Review: "Scorpion" by Drake

In a summer that started out being full of controversy, slick verbal jabs being traded back and forth between him and his competition, and everybody questioning what his response would be to all of this, Drake has released his album "Scorpion" to critical acclaim and praise from his fans. The “double sided” album sports over 25 songs, 12 on side A, 13 on side B. With the first two singles, “God’s Plan” and “Nice for What” both peaking at number one on the Billboard charts, the album was sure to do explosive numbers at its release. This is exactly what happened when Scorpion dropped, breaking single day streaming records for both Spotify and Apple Music.

Drake’s latest project has done the numbers and gained favor from longtime fans that proves that he is still on top; however, how does the album itself stack up against its competition and past work of the Six God?

Side A of the album focuses mainly on Drake’s rapping skill, while side B is driven more towards the R&B and pop side of the artist. Both sides of album feature heavyweight producers, including frequent collaborator Noah “40” Shebib, Boi-1da, No I.D., and others. What makes the production noteworthy in Scorpion is the extensive use of samples used in the album, including classic songs from legendary artists including Marvin Gaye, Aaliyah, and Lauryn Hill. 

As far as features go, there aren’t many other artists featured throughout "Scorpion". With an exception of Jay-Z, Static Major, Ty Dolla Sign, and others that were featured through sampling, Drake pretty much goes completely solo for most of his album, something that fans have come to expect from the artist. One of the obvious highlights from the album was “Don’t Matter To Me” which used a previously unreleased recording session between Michael Jackson and Paul Anka. 

On that track, as well as the others, Drake’s delivery which often comes with sharp, clever punchlines all work smoothly with the production to do justice to the artists used for the songs. Not trying to invent the wheel with his style, Drake gives more of the same in terms of his style and flow, whether its a rap banger on side A, or one of the pop and R&B joints featured on side B. 

While the album does feature some heavy hitters, a few tracks tend to lack the strength of the main highlights of the album. Also, there may also be room for the argument that this album hasn’t completely surpassed his other hits. However, while Drake hasn’t completely reinvented the wheel as far as his style and presentation, he does more than enough to keep the fans entertained. 

While this album may not convince everyone that Drake is “The G.O.A.T.”, it does cement Drake as being on the top of the game and shows why he’s not going anywhere anytime soon. Whether it’s his bars on side A or the emotional R&B songs of side B, "Scorpion" is definitely a must listen for the summer!

Stream/Download "Scorpion" on Spotify

Review: "Nasir" by Nas

When the legendary lyricism of Nas is combined with the legendary production of Kanye West, two things are bound to happen: the fans are going to go crazy for the hype, and everyone is going to be waiting for the release. This is why instead of a an ordinary release, Nasir, the latest album from Nas, got it’s debut in the form of a listening party in Queensbridge Park on June 14th, with Mass Appeal’s YouTube Channel handling the livstream of the album’s debut. The album cover art was also revealed online, with the cover displaying a black & white image of five black boys standing against a brick wall with their hands up. Those who missed the live stream can still catch the link to watch the archived video of the event. 

This is what fans who are curious about the album can expect from the live stream: both Kanye and Nas doing what they do best, and doing it extremely well! Kanye West was quoted saying that he “felt like a teenager” working on the album. After listening to the production on the album, it’s easy to tell that a lot of love for his craft came from Kanye on this album, with Kanye being in rare form with strong production that is reminiscent of his older style while still being some of the best instrumentals released by him recently. Whether it’s the Slick Rick sample used “Cops” or the laid back smoothness of “Adam & Eve” and “Bonjour”, each instrumental on the album showcases Kanye’s talent as a producer, while also complimenting the style of flow of Nas perfectly. 

Nas’ lyrical content, ability to tell a vivid story with his lyrics, and classic flow are in rare form as well. As one of hip hop’s most prolific storytellers, each track is filled Nas’ signature style hard hitting bars that come together to paint a picture while delivering his message. While there are not many guest features on the album, appearances from 070 Shake, Kanye West, and The- Dream are welcome and excellent additions to the album. 

Fans who have been hyped for this album will be happy to know that this album is everything we have expected plus more. While not the typical summertime hit, it’s an album that we have been in need for lately. With Nas and Kanye both doing what they do best, this album is sure to please the fans and stay on repeat for a long time after you listen for the first time! 

Kanye Teases Tracklist For Nas’ Album on Twitter

It seems like Kanye West is on a roll out that not gonna quit any time soon! Kanye took to Twitter on Tuesday night to reveal the tracklist for Nas’ upcoming album.

On Tuesday night, took to Twitter to share a little something with the fans. No, it wasn’t a usual Twitter rant, but something even better! It was a pic of the tracklist for Nas’ currently untitled album on his whiteboard. The song titles on the tracklist are “Everything”, “Bonjour”, “Not For Radio”, “Adam and Eve”, “Simple Things”, “Cops”, and “I can explain.” 

The as-of-yet unnamed album will be Nas’ 12 studio production. The album will release through G.O.O.D. Music, which is owned by Kanye West, who is also mainly in charge of the production for the album. With G.O.O.D. Music already releasing Pusha T’s Daytona, Kanye West’s Ye, the Kanye and Kid Cudi collaboration Kids See Ghosts, as well as the announcement of Teyana Taylor’s new album being released next week, it apparent that the Kanye summer takeover is in full effect!

While Kanye has been prone to make changes to his projects, the timing of things make this announcement seem more solid. Nas’ untitled album will release this Friday, June 15. 

Interview: Huntsville, AL Based Rapper Midget Green

A native of Huntsville, Midget Green’s flow and lyricism look to bring notoriety and buzz to an area that is often overlooked when it comes to mainstream hip hop. With tracks including “C.E.O.” and “Ridin”, the Alabama artist is looking to change this with his signature style and energy that he brings to his music. Midget Green sat with DCWS x The CAB Portal to speak about his style, influences and beginnings. 

After reading our Q&A with Midget Green, you can find his music, including his singles “C.E.O.” and “Ridin” on his Soundcloud page. Also, be sure to follow his social media and be on the lookup for his new album "In The Meantime", which should be releasing this summer. 

How long have you been doing music and what influenced you to begin your career in music?

I have been doing music on and off since a teenager, but it was the same type of “gangster/trap” music you commonly hear today.  I almost gave up on pursuing a music career because it seemed like the only way to be noticed was to glorify the street life. Which after living it and maintaining a grand lifestyle.  I also started noticing the negative example I was setting, along with today’s music, for my peers(our youth).  It made me want something different out of life.  Being raised in the church.  I prayed about it and the Lord gave me a vision on how to reach my peers through music. Since I already have respect and a type of edge about myself from hustling. I incorporated it into my music to not only talk about the ups, but to also talk about the downs in a way that people would still listen, like, and be motivated to be more than a “trapper”.  I’ve been a bad influence for long enough.  It’s was time to use the talent I was given to be a positive one.  I’m a make this music my avenue to put me in a position to do so. These facts alone have influenced my drive tremendously!  I know God's behind me, so I’m a go hard with every rhyme until my last breathe!

How did you come up with your stage name and what makes it unique to you?

Initially I called myself Earresistible because I felt my rhymes where irresistible to your ear. Hence why I spelled it with ear, but people didn’t get it. So I thought long and hard about something everyone knew me for and being truthful. That was being the weed man who kept some of the best mid-grade you could find.  The #1 thing I got asked when I was seen out was “You ain’t got no good midget in route?” or “You ain’t got no green in route?” So I just put the two together and became Midget Green.  A lot of people look at the weed man as a counselor.  So I’m a use the counseling skills the streets gave me.

What artists have been your biggest influences?

Initially I was a big No Limit and Cash Money fan, but I would say Twista, Eminem, Devin the Dude, T.I., Lil Boosie, and Dirty Boyz due to the way they painted a picture with words and I felt they spoke on what they knew.

How would you describe your sound and style in your own words?

Raw with clever wordplay and a southern draw.

Being a proud citizen of Huntsville and someone who is starting to build a buzz in your city, how important do you think it is for artists to build their brand in their hometown before branching out to other cities?

This might just be my point of view, but I feel it’s mildly important.  Because, I feel the music industry is similar to being prosperous in the streets. The ones who had clientele based outside of the area they lived were more likely to excel.

What would be one thing that you would want your fans to take from your music?

I want them to simply see someone who wasn’t scared to take a different route even though I still have a love for the streets and prospered in them. I was still willing to give it all up to lead and show you can do whatever you put your mind to.

I want to thank everyone at the Dopecausewesaid staff for their time and effort that was put into helping put my movement into motion.

Connect with Midget Green: Facebook | Instagram | Twitter

Review: "Chromatic" EP by Iyves

While trends in music have been every changing for the past few years, especially in the Hip-Hop and RnB genres, RnB seems to be making a return to more soulful and smooth sounds. It is in this style where "Chromatic", the upcoming EP from alternative RnB singer Iyves truly shines. With the use of her brooding vocals and soulful signature style allows for strong entry in the catalog of the indie singer. 

From the beginning, “No Pressure” and “Let It Play” set the tone for the rest of the EP, slow and relaxed instrumentals behind the strong voice of Iyves while her lyrics tell stories of love, romance and heartbreak. It’s the strong vocals and delivery over calm and soothing instrumentals that make "Chromatic" grab the attention of the listener. This combination almost puts the listener is a trancelike state, making it easy to vibe to the soulful voice of Iyves. 

While the production keeps the same energy and tone throughout the EP, it does enough in the sense that it highlights the singing of Iyves. While some RnB records may try to wow the audience and capture their attention with the beats, the production on "Chromatic" is laid back and toned down enough to let the singer’s vocal strengths be the main star of each track. 

While the EP is a strong example of indie alternative RnB, it does have its flaws. The singer’s vocal strengths are sometimes hidden by unnecessary reverb and effects. Also, while fans of Iyves’ previous work will love her familiar EP, others may find it to be slightly repetitive. However, these are just minor issues and do not stop "Chromatic" from being a solid alternative RnB EP that fans of the genre are sure to enjoy.

"Chromatic" is definitely a must listen for fans of alternative RnB looking to add to their summer playlist. The EP is a great genre piece that has enough personality to capture the attention of listeners, while still being laid back enough to showcase Iyves' growing talent and potential. Be sure to stream/download "Chromatic" when it drops this Friday, June 15th. 

Connect with Iyves: Instagram | Twitter

Lil Wayne and Juelz Santana Finished With “I Can’t Feel My Face” Album

Whether we’re talking about The Detox, a debut album from Jay Electronica, or Tha Carter V, there are many projects that fans pretty much chalk up to the game as far as getting an actual release. The long-anticipated Lil Wayne and Juelz Santana mixtape “I Can’t Feel My Face” is one of those projects. 

First announced nearly a decade ago, most fans have figured that it is probably best not to hold their breath while waiting on the collaboration between Juelz Santana and Lil Wayne. Still, fans may have just received a glimmer of hope at a release from Santana himself. 

A few days ago, Santana responded to a fan’s inquiry about the current status of the long- awaited album, saying “That thing already Done bro Jus Know.” While Juelz offered no other details regarding an official release, little news can potentially be good news in this case. After all, a finished product is always better than a work in progress when fans have been waiting this long, but how long should fans expect to wait for the official release or at least an announcement?

Lil Wayne is no stranger to releasing surprise projects, including the surprise release of “T-Wayne”, his collaborative mixtape with T- Pain, in the summer of 2017. During the same summer, he also released a surprise EP to celebrate his “independence” from Cash Money Records during his highly publicized spat with Birdman. Lil Wayne also dropped a subtle hint on Instagram earlier this year in the form of a picture of him and Juelz in the studio with the caption “Do y’all want ICFMF,” followed by the thinking emoji. 

So, are these subtle hints pointing to fans finally getting to hear the album they have been waiting over 10 years for this summer, or will they have to hold out even longer alongside the people still waiting for Tha Carter V? Only time can tell, but inquiring eyes and ears will definitely be on the lookout for official news on the long-awaited release. 

Interview: Electronic Music Producer and Songwriter Color Theory

With over two decades of experience as a producer and songwriter, Brian Hazard, a.k.a. Color Theory, has experience, humility and love for his genre. It’s this love and respect for his craft that not only allows him to continue to experiment and grow as an artist, but also engage with fans as well as other artists looking to make their own mark within the electronic music genre.

Color Theory connected with Dopecausewesaid x The CAB Portal for an exclusive interview to let us know what has influenced him throughout his long career, and what keeps him going and growing as an artist. After reading our Q&A with Color Theory, be sure to follow him on social media and check out his Soundcloud profile below.

How did you come up with your stage name, and what does it say about your style?

A friend of mine was in design school, and she had a class called Color Theory 101. I thought it sounded cool, probably because Depeche Mode had a documentary called 101 and my subconscious connected the two.

I suppose it would be pretentious of me to suggest that it says anything about my style, after telling you how trivial the choice was! I guess “color” makes it sound artistic, and “theory” makes it sound sophisticated or intellectual.

Who are some of your main musical influences?

My rule is to only listen to music less than two years old, so my influences have shifted over time. I grew up on The Cure, Depeche Mode, and Smiths. David Sylvian stole my imagination for a long stretch. Later I fell in love with The Postal Service and Imogen Heap, then Deadmau5.

Nowadays I’m mostly into synthwave stuff like The Midnight and Duett. In fact, I have a Spotify playlist dedicated specifically to vocal synthwave. (http://bit.ly/vocalsynthwave)

I’ve noticed your extensive catalog of music. What inspires you to keep putting out music consistently?

My last album took six years, which is part of what prompted me to launch my Patreon page (http://www.patreon.com/colortheory) in March of 2017. Since then, I’ve released a song to patrons every month. Forced deadlines have done wonders for my productivity!

Up until now, I’ve mostly been exploring the boundaries of synthpop and synthwave, but now I’m ready to start a more focused album project. In the meantime, I’ll likely release an EP in late summer.

What made you fall in love with the genre of synthpop? Would you consider transitioning to production and songwriting on different genres?

Depeche Mode made me fall in love with synthpop, by creating a unique sonic signature for each song. On a practical level, synthpop made sense for me because I could do it all myself.

I’ve actually been producing music in a variety of genres since I launched my mastering business, Resonance Mastering (http://resonancemastering.com/), in the late 90s. For example, I recently mixed and mastered a folk album!

For my own music, I don’t see myself dropping the synths anytime soon. It wouldn’t be Color Theory.

How big of an impact and difference does social media make now, versus the way you interacted with fans before the boom in social media?

It certainly eats up a lot of my time! I made a lot more money in the early 2000s through CD sales with a lot less effort on the promotional front. I toy with dropping social media completely, or taking a sabbatical, but then something pops in my head that I *have* to share. I guess that’s why it’s so addicting.

On the plus side, it’s easy to reach almost anyone these days.

What are some of the ways that you have noticed the electronic music has changed as a genre over the years, and how do you manage keep up with the trends while staying unique?

Though I try to listen to newer stuff, I’ve never really had a handle on the broader electronic music scene. I’d see producer friends on Facebook debating whether a track was epic trance or melodic trance, while I wouldn’t know whether it was trance or house. Even within the relatively narrow confines of synthwave, I’m not keen on, say, italo disco vs outrun.

Part of the problem is, I just don’t listen to that much music! I’m always working on other peoples’ music, and I like to give my ears a break. The only reliable time I can listen for pleasure is when I run in the mornings, and I prefer to do it sans headphones.

What advice can you give to aspiring producers and songwriters who wish to connect with their fans while pushing their music?

As luck would have it, I have a blog (http://passivepromotion.com/) dedicated to answering that very question. I regularly test out services and strategies, and report back with my results and conclusions.

The biggest stumbling block, and this applies to me too, is that we all believe our music is better than it is. We think it sounds the way we wanted it to sound, and that the words mean what we meant them to mean. Our stuff is better than all the “crap” on the radio, and anyone who says otherwise doesn’t know what they’re talking about.

Once we let go of that notion, the real work begins.

Connect with Color Theory: Website | Soundcloud | Twitter | Facebook

Kendrick Lamar Becomes First Hip-Hop Artist To Win Pulitzer Prize

Kendrick has definitely been a destructive force in the rap world, taking the world by storm and being critically praised while doing so. Kendrick is a Grammy award winning artist who has also claimed gold at the MTV Video Music Awards, NAACP Image Awards, iHeartRadio Music Awards, Soul Train Music Awards, and many others. Now the award-winning artist can add the Pulitzer Prize to his long list of accomplishments!

Kendrick Lamar’s “DAMN.”, which was released in April 2017, took home the prestigious award, with the Pulitzer Prize website calling the album “a virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.” Not only is Kendrick Lamar the first Hip-Hop artist to take home a Pulitzer Prize, but the first non-classical or jazz artist to win as well. 

This adds further proof to not only Lamar’s presence within the music industry, but the leverage that Hip-Hop holds as a genre in the world of music. In 2017, Hip-Hop and RnB officially surpassed Rock N Roll as the biggest music genre in the United States, according to a Nielsen Music report. While it’s apparent that Hip-Hop’s influence is continuing to grow, Kendrick’s award for his latest album may be further proof at the level of influence Hip-Hop has globally, with Kendrick being an excellent representation of the art form. 

It looks as if 2018 is truly Kendrick Lamar’s year! He has performed during the College Football Playoff National Championship. He took home Best Rap Album, Best Rap Song, Best Rap Performance, and Best Rap/Sung Collaboration and 3 nominations at the 60th Annual Grammy Awards. With this latest accolade, King Kendrick is close to becoming the King of Rap music before 2018 is over!

Review: Is "Black Panther: The Album" Just As Monumental As the Movie?

Marvel’s Black Panther has been the most hyped and successful film of 2018 thus far! With this much hype coming from the fans who couldn't wait to see how incredible the film is, it’s only right that a soundtrack that is just as awesome has been released alongside it. This is the intended result of "Black Panther: The Album". Just knowing that Kendrick Lamar is the main curator of the album inspired by the film is enough to make fans salivate. However, does the album effectively represent the film while still being a hot album?

Let’s be honest, do you really think that the album would be anything less than fire with Kendrick Lamar at the helm? If you do, then you’ll instantly change your mind after first two tracks! "Black Panther: The Album" starts off with a strong introduction that combines a simple yet soulful beat while Kendrick Lamar poetically sets the tone for the rest of the album. This is immediately followed by “All The Stars”, a catchy collaboration with new R&B sensation SZA that is reminiscent of some of Kanye West’s classics when it comes to the production and flow. From that point, the album becomes an intoxicating mixture of RnB hits and banging rap songs that all feature top notch production!

As far as who else is featured on the album, listeners will get to hear a lot of freshness from new blood on the album. New artists featured on the album include SZA, Zacari, Sob X RBE, and hot artists. Artists who frequently collaborate with Kendrick Lamar and other veterans, including 2 Chainz, Jay Rock and Ab-Soul, also make strong impressions with their features. 

The album perfectly mixes West Coast Hip-Hop and RnB sentiments with strong production and style that not only takes inspiration from, but also compliments the upcoming Black Panther film. The songs that take the most inspiration from the film as far as style and sound goes are “Redemption” by Zacari and Babes Wodumo, and “Seasons” by Mozzy, Sjava and Reason. Both tracks offer a smooth sound to the album, with the former being an jazzy, uptempo RnB smash that takes inspiration from African song and dance in its production. While the whole album is good, it’s these songs, along with a few others, that truly stand out. The album ends strongly with “Pray For Me” by The Weeknd and Kendrick Lamar, where Kendrick’s poetic energy combined with The Weeknd’s soulful voice perfectly ends a great album. 

In most cases, soundtracks are usually just decent pieces of work released to build hype for an upcoming film, but "Black Panther: The Album" exceeds expectations by not only be an exceptional body of work, but also being an excellent collection of original Hip Hop and RnB!

Score: 10 out of 10

Buy "Black Panther: The Album"

Review: Camila Cabello's Debut Album "Camila"

Since her time with the group Fifth Harmony, Camila Cabello has definitely grown into her own style, making her a force in the pop scene. With Fifth Harmony’s past three albums finding moderate success and critical acclaim, Cabello is looking to make a strong start to her solo career with her debut album, "Camila". As a pop singer who chooses to embrace her heritage with her style and production instead of chasing formulaic trends that are popular among too many artists, Cabello’s debut album is sure to please longtime fans as well as new ears. 

The traits of Cabello’s style and sound that allowed her to stand out among her former bandmates are still evident in her debut album. The album manages to have a strong pop charm, using Cabello’s natural talents and combining them with pop and sensibilities of the musical heritage of her Cuban background. “She Loves Control” is an excellent example of this. While this style diverts from the heavily RnB influenced style of Fifth Harmony, this is a welcome change that allows fans to appreciate Camila Cabello’s talent and versatility. 

While fans of her singles “OMG” and “Havanna” may expect more upbeat and club friendly hits, they may be surprised at the album’s use of a subtle and slow approach to production that showcases the young songstress’s lyrics and singing ability. “Something’s Gotta Give” and “Real Friends” are prime examples of Cabello’s ability to showcase her talents on a song without letting the instrumental do most of the work. These songs are featured more towards the bottom half of the tracklist, showcasing Cabello’s ability to create romantic, love-filled songs before going back to business as usual with up-tempo track “Into It”.

Fans of "Cabello" will appreciate the artist’s style and her being herself on the album, setting her own style with the combination of Latin Pop, Traditional Pop and using sparse production to showcase her vocal and writing talents, but some may find themselves wishing the album contained more songs of a particular style or genre. Also, fans may crave a little more flare from the singer’s debut album, expecting more exciting pop bangers to appear. The album still proves that Camila Cabello is indeed ready to take her spot among the top pop stars soon, as the 20-year old songstress can only get better with time as her ability to create ear catching singles that compliment her voice and style continues to grow! 

Stream/Download "Camila" on Spotify

Is Joyner Lucas’ “I'm Not Racist” the Message We Need, or Just Politically Irresponsible?

In America, music has always at some point been an outlet for people to voice their concerns about the social issues plaguing the country, especially when it comes to Hip Hop. While some artists manage to hit the nail on the head, such as Jay Z’s “The Story of O.J.”, some tend to miss the point. Whether the nail was hit on the head or the mark was completely missed is the main question behind the highly controversial video for Joyner Lucas’ “I'm Not Racist.” 

The video features a white man sporting the stereotypical “white supremacist uniform”, a “Make America Great Again” hat with his shirt tucked into his jeans, having a one on one conversation with a young African American male with dreadlocks. The two are acting out Lucas’ lyrics, with the white character saying lyrics such as “Quit the pitiful stuff/ And then maybe police would stop killin' you f***s”, and the black character saying “You wanna copy our slang and everything that we know/Tryna steal black culture and then make it your own, whoa.”

The lyrics and the video have many people talking, and although the message of it all was to come together, people are extremely divided on whether the message is correct or not. So, is this the dialogue we need to have? Did the video achieve the desired goal?

If the desired goal was to get people talking, then of course it did! With over 5 million views on Youtube, over 28 million views and 776k shares on Facebook, it’s obvious how well that goal was achieved, however, was the dialogue created worth having amongst the people. There have been many songs that have achieved this goal throughout the history of Hip Hop. “I’m Not Racist” is NOT one of these songs. 

An example of another song this year that got people talking was Jay Z’s “The Story of O.J.”, which got many black people talking about building credit, investing into their future, and using their money to build up their neighborhoods. This was done with subtle context and lyrics meant to make one think about these things. Lucas’ song does little more than to say “White people are mad because we sag our pants and sell drugs, see their point of view” and “This is why us black folks are mad, please listen to us.”

One must question whether the lyrics are a manifestation of Lucas’ point of view. Of course, he’s speaking from the “point of view” of a white male, but is it solely creative writing, or does Lucas actually share this opinion about Black Lives Matter and the black community. When the subject matter is that polarizing and the social climate is as harsh as it is now-a-days, one doesn’t get to bring it up without addressing it as such.

Secondly, the song creates this polarizing dialogue with no real message to give and no strong point to end on. If you try to break down the lyrics and have a conversation about the song, it’s difficult to get anything out of it other than “White folks are mad because we’re lazy and sag our pants, black folks are angry because of slavery and love Tupac, now let’s all hug it out and be friends again please!” If this is a conversation amongst two rationale people, it may happen, although it won’t sound as dramatic as the song. But considering that the white people whom usually have these strong feelings towards blacks have continuously beaten black protestors who simply wanted to have this dialogue, then it’s HIGHLY unlikely it would ever go down this way. 

The truth of the matter is that no matter how deep Lucas thinks his lyrics are, and how much he
thinks the song may bring people together. Even if it’s not the main point of the song, anything that remotely seems to say “Y’know, those white supremacists saying that blacks are *insert stereotype* kind of have a point”, that’s not only politically irresponsible, but disrespectful to those who fight for justice. In a day and age where white nationalists have on multiple occasions put black people in the hospital, or the grave, telling folks that all they need to do is talk it out then hug it out to end the hate is not only politically irresponsible, but down right ignorant at this point. 

The main point that I am making here is that if you use a creative outlet to create dialogue, then you have to be consistent enough to make your point clear, something Lucas has failed to do. If you feel that black people have to pull themselves up by their bootstraps, then say that. If you feel that racism and white supremacy is a serious issue that must be tackled, then say that. Riding the fence by saying “Well both sides have a point, now let’s all just get along and hug it out.” In America’s current social climate, to make a such a controversial song and video that succeeds in getting widespread attention only to ride the fence without really saying anything is socially, politically, and racially irresponsible.

While this song has caused controversy and got people talking, on a deeper level, it’s almost as difficult to take seriously as people who either begin or end their racist rants with the words of the song…”I’m not racist.”

R.I.P. Lil Peep

2017 has seen the unfortunate death of yet another artist. The latest emerging artist to leave us far too soon is rapper and singer Lil Peep. Although there has been no official toxicology report, overdose is the suspected cause of death. The artist was pronounced dead at 9 PM Mountain Time in Tuscon, AZ on November 15th. 

Before his death, Lil Peep claimed in a string of Instagram posts that he had ingested psilocybin mushrooms, marijuana concentrate, and six Xanax pills. A subsequent post was captioned "When I die, you'll love me." 

Lil Peep was known for his unique style, combining Hip Hop with Emo style, which led to it being considered lo-fi rap or emo-trap. His debut album, “Come Over When You’re Sober” was released on August 15th. The artist was currently on a tour promoting the album, which began in August and was scheduled to end on November 17th.

Many fellow artists were shocked and emotional at the sudden death of the artist. Diplo, Marshmello, and Bella Thorne, who Lil Peep was romantically connected to, were among those who took to Twitter to express their condolences. 

"F--k I don't know what to say," Thorne tweeted. "Peep you deserved more out of life. Life didn't do your greatness justice."

"I just wanted to say anybody out there who is a Lil Peep fan, you guys know how talented he was," Thorne said in an Instagram story. "You guys know how great he was... well he was even more f---king great as a person."

“Peep had so much more to do man he was constantly inspiring me.” Diplo said in a tweet. “I don’t feel good man.”

“I can’t believe this.” Marshmello tweeted. “We were just talking last week about working on a song together and now you’re gone. You will be missed, R.I.P @Lilpeep.”

Lil Peep was 21 years old and leaves a host of family, friends and dedicated fans. May he rest in peace. 

RIP Lil Peep
1996-2017

Review: Jibba The Gent's "The Broccoli Tree" Album

“The Broccoli Tree” is the debut album by new artist, Jibba The Gent. Being an underground artist and new to the rap game, Jibba The Gent looks to bring a different flavor to hip hop. Being from Vermont, a place that really isn’t known for its hip hop influence, Jibba is determined to bring his own style to the forefront. With the message of having determination in all aspects of life, it’s a given that Jibba has the same determination in his music. So does the Vermont native’s debut album do enough to be his foot in the door to success? 

When listening to Jibba The Gent, his ability to make cool hooks and his selection of instrumentals is apparent. Songs that display these strengths the best are “Buy It” and “Maple Syrup.” There are other songs on the album which manage to catch and hold your attention with the hooks or the instrumental. The album is also complimented by hot features from artists whose styles compliment his flow. Based on the many features on the album, Jibba does seem to have the ability to put a singer or rapper on a song with him that just seems like the best way to make the song pop. 

Jibba’s style is simple, managing to be effective in getting his point across through his sound. Sometimes telling a story in his songs, painting a picture of his life, and other times just spitting and using metaphors and punchlines in his lyrics, Jibba manages to catch your attention.  In a way, his sound puts you in the mind of a young Eminem during his early days, before he was known as the “rap god”, only not as flashy and not with as much of an acrobatic flow. However, while Jibba doesn’t have a wildly different or unique flow, his lyrics and song writing ability will manage to catch your attention on a few of the tracks. 

While the production is top notch on a few tracks, a few of the instrumentals feel slightly uninspired. While there are a few instrumentals that catch your attention from the beginning of the track, they end up sounding very much alike, lacking imagination. Also, while Jibba’s style which focuses on a simple flow and slick metaphors works for him, there are a few tracks where taking the risk by switching up his flow slightly would have been appreciated. 

While Jibba may be a relatively unknown artist, he does have potential to gain more fans as his career continues. Some of the tracks have potential to be real sleeper hits or anthems for the people. However, the few tracks which feel uninspired brings the album down enough to lose feel. However, there are enough tracks that will either make you bounce or relate to his lyrics on “The Broccoli Tree” that makes it worth the listen. Jibba The Gent is a new artist, but this debut shows that he has room to grow and definitely grow a fresh fan base. 

Score: 7 out of 10

Stream/Download "The Broccoli Tree" by Jibba The Gent

RIP Chester Bennington

The music world and fans of Linkin Park are facing an extremely sad day after the news of the passing of Linkin Park singer, Chester Bennington. The singer over the beloved platinum selling rock band was found in his Palos Verdes Estates residence on Thursday morning, just before 9 o’clock. The star died from an apparent suicide by hanging. Chester Bennington was 41 years old and a father of 6 children. 

The sad day for friends and family of Bennington, as well as longtime fans of Linkin Park, happens to fall on the birthday of Bennington’s good friend Chris Cornell’s birthday. Two months ago, Bennington responded to the suicide of Cornell in May in a note he shared on social media. In the note, Bennington said “I can’t imagine a world without you in it. I pray you find peace in the next life.” Bennington performed Leonard Cohen’s “Hallelujah” at Cornell’s funeral. Bennington was also the godfather of Cornell’s son, Chris. 

Many friends, family and fellow musicians have reacted news. Jimmy Kimmel tweeted “Chester was one of the kindest men I’ve had on my show. My heart breaks for his family and friends. He will be missed terribly.” Stone Temple Pilots issued a statement regarding their former bandmate, saying “It is a sad day today to know that so many of us will no longer share in your laughter, friendship and love. You showed us time and time again what it is to be an incredible human being." The band continued, "A beacon of light and hope is what you will always be to us. We love you Chester. We will miss you." Other celebrities, including Chance The Rapper, Fred Durst, One Republic and Mark McGrath as well as a host of others who were close to the singer expressed their condolences on Twitter. 

Chester Bennington was a great singer, bandmate, friend and family man. He will be truly missed by those who knew him in real life as well as those who are fans of his music. May he rest in peace.

Chester Bennington
March 20, 1976 – July 20, 2017

Review: Vic Mensa's "The Autobiography" Album

Vic Mensa’s debut album, “The Autobiography”, is a long-anticipated release. With a few EP’s and mixtapes showcasing his talent, his first studio album showcases his skills on the mic and ability to put together a full project. Although the album doesn’t officially release until July 28, the album is available to stream on NPR. Let’s see how well the artist’s debut album stacks up against his summer competition.

The first thing you’ll notice when listening to the album is the lyricism and storytelling ability of Vic Mensa. The album is titled “The Autobiography” for a good reason. The first track sets the tone for the album with Vic Mensa telling his life story, tales of lost ones, addiction, and success. His wordplay, metaphors and ability to bend syllables compliments the tone he chooses to take on certain tracks, emphasizing the emotions he feels while telling his story. 

The production on the album compliments Vic Mensa’s style perfectly. From classic hip hop style samples to genre bending instrumentals that take inspiration from Rock N Roll and Pop, the album takes risks and experiments with different styles. When it comes to the instrumentals, Mensa is able to make experimental concepts work for a sound that’s probably very different than what you’re probably used to hearing. Features from artists including Pharrell Williams, Rock band Weezer, Ty Dolla Sign, and fellow Chicago rapper Chief Keef make nice additions to Mensa’s flow. 

While Vic’s ability to try new things and diverse from typical hip hop and rap style works for most of the album, there are a few songs that sort of miss the mark. The album starts off really strong, but tends to lose a little steam towards the middle. While those songs aren’t bad, they lack the flare that was established in the first few tracks. However, the album comes back strong with the last few tracks.

With this being his debut album, Vic Mensa has definitely established himself as one of the leaders of the new school. His ability to purely spit while also leaving the current “hip hop comfort zone” brings a fresh perspective. While there are a couple misses, the album has far more high moments. Whether you’re a fan who has been waiting on this album, or someone who is curious to see how what Vic Mensa brings to the Hip Hop roundtable, “The Autobiography” is a must cop for the summer and definitely an album that you need to check out while it’s available for streaming. 

Score: 8 out of 10

Stream/Download "The Autobiography" by Vic Mensa on iTunes

Review: DJ Mustard's "Cold Summer"

Ever since he produced Tyga's hit “Rack City” in 2011, DJ Mustard has been a force to be reckoned with in the world of Hip Hop production. It's his signature uptempo, minimalist style that manages to bring a freshness to the rap scene, which has often been copied by other producers throughout the years. Many fans will agree that his best work has been with his usual associated rappers, which include Y.G., Ty Dolla Sign and Nipsey Hussle, and there are plenty of appearances from them plus other artists on Cold Summer. So DJ Mustard's album go the extra mile to show that he deserves a top spot when it comes to both production and bringing in artists for the hits, or is it just business as usual?

The album starts off with artists that are frequent collaborators of DJ Mustard. Those familiar with his style will be welcome to the usual combination of hard hitting drums that go along with uptempo synths and rhythm that make it almost impossible to sit still while listening. Whether it's gangsta rap or a club anthem, this recipe makes for a track that can capture your attention. When listening to the first few tracks, it becomes apparent that these frequent collaborations not only come from chemistry, but the fact that the production style of DJ Mustard and the style of these artists often compliment each other perfectly. Some of the stronger tracks on Cold Summer include “Ridin' Around” with Nipsey Hussle & RJ, the club anthem “Want Her” which features Quavo and YG, and “Lil Baby” by Ty Dolla Sign. The album also features Rick Ross, Nicki Minaj, Meek Mill and Young Jeezy as guests, although the younger artists and frequent collaborators of DJ Mustard manage to steal the show by meshing so well with the West Coast production style. 

While Cold Summer does feature great production from DJ Mustard, it does fail to show the range and versatility that DJ Mustard has shown in the past. Listening to the album multiple times will make the tracks seem more and more familiar, with fans noticing that some of the tracks on the album sound too similar to each other, but also remind you of songs that DJ Mustard has produced in the past. While this may be right up the ally of die hard fans of his production style, this can cause the album to become repetitive. Also, the lack of diversity and fact that most songs seem to be made specifically for the club makes you long to hear more R&B and Pop production as well as collaborations from familiar artists that worked with DJ Mustard in these respective genres in the past. “10,000 Hours” with Ella Mai is a great R&B joint, but the album does has room for more tracks with a similar vibe.

Overall, fans of the new school West Coast styles and DJ Mustard's production will be more than happy with Cold Summer. However, multiple plays of the full album can become repetitive, with an exception of a select few tracks. While it features enough club anthems to keep you hyped for a night out, the album does little showcase the range of DJ Mustard's range within the Hip Hop and R&B genre. Cold Summer does complete the goal of showing that DJ Mustard and his unique production style is here to stay, but doesn't fully prove why everyone needs to get on board. 

3/5

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