Megan Thee Stallion - Good News Reaction/Review

In today's video, Amaya and Desiray listen to Good News by Megan The Stallion and watch the music video for "Body" for the first time.

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  Mar 16, 2021, 9:01 PM
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  Mar 15, 2021, 1:09 PM
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  Kendrick Lamar performs “The Blacker The Berry” and “Alright” at the 2016 Grammy’s ✊🏾💯 What’s your favorite Grammy… https://t.co/IVbP8S5GG3

  Mar 14, 2021, 3:28 PM
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  What’s your favorite song off of Drake’s new EP Scary Hours 2? 🦉 Watch our reaction/review on YouTube now:… https://t.co/3FkGanspgw

  Mar 6, 2021, 10:54 PM
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  Happy birthday to one of the most creative artists of our generation 🍩🔥 https://t.co/672lQAEWyo

  Mar 6, 2021, 8:33 PM
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  Anderson .Paak and Bruno Mars are releasing an album together called ‘An Evening With Silk Sonic’ 💎👀 The first sin… https://t.co/ohP7iJjhGh

  Feb 25, 2021, 9:04 PM
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  Frank Ocean’s legendary debut mixtape ‘Nostalgia Ultra’ turns 10 today ⭐️ What’s your favorite song off the timele… https://t.co/WFRAYQ24zq

  Feb 17, 2021, 12:17 AM

Kendrick Lamar, New Travis Scott Merch, & New Seasons of Atlanta

In today's episode of StereoVision News, Amaya & ChloClark discuss upcoming albums from Kendrick Lamar, Drake, & Megan Thee Stallion. The duo also speaks on King Von's tragic passing, Pluto x Baby Pluto, new Travis Scott merch, and more.

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  Mar 17, 2021, 1:39 PM
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  Happy 6th birthday to Kendrick Lamar’s ‘To Pimp a Butterfly’ one of the best albums ever released 💿🦋 What’s the be… https://t.co/4boKEsxxJM

  Mar 16, 2021, 9:01 PM
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  Mar 15, 2021, 1:09 PM
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  Kendrick Lamar performs “The Blacker The Berry” and “Alright” at the 2016 Grammy’s ✊🏾💯 What’s your favorite Grammy… https://t.co/IVbP8S5GG3

  Mar 14, 2021, 3:28 PM
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  What’s your favorite song off of Drake’s new EP Scary Hours 2? 🦉 Watch our reaction/review on YouTube now:… https://t.co/3FkGanspgw

  Mar 6, 2021, 10:54 PM

The Best Rapper Under 30

In today's episode of TheStereoVision Podcast, Miles and Spencer talk about the late King Von, Lil Loaded turning himself in for murder, and the best rappers under 30.

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  Mar 14, 2021, 3:28 PM

Small: “SMALL World” Single Review

By: Kaila Cherry

SMALL world is the debut single by 18 year old Bay Area graphic designer, photographer, and video artist Jamahl Edwards. Under the alias Small, Edwards wrote, performed and co-produced the track. Coming in at 2 minutes and 25 seconds long, Small succinctly tells a story of personal and cultural insecurity as he struggles to navigate the environments he has been made privy to without his control. “SMALL world” is a pensive track that encourages reflection as we are let into the intimate mental space of the artist who spills his soul out to us like we are his journal. With the pure authenticity of Small’s lyricism and delivery, we are able to easily open ourselves up to him and eagerly give him the space he needs to speak his truth. 

The track opens with a flash forward to a later part of the song. Slowed and pitched down over a droning guitar melody that carries throughout the track, Small recounts an account of theft enforced by the immaculate lyric “reaving spirits Keanu sees when it drops.” Once the song transitions from the intro into the main track, Small keeps his voice deep and grainy as he raps “It’s a small world we live in/It’s a small hurl to fit in.” As the narrative of “SMALL world” unfolds, what reveals itself are the lamentations of someone who has been forced into conformity and yearns to be free of such constrictions on their personhood. Lost in a world of pills, spirits, and hitting licks, the narrator cannot distinguish the real from the fake or the good from the evil. Through confusion, however, there is hope (or desperation) for salvation. Maybe a Hail Mary or a prayer will allow Small to transcend their material condition. Or perhaps it is this very faith that further plunges him into uncertainty. 

A very moody track, “SMALL world” employs fairly bare bones yet emotive production. The guitar is the most tangible aspect of the instrumental, bright against the brooding sound of the percussion. A subtle synth adds an element of dreaminess to the song, further enforcing the bittersweet energy of SMALL world. One could easily compare Small’s musical style to that of Earl Sweatshirt, the king of solemn and introspective rap music today. Both dare to explore their dark emotions with the utmost care for themselves and the listener, creating something that is undeniably moving without being wholly triggering. To see this vulnerability, especially from Black men who are hypermasculinized by society, is not only incredible, but revolutionary. 

“SMALL world” may be Small’s first song but it is not amateur by any means. He has hit the ground running with what has quickly become one of my favorite singles of the year. It is easy to look at what is trending on Spotify or Apple Music and add that to your music library. However, more often than not, some of the best music out there is being made by unknowns. Their work is hiding in plain sight. As music fans, it is imperative that we stay curious and receptive to new sounds, new styles, and new artists. The work of Small is the perfect place to start. 

Listen to “SMALL world” here: 

Listen to SMALL world on Spotify. Small · Single · 2020 · 1 songs.

Follow Small on Instagram: @jamahl_edwards

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  Mar 16, 2021, 9:01 PM

Performing in a Parking Lot: Thundercat and Hannibal Buress Live in Los Angeles

By Carter Fife

Last weekend in Pasadena, fans of comedy and music flocked to the suburbs to watch Thundercat and comedian Hannibal Buress play a drive-in show in the Rose Bowl Stadium parking lot. Though this was certainly not the ideal way to see the two performers, attendees were respectful and responsible - following the COVID guidelines and mask requirement. As the LA sun set on the large patch of grass, a stage was illuminated while guests did their best to hide their drinks under their blankets and LA Dodgers afghans. 

Taking the stage first was Thundercat, whose performance was lively and upbeat - definitely a much-needed dose of fun for fans during the pandemic. Wielding a massive bass guitar, the LA musician offered fans a heartfelt ‘thanks for coming’ before playing a litany of tracks from his newest record It Is What It Is. To fans’ surprise, Thundercat even brought out Ty Dolla $ign to perform their track ‘Fair Chance’ - a chill moment that was far from a harbinger of what was to come. As quickly as it started, Thundercat ended his set with ‘Funny Thing’, and fans were treated to a brief pre-recorded video of the two discussing topics like video games, Cowboy Bebop, to backstage fights at music festivals. After about 30 minutes, Hannibal graced the stage.

Hannibal’s set was not as straightforward. Though it is unclear whether or not he was unprepared, or under the influence, or both, the Chicago comedian stumbled through a mixture of old bits, awkward banter, and personal songs. It wasn’t all bad - at one point he brought out Open Mike Eagle, and it was fun watching the band members behind him cringe as he tried to play off poorly timed jokes about Chadwick Boseman. While it would have been more enjoyable if his set was better, or if he bombed harder, attendees seemed to be having a good time, if not a little confused as to what was going on. Selena Kuikahi, an attendee at Saturday’s show, noted that Hannibal looked like he “didn’t try”, but the performance was not without its moments. Another highlight was when Hannibal made his way through the parking lot in a UFO, asking fans what their biggest regrets in life were. Though the bit didn’t last long, it was still great to watch a grown man talk about VR porn for an hour. 

Though the pandemic has hit the live performance industry hard, and many fans are ravenous to go out and live their lives again, shows like these are a solid way to get out of the house safely, and to forget about present anxieties for a few hours. The audio quality was surprisingly good, especially compared to when I watched Tenet in Sparks Nevada at another drive-in. Unlike that one, the audio did not sound like it was being played through a walkie-talkie, and we did not hear gunshots within 15 minutes of the performance. Parking was easy and it didn’t take long to leave the stadium, so I would highly recommend performances like these as a great way to revitalize both your mental health and a suffering industry right now. Thundercat and Hannibal put on a great show, given the circumstances, and I look forward to eventually seeing the two of them at a show in the future. 

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  Mar 16, 2021, 9:01 PM

Action Bronson: ‘Only For Dolphins’ Album Review

By Luke Modugno

Everyone can appreciate a well-executed album concept. Weather it be a psychedelic journey through Travis Scott’s fantasy theme park in ASTROWORLD, a journey through the complex, intricate layers of the mind of a troubled genius in Kanye West’s My Beautiful Dark Twisted Fantasy, or the depiction of a world ruled by a ruthless masked conqueror in Madvillainy, albums simply separate themselves from the ordinary with a intriguing concept. That was absolutely the case with the tropical, exotic new Action Bronson record, Only for Dolphins. 

Excluding his collaborative record with The Alchemist, we haven’t heard a full-length solo album from the New York native since 2018. Since then, Bronson has clearly been in the lab, as Only for Dolphins is by far-and-away his most eccentric, compelling and distinguished record to date. 

From the opening moment of the record, the production is extremely unique and attention-grabbing. Defined by the occasional dolphin noise, the sound of waves crashing and warm, plucky guitars and inviting pianos, the listener can’t help but feel transported into a Miami-vice-esque world created by Bronson’s beat selection. With help from prestigious producers The Alchemist, Harry Fraud and Daringer, Bronson spits entrancingly smooth bars about his foreign travels, eating international exquisite cuisines and his driving his luxury cars “like Dale Sr.” The infusion occasional oceanographical reference along with Bronson’s usual lyrical topics add a signature touch to Only for Dolphins, definitively isolating it from the rest of his discography. Conceptually, the project is unparagoned and inherently enthralling. Only for Dolphins’ soundscape makes you feel as though you’re laying on a exotic beach in a cabana, or riding down Calle Ocho in a drop-top convertible. 

Bronson also dabbles in genre-bending, as multiple records on Only for Dolphins have unmistakable reggae influences, including “Cliff Hanger,” and “Golden Eye.” Additionally, Bronson favors more psychedelic, hypnotizing subject matters and beat selection on tracks like “C12H16N2,” as we follow Bronson through a shroom trip while attending an early screening of “The Irishman” at Lincoln Center. From the lethargic, slower beats on “Vega” and “Hard Target,” to uptempo head-nodders like “Latin Grammys” and “Mongolia,” Bronson kills whatever challenge comes his way. Bronson’s usual boom-bap, classic New York sound is nowhere to be seen. Instead, Only for Dolphins represents Bronson’s arc of progression as an artist, as he seems much more comfortable taking on a diversified palette of beats. 

One of the few negative aspects of the project comes from the lack of guest appearances on Only for Dolphins. Excluding two tracks, the album is devoid of features. On tracks like “Latin Grammys,” “Hard Target,” or “Marcus Auerlius,” a feature from an R&B artist would’ve helped mitigate moments where Bronson somewhat awkwardly delivers hooks. 

All across Only for Dolphins, Bronson chooses to slow things down. While he sounds less hungry than he did on earlier works like Mr. Wonderful, Bronson sounds older and wiser on this project, as he spits on “C12N16H2,” “I got older and realized there were no heroes/Dont even talk to me unless you’re talking more zeros.” The lack of venom in Bronson’s flows fits the album perfectly, as the sonic backdrop provided by the production fits a more lackadaisical delivery. Additionally, we get flashes of unusual introspection from Bronson on tracks like the off-kilter closer “Hard Target,” where he raps, “The weed don’t even hit me like it used to/When I was youthful/Man, I don’t even know how to pray dog.” Only for Dolphins is the perfect project for those missing vintage Bronson, but are ready for something significantly distinct as compared to his prior efforts.  

Through-and-through, this project is easily one of the best-produced records to drop this year. At this point in his rather distinguished career, Bronson can truly take his artistry in whatever direction he likes and it will likely be a success. Bronson challenges his own artistic tendencies with Only for Dolphins and it pays off.

Favorite tracks

C12H16N2 

Latin Grammys 

Sergio 

Rating: 8.5

Listen to Only For Dolphins here:

Listen to Only For Dolphins on Spotify. Action Bronson · Album · 2020 · 12 songs.

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Can Lightning Strike Twice? 'Savage Mode 2' Album Review

By Carter Fife

Four Years ago 21 Savage and Metro Boomin released Savage Mode, a dejected and hyper-violent mixtape that helped elevate the two young trap artists into hip-hop stardom. The record was a dejected and bleak portrayal of poverty, betrayal, and gang violence - so miserable and grim that it was almost indulgent in the exploration of its own suffering. Metro’s innovative production and 21 Savage’s signature vocal tone and thematic register would work in tandem to create ubiquitous and universally-known tracks like ‘X’ with Future and ‘No Heart’ that still resonate in hip-hop’s canon today. After several months of rumors and cryptic hints, Metro Boomin and 21 Savage finally released the long-awaited sequel Savage Mode 2, sporting a nostalgic bling-rap cover with a knife separating the two icons. The record is six tracks longer than the original, and this time around Metro Boomin’s production is not only decorated with a host of new guests, but also a more developed 21 Savage. Thankfully many of the tracks were worth the wait, but whether or not it will stand the test of time like the first Savage Mode did is yet to be seen.

One of the first things one hears listening to Savage Mode 2 is not 21 Savage or one of Metro Boomin’s notorious production tags. The first voice on the record is instead, Morgan Freeman, who narrates over half of the songs on this record. Occasionally he will gracefully make an appearance to offer some wisdom on the nature of violence, snitching, or what Savage Mode means. While some found this to be corny, Freeman’s narration actually has two purposes - the first is to obviously flex on the audience with a star actor delivering ideas that you would never expect to hear come out of Morgan Freeman’s mouth, but the other is to add a sense of levity to the record. Since the release of Savage Mode, 21 Savage has gradually incorporated his subtle sense of humor into his music, perceivable only to those that keep a close eye on what Savage is putting down, which admittedly is easier said than done. Though the first track is entirely Freeman’s musings, the album wastes no time getting to the music.

Savage Mode 2 sees 21 Savage and Metro Boomin at arguably the prime of their careers. Though Metro frequently takes time off to ‘retire’, 21 Savage has spent the past 4 years consistently developing as an artist with each release. It is rather strange to think about how the original Savage Mode came out right after 21’s placement on the XXL freshman list in 2016, and now we see him 5 platinum singles later, with placements from artists like Travis Scott, Post Malone, Drake, Nicki Minaj, and Offset under his belt. On Savage Mode 2 he shines, delivering hard-hitting raps that no longer need to rely on meme-esque threatening or overly-violent one-liners. 21 Savage demonstrates a versatility that is uncommon to see in an artist his age, flowing effortlessly on desolate bangers like ‘Glock In My Lap’, pop-rap hybrids like ‘Mr. Right Now’ with Drake, and even more laid back and vintage sounding cuts like ‘RIP Luv’, ‘Said N Done’ and ‘Rich N**** Shit’ with Young Thug. Where there used to stand an indulgent one-dimensional rapper, today exists a multifaceted and skilled artist who can hold his own when working with even the most commercially-successful industry heavyweights.

This time around Metro Boomin’s production does not seem as game-changing or innovative, which is not entirely his fault. Over the past few years, Metro has seen his production methods and styles become the industry norm, so much so that at this point songs like this rarely are classified as trap music. A negative side effect to Metro Boomin not being one of the only ones in his lane anymore is that now his style sounds generic - like commercial hip hop. Despite this, Metro Boomin still works against the trends to deliver some hard-hitting and incredibly well-composed mixes, even if seconds after their release he inspires a whole new wave of ‘type beats’ to drop on YouTube.

Album cuts like ‘Glock In My Lap’ and ‘Brand New Draco’ are spacious and cinematic - a surprising departure away from the ambient and dangerous beats that he used to compliment 21 Savage’s style so many years ago. The record’s first half is full of great beats, ‘Runnin’ and ‘Slidin’ both capture the energy of the first Savage Mode, albeit a bit more moderate. Though some of Metro’s mixes may appear as less lustrous as they would have 4 years ago, like ‘Snitches and Rats’ with Young Nudy and the first half of ‘My Dawg’, others are hard not to praise despite not being incredibly enjoyable. The first that comes to mind is ‘Steppin on N****s’, a percussion-heavy beat that sounds like it was ripped straight out of the ’80s, and the klaxons used on the chorus with 21 Savage’s monotone evoke almost Planet Rock-type vibes. It is easy to wish that Savage Mode 2 sounded more like the first, filled with haunting minimalism and low-key instrumentals that help capture 21 Savage’s misery and struggle, but the choice to include a more dynamic array of beats was likely the right one as 4 years later, neither Metro nor 21 are the same artist that they used to be. This may be a good thing, no matter how much love Savage Mode receives.

Ultimately there is not too much to criticize about this record. Like most records of its type, it is a lot to digest while listening to the entirety in one sitting, but this mixtape has many positives that its predecessor didn’t. Savage Mode 2 is far more versatile than the first, and though it may not have its euphoric highs, it makes up for this with consistency, talent, and versatility. 21 Savage’s departure from his reliance on extremely sinister lyrics signals a substantial change, and despite the fact that his writing is still far more melancholic and violent than the average rapper, he now has many more skills and tricks at his disposal this time around. Hearing 50 Cent on ‘Many Men’ was an incredible moment that wouldn’t have fit the monolithic register of the first Savage Mode, and this record certainly makes a strong argument towards investing in a new artistic direction. It is not easy to make lightning strike twice, and perhaps it did not with Savage Mode 2, but maybe that is a good thing. Metro Boomin and 21 Savage’s turn towards a more dynamic and insightful aesthetic will likely pay off in the long run, but only time will tell. If you haven’t checked out this album yet, you owe it to yourself to do so - it is streaming everywhere and best believe if they decide to tour once the pandemic is over, you’ll have to bite and claw to get a ticket.

Favorite tracks

Glock In My Lap

Said N Done

Many Men

Rating: 8

Listen to Savage Mode 2 here:

Listen to SAVAGE MODE II on Spotify. 21 Savage · Album · 2020 · 15 songs.

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Future & Lil Uzi Vert - Pluto x Baby Pluto Reaction/Review

In today's video, Miles and Spencer listen to Featuring Pluto x Baby Pluto for the first time and give their initial reactions

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  Extra extra! Check out some of our highlights from last night’s Grammy’s 💿 https://t.co/Og7RkYCDGg

  Mar 15, 2021, 1:09 PM
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  Kendrick Lamar performs “The Blacker The Berry” and “Alright” at the 2016 Grammy’s ✊🏾💯 What’s your favorite Grammy… https://t.co/IVbP8S5GG3

  Mar 14, 2021, 3:28 PM
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  Mar 6, 2021, 10:54 PM

StereoVision's AOTY Power Rankings: October

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:

I’d be surprised if anyone’s list changed as much as mine since the last installment of power rankings. My top ten got a complete facelift due to new releases along with me escaping my childhood basement and moving back to LA, two completely different worlds where I perceive music differently. Well Alfredo is still my album of the year, Benny the Butcher’s new album Burden of Proof is right there and has only been out a week - don’t be surprised if those two switch places by the year’s end. Pop Smoke’s album gets better every month and the smooth five song run near on the backend of the album (Enjoy Yourself to Diana) gets more play than almost anything else that came out this year. Blxst is the hottest thing to come out of LA this year and is without a doubt my favorite artist out right now. If you have’t heard his debut EP No Love Lost you NEED to tap in, I’m not exaggerating when I say I play it on the daily. I can’t wait to see what the last two months of 2020 have in store for us, hopefully drops from Isaiah Rashad, Baby Keem, Drake, and Smino all see the light of day this winter and shake my list to the core. -Spencer Lobdell

Y’all know I’m not budging and leaving CHILOMBO in my top spot for Album of the Year. The versatility in Jhenè’s ability to heal and inspire is crystal. While I was oblivious to his influence prior to 2020, Benny the Butcher ranks highly on my list. Burden of Proof contains cohesion, content, and featured artists of high quality. The Chicago girl in me is attached to PTSD and the deluxe because my ear cannot get enough of G Herbo’s sound. Aminè, Chloe x Halle, and Kota the Friend all have my heart. I crave music that I blast during solo car rides but also bump with friends. It’s safe to say my list won’t shift much come December. Most of my favorite artists have delivered their best albums to date this year. -Amaya Lorick

Alfredo holds on as my album of the year after a lot of thought. Though with the way the year seems to be heating up that spot is definitely up for grabs. No Love Lost by Blxst was a huge surprise this year. This is a seven track project with no misses. Benny the Butcher also has his introduction to my list with his incredible album Burden of Proof. Griselda has been on fire this year and so has Hit-Boy. Burden of Proof might be both parties' best release of the year. After this are two familiar picks in 3.15.20 and A Written Testimony. While Limbo was an early favorite for me it was still able to find its way onto my list at number 7, and it remains one of the most pleasant listens of this year. For the last of the new additions to my list there is Also Known As. Another great release produced by Hit-Boy, Dom Kennedy sounds very comfortable over every single hard hitting beat. The list rounds out with two of the best R&B albums of the year in Take Time and F**k the World. -Miles Hagan

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As we head into the final months of 2020, it is entirely safe to say it has been nothing short of a phenomenal year in rap, R&B and soul music alike. Although my top 5 has remained the same, the rest of the list was extremely difficult to formulate, given the plethora of strong releases in recent months. While Alfredo certainly stole the show upon its release, I've noticed myself re-visting Mac Miller's Circles more often and enjoying the album considerably more than Freddie Gibbs and The Alchemists' project. Meanwhile, Logic's impressive final album No Presure was a heartwarming and impressive way to end his career. And who can resist the Miami Vice-esque vibes emanating from Action Bronson's latest LP Only for Dolphins? -Luke Modugno

After Hours, my favorite Weeknd album, has truly stood the test of time throughout the year. No album released this year is touching After Hours sonically. Picks 1-5 were probably the easiest picks, they were everything a great album should be: great lyrics, great vocals, great production, released with intention, and pre-release felt like an event. I had to put Herb’s deluxe up here, I’m a little angry that the deluxe wasn’t the actual album, since these tapes don’t often get the publicity that initial releases do. I’m sure if this deluxe was the original PTSD album, Herb would be huge right now. -Courtney Fields

Although 2020 is nearing its final moments the music seems to be doing anything but winding down. The past few months have given us great records like Kacy Hill’s newest project and RTJ4, though Smino, Jay Electronica and The Weekend continue to dominate my rankings. There were many great albums that I couldn’t include on my list, but hopefully I’ll be able to add a new Isaiah Rashad, Kanye, Drake or Kaytranada record by the time the year is up! -Carter Fife

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My list has changed quite a bit from the last installment of our Power Rankings series. The new Charli XCX album easily replaced After Hours to take the top spot on my list, as Charli’s unique production choices combined with super intimate songwriting made for a tight, thrilling dose of innovative pop music with high replay value. Yves Tumor created a dense, constantly-shifting alternative rock soundscape on Heaven to a Tortured Mind, and Sevdaliza did the exact opposite on Shabrang, a sparse, psychological journey that combines elements of art pop, trip-hop, and grunge. Meanwhile, Freddie Gibbs’ recent collaboration with legendary hip-hop producer The Alchemist made its way onto the top half of my list, as Gibbs continues to prove his abilities as one of the most technically proficient MCs in the game right now. Bladee’s 333 provided a nocturnal journey into the mind of one of Sweden’s most prolific young voices (Yung Lean’s Starz could have just as easily taken this spot), and Last Year Was Weird, Vol. 2 by Tkay Maizda flexed the Australian artist’s extremely fluid songwriting skills and range. -Owen Tait

Over the past few months, I have been pleasantly surprised by the new releases that came from two of my favorite artists, Father and The Neighbourhood. Both projects from both acts maintained the perfect balance of innovation upon their sound and keeping the ethos of their work the same as before. For a returning listener, this is all I could ask for and more. I have also been excited by the work from several up and coming artists. North Carolinian rapper TiaCorine released her first EP in September and I have been unable to turn it off. A month prior to that, Australian rapper Tkay Madiza put out the appropriately named project This Year Was Weird Vol. 2,  an eclectic album guaranteed to up your energy and put you in your power. As I have focused more on my personal growth, Thundercat’s It Is What It Is has moved up my list. Could it possibly overtake my prevailing favorite Man Alive? We’ll see in three months ;) -Kaila Cherry

Never would I have thought Aminé would be in my top ten for 2020, let alone my #1. With the release of Limbo, my whole perspective shifted dramatically. This project was so fun, thoughtful, and cohesive. Spillage Village secured the 2 spot by creating something so different and beautiful. The collective came with the bars, the emotion, and the complex instrumentals that always kept me on my toes. The Alchemist and Freddie Gibbs came with the elaborate production and clever bars that I still probably haven’t even fully digested. Pop Smoke’s album was everything I could have asked for and more. You already know I’m running it back every Wednesday, at least! I was never bumping Juice WRLD’s leaks, so Legends Never Die was brand new to me. This project was bittersweet, and the thing that I love about Juice, is his ability to convey emotion over hypnotizing melodies. Mac used to run the top spots in my list, but over the year I caught myself playing it less and less. Nothing short of a fantastic album, but I definitely feel like I have moved on a bit. I was rocking with PTSD ever since it released, and I have become a much bigger Herbo fan over the course of this year. I still think the title track is still one of the rawest cuts to drop in 2020. I’m excited to see what comes out during the final two months of 2020 and reveal the final form of my AOTY list. -Colson O’Connor

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  Mar 16, 2021, 9:01 PM

Armani Caesar: 'THE LIZ' Album Review

By: Luke Modugno

The Griselda crew has had nothing short of a historic year in rap. From Westside Gunn’s eccentric debut Pray For Paris turning heads and newly inducted member Boldy James blessing his fans with a collaborative project with The Alchemist, to the group announcing the release of four albums in the coming month (Westside Gunn, Benny the Butcher, Conway the Machine and Armani Caesar), Griselda has completely stolen the show. But it's one the groups most omitted members that has shined the brightest. At just 11 tracks spanning a tight 26-minute runtime, Armani Caesar’s debut record, THE LIZ, cements her spot as the group's hidden gem.

The first and most poignant attribute that stands out on THE LIZ is the beat selection. Sounding awfully similar to her Griselda counterpart’s beats, Armani Caesar’s brassy voice fits flawlessly with the dusty, drum-heavy production. Let's be clear: these are some of the hardest beats to rap on. Often wonky, dreary and low-energy, the onus is on the MC to deliver verses worth listening to. And Caesar does just that, time-after-time on this project. Not only does she deliver verses worth listening to, but she also competes with the likes of Benny, Conway and Westside Gunn on multiple tracks, trading bar-for-bar, and verse-for-verse with the top dogs of Griselda. 

On “Mac 10s for Everybody,” Griselda head-honcho Westside Gunn steps aside as he provides a catchy, proficient hook for Caesar and of course, his signature ad-libs. But THE LIZ really begins to shine toward the halfway point. Within a 3-track-span, Caesar completely outraps Conway on “Gucci Casket,” trades bars with Benny the Butcher on “Drill a RaMA,” and goes toe-to-toe with Benny again on “Simply Done.” Not even Westside Gunn can say he clearly had the best verse on every song on his project, but Caesar absolutely can. Toward the end of the project, Caesar rides a dreamy, luxurious beat on “Palm Angels,” making for a clear highlight on the project. 

However, Caesar’s versatility is something that the MC neglected to display on THE LIZ. On her previous projects like Pretty Girls Get Played Too and Caesar’s Palace, her sonic aesthetic is geared more toward a Nicki Minaj fan. What this project lacked was exactly that: a wider array of beats to compliment Caesar’s considerably large skill set. For example, Griselda teammate Conway The Machine displayed his musical versatility earlier in the month when he dropped From a King to a GOD, as he delivered melodic hooks, rapped over trap production cooked up by Murda Beats, and still killed any dusty drum sample passed his way. Caesar was actually a feature on the project, and showed her knack for flowing impeccably over a trap beat, as she did on “Anza.” Especially with debut albums, a MC’s full range of artistry should be present, and Caesar’s just isn’t all there on THE LIZ. 

While the concesity of the album is mostly a positive attribute, it leaves the listener wanting more from Caesar. Nevertheless, in the 11 tracks she did provide, Armani Caesar impressed me thoroughly. Over the coming years and while the Griselda crew continues their meteoric rise to fame, Caesar is most definitely one to watch and one to be respected.  

Favorite tracks

Mac 10s for Everybody (feat. Westside Gunn)

Drill a RaMA (feat. Benny the Butcher)

Palm Angels 

Rating: 7

Listen to THE LIZ here:

Listen to THE LIZ on Spotify. Armani Caesar · Album · 2020 · 11 songs.

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Is Kendrick Lamar Leaving TDE?

In today's episode of TheStereoVision Podcast, Miles and Spencer talk about the rumors saying Kendrick is leaving TDE, New Music from 21 Savage, Bryson Tiller, YG, Giveon, and albums we need in the last quarter of 2020

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  Mar 16, 2021, 9:01 PM
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  Mar 15, 2021, 1:09 PM
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  Mar 14, 2021, 3:28 PM

TiaCorine "34Corine" EP Review

By Kaila Cherry

TiaCorine’s path to where she is now was slow, steady, and calculated. Although Corine had been making music since she was in the third grade, it was not until 2018 that the 27 year old rapper would release her breakout single. Her infectiously catchy track “Lotto” took over Tik Tok and Instagram throughout 2019 and garnered praise from big names like SZA, A$AP Rocky, and Drake. However, TiaCorine was not ready to release a full project at the height of her virality. This is an unprecedented and bold move for her. In our current zeitgeist, immediacy has become the norm for everything from album drops to Amazon package deliveries. Yet TiaCorine decided not to ride on the hype and to instead build a solid fan base before putting out her first project. The wait was worth it. At the start of September, TiaCorine released her debut EP 34Corine. Punchy, bubbly, and fun, TiaCorine undoubtly leans into the niche she has created for herself (which she calls “Anime Rap”) and makes it clear to anyone listening that she is worthy of our respect. 

34Corine derives it’s name from the rapper’s hometown of Winston-Salem, North Carolina. Referred to as the tre-fo by locals, TiaCorine’s proximity to the Dirty South, Trap, and East coast hip hop/R&B scenes meld together on the production of her debut project. TiaCorine plays with flow, pitch, and inflecction all throughout the EP. On tracks such as “IYKYK” and “In My Room” she utilizes autotune as a character to accent her “girliness” while subverting what exactly that “girliness” is supposed to encompass. In her sweet pitched up voice, Corine makes it clear that men shouldn’t touch her if they can’t afford her, that she is not here for the “stupid fuck niggas” because she is too “awesome.” Along with being girly and bragadocious, TiaCorine can also be sensual and alluring. The track “34 Faucet” is enchanting with it’s 2000s-esque R&B sound, sweet melodies, and sexually charged lyrics are sure to attract any man she sets her sights on. 

Where TiaCorine shines the brightest, however, is on the tracks where she shows us she can truly rap her ass off. On “30” and “Mine,” Corine flexs her ability to rap fast, coherently, and with vibrant rhymes and clever wordplay. Her humor comes out on lines like “Damn, I just popped a bean/Damn, what’s a bean?” and “Booty too bad, Nickelodeon slime/Got spare change but still look like I’m a dime.” These tracks are the most high energy of the bunch and with them they bring so much carefree fun to the project. “30” and “Mine” are the ideal songs for recording yourself throwing it back in your bedroom, which is perfect for these quarantine times. (PSA from Kaila: Wear you masks and keep 6 feet from others! Damn!) 

34Corine is one of the most refreshing, lighthearted, and addicting EPs to come from an up and coming artists this year. TiaCorine’s name is getting murmurs when it needs to be getting shouts. Don’t be that person who, in a year or two one she blows up, will be thinking “Wasn’t that the girl who made that Tik Tok song?” Instead, be the one who has been there from the start, has followed her growth, and can say “I’m proud to see that TiaCorine is finally getting the recognition she deserves.” That all starts with giving her latest EP a listen. You won’t regret it. 

Favorite Tracks

Mine

30

34 Faucet

Rating: 7

Listen to 34Corine here:

Listen to 34Corine on Spotify. TiaCorine · Album · 2020 · 8 songs.

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21 Savage & Metro Boomin - Savage Mode 2 Reaction/Review

In today's video, Miles and Spencer listen to Savage Mode II by 21 Savage & Metro Boomin for the first time and give their initial reactions

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  Mar 16, 2021, 9:01 PM
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  Mar 15, 2021, 1:09 PM
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  Mar 14, 2021, 3:28 PM

A Storied History of Racism at the Grammys

By Luke Modugno

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

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

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

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

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

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

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

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

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

By Carter Fife

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

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

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

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

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

By Owen Tait

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

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

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

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

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

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

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Jaden Smith, Sunset Sovereign - CTV3 Album Review

By Carter Fife

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

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

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

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

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

Favorite Tracks

Cabin Fever

Bad Connection

Deep End

Rating: 7

Listen to CTV3 here:

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

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Community Is Care - Detroit 2 Album Review

By Carter Fife

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

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

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

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

Favorite tracks

Why Would I Stop?

ZTFO

Lithuania (ft. Travis Scott)

Rating: 7

Listen to Detroit 2 here:

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

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

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

By Colson O’Connor

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CO: How would you describe the Seattle music scene?

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

(Us discussing the release of the album)

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

CO: Do you prefer doing collabs?

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

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

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

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

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

CO: Are you planning to go on tour?

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

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

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

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

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

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

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

By Carter Fife

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

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

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

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

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

Listen to Rodeo here:

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

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