Master of His Craft: ‘High Off Life’ Album Review

By Carter Fife

Last week Atlanta rapper and trap icon Future announced and released his eighth studio record, High Off Life. This album follows the release of three of Future’s older mixtapes onto streaming services over the past month, making 2020 a great time to be a Freebandz fan. High Off Life is a 90 minute record that spans 21 songs, making it one of the longest Future projects in a while. Unlike last year’s Future record The WIZRD, this album sees Future adopt a more familiar sound, though there are certainly moments of greatness to be found in the record’s enormous track listing.

High Off Life follows a similar formula that many of Future’s prior records have adhered to over the past half-decade. Like 2017’s FUTURE and HNDRXX, High Off Life is an incredibly expansive catalog of Future tracks that have likely been recorded over the past year. There are definitely tracks that could have been left on the cutting room floor, but in true Future fashion he leaves nothing back as he delivers a 90 minute performance. His vocal register is consistent, his tone alternating between aggressively energetic and confidently laid back, embodying the ‘toxic masculine’ for better and for worse. It is easiest to argue that this is for the better, however, as his fans (myself included) subscribe to his music because of how consistently good it is. After arguably delivering two of the past year’s best features (“Sup Mate” with Young Thug and “Wassup” with Lil Uzi Vert), and entertaining rumors of a second collaboration with Drake - the hype was tangible going into this record. The results were less than surprising.

Most Future records, like High Off Life, seem to be structured around around approximately half a dozen tracks that are clearly meticulously crafted. These hits are then surrounded by around a dozen enjoyable but admittedly less-than-memorable moments. Think back to Migos before the release of the near-perfect Culture - with every mixtape hip-hop’s canon would be graced with a track like Versace or Pipe it Up despite their records having minimum 12 tracks each. In High Off Life, there are several tangible moments of brilliance that parallel his infamous “King’s Dead” verse, though finding them requires a fair amount of work. 

In the ~11 times I have listened to this record this week, I have managed to isolate the tracks where I feel Future to be at his best. Future’s delivery and signature vocal timbre on High Off Life is much stronger than his past few releases, so even though some of the mixes may leave you eying the ’skip’ button, they still remain ultimately enjoyable tracks that surround the hidden gems. “HiTek Tek” is a gem that sees Future’s powerful melodic delivery and “yeah yeah!” adlibs reach new heights as he effortlessly flows over ATL Jacob’s thundering 808s, mechanical hi-hats and glittering synth patterns. 

Though “Solitaires” featuring Travis Scott seems like it would be a clear standout track after the Houston rapper’s incredible verse on Future’s last record, the first 4 tracks immediately get overshadowed when playing High Off Life’s fifth track: “Ridin Strikers”. The ominous-yet-catchy banger features a unique arrangement including a Guzheng-adjascent track that artists like Future helped popularize in modern hip-hop music. After two minutes of bars about trapping and organized violence, a beat switch takes place that emphasizes and amplifies the track’s status as an eerie banger. Every instrument feels out of key, the drums off-kilter, and the 808s decelerated to a lurching slowness. Keeping it all together is Future, rapping a narrative about bank robbery where he says “Hold on, smokin' on pressure / Hold on, straight out a pound / Hold on, crazy-ass shooter / Hold on, sprayin' in the crowd”. The track ends quickly, in its wake leaving one of the most memorable Future tracks released since his career began almost a decade ago.

High Off Life features so many more memorable moments embedded in its hour and a half runtime. “Harlem Shake” sees Future link back up with fellow SUPER SLIMEY collaborator Young Thug, and unfortunately it is not a remix of Bauuer’s EDM anthem. “Too Comfortable” is a refreshing and upbeat moment where Future raps over an acoustic guitar that is vaguely reminiscent of Migos’ 2018 hit “Narcos”, and Lil Uzi Vert’s appearance on “All Bad” showcases the two rapper’s incredibly infectious chemistry. Tracks like “Accepting My Flaws” and “Last Name” with Lil Durk show rare moments of Future’s emotional complexity, making the untouchable and omnipresent rapper reflect in a rare moment of vulnerability. Though “Life is Good” has been out since last winter, it is still a solid track and ending the record with its remix (sporting additional features from Lil Baby and DaBaby) felt like a fitting way to conclude this record.

Though High Off Life is pretty consistently enjoyable with several key moments, it is not without its unfortunate flaws. Future seems to have played it safe with this one, and it is unfortunate that Future doesn’t venture outside of his wheelhouse more often like he did with 2019’s The WIZRD or the following EP SAVE ME. Some of the tracks like “Up The River” or “Hard to Choose One” do not make much of a lasting impact as their beats sound like they were made using the same soundfonts every other producer today is using trying to craft the next big trap anthem. How long will fans have to wait before another Pharrell or Zaytoven collaboration? The answer is unclear. Finally, though it is nice to see Future elevating the next generation by featuring NBA Youngboy, their lack of chemistry and dissonance of styles makes his decision seem like an odd one, though their track together could have been worse. 

Though technically High Off Life is Future’s eighth studio record, this release is just one of over 16 projects that the Atlanta rapper has released over the past 10 years. It is clear in Future’s writing and persona that he clearly understands that he is a significant cultural icon, though hopefully in upcoming years fans are graced with music with less bars about coronavirus, and more thematic risks. I had the pleasure of meeting Future at the Grammys in 2019, and the the only thing more memorable than his elegant and minimalistic suit was the aura of untouchable celebrity confidence he carried with him. High Off Life is this in musical form - highly enjoyable, but it leaves you curious about the missed potential from the routes untaken. At the end of the day, Risks or not, this album will certainly be kept on heavy rotation for the foreseeable future.

Favorite Songs:

Ridin Strikers

Too Comfortable

All Bad (ft. Lil Uzi Vert)

Rating: 8

Listen to High Off Life here:

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Crafting an Introspective Sugar Rush: 'how i’m feeling now' Album Review

By Owen Tait

Charli XCX is no stranger to the experimental. Her 2017 project Pop 2 boasted numerous tracks that ventured into glitchy, noisy territory, and last year’s Charli certainly had its weird side, with cuts such as “Click” and “Thoughts” providing plenty of crushed drums and overblown climaxes for fans to chew on. When Charli announced an upcoming record made entirely in isolation due to the COVID-19 pandemic, I was expecting pretty much just more of the same (which, keep in mind, wasn’t necessarily a bad thing). However, as Charli began to release singles through a collaborative process that kept her fans involved, I was blown away by what I was hearing. 

While her music still definitely falls under the pop umbrella, Charli delivered singles pitched through a lens of noise, distortion, and electronic music. “Forever” and “claws” featured lyrics about both the melancholy and blissful moments within romantic relationships, while “i finally understand” focused on Charli’s battle with her own mental health and self-doubts. Very quickly, I felt as if I was getting a good picture of what the album was going to be about and sound like, and for the most part, Charli delivered as expected—all while exceeding my every expectation. Perhaps her most intimate and close-quarters project yet, how i’m feeling now is an air-tight sugar rush consisting of songs about love, isolation, and the desire to live one’s best life.

Considering that Charli wrote the majority of this album while quarantined with her long-time boyfriend, it’s no surprise that many of the tracks here revolve around their relationship, and some even comment on the way social distancing has impacted their understanding of each other. For example, the song “7 years” looks at how far Charli and her boyfriend have come and the emotional progress they’ve made with each other. Lyrics such as “I used to live inside a lie with you / And now we’re honest and it feels so good” demonstrate Charli’s honesty with herself about how her relationship has evolved, and it’s a refreshing moment that made me genuinely happy for her. Meanwhile, the songs “detonate” and “enemy,” analyze Charli’s struggle with her emotional and physical proximity to her significant other with the latter serving as a definitive high point on the tracklist.

“enemy,” a track led by a nostalgic synth bass and an arsenal of soaring, fleeting synths, plays on the saying “keep your friends close but your enemies closer.” Lyrically, Charli realizes that her emotional vulnerability with her boyfriend could become her downfall should their relationship ever turn hostile, implying that he’s so close to her that he could do serious damage to her heart. She spends the rest of the song exorcising these anxieties, and the closing lyric “Can you reach me?” beautifully sums up her dilemma; on one hand, she wants someone close enough to count on and love, but on the other, she worries they might get too close and break down the emotional barrier she’s put up. 

It’s introspective moments such as these that make the album so emotionally captivating, but that doesn’t mean the project is without its bangers. The intro track “pink diamond” is a hard-as-nails, nocturnal cut that pulls no punches and reflects the nightlife that people enjoyed prior to the pandemic. Screaming synth chords and lasers fill the back half of the instrumental, and a crushed-to-hell drum breakdown closes it out in style. “c2.0,” a wonky reimagining of 2019’s “Click,” sees head producer A.G. Cook chopping singer Kim Petras’ contribution to the original track into a cute, dreamy set of background vocals. Meanwhile, Charli laments about missing her friends and the memories they have together—a sentiment that plays into how most people are feeling right about now. 

As yet another track containing elements of noise and EDM, “anthems” easily lives up to its name, sounding like something out of a college party movie or a promotional video for a music festival. Charli once again reminisces about the way life used to be, comparing it to the mundane nature of quarantine and how it has affected her personal drive. She also shares hope that her friendships will benefit from the time apart, arguing that “when it’s over / we might be even closer.” It’s a reassuring thought, and the high-stakes nature of the track left me in a state of euphoria (which was only heightened by the surreal trip presented by “visions,” the following and final track).

To be honest, there aren’t any major problems I have with this album. In my opinion, there is one minor dud in the tracklist that never quite reaches a satisfying climax (I’ll let you figure out which track I’m referring to, considering it’s the only one I haven’t mentioned so far). Regardless, the project as a whole is super tight and flows really well, the lyrics are catchy and carried by earworm melodies, and the production fully embraces the strange, pushing Charli’s pop songwriting towards pure innovation. It’s a truly inventive, one-of-a-kind project, written from physical isolation yet engineered digitally by a powerhouse team. The emotional moments hit, the bangers certainly don’t miss either, and Charli seems to be as vulnerable as ever, making how i’m feeling now my current frontrunner for album of the year. I can only hope that the future of pop music is this imaginative, forward-thinking, and downright fun.

Favorite Tracks:

forever

enemy

anthems

Rating: 9

Listen to how i’m feeling now here:

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June and Cardo Reunite For The Project of the Summer: ‘Cruise USA’ Mixtape Review

By Carter Fife

Earlier this month San Francisco native Larry June released a mixtape with producer heavyweight Cardo titled Cruise USA. This project is just one of half a dozen records June has released over the past year, including an additional effort with Cardo on the record Game Related, which released this past January. Just in time for summer to begin, Cruise USA is a short and sweet mixtape that sees Cardo producing Bay Area flavored hits for one of the most promising artists active in the area right now. June brings his A-Game as well, providing listeners with a solid 8-tracks that feature Dom Kennedy, Black C, and even June’s own uncle.

Though only 25 minutes long, Cruise USA is a masterclass in combining A-list production and Bay Area energy. June’s charisma and humorous lyrics pair well with Cardo’s upbeat and nostalgic-sounding mixes, making listeners like myself upset that they are stuck inside instead of at a party with this playing. Every audible element oozes a laid-back confidence that is amplified by June’s own sardonic wit - as it is hard not to laugh at tracks called “Green Juice in Dallas”, “Organic Tokens” or “Rolex Truffles” that juxtapose new-era health habits with trapping. Cruise USA is a fun and summery vacation away from the quarantine that has dominated our lives for the past two months, so though it is easy to wish you were anywhere else listening to this record, it is certainly a welcome distraction.

With June and Cardo collaborating together it is hard to pinpoint Cruise USA’s many highlights. The opening song “Green Juice in Dallas” is a bouncy and spacious track with quotable lyrics like “I was just gon’ do one verse, but Cardo, this beat too clean. I got some extra house shoes baby, so take them shoes off your god damn feet (NUMBERS!)”. As of writing this I am still unsure if this project is intentionally funny, or if I am just interpreting Cardo and June’s combined swagger and confidence as some sort of political statement. Maybe the whole record is about the monotony and corniness of the upper-class gentrified suburbia that many parts of San Fransisco and Oakland have turned into over the past few years. Maybe Cruise USA is just a funny project made by two funny and talented guys. No matter their intention, one thing is for certain: this project is really fucking good. 

Another standout moment on the project is the track “Meet Me in Frisco” featuring Black C, which is currently my top contender for song of the year. Larry June meditates on a girl he used to be involved with, and Black C makes a reference to Mac Dre’s iconic track “She Neva Seen” with lyrics about smoking weed, relaxing, and “sipping champagne mimosa with that organic juice”. While they trade lines effortlessly, Cardo’s cathartic and upbeat mix provides the foundation on which June and Black C thrive. June also showcases his versatility on tracks like “Rolex Truffles” and “Organic Love” which are more laid-back and chill - while “Organic Tokens” and “Highway 5 Chronicles” provide based and hyperactive anthems that will be sure to stay in your rotation all summer long. There are even energetic and high-octane bangers like “Orange Juice wit Dom” featuring Dom Kennedy and “Still Learning” with June’s uncle Herm Lewis, both complete with string samples curated by Cardo himself. Though this project is relatively brief, Cruise USA is full of incredibly enjoyable tracks that properly showcase the immense talent of both June and Cardo.

Though it is unfortunate that it may be a while until we can all go out, socialize and blast music together again, Cruise USA will definitely be the soundtrack to my summer. Each of the project’s 8 tracks are equally gratifying and memorable during this time where it seems like every artist has a project to drop. In a perfect world, the mixtape would be a bit longer and feature additional Bay Area guests, but those are small things to criticize when presented with such a great piece of music. If you haven’t checked it out already - give Cruise USA a listen. You won’t regret it. 

Favorite Tracks

Green Juice in Dallas

Meet Me in Frisco

Organic Tokens

Rating: 9

Listen to Cruise USA here:

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The Cascading Effects of Rap Regionalism’s Growing Absence

By Luke Modugno

We as rap listeners are comfortable compartmentalizing music based on regional differences. From the infamous East vs West Coast beef of the late ’90s and the recent rise of the South, to the growth of international sounds in hip-hop, territorialism in hip hop has been around since the conception of the genre. But these autonomous circles of rap are slowly growing closer. From the rise of social media to the invention of the smartphone, the rapid pace at which technology has evolved has made the world an undeniably smaller place. The music world, of course, has followed suit. No proverbial stone has been left unturned, as the way we consume music has changed with streaming services. Artist-fan relationships have never been tighter through avenues such as Twitter, as well as a complete transformation of production processes. Even one of hip-hops defining and fundamental characteristics is fighting a losing battle to the internet: regionalism.  “It’s a switch they can turn on and off,” said author Murray Forman, author of The ’Hood Comes First: Race, Space, and Place in Rap and Hip-Hop. “The Internet has facilitated a sense of placelessness.” Is the song West Coast, East Coast, Southern, or does it even matter anymore? 

Instead of your local record shop getting regionally relevant albums weeks ahead of other cities, it can be accessed worldwide via streaming platforms or countless other sites like YouTube, DatPiff, SoundCloud, and AudioMack. The elimination of the slow migration of physical records has undermined many of the unique characteristics of each region, as full discographies can be analyzed and consumed elsewhere at the touch of a button. Isolation, due to a lack of a comprehensive communication system like the internet, allowed these individual sectors of rap to flourish. 

Of course, the West Coast and East Coast had their own distinctive and legendary hip-hop scenes. But other areas cultivated their own exclusive and independent movements. Memphis developed a darker, more aggressive brand of hip-hop than the rest of the south with groups like Three 6 Mafia. New Orleans was dominated by “bounce” music, a type of hip-hop focused on energy and call-and-response style parties (Drake’s hit “Nice For What” incorporates elements of bounce). 

But the internet has changed rappers' views on the idea of regionalism, as instead of defending their turf's sound, they borrow elements from their technological neighbors.

Not all of this is bad news, whatsoever. In fact, the growing utilization of technology in hip-hop has allowed for a sort of rap renaissance of both the sound and philosophy of regionalism. The genre is more collaborative than ever, allowing for a compelling blend of styles and sounds. Take, for example, the two most recognizable labels in contemporary rap music: Top Dawg Entertainment and Dreamville. Both J. Cole and Kendrick Lamar, head honchos of their labels rosters, are heavily rooted in their respective regions both sonically and topically. But the rest of their labels hardly follow suit. Dreamville artist JID represents a fascinating fusion of Atlanta trap and the old-school soul aesthetics of the south.  Isaiah Rashad of TDE is a through-and-through southern trip-hop guru. And LA based artist Cozz hardly fits Dreamville’s line-up of Southern/East Coast artists. 

Lamar is surely in favor of the post-regionalism of hip-hop,  “It’s not about the coasts, it’s not about what side we’re on. It’s about being as great as Biggie, as ’Pac,” he said in an interview with Power 106. “People trying to make it a rivalry—that’s old school, homie. We’re black men out here trying to uplift the culture.”

Lamar's sentiments on regionalism reflect a growing trend. Transcending the conformity of space has become something applauded in contemporary hip-hop, rather than something scrutinized. Tyler, The Creator, Kanye West, and Earl Sweatshirt, some of the most celebrated minds of rap today, hardly follow their region's designated soundscape. On the other hand, some of the unique idiosyncrasies  of the separate territories of hip-hop have survived the transition from old-school to new-school. Joey Bada$$ and the Griselda crew have upheld the East Coast’s boom-bap brilliance. Traces of the smooth, G-funk inspired golden age of the West-Coast can be found in artists like Nipsey Hussle, Jay Rock, and Lamar himself. While the South has undergone the most considerable transformation of the three with the immensity of trap music, the sounds of Isaiah Rashad, Smino and Big K.R.I.T. harken back to the days when Outkast, Lil Wayne and T.I. captivated the rap world. Artists like Denzel Curry and Travis Scott put their respective cities on the map. Rap is left in an odd place, one situated quite precisely in the midst of an overhaul between an old-school and new-school mentality toward regionalism. 

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But none of this is to say collaborative efforts between the sonic qualities of regions was nonexistent during the golden age of stubborn territorialism. Outkast’s second and third records, ATLiens and Aquemini  had almost every sonic quality of the then budding G-funk revolution that enthralled much of the West Coast hip-hop scene. New York legend Nas was unafraid of mingling with the influencers of the West, as he was the first rapper from the Big Apple to appear on a Dr. Dre beat on the classic cut “Nas Is Coming.” It’s widely known that A Tribe Called Quest’s legendary project The Low End Theory was heavily inspired by the masterclass of production present on N.W.A’s debut album Straight Outta Compton. While collaborative efforts between these distinct regions were entirely more taboo during the 90’s, the result were landmarks, classics and imaginative pieces of music. Today, we’re still enthralled by regional teamwork. Whether it’s when the distinct styles of a Drake and Future produce a legendary record like What a Time to Be Alive, or Migos, Run The Jewels or Kanye West adopting Memphis’ patented triplet flows, we’ll always have an affinity and appreciation for hip-hops regional roots. It differentiates our experiences from one another, but allows listeners a window into another life. A life that happened elsewhere and at an entirely different time, when sound had geography. 

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StereoVision's AOTY Power Rankings: May

By StereoVision Staff

Welcome to our Album of the year power ranking series! Each month all our team members submit their “top 10 albums of 2020 so far” along with some notes about why their list looks the way it does. These lists are then compiled into our overall power rankings which you can find below. Keep scrolling to see each team members personal list which gives interesting insight on how different albums age over the course of the year for specific people. Thanks for reading, we hope you enjoy the article!

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The Teams Picks:

3.15.20 & A Written Testimony still remain at the top of my list because of the expert artistry on both of the projects leading to immense replay value. Upon release, I thought Smino’s new mixtape She Already Decided was solid, but as I revisited the project through the end of April and beginning of May, I quickly realized it was one of my favorite offerings in recent memory. I wouldn’t be surprised if She Already Decided makes it all the way to my year end list because of how fun the entire tape is. Westside Gunn lived up to the lofty expectations he’s set for himself on the excellent Pray For Paris and Kenny Mason showcased his all-time great potential on his debut album Angelic Hoodrat. Lastly, Larry June and Cardo made one of the best albums to listen to in the car with Cruise USA, a undeniably smooth album drenched in west coast swagger. -Spencer Lobdell

To me, Donald Glover still has released the most creative and quality project of this year. That being said Smino’s release of She Already Decided was unexpected, but one of the most pleasantly surprising mixtapes to drop in a while. Jay Electronica and Jay-Z had entirely too many bars as A Written Testimony might have been the best rap exhibition of 2020. Bent Fiyaz, Giveon, and The Weeknd have represented male R&B in an excellent fashion. Pray for Paris and Heaven or Hell are on two opposite ends of the musical spectrum, but each is worth a listen because they deliver things you couldn't get from anyone else. Finally Jhene stayed true to form with the excellent album Chilombo. -Miles Hagan

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My current favorite album of 2020 is King Krule’s third studio album Man Alive! The 25 year old English indie sensation consolidates his eclectic sound on Man Alive, allowing the best aspects of all his various musical influences shine through the album’s seamless production. Bolstered by King Krule’s poetic lyricism and enchanting vocal performance, Man Alive! will be a difficult album to top. This year has seen a great body of releases from up and coming women in the rap game, much of which had been significantly more impressive than the work of their famous male counterparts. Hook and Bbymutha in particular have stood out so far as being two of the most talented, versatile, and exciting new artists out today. Don’t sleep on the girls! -Kaila Cherry

My power rankings have changed a pretty good bit since the last time I submitted them. I moved The Weeknd up as the record continued to grow on me and I added Smino right below it. I thought PND and Jhene both dropped very solid projects that deserved to be in the top 10, and most surprisingly, I loved the chemistry between Chris Brown and Young Thug on Slime B. I thought Kehlani and Nav’s albums were mediocre so they didn’t break my top 10, but hopefully I warm up to them as the year progresses! -Carter Fife

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For the most part, my list remained the same from April. I find that, typically, the albums that leave the best impression on me do a great job of balancing the traditional with the experimental or lean towards the latter characteristic. The artists who have been switching up their sounds or presenting interesting genre blends (e.g. The Weeknd, 070 Shake, Mixed Matches,) have stayed at the top of my list, and more underground artists continue to funnel in as well. Vocalist and producer Mixed Matches presents an atmospheric soundscape of ear candy on Jesse, a project filled with infectious melodies and soothing, layered vocal performances. Meanwhile, newcomer brakence delivers a unique, wonky blend of electronica and punk on his debut album punk2, which features tons of experimental trap production and autotuned vocals. -Owen Tait

I know, the absence of PTSD is alarming to all of my fellow Chicagoans but honestly, it doesn’t match up sonically to the 10 albums listed. Albums 1-4 may be some of my favorite ever, listening to each of the 4 was an experience; the songwriting and overall story makes them all 10/10’s for me. #1 was an easy choice for me, After Hours has Grade-A production and storytelling across the board. Number 6 is a new project from someone I recently discovered; right after listening to the first song I knew the project would be great. At number 10 is Lil Baby’s latest album, I really hated it when it first released, but I decided to give it another listen and it’s actually pretty solid. -Courtney Fields

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Nothing put out this year has quite compared to Mac Miller’s posthumous project Circles, that is until Westside Gunn put out the grimey, bar-heavy masterpiece that is Pray for Paris. Touting some of the best cyphers of the year in “327,” “$500 Ounces” and “George Bondo,” Westside Gunn easily secures a spot in the top 3. The ever soulful and funky It Is What It Is and She Already Decided from Smino and Thundercat have aged like fine wine, while UNLOCKED and Eternal Atake have seen their replay value diminished for me. -Luke Modugno

I am excited to to still Have CHILOMBO at the top of my list. Jhené did what needed to be done to help me survive this pandemic. So again, name another album as captivating and versatile that is also 20 tracks long with no skips! Circles and A Written Testimony remain at the top of my list because they are solid projects from seasoned artists. I had trouble ranking 38 Baby 2, PTSD, and My Turn. I enjoy listening to all three but I’m unsure which is truly better. The debut album, KIKI, by Kiana Ledé, is well constructed and relatable. I listed the project to keep the newcomer in conversation. I’m interested in seeing the rest of the teams picks to see what albums I have been overlooking. -Amaya Lorick

Now that we are approaching the halfway point through the year, it is becoming increasingly difficult to make these picks. At #1, I still have Mac Miller’s posthumous album Circles. I don’t listen to it every day, but the bitter sweetness of this album hits different for me. It’s a fantastic piece, and it is going to be very hard for any albums this year to take its spot. G Herbo also remains high on my list, he surprised me with PTSD and even though it has been out for some time, it still hits just as hard. Drake’s new mixtape made a big splash, I won’t be surprised if this stays on my list until the end of the year. I really dig the vibes on Slime & B, but time will tell how much longevity it has. -Colson O’Connor

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Leveling Up: 'State of Emergency' EP Review

By Colson O’Connor

On May 8th, 2020, Lil Tjay silenced all the haters with his new seven-track EP titled State of Emergency. It’s clear that this project is dedicated to the people of New York as all of the features on the record only come from the hottest rappers in Brooklyn. Some of these features include Fivio Foreign, Jay Critch, J.I. the Prince of N.Y, and the Brooklyn legend Pop Smoke.

Compared to Tjay’s previous work, this EP is much harder hitting. Aside from his two slower songs “Ice Cold” & “My City”, all these tracks consist of bass-heavy beats and hard-ass verses that prove Lil Tjay is leveling up in the game. My favorite aspect of this project is that it really showcases his growth, which isn’t necessarily a trend right now as artists rush to release music during quarantine.

If there’s one thing that is communicated clearly in State of Emergency, it’s that Tjay isn’t stopping until he is crowned the king of New York. Considering he dropped his debut album True 2 Myself in 2019, and he’s already released this EP, I think another full album is not too far away. It’s very clear that he’s been grinding in the studio and he’s got a lot left in the tank. This record and his recent singles are just what we needed to hold us over until we get the new album, which I assume is going to be the best project of his career (to date).

At only 19 years old, 2020 has already been a huge success for Lil Tjay, and we aren’t even halfway through the year. His work is very promising and we are only witnessing the tip of the iceberg.

Listen to State of Emergency here:

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Introducing Atlanta’s Next Superstar: ‘Angelic Hoodrat’ Album Review

By Spencer Lobdell

Photo by Nasser Boulaich

Meet Kenny Mason, the Atlanta newcomer who is undoubtedly next up in the long line of hip-hop greatness from down south. While the majority of the world was introduced to Kenny last October when his break-out single “Hit” was released on streaming services, his debut album Angelic Hoodrat has actually been in production for three years. The fact that Kenny was willing to spend that much time on his debut album reflects an uncommon self-belief that is the first of many signs of greatness Mason displays on his debut record.

At its core, Kenny Mason’s Angelic Hoodrat is a story of duality, a slightly more sinister version of the good kid m.A.A.d city archetype entailing an individual who desires more than anything to do good but is constantly pushed to their limit and forced to act based on their overly toxic environment. The story is one told before, but one Kenny tells with more conviction and authenticity than his predecessors. Not only is it clear that Kenny has already seen more in his 25 years of life than most were meant to in their entire earthly journey, but he posses the rare ability to articulate these emotions in such a palpable way creating a deeply moving experience for those who have lived through similar tribulations and invaluable perspectives for those who haven’t even come close.

Listeners are alerted of Mason’s potential greatness from his very first quatrain as he opens his album with a line about the gut-wrenching paranoia that constantly coincides with being black in America (Sorry mama, I can not show weakness/Niggas walkin' round macho, my thoughts on defense/Paranoia make me talk slow, freezin' on the walk home/Freezin' when the cops show heaters, go figure).

Right from the jump it’s obvious that listeners need to fasten their seatbelt for the wild ride Kenny is preparing to take us on. Lyrical excellence is far from an anomaly on the tape as we are presented with deeply poetic and enticing songwriting at every turn on Angelic Hoodrat. On the fourth track “Lean” Mason concludes his first verse with a dazzling display of introspective wordplay (Speaking spiritual/I see a mirror and see a miracle when I reflect/I think of where I was at a year ago/Knowing where it’ll go/Still be wishin that I was at wherever you at). Kenny’s pen is years beyond his age and he’s already doing things on his debut album that are far beyond the threshold of many people making millions rapping.

Mason is far from a one trick pony though as the way he delivers these lines is equally as impressive as what the bars actually say. Whether Mason is relaxed and rapping in a somber and almost apologetic tone (“Firestarter” & “Once Again”), doing his best Denzel Curry impression and assaulting your ears through an aggressive in-your-face style (“PTSD” & “Metal Wings”), or living out his rock band dreams through a punk rock inspired sound that Mason credits to the legendary Pixies, on each song Kenny consciously picks a different style that fits the track. Not only does this deviation of style keep things super interesting, but it allows Kenny to connect with his lyrics on a deeper level resulting in each song being delivered in a way that makes you believe every word that Mason sings and raps.

Throughout the Angelic Hoodrat, Kenny uses his convincing delivery to disseminate two main emotions to his listeners: perpetual sadness and chaotic terror. Only once on the album does Mason depart from these themes and the result is my favorite track on the album, “Chevron”. This bright track showcases all of Mason’s aforementioned strengths along with potentially his best hook on the record. This song carries the same triumphant energy as much of the music of fellow southerner Big K.R.I.T, an energy that is hard to match and impossible to follow.

The wide array of influences that Kenny cited on his recent press run is apparent on Angelic Hoodrat as very few songs are able to be categorized as one specific genre. Taking genre-mashing to the extreme, Kenny mainly incorporates aspects of rap music of the 2010s and the post-punk movement of the 1990s in his music while sprinkling in bits of R&B and punk rock as well.

Mason doesn’t simply explore punk influences to be different though, as the 25-year-old artist showcases a serious vocal range that isn’t seen in his rap music. Some of the more rock-influenced tracks shine through as his most personal tracks on the album leading me to wonder if Mason actually plays the guitar and wrote these chords as well. Due to Kenny’s lyrical ability, his capacity to transmit emotion, and his post-punk sound, it’s impossible not to wonder if Angelic Hoodrat might be our best guess at what the rumored rock-influenced upcoming Kendrick Lamar album might sound like.

While Angelic Hoodrat is great, it’s not perfect. With this being his debut project, it’s a given that the 25-year-old is still trying to exactly find his sound. This leads to him flying too closely to the styles of others for my taste on a couple tracks. On the third track “PTDS” I swear Kenny Mason is actually Baby Keem at 1:14. “Metal Wings” is a little too Denzel Curry for me in the first verse. The ad-libs on “U in a Gang” are so Trippie Redd it distracts me from what is otherwise an excellent song. With this being said, Kenny is extremely good at impersonating these artists making these moments enjoyable, but with potential like his, he’d be a fool to imitate anyone but Kenny Mason.

In my opinion, Mason’s debut album is the second true break-out project of the year (the first being Take Time by Giveon), launching Kenny into the highest tier of new artists. Angelic Hoodrat will leave you feeling like you know Kenny Mason, sympathizing with those in a position similar to him, but respecting him to the point that where you understand your sympathy would offend him. With Angelic Hoodrat being one of the best releases of the year, it’s officially time to welcome Kenny Mason to the big leagues.

Favorite Tracks

Chevron

Angels Calling // My Dad

Hit

Rating: 8.5

Listen to Angelic Hoodrat here:

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400 Million Dollars Worth of Game: ‘Pray for Paris’ Album Review

By Courtney Fields

Westside Gunn. Photo: Gilbert Carrasquillo/GC Images

The Harlem Renaissance was a black intellectual, social, and artistic explosion in Harlem, Manhattan, New York City, spanning through the 1920s. After four long years of hard work led by Westside Gunn, Benny The Butcher, and Conway, it has become evident to the rap world that Griselda has started their own Renaissance.

On April 17th, 2020 Pray for Paris was released independently through Griselda Records. The Album Art is a story in itself being that it is based on the painting David with the Head of Goliath by Italian painter Caravaggio, who is considered to be “The Second Michelangelo.” Like Caravaggio, Westside Gunn is a product of some of the greats like Raekwon and Ghostface Killah. Said influences are exactly what makes Pray For Paris a gritty, graceful, imaginative, and ambitious album.

The album begins with an intro titled “400 Million Plus Tax'' which is an excerpt from an auction; which is a testament to the confidence of Westside Gunn.

The album then shifts to “No Vacancy”, a track that embodies the true grit and grace that the album’s artwork achieves on its own. The track is an anecdote of Gunn’s drug, crime, designer clothing, luxury car filled life; played over some of the most beautiful keys you’ll ever hear. Nothing is more heartwarming to a rap fan than hearing menacing lyrics over such heavenly production.

Griselda’s big three, Westside Gunn, Benny The Butcher, and Conway take us to “George Bondo”, A track where we see the three men not even try to “acclimate” to their new surroundings. If anything, this track is an explanation for Gunn’s entire career, a man that can say something like “Just shot a nigga on the anklet”, but then go hang out with Virgil Abloh at a fashion show. We even get to hear Benny The Butcher say, “I get you whacked at The Venetian for blasphemous speakin’ ”. Basically, on “George Bondo” we get a glimpse at the intersection point between the streets of Buffalo, NY and the three rappers’ newfound elitist status in the world of music - two worlds that are equally as crooked as they are beautiful.

On “327” Gunn, Joey Bada$$ (it feels good to be able to say we’ve gotten a new Joey verse), and Tyler, The Creator brag about the lifestyles their fame has allowed. I’m sure we can all agree that hearing Gunn brag about keeping a gun in the armrest of his Benz, Joey hanging with Diddy and Jay-Z, and Tyler bragging about his glittery fingernails is pretty worthwhile.

Tracks 8 and on is where we get to see the true grit of Gunn and his friends.

“$500 Ounces'' is a standout track of 2020, let alone the album. In just one verse, Freddie Gibbs sums up what makes him Freddie! He details friends looking out for him, selling drugs, and having trust issues; to then just chalk it up to the way God set his life out to be. Freddie even sneaks in the bar, “Kobe died, I swear a nigga might cry when I watch the Lakers, damn”. I’m not sure if anyone was ready to hear that line. Roc Marciano absolutely destroys the track with his melanin bar, “The MAC-11 hit your melon and crack it” A double entendre that had me pause the track if I’m being honest. Roc’s MAC-11 bullets are cracking skulls (hit your melon and crack it), but the words “melon and” also serve as the word “melanin” insinuating that black don’t crack.

 This review can’t end without mentioning track 10, “Claiborne Kick” which features Boldy James. Boldy sets a scene like no other, hearing him rap about his past is almost like watching a slideshow of his life. Boldy’s lyrics are cold and harsh, you don’t just hear what he’s saying, you feel it. His lyrics literally pop off of your phone as you’re reading the lyrics on Genius.

In its essence, Pray For Paris is, in my opinion, art at its purest form. This album is the truth, really. It perfectly embodies what it’s like to be black in America. We take our past with us everywhere we go, most of the time we try to escape it; but Gunn and the rest of Griselda want us to embrace all avenues of our blackness wherever we are. I mean, he had Virgil Abloh put diamond chains on a painting of David and Goliath. Gunn takes his true self wherever he is, whether it’s at Paris Fashion Week with Virgil Abloh, whacking guys at The Venetian with Benny The Butcher, or listening to Tyler, The Creator choose the next color of glitter for his fingernails.

Favorite Tracks

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

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

Claiborne Kick (Feat. Boldy James)

Rating: 8.5

Listen to Pray for Paris here:

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The Summer of the 6 God: ‘Dark Lane Demo Tapes’ Mixtape Review

By Spencer Lobdell

Drake, photo courtesy of Republic Records

Rap’s biggest commercial superstar, Drizzy Drake, has been making lots of noise in 2020 as he prepares for the release of his 6th commercial album this summer. While hip-hop fans alike were aware of Drake’s recent spike in activity due to the viral hit “Toosie Slide” as well as recent SoundCloud freebies like “Chicago Freestyle” and “War,” no one was quite expecting Champagne Papi to announce the release of a surprise mixtape of leaks and throw-aways that would be available on all streaming platforms less than 24 hours after the announcement post.

Drake released Dark Lane Demo Tapes on May 1st, 2020 through OVO Records. The mixtape contains 14 songs with features from Playboi Carti, Young Thug, Future, Chris Brown and others.

Before diving into the music, it’s important to note where each track came from so we can conclude what this tape tells us about Drake’s sixth album. Four of the 14 tracks (“When To Say When”, “Chicago Freestyle”, “Desire”, & “War”) were released on SoundCloud over the past six months well one track was officially released by Drake on Spotify (“Toosie Slide”). Tracks “Deep Pockets” and “From Florida with Love” were initially recorded for Drake’s 2018 album Scorpion but didn’t make the final album and were eventually leaked in April 2020. Besides the two aforementioned tracks, we have every reason to believe that the rest of the music on Dark Lane Demo Tapes was recording for lucky album number six giving us a glimpse into what to expect this summer.

The first major takeaway from Dark Lane Demo Tapes is that Drake sounds hungrier than he has in recent memory. Something about Drake’s delivery sounds more urgent than it has in years - a welcomed deviation from the slew of complacent mid that he packed on 2018’s Scorpion. He displays this new drive on tracks like “When To Say When”, “Landed”, & “Losses” while also reminding us why we use to refer to Drake as a great rapper and not just a popstar. It seems like Drake is bringing back his long-winded, freestyle-esque tracks where verses are separated by brief pauses in the reflective bars if they’re separated at all. These instances where Drake accepts the challenge of bodying an entire song with no hook truly showcase Drizzy at his best as we remember that most of Drake’s most impressive tracks over the course of his career normally throw conventional song structure to the wind.

Photo: Splash News

Although Drake reminds us why he’s a great rapper through this tape of demos, he makes sure not to neglect his R&B fans on Dark Lane Demo Tapes. “Not You Too” features Chris Brown and showcases the two A-list artists trading sensual melodies over smooth ambient instrumental that are aided by a breath-taking synth slide halfway through the track. The song is classic singing Drake and is going to be played in idle cars with foggy windows for years to come. Drake doesn’t only make R&B for the bedroom though as the 7th track “Time Flies” sounds primed to be his next melodic hit and has the same addictive qualities as his 2018 viral smash “In My Feelings” without being half as obnoxious (please don’t turn this song into a viral trend).

Besides a very underwhelming Playboi Carti appearance, features pull their weight on Dark Lane Demo Tapes and even out perform Drizzy on certain songs, the first of which is the haunting “Chicago Freestyle”. On the track Drake calls on R&B’s next superstar Giveon who delivers a chilling hook that steals the spotlight and sets the tone for the track. Drake doesn’t go down without a fight though as the track showcases some of his most captivating writing and fascinating melodies. Every time I press play on “D4L” my day is made by Future’s “money counter” sound effects. “D4L” sounds like it was so much fun to record and the energy shines through making it one of the most infectious tracks on the tape. Fivo Foreign and Sosa Geek pop in for awesome guest verses on “Demons” adding something to the track that Drake simply couldn’t: Grit.

One of the most promising signs from Dark Lane Demo Tapes are the producers Drizzy chose to work with on the project. One of my biggest issues with Scorpion was boring production from Drake’s favorite in-house producer Noah “40” Shebib. Gone was the magic that the two shared during the Take Care days and all that was left was bland instrumentals that Drake tried to make work. It seems like Drake is taking a different approach to album number six as Dark Lane Demo Tapes has production credits from some of the most innovative producers in the game including Pi’erre Bourne, Southside, Cardogotwings, and OZ. The variation of production styles really seems to bring Drake’s music back to life in ways that I haven’t heard before. Hopefully Drake also embraced this collaborative attitude on album six, utilizing the surplus of gifted producers he has in his network to help lift him out of critical mediocrity and elevate back to the level he was on during the first half of his career.

It would be impossible to talk about producers on Dark Lane Demo Tapes without shining a light on veteran producer OZ who is having a moment in 2020. The beat maker already has three number one songs this year (“Life Is Good”, “Toosie Slide”, & “The Scotts”) and produced some of the best tracks on this new mixtape (“Time Flies” & “Losses”). OZ’s signature is a dreamy instrumental anchored by extensive hi-hat use, a style that gives Drake ample room to explore ear-worm melodies (“Time Flies”) or rattle off an emotional verse dripping in disdain (“Losses”). Oz’s outro on “Time Flies” is transcendent and gives the song a beautiful cherry on top that solidifies it as one of the best tracks on the mixtape.

The last two tracks on the mixtape house Drake flexing his versatility as he kills 6-minutes of UK inspired hip-hop that he’s dabbled with in the past but never fully dove into. As Drake successfully interpolates a European accent on “War” it’s hard not to see the potential for UK-Drake to become the multi-dimensional artist's third persona.

For being a mixtape full of loose freebies, Dark Lane Demo Tapes flows extremely well. Drake opens with three songs that flex his pen game and aim to intrigue fans of Drake the rapper before going into a four-song R&B run. Using “Time Flies” to fade back into rap, Drake then hits us with classic Drake bangers for the next five tracks before concluding the tape with his take on UK rap. Everything about the sequencing is perfect leading to Dark Lane Demo Tapes being more cohesive than the average mixtape.

Overall, Dark Lane Demo Tapes is a win for Drake fans everywhere. Not only did the six god gift us with a bunch of great new music to hold us over until his new album comes out, but even our favorite song on the project was consciously left off the album communicating that we should see an uptick in quality from this mixtape to the upcoming album. 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.

Favorite TRacks

Chicago Freestyle (Feat. Giveon)

Time Flies

D4L (Feat. Future & Young Thug)

Rating: 8

Stream Dark Lane Demo Tapes here:

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Angels, Pablo Escobar, and Wet Kisses: 'To Feel Alive' EP Review

Kali Uchis is undoubtedly one of the most influential alternative pop girls of the last decade. Although she released her first EP Drunken Babble in 2012, it was not until 2015 that Uchis would start to gain traction. That year, Kali Uchis dropped her seminal project Por Vida. This second EP launched the Colombian-American artist into stardom as she captivated young audiences with her dreamy vocals, romantic lyrics, and nostalgic instrumentals. Much like Lana Del Ray, Kali Uchis was able to cultivate her image through the modernization of the vintage aesthetic. Her conceptualization of the “contemporary 70s babe” made Uchis a popular figure on the once popular blogging website Tumblr. An avid user of the platform in late middle and early high school, I can credit Tumblr to putting me on to Kali Uchis right as her career was truly getting started. Since Por Vida, Kali Uchis has gone on to collaborate with heavy hitters in the rap, R&B, funk, and electronic scenes such as Tyler the Creator, Daniel Casear, Steve Lacy, Vince Staples, Gorillaz, and Bootsy Collins. In 2018 Kali Uchis released her first studio album Isolation to critical acclaim.

Two years later, Kali Uchis posted on her Instagram that she planned to release a new album this year but is waiting until a later date to drop it.  In the meantime she wanted to “give her babies Something.” That something was To Feel Alive, a four song EP Uchis says was recorded in her room alone a week prior to its release. In the same post she writes, “nobody needs to listen to it, & i dont want ANYONE to buy it.” Nearly a week later, Kali Uchis officially released To Feel Alive on multiple streaming platforms. The cover art, painted by Instagram user oh_de_laval, features two versions of Uchis eating each other out. On the left is the blonde “Por Vida era” singer on her back with her legs spread. On the right is the black haired “Isolation era” Kali Uchis laying on her stomach eating the pussy of her gal pal. As provocative as this image is, it is actually an accurate representation of the sound the project encompasses. The first two tracks, “honey baby (SPOILED!)” and “angel” are reworks of unreleased songs by Uchis from 2013. The last two tracks, “i want war (BUT I NEED PEACE)” and “TO FEEL ALIVE” are new and take on a more rhythmic and self reflective vibe, something Uchis embraced on Isolation. Sweet, sticky, and endearing, To Feel Alive  is a collection of tracks truly meant to satisfy the dedicated Kali Uchis fan. If you are able to immerse yourself within Uchis’ alluring and fantastical world despite a few over exaggerated vocals here and cliche lyrics there, To Feel Alive is the project for you. In this regard, I can say that To Feel Alive is the project for me. 

Artwork by oh_de_laval

 To Feel Alive opens with the track “honey baby (SPOILED!).” Originally released in 2013 under the title “honey baby,” Uchis adapted the song to be more soft, endearing, and lovely than before. She subs out the booming bass in the first version for bright and airy chimes coupled with chirping birds. Uchis subbed out her rap verses for vocal riffs and ad libs to add a pillowy layer to the song. She changed the concept of “honey baby” entirely, flipping the song from a smooth domineering bad bitch anthem to a dewy love ballad. The instrumental and lyrics are as sappy as can be in the cutest way possible. If there is something Kali Uchis knows how to do well, it is to musically synthesize the essence of romance and give her listeners the warm feeling that comes with being deeply attracted to someone. At certain points on “honey baby (SPOILED)” however, Uchis’ vocal performance falls flat as she moves through keys awkwardly in the first third of the song. She does eventually find her footing, and when she does I am able to give myself more to the music and begin the journey Uchis wants to take me on. 

After “honey baby (SPOILED)” is another track adapted from several years prior. Uchis takes the song “Pablo Escobar” and rerecords it with altered vocals and lyrics. Now under the name “angel,” the track maintains its original instrumental, unlike “honey baby (SPOILED).” The psychedelic feel of the original “angel” is a perfect addition to To Feel Alive, further propelling the project into the realm of mysticism and allure. On the new version, Uchis drops the pitch of her voice to be more natural and relaxed. This a welcomed alternation as Uchis’ vocals were high pitched and nasally in the original. She also replaces the second verse in “Pablo Escobar” with an intoxicating bridge in “angel.” The repetition of “How do I feel for you? High, High High High/ How does it feel for you? High, High, High High” is trance inducing. With Kali Uchis working from an already great track, there was little she had to do to make it much better. Yet she was able to elevate the song beyond what I could have imagined when first heard it as a young teenager. Just like me, “angel” has grown up and it is a more developed and mature version of its prior self. 

Kali Uchis in the official lyric video for “i want war (BUT I NEED PEACE)”

Next, Uchis features a new track entitled “i want war (BUT I NEED PEACE).” Slower in rhythm and somber in tone, the song sees Uchis in a more grounded place as she grapples with a dysfunctional relationship. He takes and she gives; and she is fed up with it. “I want war (BUT I NEED PEACE)” builds on itself sonically. The song opens simply with piano and Uchis’ voice. Halfway through the verse, the drum machine kicks in and her harmonies begin to play a more prominent part in the soundscape of the track. The narrative of the track transforms from forlorn to “fuck you” as Uchis is able to both lament the loss of what could have been a strong relationship and celebrate the personal growth that came from the experience. Not only did she ultimately find peace, she found a man who not “treats her better than he did,” he also “gets her pussy wetter.” What more can anyone ask for? 

To Feel Alive closes with the title track. Just barely skirting the edges of acapella, “TO FEEL ALIVE” is faintly reminiscent of the opening track to Por Vida, “Sycamore Tree.” However, these tracks could not be more different. Accompanied only by an upright bass, Uchis uses the bareness of the instrumental as the canvas to display her emotional turmoil. The song has a stream of consciousness type of flow with Uchis exploring failed relationships, her view of herself as an “outsider,” and her tendency to love despite all odds, perhaps even to her own detriment. Overall, “TO FEEL ALIVE” is soothing and reflective despite it dragging itself out a bit in the last third of the track. With the addition of this song, Kali Uchis ends her EP on an unresolved but not unsatisfactory note. What will it take for Uchis to feel alive? How does she feel about herself now? Has she been able to resolve these issues she feels within herself? Perhaps these questions will be answered with the release of her full length album. 

Kali Uchis set out to “give her babies Something” and she delivered. To Feel Alive embraces where Uchis has been and where she is going. She rewards dedicated fans with official releases of the tracks they have loved on Soundcloud and Youtube for years while also providing new songs for them to enjoy until her big release is ready. Until then, I, like many others, will be waiting eagerly to see what Kali Uchis has up her pink glittery satin sleeve next.

Listen to To Feel Alive here:

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Nothing In-Between Us: A Muse In Her Feelings Album Review

By Carter Fife

It has been almost three years since dvsn released their sophomore studio record Morning After. After their world tour in 2018, the OVO Sound duo comprised of vocalist Daniel Daley and producer Nineteen85 were immediately back in the studio, hard at work preparing their newest record. After releasing a few singles over the past few months and keeping details to a minimum, A Muse In Her Feelings finally released earlier this month. Unfortunately, many fans realized that this album may not have been worth the long wait they endured.

A Muse In Her Feelings sees the Canadian duo churning out sensual and glamorously-produced R&B anthems over the course of just under an hour. The record provides distinct moments that harken back to their previous projects, with many of the tracks (like the powerful opener ‘No Good’ which finds our heroes more dejected than usual) sounding like they could have been left over from early recording sessions for their 2016 debut SEPT 5th. Other tracks that carry a slower and more acoustic feeling to them (like the impressively serene ‘Pray For You’) sound like they could be B-Sides from their last record. If one were to collect all the tracks that break new ground for the group, one would be staring at only 5-6 tracks. This is not necessarily a bad thing, however, as even though the majority of the album shares many sonic similarities with dvsn’s music that preceded it, the music is still made incredibly well with powerful vocal and production efforts from two of the industry’s best. Even if one were to be disappointed that this record does not have a complete musical shift, like the one seen between dvsn’s first two records, there is no denying the talent and allure of this album as a whole.

Where dvsn breaks new ground, they find themselves actually diverging into two totally separate realms within their perfected area of R&B. The first realm is admittedly the safer one, as heard on tracks like ‘Friends’ featuring PARTYNEXTDOOR., and “Flawless’ Do It Well, Pt. 3’ with Summer Walker. It is here that dvsn strays into the conventional and pop-oriented side of R&B, with powerful kicks and mechanical hi-hats dominating the percussion tracks of each song. While ‘Friends’ is more reserved and melancholic meditation on love, ‘Flawless’ is a powerful and outspoken anthem that could just as easily be a club hit as it could be a track one listens to on the way home. ‘For Us’ is another track like this, and with it comes perhaps my favorite mix that dvsn has created since I became a fan years ago. While the song starts out as soft and low-fidelity, it evolves into a 90’s-esque power-ballad with production that sounds like an insane mix between House of Balloons-era The Weeknd and The Backstreet Boys. 

The second realm they stray into is more subversive- as they borrow from reggae and dancehall styles on tracks like ‘Dangerous City’ with the legendary Buju Banton and Ty Dolla $ign, and ‘So What’ featuring Popcaan. ‘Dangerous City’ carries a unique combination of dvsn’s intoxicating heavy R&B style with Jamaican reggae, and the instrumental sounds like something one would find on a Matisyahu album, but why Ty Dolla $ign was included on the track is a bit of a mystery. His presence doesn’t detract from the song, though the choice to pair him with Banton is certainly a strange one. ‘So What’ does what many artists have tried to do: properly harness Popcaan’s incredible talent and delivery without trying to hop on a trend or a wave. This track rhythmically aligns much more closely with dancehall music than most of the other songs Popcaan has been featured on over the past several years, and his performance with dvsn was well-done with the timbre of his deep voice contrasting well with Daley’s. It would be great if fans got more tracks like this, or like ‘Keep It Going’, a song that plays with several musical styles and has one of the most unique vocal performances on the record. It should be said, however, that it is a bit odd to have 3 partly reggae/dancehall songs on a record that is majority trap-influenced R&B.

The biggest problem with this record is that the incredible 2019 single ‘In Between’ was replaced with a remix featuring Snoh Aalegra. The original was a minimalistic, and shimmering acoustic banger that sounded like the lovechild between Jodeci and N*SYNC, so it was a shame it was it was replaced by a weird radio-friendly track featuring a poor performance by a guest vocalist. This is fairly easy to forgive as dvsn was likely trying to capitalize off of the hype from that single, and it is not hard to simply delete the newer version from one’s library.

Although A Muse In Her Feelings does not musically reinvent the wheel, it is still a solid album with close to an hour’s worth of content for every dvsn and R&B fan alike. There is a little bit of something for everyone, and though I wish the OVO duo would have doubled down on their newer dancehall-inspired music, I am still satisfied with what we were given. Was it worth the 3 year wait? Maybe not, and not to sound like an apologist, but few albums are. A Muse In Her Feelings has certainly given me plenty of songs to add to my current rotation, and I am excited to see how this record grows on me in the coming months.

Favorite Tracks

No Good

Keep it Going

For Us

Rating: 7

Listen to A Muse In Her Feelings here:

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The Return of the Raf Simons Raven - Platinum Falcon Vol. 1 EP Review

By Carter Fife

Last Week Oakland’s very own Guapdad 4000 released a small collection of previously released singles into one *cohesive* package: the Platinum Falcon Vol. 1 EP. Clocking in at 18 minutes with 6 tracks (5 of which had already been released over the past few months), this short collection is the first project that Guapdad has released this year, after 2019’s long-awaited Dior Deposit, being all over Dreamville’s ROTD3, and 2017’s Scamboy Color. With his most recent singles nicely bundled together now, it seems like this is a good time to catch up on any you may have missed.

With the humor of Zack Fox / Father sense of humor and the charisma of Vince Staples / Lil B, Guapdad 4000 has quickly made a name for him himself in hip-hop. ‘Platinum Falcon’ is probably one of the best songs to listen to in order to understand what the Bay Area native is all about. Like most Guapdad songs, it is a cleverly written bop featuring an original flow and many humorous bars. While ‘Greedy’ is a bit more aggressive than most tracks on the project, it isn’t until ‘Dolce and Gabbana Dalai Lama’ that the listener is given a rare intimate view of the California M.C. The new track from the collection, ’Trade Places with Them Jeans’ is a similar emotional and slow track with a bit more of an acoustic sound. 

There is not too much to say about these tracks that already hasn’t been said seeing as 5/6 tracks have already been released, but this is truly the time to dive into Guapdad 4000’s discography if you haven’t already. Synthesizing elements of Bay Area music with contemporary trap, hip-hop, and R&B, Guapdad will definitely be a great artist to watch over the next few years. 

Favorite Tracks

Platinum Falcon

Dolce & Gabbana Dalai Lama

Embezzle (feat. Jigga Juice)

Rating: 7

Listen to Platinum Falcon Tape, Vol. 1 here:

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Songs of Solitude - ‘She Already Decided’ Mixtape Review

By Carter Fife

While fans waited patiently for the release of Smino’s third record, the St. Louis rapper decided to drop a semi-surprise mixtape on Soundcloud this week. Titled She Already Decided, this project finds Smino synthesizing neo-soul and hip-hop elements seamlessly over 40ish minutes of casually-produced tracks. It is safe to assume this is at least a partial product of Smino’s time spent in quarantine, as fans received an email from him saying, “S.A.D. MIXTAPE OUT NOW! … I made dis shit at the krib fr tryna stay sane and Inspired as much as I can mane… REAL FREE MUSIC.. AINT NUN PERFECT ALL UNMASTERED N ROUGH RAW WTF EVER for y’all…”. A blessing to be sure for those of us who are going stir-crazy ourselves- thankfully it is hard to complain while safely in quarantine with new music.

For a project whose aesthetic is intentionally casual and ‘rough around the edges’, She Already Decided is an excellent showcase of not only Smino’s versatility - but his command of multiple styles of rapping and singing. On the project’s opener, ‘Fronto Isley’, Smino starts by singing over a classic sample from The Isley Brothers. On the chorus he says “I rap good, smoke good, fuck good, Look good, shit good”, and the next minute he’s delivering lines like “I made a call to bae and told her breakfast on the way / I'm so elated, pussy bald like Charlamagne”. This is just the first of many tracks on the project that make the listener realize that even Smino’s “ROUGH RAW” tracks have an incredible amount of thought and talent poured into them. An example of this is even seen in S.A.D.’s production credits - as though there were not too many hands involved in the tape’s creation, Chicago’s L10MixedIt (Acid Rap, NØIR, Telefone) is involved with every track. 

Tracks like ‘Kotton Kandy’ with Sevyn Streeter and ‘Good Ol Julio’ are great examples of Smino thriving while singing in a variety of different styles. The former is a sultry hi-hat laden R&B track, whose rhythm and chemistry between Smino and Streeter work in tandem to make an infectiously catchy banger. The latter is a much more percussive and jazzy track that requires an insane performance from the St. Louis rapper. For almost three minutes, Smino continuously sing-raps over an intense drum and bass arrangement, and he does not disappoint. The point of these tracks, and their criticism, is not simply to show how versatile of an artist Smino is. What is present here is not just versatility, as to be versatile merely just implies a wide range of ability. What Smino shows on She Already Decided is dynamism - an adaptive mastery of multiple styles of both singing and rapping, and this is shown all throughout the project.

Some of the most stand-out moments on She Already Decided come from Smino’s remixes of other popular songs. On ‘Cabbage’, a remix of Megan Thee Stallion’s TikTok anthem ‘Savage’, Smino captures the true theme of this project while casually adlibbing “I'm having so much fun in this motherfucker right now”. ‘Blac Soda’, an interpolation of Baby Keem’s hit ‘ORANGE SODA’, has Smino delivering clever lines in a cadence that is just a touch too similar to Keem’s, though perhaps that is just a testament to Keem’s iconic flow found in the original track. Smino even gets the opportunity to remix Roddy Rich’s ‘The Box’ on ‘Jamie Boxxx’ towards the end of the project, though not before remixing his own track ‘KLINK’ with T-Pain. 

One of the most notable qualities of She Already Decided is how irregular and subversive many of the mixes and beats found on the project are. ‘2MuchFronto’, ‘Gotta List’ and ‘Chips & Juice’ all occupy opposite ends of the hip-hop instrumental spectrum, but somehow Smino is able to dominate on each one. Even on the track ‘Already’, Smino graces listeners with a strangely hypnotic banger with transposed vocals edited past the point of recognition. Despite how utterly odd many of these tracks are, I cannot help but admit that Smino’s baby-voiced “Big gyal, rock the boat, oh baby! Big gyal, rock the boat, so crazy!” is equally infectious and enjoyable.

She Already Decided is a mixtape that will likely help hold fans over until the eventual release of Smino’s third record, or at least until the quarantine is over. With sixteen tracks to highlight Smino’s own talent in both rapping and singing, it is easy to get lost in the rapper’s wordplay, humor, and sheer weirdness. I would definitely recommend this to anyone looking for a distraction, or at least something new as spring turns to summer.

Favorite Tracks

Gotta List

Already

2MuchFronto

Gotta List

Rating: 9

Stream She Already Decided Here:

http://www.SmiTransfer.com sumn for da ones who been holdin shit down from jump.. FREE MIXTAPE

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The 42 Dugg Interview: The Quarantine, Detroit Rap Legends, and Being an XXL Freshman Nominee

“I feel like everything I do is from the heart, I don’t do no clout chasin’,  none of that fake shit. You gon’ get the real with me every time, you know what I’m sayin’?”

By Courtney Fields

Dion Hayes, popularly known as 42 Dugg was essentially “born in conflict.” Being from the Eastside of Detroit, one of the city’s roughest areas, Dugg landed himself into some legal trouble. 

At age 15 he was arrested for carjacking and felony firearms possession, this arrest earned Dugg 4 years in prison but he ended up doing 6 after his sentence was extended for a physical altercation with another inmate.

The rapper was placed into solitary confinement after the altercation, which ended up being the start of his rap career. Writing raps while in solitary confinement is what honed Dugg’s rap skills. In the one hour per day allotted for Dugg to leave confinement, he rapped to his fellow inmates and seemingly gained his first fans. 

Although in Dugg’s eyes, the raps weren’t very good. In an interview on the Stewe Show, Dugg admitted that initially when he “had got to writing music, but it was a bunch of bullshit.” In 2018, Dugg began to acknowledge rap as more of a serious career path. In 2018 at the studio with fellow Detroit rapper 42 Twin, 42 Dugg wrote his first breakout single, “Mama I’m Sorry”. 

The song is an ode to his mother, who was disappointed to find out his jail sentence had been extended for 2 more years. The rapper went on to release more popular singles like: “The Streets” featuring Babyface Ray and “Stfu” featuring Peezy, EWM Kdoe, Bagboy Mel, Cash Kidd, and EWM Buck. 

 “11241 Wayburn” and “11241 Wayburn Pt. 2” were two projects that led to Dugg becoming a roster member of both Yo Gotti’s CMG record label, as well as Lil Baby’s 4PF record company in 2019. The signing then prepared Dugg’s Young And Turnt mixtape release.

 The rapper earned a feature on “Grace” , the fourth track on Lil Baby’s album My Turn. The track was arguably the best track on the album and this feature caused a great buzz for Dugg’s budding name in the industry. 

Despite the fact that 42 Dugg has been rapping for some time now, Young And Turnt seems like a proper introduction to the rapper’s career. I recently got a chance to catch up with Detroit's next star to discuss how he's been handling the quarantine, his hometown of Detroit, and why fans should vote for him as an XXL Freshman. Our conversation, lightly edited for clarity, follows below:

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Courtney Fields, StereoVision (CF): What are you up to during quarantine? You still going out or staying in?

42 Dugg: Shit, chillin’ for real. I just moved out just trying to get everything straight with my new house. 

CF: I feel like right now Detroit having a sort of resurgence in the rap world. You all have a lot of good artists coming up right now... if you had to make a starting five of some Detroit rappers, who would that include? 

42 Dugg: Let’s see… Me, Peezy, Baby Face Ray, Cash Kidd, Big Sean, Dej Loaf, 42 Twin. Haha, I can’t just do five though, Eminem you know? I can’t just do five.

CF: You mention Big Sean, I hear him talk a lot about making sure he reaches out to other Detroit artists, do him or any other artists reach out?

42 Dugg: Big Sean reaches out, I fuck with him. Peezy, Dej Loaf, Cash Kidd too.

CF: You and Yo Gotti are very close, I know he’s a great businessman, do you see yourself following that blueprint maybe in a few years? Or are you already working towards being bigger than just rap?

42 Dugg: Man hell yeah! I’m really trying to follow his model right now. I want to do some different things outside of rap, anything really. I’m really just trying to stay focused with rap right now though, just staying in the studio.

CF: Detroit Rap has a very distinctive sound, all the rappers are very lyrical and don’t really follow any trends that are hot among most rappers. I see that in your music as well, do you think that’s a result of being from Detroit, or are you just a guy who’s always gonna be himself despite the circumstances?

42 Dugg: Shit, both… you know I’m from Detroit but it’s like, I’m still gonna be me regardless at the end of the day.

CF: Any guilty pleasures? Any specific brand or item you can’t stop buying?

42 Dugg: Ha, Amiri’s and white Air Force Ones lows, yeah, I’m obsessed with those two. Moncler, Off-White, I’m obsessed with all that, I gotta have all that. 

CF: Who are some rappers you wish to work with?

42 Dugg: I’ll work with anybody, anybody who fuck with me. I’m not really just trying to be picky you know, anyone who rock with my music. 

CF: When you signed with both Yo Gotti and Lil Baby, was it more a shocking feeling, or were you ready to get to work?

42 Dugg: Both, it doesn’t really shock me now cause they’re my guys now. It’s just like being around all the guys. 

CF: Lastly, I know you’re currently in the running to be an XXL Freshman… congrats by the way. Why should fans vote for you?

42 Dugg: Appreciate you... I think fans should vote for me cause I'm turnt... you know what I’m sayin’, I make good music. I feel like everything I do is from the heart, I don’t do no clout chasin’,  none of that fake shit. You gon’ get the real with me every time you know what I’m sayin’?

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Duality Takes Center Stage in Thundercat’s Fantastic New Record ‘It Is What It Is’

By Luke Modugno

If a human being were to be the direct personification of the word “duality,” it would most certainly be Stephen Bruner, aka Thundercat. From harmonizing over soulful instrumentation about wishing he could be a cat, to gripping with loss of a friend, to aging and socioeconomic disadvantage, Thundercat’s juxtaposition of painfully human emotions and scenarios can truly make you laugh and cry all at once. But his fourth studio album It Is What It Is is perhaps Bruner’s greatest display of his artistic versatility. 

Building off of the genre-melding sounds established by his 2017 project Drunk, Thundercats signature velvety melodies and funky production allow him to really come into his own sonically on this album. While Thundercat seems to pin down his soundscape on this LP, It Is What It Is is far from predictable. Alternating between toned down, nearly lofi production (“Lost in Space / Great Scott / 22-26”) and upbeat, jazzy tracks, (“Black Qualls,” “Dragonball Durag”) the project ticks all the boxes of a typical Thundercat release without sounding musically complacent. With help from friend and co-producer Flying Lotus, Thundercat takes considerably more sonic risks on It Is What It Is, allowing the album to be far more experimental than prior projects. But each risk pay off, creating standouts like “Innerstellar Love” and “Existential Dread.” The result is a cacophonic ride through Thundercats various emotional states, pushed along with inherently intriguing instrumentation and production.

Mood and sound are ever changing on It Is What It Is, as Thundercat attempts to come to terms with the death of his close friend Mac Miller. The title itself is a reflection of the lessons learned from the Pittsburgh musicians passing, “It’s just part of it, part of the story,” said Bruner in an interview with Apple Music. “That’s why the name of the album is what it is -- [Mac’s death] made me put my life in perspective. I’m happy I’m still here.” His happiness is reflected through his utilization of humor throughout the record, as it extenuates his grieving. No matter how good, bad, happy or sad the situation, Bruner always seems to find room for comedy. His lighthearted approach to misfortune saves the project from focusing too hard on philosophical reflection of the morality and fragility of life, something Thundercat is far too hilarious for. Instead, It Is What It Is exists somewhere else; somewhere between grieving and happiness, laughter and tears, the meaningful and the meaningless, life and death. Duality takes center stage in It Is What It Is, as Bruner must begrudgingly accept the highs and the lows of life because, quite simply put, it is what it is. 

In addition to humor, good company seems to uplift Thundercat during the rough patches in life, and they also happen to make this guest list on this record star-studded. Steve Lacy, Louis Cole, Pedro Martins and Flying Lotus add to the already soulful aesthetics of a Thundercat record, while Ty Dolla $ign and Childish Gambino put in valuable vocal performances on notable cuts “Black Qualls” and “Fair Chance.” The tracklist is full of melodic, atmospheric songs that inspire a wealth of emotions. From floating through space on “Lost in Space / Great Scott / 22-26” to being thrust into the saturated uptempo “Innerstellar Love,” the album is a bumpy, yet endearing musical ride. The funky guitar gracing “Black Qualls” make for a truly soulful track, with a valuable and thought-provoking emphasis on black education and confidence. “Fair Chance” is spacey, glossy, beautiful goodbye to Mac from two of his closest friends (Cat and Ty Dolla $ign). “Dragonball Durag” is hilariously catchy and provides an exuberant counterpart to Bruners introspection. But the crown jewel of the tracklist comes last, in It Is What It Is’ title track, as Thundercat succumbs to his pure devastation in the wake of the death of Mac Miller. “My best just wasn’t enough/ It couldn’t be helped, the end/ The things I would do for you/ So many things I wanna say/ This is the end,” sings Thundercat over a melancholy guitar solo. The song acts as Bruners final goodbyes to Mac, as he grips with the apex of guilt, pain and mourning he’s felt in the two years following Miller’s death. The unbridled despair in Thundercats voice is raw, endearing and heartbreaking. Combined with the intimate, somber production, “It Is What It Is” is a tear-jerking, brilliant memorial to Miller. About halfway through, the track fades and is followed by Thundercat and Pedro Martins trading bass solos. Interweaving with Martins, Thundercat spends the closing moments of It Is What It Is playing the same instrument that sparked his friendship with Miller, which clearly blossomed into something incredibly dear to Bruner. 

It Is What It Isis, through and through, a fantastic record. Its irresistibly funky, genre-fusing instrumentation combined with its playful, yet devastating subject matter make for a truly intriguing project. 

Favorite Songs

Lost in Space / Great Scott / 22-26

Black Qualls (feat. Steve Lacy, Steve Arrington & Childish Gambino)

It Is What It Is (feat. Pedro Martins) 

Rating: 9

Listen to It Is What It Is here: 

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42 Dugg Shows Why He’s Detroit’s Next Big Thing on 'Young & Turnt Vol. 2'

By Courtney Fields

Known to the world as 42 Dugg, Dion Hayes was born on the Eastside of Detroit. He attended multiple high schools as a teenager and was known around town as an avid partygoer. At the age of 15 Dugg got arrested and was sentenced to 4 years in prison but ended up doing 6. Around his fifth year, he was put into solitary confinement for 3 months as punishment for getting into a brawl with another inmate. Since there wasn’t much to do in solitary “I had got to writing music, but it was a bunch of bullshit,” Dugg said on The Stewe Show in 2018. 

Once released, Dugg started to take rap more seriously. He did so by attending a studio session with fellow Detroit rapper, 42 Twin and wrote what would be his first breakout single “Mama I’m Sorry”.

“Mama I’m Sorry” is an apology to his mother, who was disappointed when he got his jail sentence extended for 2 more years for fighting. Dugg went on to release many more popular singles, such as “The Streets” featuring Babyface Ray and “Stfu” featuring Peezy, EWM Kdoe, Bagboy Mel, Cash Kidd, and EWM Buck. 

“11241 Wayburn” and “11241 Wayburn Pt. 2” gained Dugg enough traction to sign a joint deal with Yo Gotti’s CMG record label, as well as Lil Baby’s 4PF record company in 2019 in preparation for his Young And Turnt mixtape release. 

In 2020, the rapper was featured on “Grace” the fourth track on Lil Baby’s My Turn. Arguably the best track on the album, Dugg outshines his label’s head honcho. 42 Dugg manages to deliver emotionally charged bars while still maintaining a menacing cadence and flow that surprised a lot of listeners. 

Within a week of the release of Lil Baby’s My Turn, Dugg continued to ride the momentum the feature created and began rolling out his new mixtape Young & Turnt, Vol. 2 with the video for “Palm Angeles in the Sky.”

Young & Turnt, Vol. 2 was released through 4PF and CMG on March 26th, 2020. The mixtape is nearly 30 minutes long and consists of 14 tracks featuring both of his label heads (Yo Gotti & Lil Baby) as well as frequent collaborator and fellow Detroit rapper Babyface Ray.

On Young & Turnt 2 Dugg sounds like he’s ready to thrust into stardom. The project has an unorthodox, mellow, lyrical sound that has become a standard in Detroit. 

What makes Dugg’s sound on this project distinguishable from his other projects is simply his vocal ability. Dugg sounds like a much more confident and polished rapper. He shows his capability to apply unique vocal inflections that you don't see as often throughout his other projects. 

Many times, Trap artists like Dugg don’t get the respect they should as musicians. Their often misogynistic, violent, crude lyrics get deemed as “inappropriate” by critics and are written off. These rappers are even referred to as a detriment to young listeners by some parents. “Young & Turnt 2” is yet again proof that while Dugg lived in conflict for many of his young years, he and many other young Black men like him possess a unique ability as wordsmiths. 

Dugg mourns the loss and imprisonment of many of his childhood friends on tracks like “It Get Deeper” and reflects on how other of his former friends resent his success on “Hard Times.” All the while, still managing to keep listeners hype on songs like “Turnt Bitch” and “Mr. Woody.”

 This type of duality is often overlooked in the world of Trap and should be celebrated.

Favorite Tracks

Hard Times

Turnt Bitch

One Of One (Feat. Babyface Ray)

Rating: 8.5

Listen to Young & Turnt, Vol. 2 here:

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Welcome to a New Party - 'PARTYMOBILE' Album Review

PARTYMOBILE may not be what exactly we wanted, but P gifts us with a quality collection of music to play in isolation. Maybe we needed this album to get us through quarantine…

By Amaya Lorick

Photo By Geordie Wood

After four years since PARTYNEXTDOOR’s last album, the Grammy-nominated singer and songwriter built serious momentum for his third studio album PARTYMOBILE. Although the Canadian artist had released two EPs (Colours 2 and Seven Days) between June and September of 2017, his fans were craving the distinct sound heard in his previous projects. 

Party’s official introduction to the world, PARTYNEXTDOOR (2013), shocked listeners with the perfect mix of R&B and alternative techno beats, creating a futuristic sound we did not know we needed. His debut album, PARTYNEXTDOOR 2 (2014), was a phenomenal follow-up to his introductory EP because fans were subtly hit with more cockiness and sex-induced lyrics than before. Though PARTYNEXTDOOR 3 had some skippable tracks, it did not disappoint and we learned more about his selfish behavior and toxicity within his relationships. Although we know Party is behind the demise of most of his romantic relationships, we still love him for his ability to acknowledge his faults. In PARTYMOBILE, PARTYNEXTDOOR is the same brutally honest, manipulative cheater. The only difference is that 26-year-old finally breaks off his drawn-out romance at the end of this album. 

In preparation for PARTYMOBILE, PARTYNEXTDOOR released “The News” and “Loyal” featuring Drake, on November 21, 2019. On January 4, 2020, Party tweeted that his album was coming soon but fans received the video for “Loyal” on the 21st of the month instead. A week later, Party announced that he needed until February to complete his album, and posted the PARTYMOBILE cover art. As February came to an end, fans were still confused about why the album had not arrived. On February 27, 2020, PARTYNEXTDOOR released another single titled “SPLIT DECISION,” and the singer announced PARTYMOBILE was available for presale and would finally be available on March 27th.

True to the latter promise, PARTYMOBILE was released by OVO Sound on March 27th, 2020. The 57-minute long album had features from Bad Bunny and Drake and a very surprising appearance from Rihanna. 

PARTYMOBILE begins with a minute-long introduction without the singer’s voice in “NOTHING LESS.” Anticipation is built as the song opens with a gasp for air and is followed by multiple echoes of the singer’s name embedded within the track. The beat drops halfway through the intro before Party opens with “Shawty, you get the best of me. Whatever is left of me.” What person does not want to dream about a partner who puts their all into a relationship? PARTYNEXTDOOR begins with a respectful track that sets a beautiful, yet sexy tone. 

Though there is not a single song to be skipped on PARTYMOBILE, the second song “TURN UP” was slightly underwhelming considering PARTYNEXTDOOR’s past projects. The track was upbeat but the lyrics allude to the repetitive nature throughout the entire album. “TURN UP” is a good song, but it may have also worked well as a shorter interlude. The same can be said about “SHOWING YOU” and “NEVER AGAIN.” At the same time, Party’s flawless transitions between each song are what allow them to grow on you. 

The three singles for PARTYMOBILE are positioned back-to-back-back following “TURN UP”. Ideally, you are supposed to relisten to each song as a key part of Party’s journey. In “THE NEWS,” PARTYNEXTDOOR recognizes that he and his love interest are not on the same page in their relationship. Party hints that he does not want a relationship but also does not want his woman to move on. Then, “SPLIT DECISION” is the acknowledgment of all the ill situations he put her through. He sings about her expression of mistrust and having to decide if she should break things off with Party for good. We recognize a tone shift in “LOYAL” as Party fights for his woman. After owning up to cheating in “SPLIT DECISION,” he hopes to influence her choice in giving him another chance. 

Any Drake and PARTYNEXTDOOR collaboration is bound to be a banger. The two Canadian singers complement each other in a way that never fails, making “LOYAL” one of the best songs on the album. The strategic placement of “THE NEWS,” “SPLIT DECISION,” and “LOYAL” would have been genius if some sort of creative shift occurred within track six, “TOUCH ME”. 

Despite “TOUCH ME” being sonically pleasing, it was disappointing because of its similarity to “TURN UP.” Though the two songs are completely different in terms of production, PARTYNEXTDOOR is back to his old ways by insinuating he doesn’t truly misses his past relationship, but just misses the sex. By the time “TOUCH ME” is over, seasoned fans were either eagerly awaiting “BELIEVE IT” since it features Rihanna, or just hoping the next songs would be more exciting.

Considering we have not been blessed with new music from Rihanna since her collaboration with N.E.R.D. on “Lemon” in 2017, it is safe to say “BELIEVE IT” belongs to her and features PARTYNEXTDOOR. The two talented singers previously worked together on Rihanna’s album Anti (2016). Party wrote her song “Sex With Me” and co-wrote the popular dance song, “Work.” There is a possibility that “BELIEVE IT” could go up against “LOYAL” as a go-to song for this summer. “BELIEVE IT” is more suited for popular radio play compared to “LOYAL” because of its more upbeat chorus, consistency with lyrics, and it's later release date. 

You cannot speak of PARTYMOBILE without unpacking the already infamous song “SAVAGE ANTHEM.” The six-minute song opens with its deceiving chorus of “Don't hold your breath, Don't wait on my love.” Initially, you think that Party is going to do what he typically does and slightly disrespect the woman he spent the entire project obsessing over, but this song is packed with more shade than expected. Party is petty and goes into detail about his dysfunctional relationship with singer Kehlani. The track is believed to have been recorded sometime in 2016 which makes the wounds fresh for Party and explains the venom spewed over “SAVAGE ANTHEM.” In his first verse, PARTYNEXTDOOR references Kehlani’s at-the-time boyfriend Kyrie Irving by alluding to the NBA star’s old jersey number:

“I heard number two is your man now, don't mind me bein' number two now.”

Each time the chorus is repeated, PARTYNEXTDOOR grows more ruthless and if we didn’t already know the song was about Kehlani, he leaves no doubt on the fourth verse when he references her hometown of Oakland, California. 

Besides the obvious mistake of including the Bad Bunny remix of “LOYAL” and not allowing PARTYMOBILE to end with “SAVAGE ANTHEM,” PARTYNEXTDOOR provided us with a solid album. Longtime PARTYNEXTDOOR fans wanted a new addition to the sequel but PARTYMOBILE is the start of a new chapter. Given that the album goes against the major sound portrayed in the trio of projects with his name, it should be individually judged. The song with the closest sound to Party’s previous projects is track 13, “ANOTHER DAY.” I can not be the only one happy that the song still earned placement on the album after it was leaked in August 2019. PARTYNEXTDOOR fans wanted something deemed better than all of his previous projects. Ultimately, Party stayed well within his comfort-zone and relied on his effortless talent to deliver an album he knew would not flop.

favorite tracks

NOTHING LESS

ANOTHER DAY

SAVAGE ANTHEM

Rating: 8

Listen to PARTYMOBILE here:

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DKE Author: The Artist That Will Put Belle Glade, Florida on the Map

South Florida rapper DKE Author proves to have the potential to be Hip-Hop’s next big thing in his debut mixtape “Respect the Dark.” 

By Amaya Lorick

Belle Glade, Florida rapper DKE Author has a name with a combined meaning. In reference to medieval times, the DKE in his name stands for Dark Knight Empire. Author is slightly more self—explanatory and alludes to his storytelling ability. When you first hear DKE Author’s slight country accent mixed with his deep and melodic vocals, you will likely compare his sound to Baton Rouge rapper Kevin Gates. Still extremely new to the game, DKE Author has the potential to surpass Gates’ level of influence due to a more tasteful pen and a bigger vocal range to work with.

Already adopting the nickname, “Prince of the South”, DKE Author gained a following after the success of his song “That Guy” officially released on most multimedia platforms in February 2019. The single has been streamed over two million times and played on various radio stations across the country. The hard-hitting track produced by Yung Dza grasps listeners’ attention but DKE Author’s adlibs lock them into continuing to listen to the song. On February 18, 2019, WorldstarHipHop premiered the video for “That Guy” on their Youtube channel and it has since secured almost one million streams. His confident and fun persona in both the song and music video left his new fans wondering “who is DKE Author and when is he dropping more music?”

Respect the Dark was made available on all streaming platforms on March 12, 2020. The 37-minute mixtape was made up of 12 songs, six already heard by fans. Prior to its release, the mixtape’s next leading single “Gamble” featuring Georgia rapper Quando Rondo was also released via WorldstarHipHop’s YouTube channel which now has almost 200,000 views. The debut project also features southern rappers Lavish the MDK and Kevo Muney. 

My favorite song on Respect the Dark, “Hard Nights,” is easily the realest song on the mixtape because of DKE Author’s vulnerability. Known for producing many of Chicago rapper Polo G’s popular tracks, JTK embeds a subtle cry into the beat that DKE Author effortlessly matches with the emotion in his voice. The song, dedicated to his friend and rapper Raw who lost his life to gun violence, addresses Author’s feelings surrounding his mental health and his connection to his hometown. DKE Author reflects on his decision to pursue a music career and how it has threatened his relationships with longtime friends. 

Respect the Dark undeniably leaves listeners wanting more from DKE Author. It is obvious that the Belle Glade native has a future in hip-hop because of his talent but also because of his relatability. In light of coronavirus pandemic, DKE Author live-streamed a performance of the songs on his mixtape via YouTube. Actions like that prove that that DKE Author has the drive and discipline to gain a loyal following. While Respect the Dark still leaves us uncertain about who DKE Author is, we all should keep the rapper on our radars. 

Favorite songs:

Gamble ft. Quando Rancho

Hard Nights

That Guy

Rating: 7

Listen to Respect The Dark here:

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Giveon Proves He’s R&B's Next Superstar on Debut Project, TAKE TIME

By Spencer Lobdell

It’s only the first week of April, and 2020 has already been an insane ride for music fans. From the release of some of the most highly anticipated projects in recent memory (Eternal Atake, A Written Testimony, etc.), to polished records from industry heavyweights (After Hours, The Slow Rush), 2020 has given us absolutely everything—well, that is almost everything. 2020 has yet to present us with an unknown voice who explodes onto the scene. A young artist who has a different way of doing things and sounds like none of their predecessors. A rare talent that has the ability to force an entire genre to pivot directions to follow this exciting new star. A future superstar who’s innate ability is indisputable and longevity undeniable. 2020 has yet to give us a true break out moment—that is until March 27th when R&B newcomer Giveon dropped his debut project, TAKE TIME.

Originally from Long Beach, Giveon fell in love with songwriting long before he ever thought about singing seriously. In an interview with DJ Booth, he explains how he used to start by writing short stories, then once complete, turn them into songs. Take one listen to the vivid imagery and introspective narrative in any Giveon song and it’s obvious that exercises like this paid off tenfold.

At the end of February, Giveon received his first major industry cosign. Making an appearance on Drake’s one-off freebie “Chicago Freestyle” was equi-part surprising and magical as the young vocalist delivered a chilling hook that brings the song together. The video alone generated 24 million views in one month—talk about a cosign.

Three weeks ago I had the pleasure of meeting the 25-year-old artist when he came into my office space to play the then unreleased TAKE TIME for a group of us. “I had known I could sing, I just didn’t like my voice,” he told us. “I listened to Frank Ocean and Miguel, I thought that that’s how people were supposed to sound, and if you didn’t sound like them, you probably sounded weird.” Giveon carried this misconception until he had an epiphany listening to a Frank Sinatre record. “It was the very first time I heard a baritone singer,” he told us. “That was when I realized there might be an audience for my voice.” This influence is what makes Giveon so unique. The way that he effortlessly combines classic melodies, his breath-taking baritone voice, timeless song writing, and modern R&B production allows Giveon to create an entire world in his music that somehow feels familiar while simultaneously sounding like no one you’ve ever heard before.

Prior to the meeting I had heard his angelic single “HEARTBREAK ANNIVERSARY” so while I was already ecstatic to meet the young creative, I was in no way prepared for what I was about to hear.

On March 27th Giveon released his debut project, TAKE TIME. The eight song EP runs for 25-minutes and contains no features.

The project starts with a recorded voicemail from the artist’s mother, “Giveon, I don’t know if it was fireworks or gunshots but the birds is in the air.” Referring to helicopters as birds, the single sentence perfectly captures the constant essence of danger that exists in his hometown and is a perfect intro for the first track “THE BEACH.” On the track, Giveon sings about how it feels to bring a girl he likes back to Long Beach for the first time (“See, your mom told you about this side/It can get ugly/I'm just a boy from the east side/Do you love me?”). While he is clearly hesitant to expose this girl to the dangers of LBC, she tells him she’s not scared and is ready for whatever may unfold. Sonically, the track is wavy, anchored by a groovy baseline and a beautiful rhythm guitar.

The second track “WORLD WE CREATED” is graceful cut that accurately depicts the bliss that comes at the beginning of a relationship when everything seems to be perfect (“I just wanna stay in the world we created/I just wanna sink in the plans that we makin'/When I leave I'm not lookin' for a replacement for what I got”). The horns section in the back of the mix really compliments Giveon’s voice and the chorus on this thing feels so damn good.

Giveon’s euphoric relationship begins to turn sour on my personal favorite, “FAVORITE MISTAKE.” Clearly not in the same headspace as he was on “WORLD WE CREATED,” Giveon is now entertaining a women on the side and loving the lustrous affair (“Is my secret safe?/Safe with just you and me/We can't leave a trace/This is my favorite mistake”). Giveon’s staccato melody on the hook is backed by heavenly background vocals and creates an addicting effect that’ll have you constantly coming back to this track. 

On the fifth track “THIS AIN’T LOVE” Giveon is clearly fed up with his “favorite mistake” although he’s still indulging the affair. He spoils her to get what he wants but is more frequently realizing that she is far inferior to his girl at home (“Know you ain't the same/in that Saint Laurent/Help you take it off/can't get too involved”). “THIS AIN’T LOVE '' is also the first time we are exposed to Giveon’s beautiful falsetto which he flexes on both verses.

The inevitable break-up happens somewhere between the end of track five and start of track six and “HEARTBREAK ANNIVERSARY” is the verbalization of the melancholy mood that plagues Giveon for months after (“Just like the day that I met you, the day I thought forever/Said that you love me, but that'll last for never/It's cold outside like when you walked out my life/Why you walk out my life?”). The slow and simple piano chords are one of few tracks in the wide open mix shining a bright spotlight on Giveon’s gorgeous vocals really showcasing his ability to carry an entire song on the strength of his voice alone.

The album’s first single, “LIKE I WANT YOU” appears next on the tracklist. Plenty of time has elapsed since the break-up and Giveon and his ex are now on speaking terms. More than anything he wants her to come back to him, but he hides these feelings because he fears she’s already moved on (“Sometimes I wish you knew/But I disguise the truth/I say I'm happy but I'm still stuck on us”). Giveon pours his soul into this slow jam and while the message is one of pain, it’s hard not to love this song.

The project concludes with “VANISH” a reflective track where Giveon relives the time leading up to the break-up. An outwardly distraught Giveon experiences first-hand that nothing stings like regret as he stews over things that were said in the final days of the relationship (“Sayin' things I don't mean/To someone that means the world to me/You see what I mean?”). The song ends with a heartbreaking voicemail from Giveon where he tells his now ex that he’s sorry, they are going to make it work, and that he loves her.

While only seven songs (eight if you count the 45 second interlude), Giveon’s debut project TAKE TIME is phenomenal and leaves you desperate for more. He seamlessly introduces himself and showcases the versatility of his voice while simultaneously taking us on a journey that was his last relationship. Giveon’s combination of genius songwriting, technical singing ability, and an eminently unique voice make him an extremely rare talent that truly is the whole package. Thank you Giveon for creating a world that listeners can escape to in a time where that’s exactly what people need.

favorite songs

THE BEACH

FAVORITE MISTAKE

HEARTBREAK ANNIVERSARY

Rating: 9

Listen to TAKE TIME here:

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The Sada Baby Interview: Detroit Rap, His Upcoming Debut Album, & Running His Own Basketball League

“A lot of us [in detroit] don’t like each other and we don’t have to like each other for our music to stand out as a whole. Everywhere else besides Chicago and Detroit likes to paint a picture that their whole city fucks with each other and that’s just not true, and here, we know it’s not true.”

By Spencer Lobdell

Photo By Sam Leviton

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

Putting on for Detroit is a responsibility that 26-year-old rapper Sada Baby doesn't take lightly, wisely choosing to stay true to both his unfaltering individuality and the city that made him. 

Born Casada Sorrell, the Michigan native first discovered a penchant for experimenting with wordplay and switching up his flow by perfecting the art of freestyling; an aspect of his craft he now reserves for rare occasions. As a teenager growing up in the mid-2000s, Sada Baby gravitated towards the taste-making output from the Cash Money roster, as well as other acts dominating the burgeoning Atlanta scene, such as Lil Jon, the Yin-Yang Twins, Pastor Troy and Gucci Mane, among others. From expanding his palate to include iconic West Coast influences such as E-40 to taking notes from the versatile, unorthodox ways of expressive artists such as Future and Kodak Black, Sada Baby was quick to realize his strength lies in his authentic eccentricities and aptitude for fearless risk-tasking. 

In 2016, he began cutting his teeth as a featured artist with his first noteworthy collaboration—a guest appearance on Danny Mellz's "Megaman X"—laying the groundwork for what would swiftly evolve into an expansive resume. The following year, he hit the pavement hard, dropping an onslaught of loose singles and working with a variety of other artists from Detroit, such as Tee Grizzley, FMB DZ, Tooda Man, Motown Ty and Oba Rowland, to name a few. In 2017, he released two mixtapes, Skuba Steve and D.O.N.: Dat One Nigga, both of which showcase his eclectic style and increasingly renowned charisma. In the fall of 2017, Sada joined Tee Grizzley on his Ain't It A Blessing tour, an opportunity that allowed him to showcase his natural capacity for high-energy, dance-laden performances.

With a combination of elements starting to bend in his favor, such as his consistent work ethic and willingness to experiment vocally on funky, bass-heavy instrumentals, his presence as a regional leader in the Midwest began to translate to a wider audience with his music videos radiating across WorldStarHipHop and racking up millions of streams. In 2018, his Drego-assisted "Bloxk Party" emerged as a definitive breakout single with the accompanying visual garnering 24M+ views and counting since its release. Soon thereafter, Sada Baby became the first signee to ink a deal in partnership with Tee Grizzley's Grizzley Gang imprint and Asylum Records. He went on to receive a monumental co-sign from E-40, who later featured him on the 2018 Gift of Gab cut "The Pack Attack,” with the collaboration doubling as a motivational full- circle moment to work with someone who influenced his artistry directly. 

In early 2019, Sada Baby released his critically acclaimed mixtape Bartier Bounty, which landed on Billboards “Best Albums of 2019” list for obvious reasons. The high-energy project features Sada at his absolute best, displaying his unmatched charisma through a sharp pen. Bartier Bounty cuts like “Bonnie & Blyde” (which features his cousin Ashley Sorrell) showcases Sads’s promising crossover potential. Skuba Steve starts the only verse with an addicting melodic flow that gradually gets more intense until, before you know it, Sada is locked into his patented yell-flow that could make my docile grandma want to get activated. Sada Baby continued to build momentum through 2019 dropping two more mixtapes for fans on SoundCloud (The Whoop Tape and Brolik), both of which were met with positive reviews.

While you could certainly call 2019 a breakout year for the rising rapper, Sada Baby has no plans on slowing down in 2020. On March 20th, he dropped Skuba Sada 2, a compilation of all his biggest YouTube hits over the past year. Although fans of Sada were already familiar with the tracklist, it’s beyond nice to have menacing cuts like “Aktivated” & “Bully Ball,” as well as hits like “Slide” & “Pressin (Feat. King Von)” on streaming services. With his highly anticipated debut album expected to hit streaming services sometime this year, everything seems to be lining up for 2020 to be the year Sada Baby becomes a household name.

From making obscure cultural references to pushing the boundaries of trap music to holding his own while teaming up with other artists, Sada Baby is here to entertain, inspire and encourage others to balance life's seriousness with moments of much-needed lightheartedness and humor. I had the pleasure of chatting with Skuba Steve earlier this week. Our conversation, lightly edited for content and clarity, follows below:

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Photo by CT FILMS

Spencer Lobdell , StereoVision (SL): What have you been doing to keep yourself busy during quarantine?

Sada Baby (SB): Playing video games and smoking weed. Three to Five grams of cookie in an original backwood.

SL: In 2018 you signed with Tee Grizzley’s imprint label, Grizzly gang. I understand you aren’t working with them anymore. What happened and what’s your relationship with Tee like now?

SB: Just bad business that’s all. We didn’t share a common interest. Basically, they were shelving me, without me knowing what being shelved felt like or what it meant. Me and Tee don’t have a relationship. We don't talk, I wish him the best though.

SL: Your newest release Skubba Sada 2 is a compilation tape made up of the best songs you’ve dropped on YouTube over the past year. What do you like about frequently dropping music on YouTube opposed to a more traditional DSP drop?

SB: I feel like I’m the only person that does it because I’m the only one who has the ability to do it without my music getting watered down. When talking about my music you don’t hear someone say shit like “I only liked one of the last ten songs he dropped,” like no, that’s not possible hahaha. I like to think you’ll never hear a Sada Baby song that sounds like the last one you heard.

SL: What can you tell me about your debut album rumored to be dropping this year?

SB: Not shit hahaha. The virus has obviously thrown our timeline off a little but it’s coming and it's got Yachty on it, Skilla Baby on it, and FMB DZ on it for sure. Chris Brown might be on it and G Herbo might be there as well.

SL: Who’s an artist you’ve always dreamed about collaborating?

SB: Probably Bad Bunny. I don’t recall a lot of rappers collaborating with him and I know a large portion of my fan base is hispanic and mexican. Also, he’s fucking bad bunny, even if you’ve never heard his music or know who he is, you've seen him somewhere important. Ya, a song with Bad Bunny would be fire.

SL: I read that before winning a rap contest you were planning on going to culinary school. Do you consider yourself a chef?

SB: For sure. I don’t have a signature dish cause I can make anything. Whatever I want to taste, I drop in the pot. I used to cook on Instagram a lot, steak, lobster, pasta all that. Ideally, I’d like to open my own restaurant while I’m still rapping. Get locations all over the US, one in LA, one in Atlanta, one in Detroit, and one in Chicago.

SL: From “2K20” & “Driple Double” to being featured on Damian Lillard’s latest release, it seems obvious that basketball has impacted you in some way? Do you play?

SB: Yup I used to play in high school. I had scholarships and all of that but went to jail my senior year. I still play frequently though, my game’s like Melo, no defense, all offense, deadly shooter. I’ve done some basketball camps over the past couple years, one with Kyle Kuzma. I played in the bleacher report all star game and a few of my family members play/played professionally. I actually have my own basketball league too, it’s called the P-League. Unfortunately the gym we use just got shut down because of the virus.

Check out some Sada Baby highlights here:

SL: What do you think your Pistons need to do to get back into the playoff  picture?

SB: Man, I’m a Pistons fan by heart and blood and I’ll tell you we need to fire the entire front office. That Andre Drummond move was terrible. I understand he’s going to be a free agent next year, but I know Andre personally and I know he wanted to stay here and would’ve stayed here. They even told him they weren’t gonna trade him then they went and gave him away for a bunch of nothing. It doesn’t help that we don’t know how to draft either. 

SL: What makes the Detroit rap scene different from anywhere else in the world?

SB: A lot of us don’t like each other and we don’t have to like each other for our music to stand out as a whole. Everywhere else besides Chicago and Detroit likes to paint a picture that their whole city fucks with each other and that’s just not true, and here, we know it’s not true. There’s for sure separate factions too. Like the motherfuckers that are with me like DZ [FMB DZ], Skilla [Skilla Baby], & John Boy, we fuck with Big Sean where as a lot of the other motherfucks lean towards fucking with Eminem even though Em don’t acknowledge no one from Detroit.

SL: Who are some low key Detroit rappers who could make a big splash in 2020?

SB: Obviously there’s the guys in my camp who go crazy. FMB DZ and Skilla Baby are poppin in the city but aren’t nation wide yet. As far as guys who aren’t under me, Nook is super cool, Baby Smoove could pop off this year, Veeze is fire, and this young cat Lil Buddy. He has a singing joint on his last tape that was scary good.

SL: Is there anything else you want StereoVision readers to know about Sada Baby?

SB: Man, just tell them I’m the best rapper they don’t know.

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