In case you missed it, just over 1 week ago (November 30th) Big K.R.I.T. decided to make his return with 2 new tracks.
The new songs, titled "Learned From Texas" and "Pick Yourself Up", come on a 2 track EP titled Double Down, which was released on November 30th. K.R.I.T has been rather quiet since the release of his critically acclaimed last album, 4eva Is a Mighty Long Time, and his fans have been eagerly awaiting his next release (well, I sure have at least). There's no word as to I the new songs will be featured on a new project, are hype to build up for one, or are just loosies for now. Time will tell. Until then, Enjoy both of K.R.I.T.'s newest songs below!
(*I do not own these songs, or the rights to them*)
About 5 days ago (sorry, haven't had much access to my computer on account of SLOW INTERNET...slow Wi-Fi kills dreams) Run The Jewels' music hiatus came to an end when they released their newest song "Let's Go (The Royal We)", which can be found on the Venom Soundtrack.
The song can be heard in the post credits of the movie, which is awesome by the way, and I would recommend going to see if you get a chance. Read El-P explain a little more about the song here, and check out the new RTJ slapper below. Who needs more Run The Jewels music in their lives right now? I know I certainly wouldn't argue if Mike and El-P decided to drop an album.
In case you missed it, The incredibly talented Anderson .Paak took to Twitter earlier today (October 4th, around 2:50 P.M. EST) to release his new single "Tints" featuring Kendrick Lamar.
The song features .Paak doing his funky thing over a smooth bassline and some poignant cowbell (we need MORE COWBELL!) while Kendrick pulls out some oh so west coast Kendrick that we don't get to see as often as we'd like; some smooth shit talking over classic funk samples (well, you know, at least since TPAB... Kendrick must have just seen that Dom Kennedy recently dropped). Check out the lyric video for the new jam below, and know that this Anderson .Paak sighting isn't random; be on the look out for more new music (quite possibly a new album) from him soon.
(*I do not own this video, song, or the rights to them*)
As challenging as it is today to find more raw, grass-rooted hip hop that sounds grimier and more rebellious than your average Lil Yatchty (for lack of a better example) album, Joey Purp is one of the few and the proud (the marines... ha, just kidding) adding onto the foundation of the sound that the 90's built. On 2016's iiiDrops,Joey established that he was a force the be reckoned with not only as an "album" rapper, but as an emcee, given the right platform. With features like Chance The Rapper, Saba and Mick Jenkins, Joey had already carved out a name with the big guns in the industry, and this time around, he's taking his turn at trading lyrical blows with legends (not to mention some [probable] production from them as well). While Joey had already earned respect from the old heads and emcees alike, the weakest link of Joey's song making abilities at times seemed to be making a song for the radio to play; to generate numbers and streams. And while I've always respected Joey's abilities as a pure rapper and have never cared for poppy hits, I was curious to see what Joey would bring this time around, besides the hard hitting bars that the Chicago emcee is primarily known for. And he did not disappoint. Check out observations from Joey Purp's QUARTERTHING below.
More Signature Hip Hop Joey Purp Sound Rooted In Dark Basslines, Menacing Keys, And Malevolent Synths
In terms of artists that actually define hip hop's origin as a genre and keep it alive right now, you can throw a couple of titans on that list (Kendrick and Cole), but in terms of the underdogs (or, for lack of a better description, the "less talked about"), Purp is leading the race. His raw emotion, intense voice, and tenacious delivery are signature qualities of Purp's, and QUARTERTHING shows all of those qualities, and more. On "Godbody Pt. 2", the follow up to 2016's "Godbody", and featuring what many consider a God among other rappers, RZA, Purp gives a (assumed) RZA instrumental the business with one of his signature bar heavy, lesson-bearing-types of verses that make it so easy for legends (such as the 2 featured on this album, RZA and GZA) to respect him for his talents and abilities. The live instrumentation of drums and symbols used throughout the (seemingly TOO short) song emphasize Purp's aggressiveness even greater. The title track ("QUARTERTHING") adds a robotic sound that somehow still embodies the original elements of hip hop with it's "simple and plainly" styled synthesizer, retro cowbells, and electronic thrashes. Purp's production has always been stand-out, and while it's easy to get caught up in an ominous vibe like "Godbody Pt. 2", a trap-based banger like "Karl Malone", or a cleanly sampled horn-heavy number like "Hallelujah", Joey always finds a way to make his words stand out more than the beat itself... which is another reminder of how powerful a voice Joey is.
Something For Everyone
The hardcore hip hop rappers like Purp tend to stick to their general methods of song making and subject matter, such as drums loops and samples, but Purp's never had a problem with making a hit for an Apple Music playlist, or for the ladies to enjoy, and QUARTERTHING is Joey's most well rounded project yet. On "2012", Joey spits a rhythmic flow that blends in with the lightly keyed instrumental like a chameleon, talking his respective shit like a turd professor (bars). One of the most interesting cuts of the album, however, is the fast paced "Aw Sh*t!". Over an ever changing and evolving beat (which is impressive considering the length, clocking in at 2 minutes and 36 seconds), Joey creates his own version of a club/DJ mix; drums mixing, claps switching and turntables creating many voice tempo changes makes "Aw Sh*t!" a definite standout if not for it's catchiness, then for it's uniqueness in sound. Songs like "Bag Talk", "Fessional/Diamonds Dancing", and "Karl Malone" give listeners that bass-heavy, riding trap feel they may have been looking for, and the seemingly orchestra lead introduction "24k Gold/Sanctified" is a triumphant appreciation for the places we've come from; one of my personal favorites on the album, though we're about to talk about my favorite one... right now.
"Look At My Wrist" Is My Favorite Song On QUARTHERTHING
(*I do not own these songs, or the rights to them*)
The best song on this project, or maybe my favorite song on the project at least (that's a blurry line isn't it? Since music is all subjective, nobody can really judge the BEST song on a project accurately), is the laser-sharp "Look At My Wrist". Joey spends his verses over a sinister synthesizer foretelling the complications and the troubles of the current state of rap, words spewing out of his mouth like venom. A high point of the track seems to be his ferocity in doing so, in some ways criticizing and almost satirizing the bodacious and braggadocios ways of rap, while also keeping his own style and swagger in verses. The hook certainly makes it known how Joey feels about the current state of rap ("damn look at my wrist dog, damn look at my bitch dog, damn look at my crib dog, damn look at how I live dog, damn I be getting fits off, damn look at my rims dog, damn look at my whip dog, look at all this fuck shit, tired of all this fuck shit," etc.), and while some listeners may view it as a preacher's point of view, the beat rocks speakers just hard enough to listen and not get nagged by the message. Appreciation points from me for Joey showing a little bit of grit and boredom with the current state of hip hop, and actually having the balls to say something about it.
Okay, so let's cue some corny puns with the album title. Joey's got a QUARTERTHING, but this album keeps it a buck. If this is only a QUARTERTHING, I can't imagine what happens when Joey gives us the WHOLETHING. It's like he forgot what the 25 cent piece coin is called and this album is the realization of him finally remembering (hence why it's in all caps). Okay, that's enough. If you end up reading this, sorry Joey. QUARTERTHING is another step in the right direction for Joey in terms of musical growth, and while some people may not necessarily enjoy the album sonically because of the lack of quote unquote "hits", I thoroughly enjoyed finally getting back to hearing some... (*attempts hardest not to say "real hip hop"*) genuine hard-nosed rap again. In terms of evenness, Joey blends everything together perfectly with songs for the car, songs for pumping you up, catchy hits and interesting samples; there really is something for almost everybody. I truly believe that in the slew of rappers trying their damnedest to keep the true and original aspects of hip hop alive, Joey Purp is on the forefront of those artists, yet his growth as a song builder and hitmaker shows more than the typical, one-dimensional "lyrical miracle" rapper. Joey is the total package; a hit maker, a song writer, a song crafter, and an emcee.
Ohhhhhhhhh! See now I finally get it! He's a clever rascal, that Amine! I was sitting here for weeks trying to figure out what the title for the Portland, Oregon rapper's 2nd album (mixtape maybe?) meant, but NOW I see it all clear and crystal! The 2nd project from one of my favorite rappers of 2017 (or, more so rapper who dropped one of my favorite projects of 2017) has put out a new project (well, at least he did over 6 weeks ago... sorry for the late post!) and as you can imagine, (my) expectations were high! After playing back his 2017 album Good For You for the better part of a year (yes, on this side we actually KEEP PLAYING great projects that we like), I was excited to see what was to come next of the "Caroline" rapper. Then, after getting a Spotify exclusive email on the album's release, my ears perked up and my eyes widened... I had to listen to what one of the most diverse and interesting rappers of the last year had to offer. Now I'm sure I confused some people when I say I finally understood what the album's title meant (you know, like, 10 seconds ago? Come on people, keep up!), so allow me to explain. If Good For You is 1, then that would make ONEPOINTFIVE, well, uhm... 1.5. Is Amine building up for a number 2 before the end of the year? My conspiracy theory brain thinks so, and if that does somehow end up being the case, then maybe we could also get some hints for what to expect from Amine's #2 from this album, ONEPOINTFIVE, which for the record, is a pretty fun listen. I'll detail below.
Mixtape Vibes... Building Up Towards Something Else?
One thing I've always liked about Amine is that he's always good for fun and eclectic sounds that don't stray too far away from the conscious and real content that he is just as capable of delivering. The entire ONEPOINTFIVE album (tape) offers back to back to back short snippets of songs that seem almost like previews; songs not quite long enough to fill out an album, but long enough to get you excited for something else to come. You hear a lot of "songs for the girls to play in the car on their way to the club/bar"; easy listening that is enjoyable and not overbearing in terms of content or song length. But I am on to Amine... his abilities are not fully showcased on this album (mixtape)... and I am calling that he drops something bigger before the year ends!
Best Song Is "Shine"
(*I do not own any of these songs, or the rights to them*)
I mean if there's one song on this project that I absolutely have not been able to stop playing (not to mention me and my girl have been jamming to it nonstop), it's the quick, "catch lightning in a bottle"-like vibe, "Shine". Fellas, this is the perfect song to play for your lady if you're on the fence about taking a chance and she's sitting there being a beautifully patient and amazing young angel that she always is wondering why you're being so weird about it (oh... just me? Well then). But if it's not, then this is the song for you! Jokes aside, If Amine wanted a radio hit at this still very early stage in his (commercial at least) career, then "Shine" could quite possibly be that song. "Shine" tops off an album of fun with relationship values and undertones that make those special moments with your boo even more fun... a soundtrack to play to the perfect moments that sum up time with your loved one.
Also, "STFU 2" is a pretty great song, probably the 2nd favorite on this album for yours truly; a harder take (especially considering the original "STFU" song from Good For You) from a man who is normally light hearted and easy going, adding another fascinating layer to an artist that always comes with surprises. Not much to read into with this album, just a short, quick and painless listen that definitely has some replay value and moments from the innovative Oregon rapper. Though ONEPOINTFIVE didn't seem like much in terms of length and depth, it could quite possibly hold fans over until Amine finishes up his next journey of a project that we will all (definitely I) be eagerly waiting to hear.
Criticisms of Eminem's 10th studio LP Revival rocked the internet for a solid couple months shortly after it's release in December of 2017. While the project was mildly successful sales-wise (197k physicals sold first week, 267k pure sales when including streaming), fans and critics alike again took to bashing the (at the time) latest Eminem project, with some saying that it sounded too commercial and "bubble gum pop-ish", others saying that Em doesn't know how to make a rap record anymore, and so on. While some of those sentiments are painstakingly easy to agree with, I have been an Eminem fan since the release of his 2002 opus The Eminem Show (his best album, and it's not close), and I must say being an Eminem fan at this point is overly exhausting; dodging every nook and cranny from both trolling Twitter and Facebook users, talking about how "the Marshall Mathers LP is one of the greatest hip hop records of all time", and "nobody is lyrically on Eminem's level", and how "nobody uses that anger and frustration better than the 'Rap God' himself." Can't... stop... shaking... my... head. One thing to respect about Eminem's entire career up to this point is how he's used that anger and controlled rage to pinpoint problems he sees and shine a beaming bright light upon them, like a giant Gatman signal in the sky. So with all of that dissing, all of that "Venom"-spewing, president hating, mumble rap bashing, lyrical miracle spit... wouldn't it seem like Kamikaze is the answer to that lack of fire? So then comes the burning question; does Kamikaze hit it's target, or does it fire rapidly in any and every which way possible with no particular direction? Read on to find out.
Chasing The Current Sound That He's Making Fun Of
So in response to all of the hate that Revival got, Eminem is back with a vengeance to essentially shit on not only his critics, but also the current state of hip hop; which in his defense... may have been the proper plan of attack; had he done it more coordinated without a care for selling albums, about 5 years ago. It's too grainy a picture to be able to pinpoint exactly how an Eminem album is supposed to sound these days, but as of the last 3 (Recovery, MMLP2, and Revival) there seems to be a certain poppy, radio friendly theme throughout the album that sounds nothing like the real Slim Shady would make (in fact, the "Real Slim Shady" would probably take a shit on the CD INSIDE OF THE STORE without even buying it), but on Kamikaze, Eminem includes a refreshing change of pace to his music. While some can be refreshing ("The Ringer"), other songs are direct and blatant parodies of the sound that Em is expressing his deep hatred for so much ("Lucky You", "Not Alike"), while others don't even sound like songs Em even wants to make ("Normal"). While "Lucky You" fits in sound wise by today's rap and hit standards, based on Eminem's past discography and, well... really everything he's ever stood for, "Lucky You" sounds more like Em trying to fit in to the rap climate than make his attempts at raising the bar like he once used to (I still VERY much would like to hear what Em's version of 4:44 sounds like), though one solid takeaway from the song is that Em is finally using his platform to put on the newer, talented and hungry artists who deserve shine (Joyner Lucas). Certainly makes you wonder what would have happened earlier on if Em may have decided to put some of his actual signed artists like Yelawolf or Slaughterhouse (R.I.P.) on his albums... All I can say is, good luck Westside Gun and Conway!
All throughout Eminem's career, he's been the rap game Rocky Balboa; constantly being chastised, ridiculed, critiqued, cast out, and had his back against the wall. And while his anger is something that people seem to see at some point during every single one of his albums (he even said in his latest Sway interview that he likes being angry), he always finds ways to use that anger to turn into inspiration for something good musically (well, maybe "good" is a strong word, but most times it's not). Kamikaze's high point lies in the entire theme of the album, which starts with the title; bombing on everybody without caring about what is said, who is hurt, or what comes of the aftermath. Kamikaze can't be compared to any of Em's past albums musically, but mindset wise, Em is at his hungriest. Em's now infamous MGK back and forth is the kind of thing the Detroit emcee froths at the mouth for, dissing people who diss him and praying they respond back, and Kamikaze is the epitome of Shady going for broke; leaving all of his cards out on the table in an attempt for one last "fuck you" before he rides out into the sunset on his own terms. The second part on "Not Alike" with long time collaborator and fellow Detroit emcee Royce Da 5'9, Eminem goes for the throat after switching the beat to some ominous, "hell-to-pay" types of foreshadowing that showcases what can come from an Eminem diss (and was given with "Killshot"). But the disses are not only on "Not Alike", but can be found sprinkled in strategic places all throughout the album. The hook on the same song is a direct shot at Migos' biggest hit "Bad & Boujee", and if you wish to see all of the disses on the album and who they're aimed at, check out this cool video from Genius. While some may view Kamikaze as an old man getting angry at the ever changing times (which I'll also discuss later), other long time Eminem listeners will know that angry Shady is Shady at his most comfortable, and most potent.
So I haven't see any production credits for Kamikaze yet, but it's probably safe to say that whoever handled the production on "Venom" should handle Eminem's entire next album. "Venom" is another shining example of what Em is capable of, yet another burning question that frustrates his fans; why aren't your albums as good as your soundtrack songs?! An interesting facet of Em's career when you really think about it, and when you think about the last soundtrack that Em has curated and exclusively handled himself just in the last few years alone, Southpaw (which included insane songs like "Phenomenal" and bad Meets Evil's "Raw"), you really start to wonder if Em is more inspired using other people's lives as motivation to create instead of his own; because maybe in not only our minds, but it Em's mind as well, he has said everything there is to say (talks of his mother, ex-wife Kim Mathers, his daughters Hailie and Alaina, drug abuse, coming up in the slums of Detroit, etc.). Is it time for Em to create a concept album that hopefully sounds nothing like Relapse (kind of joking, I enjoyed a decent amount of songs on Relapse)? certainly an interesting album idea for a man who has seemed to have said it all about his own life. You've said all there is to say about your own life Em, now how would you feel about creating a whole new concept about another's life (ala Good Kid Maad City)? If there's anyone who has the ability to do it, it's Eminem; the actor, rapper and writer (see "Stan", 8 Mile or The Wash for references).
(*Image Originally Used By DJ Booth For This Article*)
I was in high school (circa 2009-2010) when a sudden plethora of Pittsburgh artists started paving their own way onto the hip hop scene; the likes of Wiz Khalifa, Chevy Woods, and (brief rumblings of) the young old head Beedie all had a different sound that pushed the ideas of what hip hop could sound like and turn into, more sub-categories that give people the options and follow the moods in which people feel. Then, in 2011, I was introduced to an artist who (at the time) I didn't know, or have any idea or inclination that would change my perception on music and how it could be made and heard, forever. "Kool Aid & Frozen Pizza" had a very child-like excitement about it (though with budding adolescent intentions), an excitement that I could not understand at the time. I couldn't help but think to myself, "why is this guy rapping about an after school special meal for middle class white kids to come home to? Why is he so full of himself? And why is he acting like every other wannabe kid in my high school, but actually getting recognition for it?" Well, as it turned out; every other wannabe kid... wanted to be him. Although the early years of "Eazy Mac with the cheesy raps" wasn't exactly my type of meal to indulge in, the following 8 years to come had shown me the most interesting artistic transformation from a rapper I have ever seen... and probably will hold that title for decades to come.
To see such a transformation from ANY hip hop artist, let alone a goofy white boy from Pittsburgh, PA was staggering. The younger, unpolished The High Life, KIDS, and Best Day Ever years saw a Mac that to me seemed to lack identity; a fusing of rap's culmination up to the years of 2009-2010. The beats were head bobbers and the hooks were recite-worthy, but the real artist in Malcolm McCormick hadn't seemed to come to fruition yet; it's almost as if Mac hadn't quite yet graduated to the sound that fit him, like his famous Pittsburgh fitted hats. But with that goofy white boy smile, a happy-go-lucky swagger, and the "never settle" work ethic that brought us so much Mac music in so little time (12 mixtapes and 5 studio albums since 2007) had turned Mac into not only one of the most respected rappers of the blogging era, but one of the most revered artists of this generation.
2012 saw Mac taking a different route musically; a sonic transformation that (whether due to critical scrutiny or personal wishes) molded and morphed Mac into an era of artistic experimentation incomparable to any other rapper. His dark mind and vivid imagination started to allow Mac to experiment in parameters never before explored by hip hop artists with his descriptive and off-the-wall style and comedy in his writing, which was met with an equal level of high as much as his realistic and brutal talks of death, depression and despair brought on fiery depths of the lowest of lows that no human should wish to see. Mac for so long danced with the "Diablo" of the deep in what can only be described as a form of "method music making"; using his ability to craft real and raw songs from almost every emotion he ever felt at any given time. At Mac's highs, his fans experienced The High Life with him. But at Mac's lows, his people watched movies with the sound off while experimenting in creative ways that exercised the brain, and pushed the mind to it's absolute limits, somehow without reaching levels that would put the happiest person in a mental hospital. This was Mac's way of expression, an outlet that represented the true extra terrestrial nature of a man from Pittsburgh; who was for Earth, but not from it. A being that understood the every ways of humans more than any one of us pedestrians ever could.
(Just as great a performer as he was an emcee, Mac thrived off of using live instruments and wasn't afraid to use his singing talents, pushing that emotion he felt and transforming it into great music)
Watching Movies With The Sound Off brought that same sound, magnified. I spent a solid month to 2 months listening to the album out of curiosity and research (a couple years after the album came out, circa 2015), and feeling Mac tow the line between skilled emcee and talented musician was astounding. I had only been able to get that real and raw reaction and emotion from 1 other rapper, who is famous for his Man On The Moon series. Mac's fearlessness in being weird and unaccepted allowed not only me, but an entire generation of kids to feel okay about not being okay. To be able to be weird and explore yourself could ultimately lead to the loving of yourself, and it probably wouldn't be far fetched to say that that was Mac's intention all along. On songs like "I Am Who I Am (Killin' Time)" and "Objects In The Mirror", Mac's brutal honesty and uncomfortable sadness was not only an experiment for his own happiness, but a representation of the places we may have to travel to in order to ultimately reach happiness. "Aquarium" is the hand that reaches out to catch you on an album that represents falling to your death; the saving grace that says even after all of the bullshit... we will be okay, as long as you "follow yourself wherever your mind goes."
Despite the terribly unfortunate circumstances, it would be untrue to say that Mac had not experienced happiness. In an eerily profound way, his music also represented happier times in the Pittsburgh emcee's life, which you can already picture when you imagine that ear to ear grin he always gave right before letting out a laugh that could change the mood of almost anybody. His 3rd studio album, GO:OD AM showed the brightest side of Mac that we had seen to date, with Mac finally coming to grips with his failures as much as he had his success, his flaws as a man finally accepted by the most important person in his life; himself. He stopped trying so much to become his own idea of great and started attempting more to enjoy his life, which was very much represented on GO:OD AM. Mac's focus had finally shifted to enjoying what he did, and it showed in his happiness and the fun he was having in making songs again ("Cut The Check", "100 Grandkids", "Weekend", "Clubhouse", "In The Bag", "Cut The Check"), while that signature ability to tap into his emotions better than almost anyone still remained sharp as a sword, the little nuances spread all throughout the album.
(Mac's chilling last music video he ever released *I do not own these videos, or the rights to them*)
It's truly frightening to think about the signs of depression and drug addiction that Malcolm James McCormick showed throughout the years, but our regret lies in not being able to help him when he needed it. His struggle with addiction was well documented for years, but for an extended period of time his music seemed to be the saving grace of not only his fans, but Mac himself. Mac Miller will go down as one of the most expressive, delightfully weird, thought provoking and open minded rappers that hip hop has ever seen. His ever changing metamorphosis as an artist pushed hip hop to it's absolute boundaries, and though he passed at a tragically young age, his influence will reign on hip hop and it's own cult following, as well as his own cult following inside of the already scrutinized medium of expression for yea... decades to come. His mind bending concepts and at times, uncomfortably honest music not only represents Mac Miller as the expressive artist that he always was, but the beautiful human that he will always be remembered as. For every moment of positive recognition that Mac received, he shined a beaming spotlight on his shortcomings ten times brighter, with the utmost hope and effort to better himself in any and every way possible; an example that every human should follow and take notes on. We should take Malcolm's comfortability in speaking so heavily about death not as regretful or remorseful, but as acceptance that he is finally comfortable, and most of all; content. Rest Easy, Mac.
I woke up from a long night of Watching Movies With The Sound Off to quite a GO:OD AM. The light shined through the blinds harder than I had ever seen it, and though I was slightly blinded by the light, I finally felt awake. As I made my way to Blue Slide Park to reminisce in memories, I saw a bunch of KIDS playing on the slide, at the same time I also wished for better days. But then I thought, I didn't need to wish anymore... I finally feel as if I got my wish. I made my way to the pool to go Swimming, and prepared to Jump in. For some reason, this Jump felt the most in the moment I had ever felt in my life. In the air I thought about nothing, nothing at all. Not a single thing besides the anticipation of the cool water sending waves of pleasure and fulfillment through me... I finally hit the water and came to a realization. I plopped out of the water with the brightest eyes and the biggest pupils possible... was I high? Not at all. But I was finally living The High Life.
If you were to ask me my favorite project that has dropped in the last 5 years, I might give you a decent list of 4 to 5 albums... Cole's 2014 FHD still makes that 5 year mark,Kendrick's TPAB, K.R.I.T's 4Eva Is A Mighty Long Time that dropped in the last 2 months of last year, there's definitely a nice little selection of very meaty and dense projects that could make a case to deserve the "classic" title. One of the most unexpected of those projects, however, came from the Dreamville signee from Queens, New York; Bas. His 2016 album Too High To Riot, which hit me like a "Methylone" train (of unexpected awesomeness, though), was my favorite hip hop project of 2016, a year that saw many, many dope releases. For those that had listened to previous Bas projects, it was no surprise that Too High To Riot offered the profound and somehow scholarly take on drug rap that it did, but for those of us that hadn't heard of Bas at that point were hit with a refreshing take on "quality over quantity" hip hop that offered more than just a lit track to play over your system. And here, now, at the end of August of 2018, Bas offered another project for us all to sink our drugged-like minds into; Milky Way. Not to use bad puns, but if Milky Way has you so hypnotized that you're seeing stars, well... you're most definitely not alone. Here's my observations from Bas' Milky Way.
The Sweetest Sounding Sense Of Saltiness & Disconnection... A Poetic Lesson In Revenge, And Not Caring After Pain Inflicted
Some might say that the best and most honest art is created through pain and the rawest forms of emotion... Bas takes this statement to heart. In his past Bas has made waves (of tears, get it?) with his unreserved bluntness and emotional depth, and though Milky Way demonstrates Bas in a somewhat more positive light than Too High To Riot, he shows that it takes a low point to get back up to that high point, both found all throughout the album. On the album's introductory track, "Icarus", the track's title can be easily understood from the song's chorus; "since I let go of you and I, lately I've been feeling too alive, flying too close to the sun now, flying too close to the sun now." There's a poetic feeling to the pain ("Icarus", and the numbness resulting from that pain ("Front Desk", "Boca Raton", Fragrance"), which progresses seamlessly to the happiness that results in not caring; a justice serving transition that shows growth, all throughout one 14-song body of work.
Bitterness Resulting In Happiness
(*I do not own these songs, or the rights to them*)
And to do some poetic justice by seamlessly transitioning the feelings felt throughout the album, that numbness and lack of care (specifically from "these hoes" as one may put it) is shown through different examples like Bas focusing on his career ("Fragrance"), still being able to live life through racism and the ever changing cultures of America ("Barack Obama Special"), living while in love ("PDA"), and being able to live without a girl while focusing on self ("Purge"). Bas takes those everyday problematic struggles that hinder the common man's progression and use them as fuel to progress, almost like moving on to the next chapter in the mind of a man who's focus isn't always on his career; because he wants to live, love, and experience, just like any other man.
So does Bas actually milk his way across the Cosmos like the drug laden poetic astronomer that he is? In Bas' universe, maybe it takes quite a few roads blocks and uhm... spaceship troubles to be able to finally sail and coast around the galaxy with the ease and comfort that he wishes. But that's the beauty in the journey. On Milky Way, Bas keeps un all enlightened that though the road may be tough, there's still quite a few sights to see, and reinforces the old saying; it's about the journey, not the destination. Well, that, and the fact that Boca Raton sounds like the absolute tits to party in. The much more light hearted, fun spirited Bas comes out along with a lump sum of fun new sounds and melodies, of which Bas is just as good at making, if not better than the next artist. His expert, yet subtle thesis of man and the troubles of man come out in exciting new ways that could drive even the most long faced fellow to shuffle a jig or 2, and his awareness of self and society are utilized in his beautiful song crafting abilities. Yes, Bas is still surfing the Milky Way, and though he may encounter an asteroid of sorts every few light years, he's still set the ship to cruise control and has found a way to enjoy the scenery.
Louisville, Kentucky has never been the hotbed for aspiring emcees and artists coming up, but Jack Harlow is trying to change all of that. Though he may feel as if his "youth is wasted" (probably because the Aaron Taylor Johnson looking mother fucker spent all that time and energy being Kick-Ass), he wastes no time in his music, detailing the coming of age stories that develop with sex, girls, and finding yourself. In terms of sound and ability, Harlow is no slouch in the singing or pure rapping department, often cartwheeling and backflipping the tight rope between R&B artist and underground emcee, though in an interview with online hip hop publication DJ Booth, Harlow emphasized that his focus as an artist lies in making real music; "it has to feel good to me every time, from the first bar I start writing. There has to be that feeling that 'this is me, this is real, this is genuine,' and when it's genuine, it really hits. That's how you make something profound, and profound doesn't mean deep or serious. Profound means something that feels real and feels right."
Profoundness, depth, emotion and imagination are as important to Harlow as having a Billboard Top 40 hit. So what more from a rapper can you ask for? The Louisville bred emcee details this in his latest project, Loose. Does this mean Harlow is finally warming up to the idea of becoming something special? Or is he moving "too fast" and Loose for his own good? Let's check out some observations from the up and comer's latest project below.
Potential As A Lyricist Is There
Harlow's efficiency with multi-syllabic rhymes and slick punchlines show immediate promise, though Loose lacks a definitive track to set the tone and give reasoning for opposing emcee's to fear him. "Sundown" gives just enough of foreshadowing into Harlow's abilities as an emcee, but also tows the line between "skilled emcee" and "talented artist" a bit too much: you wish it would be 100% one or the other at times and more focused. His heart is in the right place with attempts at catchy, lighthearted R&B songs ("VACATE" ft. Taylor, or "SLIDE FOR ME") but at times lack identity and sound like he's chasing a hit more than looking to make music for himself, as he so honestly says in his DJ Booth interview. One R&B highpoint of the project is the final track "TOO MUCH", where Harlow's distinctly high voice shine through in a track that has potential to have ladies everywhere jamming in their Uber to on Saturday nights, which is mind-boggling because just about halfway through (about the 2 min. mark), Harlow can be heard asking the producer how it sounds, which leads one to believe; wait, is Harlow freestyling the entire song off the top of his head?! If this is the case and such a song is made without any planning, I can't imagine what else Harlow could accomplish with some actual planning and song structure. Also, Harlow as a rapper has so much room for improvement that he's practically moving into a house of greatness as we speak; a house he may very well soon call his own.
(*I do not own these songs, or the rights to them*)
All in all, Harlow's potential to become more of his own artist is there, but I need to see it and hear it instead of think about it what he could become. He makes great music in terms of sound and sound quality, but I'm looking for more from Harlow. Where's that emotion that he was talking about in his DJ Booth interview? What would he sound like over a DJ Premier beat? DJ Mustard? What about a sample heavy beat from a master like No I.D.? These are the things I think about when I think of the many possibilities of Harlow's musical longevity. But for now, I'm not thinking too much about it, because as his project states; Harlow is just now getting Loose.
When it comes to Mac Miller, it's always been difficult to define his sound as one particular style or subgenre of hip hop, sometimes even as music as a whole (the man makes hip hop Beatles experimental music, let's be real). His transformation from budding retro kid with a goofy grin to the serious hip hop artist (and I didn't say "rapper" because Mac cannot be boxed in) he has become has been truly spectacular. From fun projects like Kids and Best Day Ever, to some of his most serious content like Faces and Watching Movies With The Sound Off, Mac has always been willing, able, ad ready to tackle a new challenge both mentally, and sonically. But what is Swimming? What does it mean in relation to Mac's past and discography as a whole? Is Mac trying to make us feel better by saying that he's not drowning in things anymore, or is Mac truly Swimming and flourishing like the Olympian we all know he can be? Here are my observations from Mac Miller's latest peculiar project below.
Emotional Weight Not Only In The Lyrics, But In The Music As Well
As far as vulnerability in his lyrics, Swimming proves to be Mac's most introspective and personal album to date. That raw feeling and emotion that Mac has shown glimpses of in the past shines through like the morning sun glaring through a set of freshly opened curtains, hitting you unapologetically and prideful in it's openness and willingness to share, through the ups, downs, and balances of life. On "Come Back To Earth", Mac discusses his regrets, comparing them to "texts I shouldn't send." It's lines like that and "things I tell you, I shouldn't even tell myself", that set the tone early for Mac's raw candidness that takes place throughout the album. On the first song of the album to receive the music video treatment, "Self Care", Mac spends his time doing what the title insists; taking care of himself. A different take from the average Mac narrative, the struggle is still evident in Mac's day to day lifestyle, but after the beat change up just over halfway through the track, the realization sets in. Mac keeps referring to the "oblivion" he almost gets stuck in, as well as navigating the fear of the unknown and not only his, but the average person's willingness to proceed through it. Certainly a powerful message when taking Mac's drug-fueled past into account, "Self Care" is an eye opening refresher to Mac fans, as well as a pleasant thing to hear that he is pushing through life with no fear, or at least not as much as before.
A Funky Subtleness That Strays Away From The Rap Sound, But Isn't A Complete Experiment
It's always seemed as if Mac's boredom with the "run of the mill" hip hop sound has propelled his own sound into new heights, and Swimming is another continuous demonstration of that. His use of more live instrumentation and less instrumentals throughout the album adds a more raw, emotional sound (along with the elements I discussed above) that give a more organic, "naked" feel to the atmosphere of the album as a whole. In the representation of what this means for the album's theme, this adds not only a layer to the more purely musical aspect of the album, but also another layer to the emotional weight that the album carries; Mac is as real as the instruments he uses. On "Wings", Mac uses a very lighthearted snare to (in weird ways) represent a much more upbeat sound and feel, almost to say "I feel like how my music sounds; happy." As the hook sings, "these are my wings", which says "I know my low points can be bad, but I have some high points too." On one of the album's last songs, "Jet Fuel", Mac continues the use of that smooth, cool calm and collected types of basslines and jazz instrumentation to represent his feelings of confidence and reassurance to himself, and it shows in the closing of the song's chorus; "but I never run out of jet fuel." The evolution throughout just Swimming alone is an excellent summary of Mac's journey through depression, drug addiction, and his continuous road to recovery and happiness; a road that we can all relate to wanting to travel through.
Is Mac Miller Finally In A Better Place?
(*I do not own any of these songs, or the rights to them*)
If you've paid any sort of attention to Mac's discography in the past, you'd have to be a deaf Stevie Wonderin' what the eff is going on with Mac Miller's life. The Pittsburgh emcee has made some of the darkest, most experimental music that hip hop has seen in the 2010's, and a lot of it has been due in part to his past drug problems. The places that the drugs have taken him in terms of his "music making methods" have been some definite experiments, and whether they've done more right for him musically, you have to admit this Swimming version of Mac Miller sounds like Mac Miller version 3.0. While still able to keep the hallucinatory vibes with his dream-like entities of songs, Mac has come out the other side somehow completely clear minded and headstrong; able to reminisce without getting stuck, and able to look forward to the future without getting frightened at the idea of it. The epitome of the meaning of Swimming can be embodied by one line in the song "Jet Fuel"; "my head under water and I ain't in the shower and I ain't gettin' baptized." But what does this mean for Swimming as a whole? The album does a beautiful job of starting out with those negatives that we all know so well; the reminiscing, the drugs and alcohol (okay maybe not everyone knows those that well), the break ups, the never being able to forgive yourself, and the seemingly drowning atmosphere that life can provide at times. But this is why the album is named what it is; the transition from those beginning negatives turn into Mac figuring it out, and turning those negatives into positives. He's not doing drugs anymore, he's using his time productively. He's not dwelling on a break up, he's putting those feelings into a song for you to relate to, and to use as therapy. And he's not dwelling on the past and the negative, he's realizing that he's only human, and that it's okay to make mistakes. But just because you make those mistakes, it doesn't mean you have to drown in them, no. Mac is proving on this album, that after everything you've been through and being thrown in the deep end, you can come out of the other side Swimming.
Just earlier this evening, J. Cole took to SoundCloud to release a sort of celebratory freestyle, titled "Album Of The Year".
Cole takes to doing typical Cole things on the new freestyle, this time shredding the Nas and the Bravehearts instrumental "Oochie Wally" from way back in 2000.
The description of the track on SoundCloud reads as follows:
"The Off Season coming soon... All roads lead to The Fall Off."
Could this mean we'll be getting one, if not multiple new projects from Cole? Nothing has been announced just yet, but this little teaser certainly seems enticing to say the least. 'The Off Season" certainly sounds like a title that could fall in line with his previous mixtape releases, like The Come Up and The Warm Up, so is Cole looking to continue the series? Check out the video to the freestyle below, and be sure to keep an eye out for Cole in the coming months.
(*I do not own this video, song, or the rights to them*)
I started writing in 2014, 2 whole years after Nas' last studio release. Nas has been one of the artists I've wanted to tackle an album review on for quite some time now, as it's been 6 years since his last full length solo LP, Life Is Good in 2012. 6 long years going Nas-less for hip hop, though what he's been doing in those 6 years is very much left up for debate (unless you saw his Rapture episode on Netflix, dude was buying condos and hosting parties left and right). Fans might've gotten excited when he was featured on DJ Khaled's "Nas Album Done" in 2016, only to be lead on like a fat kid at a Weight Watchers buffet. 6 years in hip hop without an album is quite a feat in today's scene, considering artists are dropping albums monthly and randomly at almost any time, though Nas has never been one to follow the scene of trends. The title of Nas' 11th studio LP is his real name; Nasir. But is it a reflection of himself? Check out my observations below to find out.
Social Activism That Gets People Talking
Nas has shown his capability and willingness to speak on social issues throughout his career, and Nasir is no different. On the opening track, "Not For Radio", the explanation is given for the track's title in it's brutal honesty on the state of the world and police killings that have taken place over the last few years. "I think they scared of us, yeah", the hook belts out, but not before Nas drops his signature jewels like a fumbling robber (that's a bar, keeping that one). Diddy also makes a surprising appearance on the introduction of the track, doing as Diddy does best; talking shit before another rapper goes in and backs it up. The emotional "everything" featuring Kanye West and The-Dream is another candid take on shootings in the U.S. and worldwide; "dark boy don't you cry, there's too much life left in those eyes, don't you let that face go waterfall, don't you learn to love your scars and all, dark boy don't you die, they're just human let them lie, you just know your world and speak your truth, let them come to you for your love and your heart", etc.
Too Short, Not Enough Material/Hardcore Rapping Nas
(*I do not own any of these songs, or the rights to them*)
I know Kanye and everybody was sticking to the general "7 song" theme with these album releases, and it worked well for a generally fun and vibey Kids See Ghosts project, but Nas is much more dense a rapper to only include 7 songs on a project for, especially on his first album in 6 years. Don't get me wrong, I like short albums just as much as the next guy, no filler is a great concept for albums, but as talented and as knowledgeable as Nas is, you expect to hear more stories of the hood while sipping champagne and dining in the finest restaurants... that's just the Nas way now! Anyways, that hardcore old school emcee spittin' type of Nas that we like to see is pretty hard to come by in the 7 songs provided on Nasir, but if there's any song that he uses for his moment to talk his shit and spit bars over, it's "White Label". Over a crazy brass/deep piano sounding key (not sure what that sound is that's used honestly), Nas again effortlessly and wisely boasts his lyrical muscle over a beat that sounds tailored for him, like a Versace suit at a Hennessey party. "Cops Shot The Kid" is a different take on a party anthem, (as Nas boasts in one of the opening lines, "I don't wanna hurt nobody, we just came here to party"), using it to describe a casual night out minding your own business before police come in to stir the pot. Could this be the way to the people's minds and critical thinking? Talk about police brutality in a absolute bop that would get nonstop plays? Nas is thinking next level with this type of strategy.
Though it's a somewhat dense project from a legend with years worth of material both in his head and on wax, it's weird to say that you almost wish for a few fillers? There aren't many ways you can compare Nasir to Life Is Good, but the latter did appear to have more songs that you could let loose to (or what some would refer to as "filler", though it was far from filler). Nasir is seriously mature, but almost too serious, lacking moments that make you juke and jive in a happy go lucky way, though providing thought provoking tunes on the current state of the U.S. that make you nod your head. The difference is Nas' dedication to staying true to raw honesty in hip hop, and though it's appreciated from the heads (like me), you sometimes wonder what Nasty could do over a Metro Boomin beat (as weird as that just felt to say... there's some truth to it). But as they say, if it ain't broke, don't fix it; Nas delivered a solid (but frustratingly short) project that will probably take months to dissect; which is what makes him one of the greatest.
First off, I want to start by saying that I am not here to support Kanye West in any way shape or form outside of music. I am only here for the musical aspect of things, so far it has been Pusha's album, and now, because I find Kid Cudi to be one of the most influential and inspiring artists of the last decade, I have a contract in my brain that says I will absolutely and unequivocally support anything Kid Cudi puts out musically after Man On The Moon I and II. Kanye, if you somehow, find some "by the ways of God, premonition-like" way to read this, seek help. For you and your loved ones. You may think it helps you, but at some point, you will no longer be able to control it.
Anyways, the relationship has been well documented between these 2 G.O.O.D Music artists for about 10 years now, seeing as Cudi was a key inspirational crafting point in the making of Kanye's 2008 4th solo album 808's & Heartbreaks (the album some may some say is Kanye's best... just kidding, it's only me that says that), playing a huge role in most of the album's production, melodies and harmonies as a whole (Cudi has also detailed working with Kanye and Jay Z on The Blueprint 3 in past interviews). Kanye has always been the best example of "paving your own lane" when it comes to personality (hot take) and creativity as a whole, especially music. Now Cudi on the other hand... how does one describe Kid Cudi's musical ear and sound? Kid Cudi is like if Pink Floyd and David Bowie somehow mixed together and had a psychedelic baby born on LSD and somehow already possessed the ability to play the piano. Now put these 2 musical entities together... and it creates the stuff of myth. Children are proven to experience more paranormal activity than the average adult, but on Kids See Ghosts... I think Kanye and Cudi made it possible for adults too. Check out my observations from Kids See Ghosts below.
Live Instrumentation That Gives It A Jam Session Feel
As if there was any question to if the project was going to be musical, Kanye brings the beats to Cudi's blues. All throughout the project, melodies on top of melodies are layered intricately and just perfectly enough for each contributor to do their part and not steal too much shine away from their partner... and Lord knows both are capable of doing so. "Freeee (Ghost Town Pt. 2)" intros with some heavy pounding drum kicks that sound like a nightmare reoccurring from 2010-2011; a nightmare brought on from the imaginative portraits that Cudi would paint throughout his writing in the Man On The Moon series. This song is especially great because it takes you back to a time where old school grunge bands would show footage of themselves during their Behind The Music documentary's just jamming it out in the garage with the band, still figuring out their sound (besides those "ray of sunshine" like background vocals that Ty Dolla $ign provides, which are almost ghostly... ohhhhhh.. I get it!). The introduction guitar along with the progressing drums in the album's final track "Cudi Montage" sound like the perfect blend of a grungy Nirvana-era guitar, then somehow flips into a hardcore hip hop album cut that Jay Z could talk his shit over (remix idea, maybe? Oh dammit... nevermind. Forgot about Kanye and Jay's current status).
Cudi Haunts This Album With His Presence, And It's Absolutely Gorgeous, Terrifying, And Brand New, Yet Somehow A Blast From The Past
(*I do not own these songs, images, or the rights to them*)
Okay seriously crazy theory here... Is this a secret ode to Cudi's Man On The Moon series? Is this a follow up WITHOUT BEING A FOLLOW UP?! Haunting is the epitome of Cudi's presence throughout Kids See Ghosts, whether it be giving a beautiful yet somehow paranormal singing voice ("Feel The Love"), some all-seeing, all-knowing, prophetic types of song writing ("4th Dimension", and I mean just LISTEN to that introduction to Cudi's verse... talk about creepy!), some talks of being "Reborn": which, I mean come on, the song title is already saying something in itself; like dying and being "Reborn" as this new creature (and Cudi is clearly Unicorn status, by the way), and playing the guitar to what sounds like courting death (that grungy Nirvana sound)... almost as if he's leading you to a battle you know you can't win, an unsettling oath that is less like death and more like fulfilling prophecy; coming back stronger than ever before and leading your troops to victory in a battle more epic than the final Harry Potter movie ("Cudi Montage"). Seriously though, Cudi; we didn't think you'd take the whole "Reborn" thing as such a method actor! It's like closing your eyes, hearing a movie and imagining it yourself as the soundtrack to darkness unfolds. Cudi himself adds more than vocals, production, or verses could all do put together, and this is why he's (in my opinion) one of the greatest to ever do it; his ambience creates more of a feeling than pure rapping could ever do; he's not just haunting you with his singing, he's creating a soundtrack to the madness in our minds.
It seems as if Kyle's burst onto the scene has been quite sudden, but the Ventura, California artist's comeuppance has been far from sudden, to those paying attention at least. After Rolling Stone named him as "one of the ten artists you need to know" in 2015, that same year Kyle released his second mixtape Smyle to some mild success, although he didn't achieve widespread recognition until the release of his single "iSpy" featuring Lil Yatchy in December of 2016, which peaked at #4 on The U.S. Billboard Hot 100. Though widely known for his abilities to make catchy hits seemingly tailored for the Hot 100 and girls around the world alike, Kyle can easily bar down your favorite rapper over goofy, yet melodic production that highlights his angelic vocals, which can be misleading as Kyle has a speech impediment, which at this point in his career seems to have added more to his amiable personality and rap style. Because Kyle is so known for his "hip pop" style, it was widely expected that his debut album Light Of Mine was going to consist of the qualities that he is best known for; feel good, sing-along songs that you can both sing like Usher and rap like Busta along to (though neither example used is anywhere near the personality on record I'd use to describe him); so did Kyle's light shine brightly or burn out into the dark? That's what we're here to discuss; check out some key observations from Kyle's debut Light Of Mine.
Light Hearted Hits That Make You Groove
Hits aren't usually something that catch my attention since I'm usually one for more personal/harder hip hop album cuts, but Kyle brings that light hearted R&B heat all throughout Light Of Mine. The opening track "Ups & Downs" starts off with a very high pitched and tweaked voice that discusses what sounds like the party plans of a depressed introvert, but once it gets into the song, it sounds like the complete opposite of depressed with the essence of an early 2000's dance hit, and the swag of Lil Uzi Vert in a dress on steroids. The absolute best song on the album "Babies" featuring the lovely Alessia Cara sounds like that dumb, catchy pop hit you can't get out of your head, yet you love it and can't help but replay it for the 5th time in a row on your aux chord. "Babies" is one of those songs that if ever featured on an edition of "Tiny Desk Concert" or somehow MTV brought Unplugged back, you would swear it'd be the best version of any song to hit the web that week (get Thundercat on the bassline for that one, and you have yourself a performance).
Kid Cudi Influence Is Evident, But Kyle's Far From A Knock Off
Kyle can't pull off the legendary hums the way Cudi can (I swear those things could summon Phoenix's and magical creatures out of secret realms of the universe), but he gives his best impersonation on "To The Moon" (another way he pays homage to Cudi, especially knowing Cudi's discography), and it's still a pretty damn fair one at that. Despite that lisp he was made fun of for in school, Kyle has some pretty amazing abilities when it comes to throwing and forming his voice to fit different musical styles; the hook on "To The Moon" (unless it's vocal effects) sounds almost exactly like a Cudi hum, and in the beginning of "Zoom" he gives a nice little mumble hum that sounds very reminiscent of an early 2010's MOTM Cudi. The sound, theme, and writing approach in the album's final track "Clouds" is almost a direct inspiration draw to Cudi's talks and writing about self loathing, depression, and using the so-called 'Clouds" to feel better... and besides, who couldn't use a few clouds to bring them back to the top of the world anyways? Kyle isn't impersonating his idol, he's doing something even cooler and more creative; finding ways to pay homage in his music without biting styles.
(*I do not own any of the audio or images posted, or the rights to them*)
Kyle falls just short in the rapping and emceeing aspect of things that I liked so much about Smyle, but he makes up for it in areas that require expert melody-making and song craftsmanship. The features throughout Light Of Mine add just enough to still keep it Kyle's album with a few nice surprises (plus Kehlani is super hot and is a queen of the melody game, as well as Alessia Cara), and each one adds their own perfect bit of DNA to each song, respectively. The album is not for the hardcore rap fans by definition, but if you're looking for a fun and much more positive listen, Light Of Mine could maybe bring some light to your life too with it's exciting musicality, above average guest features, and glowing personality.
In case you missed it, earlier yesterday Mac Miller took to YouTube, and all other streaming services to release 3 new songs.
The 3 new songs - titled "Buttons", 'Small Worlds", and "Programs" - sort of came out of nowhere for the Pittsburgh rapper, and only a brief 2 weeks after it was reported that Mac was arrested and charged with a DUI and Hit and Run after hitting a power line pole and crashing his car in the San Fernando Valley of California.
One can only hope that Mac is not hitting rock bottom again after it was confirmed that Mac and his girlfriend of over a year, singer Ariana Grande, called it quits. Although in some cases with musicians (especially one as creative as Mac) bad things happening can mean for some inspiration on the music making front, Mac's history with drug abuse may worry some fans as to how the rapper has been dealing with the break up. Prayers up for Mac and his health.
Check out the 3 new Mac songs below.
(*I do not own any of these songs, or the rights to them*)
Only a few hours ago (around 9 P.M. EST), Pusha T took to Twitter to release his newest Drake diss track, "The Story Of Adidon", and... Drake better be coming with the heat after this one.
One line in the song Pusha claims "if we all go to hell it'll be worth it", and with the information he drops in this new record, that just may very well be the case. Push brings what seems like EVERYTHING to light about Drake, including a LONG LOST CHILD that Drake supposedly had with former porn star Sophie Brussaux, Drake's mother, Drake's producer's (Noah "40" Shebib) battle with Multiple Sclerosis (and here's the kicker... tomorrow, 5/30 is MS DAY!!!!), and the cherry on top; you see that artwork above? Oh yes... that's Drake in blackface... according to Pusha, the photo is from an unreleased photoshoot Drake did with photographer David Leyes for an old clothing brand; if there's anything that will turn the people on ANYONE, and for good reason; it's someone painted in black face. Hey Drake, you got some splainin' to do.
How Drake counters a blow like this, I do not know. But I will keep you posted on how it plays out. Listen to Pusha's new diss record below, and check out Vulture's breakdown of the track and the disses included in that link.
When Kanye so carelessly started spewing away every little "dinner talk" thought that came to his mind on Twitter a mere month ago, the rest of the world got excited about what he was saying (mostly the music talk), but there was a little voice in the back of everyone's minds that was keeping them from getting their hopes up. So many genre shifting releases in a matter of a couple months is enough to get people excited, and possibly even shift the tide back in the favor of the emcees who favor crafting albums over carelessly throwing out music to appease fan's music quota. Pusha T is one of those exceptions to hip hop. Though the Bronx emcee's history of spitting lyrical game (and by game I mean "drug money" game) has far outweighed his hit making (or let me rephrase, "pop" hit making) abilities, Push has always found a way into relevance in hip hop, and with Kanye behind the boards of your album (no matter how much hip hop hates him right now), nothing but good can come from it in terms of the sound of the actual music. So does Pusha push a ton of weight on his newest release Daytona? Or does he hit the bricks and fall tiresome? Let's discuss a few observations from Pusha's newest release.
Blunt Honesty That Hip Hop Is Missing
A good portion of Pusha T's time on Daytona is spent boasting the money earning ways, whether legal or illegal, to listeners. Push returns with an eagerness to provide what hip hop has been missing without him over gritty tracks like "If You Know You Know", an attention demanding sample that somehow gives all the attention to Pusha, his patterns and his flow style taking center stage with lines like "where were you when Big Meech brought the Tigers in?, 'cause I was busy earnin' stripes like a Tiger's skin." Pusha's full persona is put on display throughout the album, with talks of past lessons of drug deals, changing personalities and jealousy of the evils of money, all to play in the car to scare off the kids horsing around on the street, and at the same time, earn the respect of the scary dudes that hang out on your local corner. 'The Games We Play" sounds like the soundtrack to an episode of smuggling some 100% pure Colombian Bam Bam on Narcos, giving that hard, yet, groovy feel that spreads awareness that it can be fun to dance to songs about drug dealing... but we should all be aware that it's out there, and it's much scarier than a sample that Kanye chopped up.
Is There A Lesson? No, But It's Damn Fun To Get Lost In The Sauce
Pusha is unique in not only his skills, but his entire persona as a rapper/past drug dealer. On "Come Back Baby", Push plays the teacher to the students, but without entirely forcing the "game" onto his listeners. All throughout Daytona, Push aims for a sound that sounds like that of a poor man's Jay Z (which is definitely a compliment); he preaches to you the horrors and the harsh realities of the street life, while making it a fun listen to bump in the whip or the system. On the second part of "Santeria", the samples bleeds through the speakers like the blood of lost cartel casualties and fatalities; the fruits of the hard earned labor are appreciated, but the lessons of the haunting aftermath stay with us like the ghosts of project's past. In other words; it's cool to know about the details of drug dealings and murderers, but it's even cooler to know that there are repercussions of what those drug dealings bring, and if the rumors are true of the cover art being Whitney Houston's bathroom during her drug addiction (seriously, look it up if you can find out the meaning behind the cover art), then it seems Push is really pushing that narrative home with these evils that drugs bring.
Hard Rap Brought Back To It's Roots
(*I do not own these songs, or the right to them*)
Push has never been looked at as a gatekeeper of hip hop, but most of the time people pay attention to what he has to say. He uses Daytona as a means to get some things off his chest, whether it be Birdman and Wayne's troubles, dissing Drake (refer to the last post for more details on that), or rap's current state overall. The frustration of the current state of hip hop burns throughout Daytona, and some of that pent up frustration could probably be heard throughout a line or 2 in every song on the album. Though a short album, Push does a good job of keeping it poignant and precise in the 7 tracks given, which is commendable and frustrating in itself; commendable for not using album filler, yet frustrating for not being able to hear more of what Push has to say about things. Push uses the opening lines of the scathing "Infrared" to share his thoughts on the current state; "the game's fucked up niggas beats is bangin, nigga ya hooks did it, the lyric pennin' equal to Trump's winnin', The bigger question is how the Russian's did it, It was written like Nas but it came from Quentin, at the mercy of a game where the culture's missin', when the CEO's blinded by the glow it's different, believe in myself and the Cole's and Kendrick's, let the sock puppets play in their roles and gimmicks", which lead to much more, including lines on Birdman, Wayne and Drake. Some people may look at Push's honesty in these lines as hate towards the current stars as a now so-called "old head" of hip hop, but how could it be hate if he's fighting for Wayne's case, just as his label boss Rick Ross did on his 2017 track "Idols Become Rivals? No, Push is not looking for attention on the entirety of "Infrared" (though most of the Drake disses could be seen as such), he's merely using hip hop what it has been meant to be used for since it's inception; speaking from his heart, and saying what he believes needs to be said at the end of the day, whether people like it or not.
