success, strength, wealth, revolutionary spirit and independence. This is the energy A$AP Ant radiates for the duration of Addie Pitino. Bolstered with talk of fine women, making money moves, selling drugs, fighting his enemies, and shout outs to his city, A$AP Ant is here to make a name for himself outside of A$AP Mob and does so with an air of confidence that is wonderfully enticing.

A$AP Ant projects this confidence sonically with a mellow rap flow and trap production. Ant has a consistent rap pattern for the majority of the tracks on the tape and does not deviate much from it for special vocal inflections or ab libs. The beats are simplistic as well. Done by DJ Nick, another Marino member, many of the songs on Addie Pitino have a rhythm that is easy to bop your head to with bright electronic piano and guitar accents that give the tracks an auditory openness, allowing for A$AP Ant’s lyrics to be the main star on the project. The sound is somewhat reminiscent of Gucci Mane’s musical style, a comparison A$AP Ant wouldn’t mind as he references the rapper on the opening track, “No Clout Chasin” (“Swing my door like Gucci Mane”).

Despite the short length of Addie Pitino, the mixtape feels longer than it actually is. In this case, this is a disservice to the project. Although the lyrical and musical choices for the album are satisfying, as one progresses through the tape, the songs can begin to coalescence into each other and lack distinction. On my first listen, I found it difficult to latch onto any one song from the project. No single track is particularly bad, but no track is a stand out either.

A$AP Ant’s Addie Pitino is the rapper’s first attempt to solidify himself and his brand as wholly his own. With this goal in mind, it is safe to say that Ant is on his way to doing so. Despite some of the shortcomings of the project, it is clear that A$AP Ant has the potential to make his own name in the hip hop scene sans-A$AP Mob. With a nice flow, clever lyrics, and beats that don’t overpower the listener, A$AP Ant is doing something that is worth paying attention to. All A$AP Ant needs now is to focus on diversifying his tracks in order to create a project that is thematically consistent while also being auditorily varied. If A$AP Ant continues on this path, then, like Tony Montana, the world could really be his.

Best Songs

WCW Mayhem (Feat. Baby 9eno)

Purge Button (Feat. Lulu P)

Dijon Mustard (Feat. Benji Blue)

Rating: 7

Stream the entire project here:

Addie Pitino, an album by A$AP ANT on Spotify

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Songs of the Week: Feb 17th

February 17, 2019 by Spencer Lobdell in Read

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

New Songs of the Week:

“Racks In The Middle” by Nipsey Hustle (Feat. Roddy Rich & Hit-Boy)

Racks In The Middle (feat. Roddy Ricch and Hit-Boy), a song by Nipsey Hussle, Roddy Ricch, Hit-Boy on Spotify

2018 was without a doubt the best year of Nipsey Hustle’s career. He finally managed to break into the mainstream with the Grammy nominated Victory Lap and his first release of 2019 picks up right where he left off. There’s so much to like in “Racks In The Middle” from Nipsey’s witty wordplay and catchy LA dialect to Hit-Boy’s polished instrumental. While we love the contributions from these two talented artists, it’s Roddy Rich’s hook that steals the show. His lyrics are authentic and impactful and his syncopated deliver is absolutely addicting. We can only hope there are more Roddy Nipsey collabs in the near future.

“Limo tint the V-12, double check the details
Gotta cross my T’s and dot my I’s or I can’t sleep well
Millions off of retail
Once again, I prevail
Knew that shit was over from the day I dropped my presale”

— Nipsey Hustle "Racks In The Middle"

“SOMETHING REAL” by ADÉ (Feat. GoldLink & Wale)

SOMETHING REAL (feat. GoldLink & Wale), a song by ADÉ, GoldLink, Wale on Spotify

DMV rapper ADÉ (previously known as Phil Ade) dropped his first release under his new name this past Thursday. Always Something is a six song EP featuring Lil Baby, Rich the Kid, GoldLink, and Wale. “Something Real” is groovy, entertaining, and definitely the best track on the tape. The song features GoldLink and Wale who both fit the pulsing instrumental perfectly. The three MCs all seem to complement each other perfectly and the way this song flows from verse to verse is flawless. I would highly recommend listening to this whole project, but if you don’t have 18 minutes to spare, make sure to at least check out this wavy cut.

“Every bitch I got they got a bag
Bet your bitches make it hard to brag
Pardon partner that’s the part they pat your pockets
Don’t you pop off like you popping tags”

— Wale "SOMETHING REAL"

“Thug In Me” by Berner & Mozzy (Feat. Godholly)

Thug In Me (feat. Godholly), a song by Berner, Mozzy, Godholly on Spotify

Somewhere in this vast universe Tupac is smiling down on Mozzy and Berner as they take LA back 20 years to G-Funk and gangsta rap. “Thug In Me” is the hottest single off their new album Slimy Individualz (review here) and is inspiring old heads everywhere to roll up and go for a ride. Berner and Mozzy both body verses on this joint and Mozzy’s layered vocals on the hook is more than reminiscent of Pac’s confrontational choruses. “Thug In Me” is gangsta rap with modern production and it works so damn well.

“Body for body, nigga, we body shit
Blood spark on the Masi’ and that’s what got him hit”

— Mozzy "Thug In Me"

THROWBACK SONG OF THE WEEK:

“Trilla” by A$AP Rocky (Feat. A$AP Twelvyy & A$AP Nast)

Prod By Beautiful Lou

“Trilla” is an absolutely legendary track and its importance should never be down played. It’s a top track on the tape where Rakim Mayers became A$AP Rocky, one of the most influential artists of our generation. “Trilla” is swagged out to the max and sounds like what it must feel like to be A$AP Rocky. The lack of a hook makes the track sound less like a song and more like the best freestyle you’ve ever heard. Twelvyy and Nast pull through for memorable features and give the song the communal feel that most classic A$AP tracks have. If you don’t know this cut, listen immediately.

“My gold teeth, my french braids, getting throwed since 10th grade
Wealth is in the mind, not the pocket, if that’s the case, then I been paid”

— A$AP Rocky "Trilla"

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CZARFACE and Ghostface Killah Connect for the Epic Adventure that is "Czarface Meets Ghostface"

February 16, 2019 by Miles Hagan in Read

There are some projects where the listener can go in knowing almost exactly what they will get. The body of work in all honesty won't be that groundbreaking, and won’t do anything to change any of the artists involved legacies; but it will be an enjoyable listen with solid replay value. That is exactly what the new CZARFACE and Ghostface Killah album is to a tee. In a world where artists constantly put out music before it is all the way completed, and artists release albums over an hour chasing streams, it is refreshing to see a few OGs get in the studio and just create a solid rap album. Czarface Meets Ghostface is the latest effort from 7L, Esoteric, and Wu-Tang Clan member Inspectah Deck, and this time they get the help of Deck’s fellow group member Ghostface Killah. Any fan looking for incredible flows and amazing word play for 39 minutes is in store for a treat.

What makes these artists so dynamic when paired together is their ability to paint a picture. Both artists have embraced the super hero vs villain personas and it is a theme that pushes the album forward. Songs like “The King Heard Voices” featuring Kendra Morris have haunting pianos in the background. The listener is transported into an evil lair where Ghostface, Inspectah Deck, and Esoteric sound absolutely menacing. Songs like this are what make the album so immersive. The outro “(Post Credits Scene)” is the perfect closing to the album. The CZARFACE members each deliver two hard hitting verses to make a final statement. Esoteric name drops Jayson Tatum and Thanos in his laser focused verse. Inspectah Deck then follows and is as braggadocios as ever. He looks down at anyone who tries to challenge him. The rest of the album is filled with bars for days, and each beat is unique and also sets the tone for each song perfectly. This is a very thematic album that was crafted so masterfully that it really does feel like a movie.

All of this being said, this is a body of work for a specific type of listener. It is very lyrically dense and the word play may not be the casual listener’s cup of tea. The inventive jazzy production is catered toward a more traditional rap fan. Czarface Meets Ghostface is a very well done album that should be heard by any fan of hip-hop music. Even if it is not the popular sound today, it is refreshing to hear people who have been in the rap game for so long deliver an album that lives up to their legacy.

Best Songs:

Super Soldier Serum

The King Heard Voices (feat. Kendra Morris)

(Post Credits Scene)

Rating: 8

Stream the entire project here:

Czarface Meets Ghostface, an album by CZARFACE, Ghostface Killah on Spotify

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California OGs Mozzy and Berner Link Up for Their Authentically Dope New Album “Slimy Individualz”

February 15, 2019 by Spencer Lobdell in Read

This week, west coast rappers Mozzy and Berner dropped their 10-track collab album, Slimy Individualz. This is the first release of the year from both of the prolific MCs but almost certainly won’t be the last. Last year Berner dropped 3 major solo releases to go along with 2 separate joint albums. Mozzy had a good 2018 due to his highly-anticipated, feature-packed, solo album, Gangland Landlord. The Sacramento native also released two joint albums last year. While new music may occur frequently from these two, it in no way takes away from this collaboration. The two California artists trade quantity for quality and deliver with 10 content-rich songs featuring a slew of A-list MCs.

The album bounces back and forth between introspective cuts about existing in the hood and fast-paced bangers with a heavy G-Funk influence. While both MCs do their thing on this tape, it’s Berner who ultimately steals the spotlight. Throughout the tape he experiments with new flows and stops listeners in their tracks with vivid bars like his opening lines on “Family 1st:”

“I’ll never understand dry snitchin’ on the ‘Gram
Killers move in silence, then why do killers hit the stand?
Everybody tellin’, we threw his body in the lake
And kept his thumb ‘cause his fingerprints opened up his safe”

— Berner "Family 1st"

While Berner might demand a little more attention, Mozzy holds his ground and shows us why he’s had such longevity in the industry. He is the backbone of this tape giving it the proper support necessary to work the way it does. Mozzy delivers the albums best hooks and every time he goes in for a verse we are reminded why we put Slimy Individualz on in the first place.

The album starts with a scene from the movie Donnie Brasco. Once the dialogue commences we are thrown into the overtly honest evaluation of street life on the slower “Noddin’.” YG and Logic aid the duo on the smooth and catchy “Ayy” where we are all instructed to admire YG’s two-tone Rolls Royce. The best song on this album is “Thug In Me” where the two MCs recruit Godholly and rap over One Drop Scott’s groovy SoCal instrumental. This song is infectious and sounds like it could be the perfect soundtrack to anything from dancing in the club to committing a felony. On the hook, Mozzy taps into an iconic Tupac sound and flow which works so perfectly over the Death Row inspired instrumental. Check out the music video to the standout track here:

While I may have been intrigued when the OG duo began this albums rollout, it would be a stretch to say I was excited to listen to this tape. I was pleasantly surprised after my first listen and the album continues to grow on me after every play-through giving me hope that it will age well. This project is polished, insightful, and easy to listen to. Slimy Individualz knows exactly what it wants to be and executes accordingly.

Best Songs:

Ayy (Feat. YG & Logic)

Thug In Me (Feat. Godholly)

Family 1st (Ampichino)

Rating: 6.5

Stream Slimey Individualz here:

Slimey Individualz, an album by Berner, Mozzy on Spotify

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Don Toliver: Houston’s Next Rap Superstar

February 13, 2019 by Spencer Lobdell in Read

Houston MC Don Toliver was introduced to the world last year on August 3rd when his feature on Travis Scott’s “Can’t Say” went viral online as one of the best moments on Astroworld. Toliver’s bright vocals slice through the instrumental and steal the show from his very first line, abruptly making his presence known in the rap game. Don couldn’t have dropped his debut album at a better time; Donny Womack arrived just days before Astroworld was released and was promptly followed by an important cosign from Travis Scott himself. Shortly after, Toliver announced he would be signing with Scott’s label, “Cactus Jack Records.”

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Toliver is originally from Alief, an area 30 minutes Southwest of downtown Houston. His style is different and his voice is unmistakable. Don’s treble-heavy, high-pitched tone seems built to deliver fascinating melodies that act as unescapable hooks. He brilliantly mixes hip-hop, soul, and R&B to create easy to listen to bangers. Toliver refers to his style of music as “Trap&B” and here at StereoVision we think that’s the perfect way to describe Don’s original sound. When asked about his musical inspirations, Don cites a motley crew of artists including Sade, Dom Kennedy, Travis Scott, Teddy Pendergrass. The variety of influencers should come as no surprise after one listen through the unique Donny Womack. While Toliver is influenced by variety of artists, his main inspiration for his debut album is soul icon Bobby Wamack who the record is named after. In an interview with HIGHSNOBIETY Toliver said this about the Cleveland legend:

“Of course Bobby Womack, I wanted to get deeper in the soul of what people don’t tend to sing or talk about. I feel like Bobby Womack always sung or spoke on his records. There was always a point to get across, always a message at the end of the day when Bobby Womack spoke. ”

— Don Toliver

Donny Womack, an album by Don Toliver on Spotify

Donny Womack is a high-energy showcase of Don’s plethora of sounds. The infectious “Issues” is an easy standout and sounds like it should be getting played on radio stations across the country. “Holdin’ Steel” with Dice Soho is one of the best cuts on the album. Toliver lays down a catchy hook over a heavy hitting beat that is always pushing the song forward. The guitar riff that anchors “2 Lil Shorty” is absolutely perfect for Don’s floating melodies that never miss a beat. That cut along with the rest of the album has massive mainstream appeal making it shocking that Toliver has yet to explode into the mainstream. Donny Womack was one of the most fun releases of 2018 and is a great listen the entire way through. Toliver is currently working on a new album that should grace our playlists sooner rather than later. After witnessing Toliver’s talent and creativity, it’s apparent that there is truly no cap on his potential. Listen to Donny Womack and get ready for a big 2019 from Houston MC Don Toliver.

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Why 2019 Will be the Year SoundCloud Legend Thouxanbanfauni Finally Gets the Mainstream Respect he Deserves

February 10, 2019 by Spencer Lobdell in Read