for the love of music
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By Luke Modugno
In hip-hop, it’s said an ear-piercing and definitive voice is worth its weight in gold. If that’s true, New Jersey’s underground rap purist Mach-Hommy’s intonation is worth millions. Since his departure from rap super label Griselda, Mach has been unequivocally discreet, dropping independent mixtapes from the shadows. However, Mach and Griselda boss Westside Gunn have had their reunion with Mach’s latest project “Pray For Haiti,” executively produced and curated by Westside Gunn.
Pray For Haiti, is easily Mach-Hommy’s most ambitious project to date, featuring relentless and refined bars over dusty, yet lavish Griselda drumless loops and chops.
Mach is one of the most unique acts in rap at the moment. He wears his influences on his sleeve shamelessly, yet carves out his own soundscape and style that is ruggedly exclusive to the Haitian emcee. With strokes of MF DOOM and Jay-Z, Mach blends his idols’ characteristics with those of contemporary avant-garde hip-hop. Pray For Haiti, puts his artistic versatility center stage. Whether he’s rapping over minimalistic, dreary beats (“Murder Czn,” “The 26th Letter”) or far more eccentric, in-your-face production (“Makrel Jaxon,” “Kriminel”), Mach is a master of almost every stylistic facet of hip-hop. “Pray For Haiti,” is Mach realizing and acting on his natural talent as a rapper and he makes sure the listener is aware of that on highlight “Makrel Jaxon,” “Next tape you might hear me sliding on flamenco or calypso, maybe you should tip-toe.”
Westside Gunn’s curation of this project benefits Pray For Haiti incredibly. Almost every project released by Griselda is a masterclass in production. Because of their consistency behind the boards, the quality of Griselda albums is best determined by how compelling their rappers can illustrate flipping packs and living lavishly. Hearing a rapper beside Conway The Machine or Benny The Butcher over beats from the distinguished and frequent Griselda collaborators Conductor Williams and Camoflauge Monk was certainly a treat. From the exquisite clarinet sample on “The Stellar Ray Theory,” to the soulful “Kriminel,” there's something for every hip-hop fan on this record.
Throughout the record, Mach allows the listener glimpses into his native Haitian culture, particularly with an enthralling interlude appearing in the second half of the record titled “Kreyol (Skit).” The album is a layer peeled away from one of hip-hop’s most reclusive acts, unveiling an emcee with deep cultural roots and influence. Mach gets fairly personal on Pray For Haiti, speaking on his own struggles in life on tracks like “Kriminel.” Usually unapologetically braggadocious, Mach reveals a thoughtful rapper with many of the same issues as the listener. While he isn’t the most talented vocalist, Mach uses singing on Pray For Haiti, as a vehicle for the pain he feels, harmonizing in creole throughout the album transmitting feelings of longing and anguish.
Mach isn’t the only artist who impresses on this album. Westside Gunn appears as a featured artist on three occasions, as well as providing his legendary ad-libs for unmitigated effect. He brings a needed diversity to the record, trading bars with Mach. Pray For Haiti also recruits singer Melaine Charles to assist Mach with his own weakness and add melodies on “Au Revoir.” Perhaps my only gripe with the project comes with the absence of other Griselda members Benny and Conway. Seeing Mach, Gunn, Benny and Conway on one track together would’ve been something special.
Pray For Haiti is easily one of the best offerings in hip-hop this year. It’s Mach’s most outstanding project to date that flexes his range of artistry, while also displaying what he does best.
Blockchain
Makrel Jaxon
The 26th Letter
Rating: 8.5
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By Luke Modugno
The hip-hop world came to a standstill on New Year’s Eve of 2020 with the bombshell news of the passing of legendary New York rapper MF DOOM. During DOOM’s illustrious career in hip-hop, he crafted a legacy of mystery and boundary-pushing musical innovation, leaving behind a catalog littered with classic records. Known as a chronic collaborator, one of DOOM’s final projects before his passing came in the form of a joint project with the rap super-collective CZARFACE (consisting of producer 7L, Esoteric and Inspectah Deck), on their 2018 effort “Czarface Meets Metal Face.” Although DOOM has since passed, the combination of the two hip-hop giants has returned, with the release of the first official posthumous DOOM project coming in the form of Super What? the follow-up to their 2018 collab project.
Originally slated to drop before the pandemic and the passing of DOOM, Super What? is a sharp 10 track project spanning 28 minutes and doesn’t overstay its welcome. The project does exactly what it sets out to do: build on the chemistry formed between DOOM and CZARFACE with comic-book inspired production and raps.
The project opens with quite the attention-grabber in “The King and Eye,” featuring Darryl McDaniels, best known as the founding member of collective Run-D.M.C. The track is a peek into the rest of what's to come from the rest of Super What?; a masterclass from Esoteric that simply carries the song and project.
The track that made me fall in love with this project had to be “Mando Calrissian.” Over a main menu-esque beat, Inspectah Deck opens the track with a triumphant, braggadocious verse followed by a stunning yet brief DOOM verse, perhaps his best in years. The track concludes with Esoteric spiting arguably the best verse on the project, with countless Mandalorian and Star Wars references.
On prior CZARFACE projects, Inspectah Deck and Esoteric usually go hand-in-hand, trading bars and verses that formed a chemistry between the two emcees that made the supergroup so intriguing. However, with Super What? Esoteric carries the weight of the project, along with DOOM. Inspectah Deck’s verses are shorter and less attention-grabbing, almost as if he put less effort into the project than the rest of the collective.
Similar to CZARFACE Meets Metal Face, DOOM’s involvement on the project is a bit passive at times. One of DOOM’s strong suits as an artist is his inventive production. However, DOOM has zero production credits on the album, leaving 7L to shoulder the entire load. While the production certainly isn’t stale, the unutilized presence of a monolithic producer in hip-hop history is disappointing. Additionally, DOOM has short verses on this record, none exceeding a minute or so. At times, DOOM’s presence on the record is thin and calling this project a comprehensive collaboration could be seen as a stretch.
Overall, Super What? is a fun and light-hearted project. Although it’s a noticeable step down in quality from their former collaboration, when artists as talented as MF DOOM and CZARFACE get together, there are sure to be fireworks, ill beats and rhymes, and plenty of comic book references. Rest in peace MF DOOM.
Mando Calrissian
Break in the Action
Czarwyn’s Theory of People Getting Loose
Rating: 6
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By Kaila Cherry
Photos by Cara Robbins
Within the landscape of rap music over the last four years, few names are more prolific in their influence on the culture than Pi’erre Bourne. After the young art school graduate broke out in 2017 with producer credits on the massively popular tracks “Magnolia” by Playboi Carti and “Gummo” by Tekahsi 6ix9ine, Bourne has gone on to produce tracks featuring artists such as Young Nudy, Lil Uzi Vert and Kanye West. Although he was known at the start of his career for his dreamy beats with spacey melodies over straightforward and satisfying trap beats, Pi’erre Bourne knew that he wanted to traverse production and expand into rapping as well.
Inspired by artists such as his own uncle and Kanye West, he released his first solo studio album, Life of Pi’erre 4 in June of 2019. On this project, Pi’erre introduces himself as a collection of dualities. He is humble yet prideful, a player yet a hopeless romantic. Sex and love is a strong theme throughout The Life of Pi’erre 4 with songs such as “Poof, “Guillotine,” and “Ballad” being the most played tracks on the album. He blurs the lines between singing and rapping for most of the album, his mellow voice accentuated by autotune. The production is light and airy in order to give the spotlight to Pi’erre’s bars and vocals. Here, we are introduced to Pi’erre Bourne’s love of similes and copious pop culture references in his writing. Some were clever and others were unhinged. No matter what came out of his mouth, however, there was no denying that Pi’erre Bourne was a talent with major potential to succeed as a solo artist and not just a producer. He had the beats, he had the voice, and he had a strong following that only grew after The Life of Pi’erre 4.
Almost two years exactly to the release of his first album, Pi’erre Bourne released his second project The Life of Pi’erre 5 on June 11th. The release of this album was teased with the release of the single “4U” some months prior with a music video attached as well. Despite Bourne’s rollout of the single being arguably overshadowed by Playboi Carti’s release of his music video for “Sky’ off of his album Whole Lotta Red, “4U'' was still able to reach many fans who enjoyed the bouncy sexy summer track and were eager to hear more from him. With The Life of Pi’erre 5, that is exactly what they got. TLOP5 has the familiar production that made Bourne famous, the entrancing rap cadence, and the creative lyrics fans have come to love even if they sound like they were written by someone in the middle of watching Hulu’s WuTang: An American Saga while hotboxing their room. However, what sets The Life of Pi’erre 5 apart from its predecessor is the inclusion of features from Playboi Carti, Lil Uzi Vert, and Sharc, higher intensity production, and a more diverse range of themes communicated over the course of the album.
Pi’erre knew we needed music for vaxxed summer 2021 and he delivered. The tracks are vibrant and exciting, filled with the energy and fun we are hoping to embody as the world finally opens back up to us.
The Life of Pi’erre 5 opens with a phone call with Bourne and his grandmother, who he made mentions of in his first album. She asks him when he is going to come visit her in South Carolina and asks him to help her get a car. “Not no new car” she says, “Something that costs maybe twenty-five, twenty-seven hundred dollars.” She then says that she just needs something to ride. Throughout their conversation, Pi’erre (aka Jordan as his grandmother calls him) talks about where he’s traveling, when he’s going to come see her, and then tells her he has to go but promises he’ll call her back. Although this intro is short and doesn’t feature any rapping, it works tremendously as a tool to establish the major theme of this album: The effects of fame on his relationships with others and his perception of himself. The tension between his nomadic life as a musician and his ties to his home, and in turn his past, are prevalent throughout the album.
Tracks that especially work to communicate Pi’erre Bourne reconciling with where he is now versus where he was are “YNS” and “Amen.“YNS” displays Pi’erre Bourne’s capacity for empathy as he raps about his life growing up in the hood and his formative experiences. He calls for the freedom of his friends who got caught up in the hustle and are now incarcerated. Bourne also takes a candid moment for self-reflection on the track as he talks of his success in comparison with his emotional pain and trauma from his upbringing. This self-reflection continues near the end of the album on the track “Amen.” On the somber track, Pierre raps about the pitfalls of his lifestyle. He raps that he is living “too fast and furious.” Although his money affords him many luxuries, it does not offer him peace of mind. Bourne describes stacks of money like a weight on his shoulders and hopes that no one hits his Achilles as he “runs up his bag.” It is clear that Bourne is afraid of losing what he has. This is emphasized by the usage of samples from his uncle’s own music on the track, a massive influence on Bourne’s artistry who passed away just weeks before TLOP5’s release. “Amen” is the most vulnerable track on what is otherwise a very “no thoughts just vibes” sort of project.
On the production side of things, Pi’erre Bourne experiments with a more intense and brooding sound than he did on the Life of Pi’erre 4. With TLOP4, the production was very formulaic: trap drums, distorted guitar or piano melody, and Pierre Bourne sing-rapping with moderate autotune. Although it was predictable, Bourne was able to captivate audiences by varying the style just enough with each track to make the album land as seamless instead of mind-numbing. On The Life of Pi’erre 5, however, Bourne allowed himself to expand on his sound with the inclusion of heavier bass and synths. The standout example of this “new sound” is found halfway through the album on track 8 “Sossboy 2.” The track opens with cacophonous bass under quick modulating electric drums and a Nosferatu-esque keyboard melody. The intro features Bourne’s uncle, his voice deep and heavily reverbed. Once the chorus hits, Bourne layers on one more sound: a spacey synth melody. This is the perfect lead-in to the verse of rap’s favorite extraterrestrial: Lil Uzi Vert. They are a truly dynamic pairing on this track. Pi’erre Bourne raps exclusively on this track in order to match the energy of Uzi. Even though Uzi does in fact wash Bourne rap-wise, the duo still created a track that I need to hear at a party as soon as possible.
Ladies, don’t worry, Pi’erre Bourne still wants to have sex with us. He makes sure to tell us with the tracks “Retroville'' and “Drunk and Nasty.” They follow each other in order on the album, which is fitting because they are both extremely horny, which is what the girls who loved TLOP4 came for. Although they both incorporate some of the heavier production aspects indicative of the midpoint of the album, they are airy enough to remind us of his work from 2019 that helped us girls romanticize then get over our toxic partners. “Retroville” is the more upbeat of the two, with the vampy keyboard on full display. Lyrically, the content of the chorus gives very much “Wet Dreamz” by J Cole energy but instead of going into detail about his lover from high school Pi’erre Bourne repeats the sound “Skrt” for sixteen bars before, in a moment of poignant wordplay, changing it to “Skirt” as indicated by the lyrics “Panties, bra/She takes it off.” “Drunk and Nasty” is a track that has been circulating the internet in its incomplete form for a year or two. As it was made around the same time as TLOP4, it sounds the most like a song that could have been on that project. However, he varies the final product from the draft by adding more verses, overlaid vocals, a feature from Sharc, and not one, but two pauses throughout the song. “Retroville” and “Drunk and Nasty” are just two examples of how Pi’erre Bourne was able to successfully merge the old with the new on TLOP5 in order to both appease current fans and help bring in new ones.
The Life of Pi’erre 5 is the first album to truly excite me this year. Pi’erre Bourne always produces hit after hit, whether he is doing it for himself or for someone else. Instead of backsliding after his first album like some rappers tend to do, Bourne was able to successfully grow his musical style and come back with a project that is undoubtedly better than the first. I believe that Pi’erre Bourne is often not afforded his flowers because his collaborators are more often than not more famous than he is, causing him to get outshined by the spotlight of others. However, I am certain that sooner rather than later, Pi’erre Bourne will get the acclaim he deserves. The Life of Pi’erre 5 is going to be my album for the summer, and if you like Trippie Redd, Young Nudy, or Playboi Carti, it should be yours, too.
Sossboy 2 (feat. Lil Uzi Vert)
40 Clip
Drunk and Nasty (feat. Sharc)
Rating: 8
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There are few human emotions as conflicting and relatable as those associated with growing up. The inevitable depression of watching a simple life turn complex is met by a hope that we can somehow extract greatness from the complexity and build a life worth living. Worry Club, a rising bedroom pop duo from Chicago, has not only experienced this specific melancholy but is able to perfectly wrap the feeling up and put a bow on it on their new track "Bleach”. On the track, front-man Chase Walsh reflects on transforming one’s identity while battling addiction. When asked about the track, Chase touched on how this period of growth was not only a sign that his youth was coming to an end but also an attempt to hold on to it in any way possible: “I really wanted to capture the nostalgia associated with a fleeting childhood. The idea of growing up has always scared the shit out of me.”
Worry Club is the Chicago-bred duo composed of Chase Walsh (Singer/Songwriter) and Zack Zagula (Media, Graphic Design, etc). The collective was formed in January of 2020 and in a little over one year they have released an impressive collection of songs and grown their fan base through memorable music and an important message. Every Wednesday, Walsh, the face of the collective, engages fans for a weekly Instagram Live series aptly dubbed “Worry Club Wednesdays.” The series has been a communal experience, and Worry's staunch advocacy for mental health awareness--and eager willingness to lend an ear to anyone struggling--has made the streams a welcome environment for anyone watching. Show support and stream Bleach!
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Kodak Black has been on one since being released from prison in January with his run hitting a new high this week with the release of his new four-song EP Happy Birthday Kodak. Alongside the project, Yak released this colorful video for standout track “Feelin Peachy” and it features everything we love about Kodak. From the exuberant fashion to the rapper’s addicting drawled delivery, everything hits like it needs to in the new video resulting in some of Kodak’s best work.
Although Kodak is certainly no stranger to scandal and scrutiny, he seems to be making a resurgence due to consistent pressure and an enhanced focus. Are you rocking with Kodak Black in 2021?
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Young Thug and Cordae is certainly a pairing we didn't know we needed in 2021. Check out their new music video where the two trade bars in a dark fight club-esque setting. With the release of this new music video, Cordae announced that it would be the last thing he put out that wasn't going to be on his upcoming album. Do you think he can top 'The Lost Boy' with his sophomore project?
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Good job Larry! This week, bay rapper Larry June released his new album 'Orange Print' accompanied by this music video for "Still Cookin" the 8th song on the album. The video shows Larry cruising around the bay and enjoying beautiful NorCal wine country while delivering laid-back motivational bars in classic LJ fashion.
June’s new album Orange Print came out yesterday and is without a doubt one of the most polished projects the rap vet has released. The 13-track album runs for 36 minutes but feels more like 15 due to Larry’s uniquely mature subject matter and addicting spoken delivery.
June is one of the most consistent artists in hip-hop with "Orange Print" being the 15th project he's released since 2018. Is this the year that Larry sees mainstream success?
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By Miles Hagan
First we have Meek’s version of the song which is very interesting considering how he and Drake have interacted over the years. Meek reminisces on what it took for him to come up in these games and all the people he may have lost or gained along the way. While Meek has always preached that he is built differently, this freestyle showed his hunger and passion for the game on full display. It was refreshing to see one of the more recognizable artists in the game sound so motivated to not only come with a bar, but also tell a story of sorts.
On the next remix we have Earthgang come through and skate on the beat. At first it seems like another unlikely pairing, until the sample settles in. Once the dynamic duo starts rapping there is no looking back. “Lemon Pepper Freestyle” has now provided us with more heat than we could have originally anticipated.
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By Luke Modugno
The Alchemist is setting the rap game ablaze over the last 12 months. Since 2020, the legendary producer has dropped a slew of impressive projects, including the Grammy-nominated Freddie Gibbs collaboration tape “Alfredo.” 2021 has simply been a continuation of the success he found last year, with The Alchemist’s latest project “This Thing Of Ours” showcasing exactly why he’s one of the most respected producers within the genre.
Across a brief four tracks, The Alchemist recruits familiar faces to accompany his experimental, dusty, drum-looped production. Frequent collaborators Earl Sweatshirt and Boldy James impress on tracks “Nobles,” “TV Dinners,” and “Loose Change,” while upcoming underground rappers Pink Stiifu and Maxo slow things down on “Holy Hell.”
However, the clear standout track is the lead single and the opening track “Nobles.” Earl and Navy Blue have formed a compelling duo with substantial chemistry, as they trade bar for bar on this track. The sample is immaculate, consisting of looped strings and horns that give the track a euphoric and triumphant feel. Considering both Navy Blue and Earl tend to favor darker, rougher production in their own discographies, hearing them on upbeat, higher-tempo beats provided by The Alchemist displays their artistic versatility.
Earl Sweatshirt and The Alchemist in the Studio
The only valid criticism of such a well-done project such as “This Thing Of Ours” is its obvious brevity. At the end of the project, the listener is simply left wanting more. However, considering Al has already dropped two projects this year prior to the release of “This Thing Of Ours,” criticizing his musical yield isn’t valid.
“This Thing Of Ours” is a microcosm of what makes The Alchemist successful. Each beat is wildly unique and intriguing, although simple in construction with mesmerizing, harmonious loops. Despite the project being four tracks long, any output from The Alchemist is a blessing, especially considering his unmitigated consistency in the past year. Overall, “This Thing Of Ours” is a great offering from the veteran producer and easily one of his best solo projects to date.
Nobles (feat. Navy Blue & Earl Sweatshirt)
TV Dinners (feat. Boldly James & Sideshow)
Loose Change (feat. Earl Sweatshirt)
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“While two bitches lay in my bed, I’m used to it.
That’s your best friend givin’ me head, now you do it.”
Two days ahead of his highly anticipated project The Off-Season, J. Cole ramps up the hype with a new freestyle on LA Leakers. The last time he did a radio freestyle like this was about eight years ago. He had a long time to prepare for this moment, and now that it finally came, Jermaine showed out. Matter of fact, this is arguably the best freestyle we have ever seen from the artist. He absolutely attacked the classic “93 Til Infinity” instrumental, ripping it in a fashion that proves his best work lies ahead of him. Between the words of his peers, his recent documentary, and this freestyle, you can tell the project will be well worth the wait.
Do you think The Off-Season will be Cole’s best project of all time?
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By Carter Fife
Last year Stereovision published a piece titled “Jay Electronica: Man or Myth?”, in which I delved into the creation and meaning behind one of the most celebrated hip-hop releases of 2020 - A Written Testimony. The article served to contextualize everything from the record’s samples and composition, to the cryptic backstory surrounding its release. Both the article and the album it covered would go on to be nominated for national awards, and almost a year later A Written Testimony continues to find its way to new audiences and earn new accolades.
When December came around and writers were tasked to provide their top records of the year, I easily wrote in A Written Testimony as my number one choice - though 9 months had passed since its release. Having listened to over 200 records alone that year, I couldn’t help but wonder: what is it about this record that continues to resonate after all this time? Why did this album stay in rotation while many other commercial releases gradually waned in relevance? The answer was not as simple as I initially thought, but given that it has been over a year since fans were treated to Jay Electronica’s debut studio record, it may be time to look back.
Among the many subjects of Jay Electronica’s A Written Testimony, none stand out more than religion - a theme that touches everything from his writing to the number of days he spent working on the record. Though I remember critics deeming Jay Electronica’s use of religion and prophetic tone as ‘eye-rolling,’ I found this judgment to be a strange exhibition of gatekeeping something that literally nobody can be an expert on. Jay Electronica’s self-perceived relationship with God is something that cannot be invalidated even by the most uptight of skeptics, and because Jay Electronica realizes that, A Written Testimony becomes authentic, unique, and unlike any other release fans saw that year.
The narrative of A Written Testimony is structured almost like a murder mystery film - we see Jay Electronica and Jay-Z celebrating their present blessings before any sort of reflection takes place. While Jay-Z’s approach to writing sees him delivering both a proud look back on his success and a pointed critique at the forces that tried to hold him back, Jay Electronica’s methodology takes a left-turn. On tracks like “The Neverending Story”, he reveals that religion is one of the main factors that he attributes to his status and skill. While dwelling on his humble beginnings of faith and “squalor”, Jay Electronica writes:
“Though I tarry through the valley of death, my Lord give me pasture.
If you want to be a master in life, you must submit to a master.
I was born to lock horns with the Devil at the brink of the hereafter -
Me, the socket, the plug, and universal adapter.”
Whether or not you subscribe to the concept of organized religion, there is something to be said about Jay Electronica’s steadfast beliefs in God. A registered member of the nation of Islam, Jay Electronica has devoted his life to his religious beliefs and stands here today as one of hip-hop’s most celebrated figures. This background gives Jay Electronica’s music a refreshing dose of originality, for he is a character who few other cultural figures could even hope to emulate. Though it is not uncommon for artists to allow their religious beliefs to bleed into their music, Jay Electronica’s unique relationship with God manifests into A Written Testimony in an entirely new way. His goal is not to convert listeners or thank the creator for the money and fame - his only goal is to spread the wisdom that he has gained through his devotion to religion.
Though religion is the guiding theme that shepherds everything else on A Written Testimony, what makes the album truly unique is how Jay Electronica presents the listener with wisdom not as a voice of sage authority, but as one who has made mistakes in the past. Embedded within A Written Testimony is a vulnerability that transcends the music it’s written into - as if Jay Electronica is revealing his innermost thoughts to both his peers, his audience, and even his god himself. With lyrics like “My mathematical theology of rhyming will touch the soul / I spent many nights bent off Woodford, clutching the bowl, stuffing my nose / Some of the cons I suffered for prose”, it should be no surprise that Jay Electronica portrays his art as a form of cathartic therapy on “Shiny Suit Theory”. Religion is the force that saved Jay Electronica in a past life, and wisdom was his parting favor.
I still find myself returning to A Written Testimony a year later, because I find that the album is full of moments that simply bear repeating. Jay Electronica’s ruminations on his self-doubt and anxiety on “The Blinding” helped humanize himself from a near mythological figure into a real human being. His meditations on death and rememory on “A.P.I.D.T.A” is an incredibly touching moment that continually makes me realize that I am not alone in my suffering - with respect to both those lost during the pandemic and those close to me that have passed since leaving high school.
A year later, A Written Testimony is still just as refreshing as it was back in the early days of the pandemic. The record is still bursting at the seams with intentional and cleverly written tracks that are sure to strike a chord with any listener. If you didn’t get a chance to listen during the chaos of 2020, do yourself a favor and check it out now. With overarching themes that branch into the political, ethical, social, economic, and religious realms, this will be a record that we will likely continue to talk about for years to come.
Listen to A Written Testimony here:
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By Miles Hagan
In the new Off Season Documentary Cole takes us on a journey through his career and the things that brought him to this moment. He reflects on when he made the decision to take rap seriously, and how basketball played a major part in that. There are also later moments when he talk about his family and how he has had to shift the way he works now to be the best father, husband, and artist. Make sure to check out the full video on YouTube.
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