Review: Yaeji's "EP2" EP

New York based producer Yaeji entertains us with her latest release “EP2.”  This project is an exercise in contrast; with its delicate glowing tones, to it ear bud busting baselines and 808s. From its intimate canary like vocals to its money tossing mantras, Yaeji has crafted a sound that is uniquely her own.

“Feelings Changed” feel like a new age therapy session with it serene semi forced cry for help vocals, and its background wind like crescendos.  The meandering bass accents the song beautifully especially with the artists choice to layer the spoken word vocals with more dynamic singing on the second verse.  It’s minimalist and amazing at the same time. “Raingurl” begins with a traditional house beat with slicing snares. Yaeji engages in some sensual talking in English, and Korean circa 1990’s Janet Jackson before she encourages females to float that finance.  The breakdown is wonderful with its background haze like vocals, suggestive chants, and a clap that sounds like they recorded two paint cans banging together and added an effect. (In the best way) Yaeji displays some intermediate rap skills about White Russians and a distaste for family planning.

“Drink I’m sippin on” is an adventure in 808 programming and vocal sampling.  The high pitch Korean crooning juxtaposed against the thunderous 808 production is great.  It doesn’t matter that I don’t understand what she is saying (due to the fact that I don’t know Korean) the song is so well done that it’s just as compelling.  “After That” is another one with its marching 808’s, bouncing ball like synths and damp towel snapping snares.  Yaeji’s airy vocals that abruptly go from Korean to small segments of English are just pleasing to the ear. 

“Passionfruit” showcases the artist’s ability to take a certain world beating Toronto based rappers song, and turn it into an auto tuned, creative 808, cresting wave sound delight.  Yaeji utilization of the bass during the chorus against the word (Forgive me I do not know Korean) she chants is therapeutic. 

What I admire about this project is that there is no excess.  Every vocal is done well.  All the production is in its right place and engineered well.  It’s not manufactured or rushed.  It’s something seldom said about simulated sound…it feels organic.  If I had to levy any criticism at Yaeji or “EP2”, it would be that this project is like a nine-teen ninety’s bay area hip-hop legend. It’s “Too Short”.                 

Stream/Download "EP2" on iTunes

Review: Curxes's "Gilded Cage" Album

Straight out of the town of Ryde on the Isle of Wight, Curxes, helmed by songstress Roberta Fidora, blesses us with her latest album “Gilded Cage.”  “Gilded Cage” with its unpredictable production, rangy and versatile vocal styling, and its overall creativity, make this album fantastic. It’s comparable to being on a high powered hallucinogen in a house of mirrors. 

On the song “Youth Ascension” Ms. Fidora offers subdued, melancholy vocals that erupt to full on roars.  With lyrics like” You bring the doubt and I’ll bring the day” the artist sounds like their begging to be validated in a world that discounts, diminishes, and debases its inhabitance.  The drums on “Youth Ascension” sound like heartbeats on a monitor in an intensive care unit; accompanied with a subtle baseline and highlighted with teasing bells.  “Hallows” greets us with a high pitched, shrilling keyboards over a “Reznor” like drum line.  The singer starts with dismal brooding vocals that switch to muffled screams.  The lyrics of “All the way up there/All the way down here” are like synthesized chants from a Navajo Medicine Man.

Synthy bells and an industrial baseline signal the start of “Let Me Down.”  Ms. Fidora gives us a feeling of exhausted disappointment as she sings ”I can never make you understand it/but know your sympathy is second hand/it’s all B.S.” The rhythmic owl like tones that fold into shrieking dial up modem sounds at the end are a great touch.  It’s the mixture of well-placed simulated sounds and lyrics like “dead pets and absent friends” that make this song great, and are the hallmarks of this project.  The upbeat, smooth and dare I say dance inducing production of “Caricature” is contrasted by the songstress’s whimsical toned, but serious lyrics “Don’t fight me/I’m a caricature/you want to pick a fight with someone your own size.”   

“In Your Neighborhood” is an achievement! From the angelic, harmonizing, inhales and exhales at the beginning, the wonderful background wails that showcase the singers range, and the layers of production that increase ever so slightly to the end.  It’s great. “Functional” starts off with raindrop keyboards and 808’s that are complimented with the singer delivering echoing vocals that melt like margarine all over the track.  I loved “Uniseum” with its haunting organ, and painful ascending and descending wails. It’s too short. 

“The Stars like Dust” is another one.  The captivating vocals sound like hallucinogenic incantations from a high priestess.  The background sounds like music for a burial procession of a unicorn. In a great way.  If I ever heard anything like this before it has been a long time.  “Silent Runnings” is great with its predatory production, indistinguishable scary voices and Ms. Fidora relaxed, but alarming voice bringing it all together. 

“Misery Mass” offers 808’s hand clap snares and rhythmic bells.  The singer graces us with lyrics like “Will you ask me more? /Will you hear me less? / It’s anyone’s guess.”  The chorus is great. The organ rich “Beast Moves” is great, but just like “Uniseum” it’s like serving me hors d’oeuvres at Thanksgiving. Its tastes great. I know somebody spent time on it, and gave it their very best. But I still want more. “Cassie” has a very solemn organ with depressing vocals. All I can say is when it’s said and done I hope “Cassie” is alright. 

There is a difference between a good artist, and an exceptional artist.  The good artist gives you effort.  The production and lyrics are good. There is a sense of knowledge of and history of the genre that shines in the music.  The exceptional artists gives you an experience.  That’s what “Gilded Cage” is. An experience like no other. Outstanding!       

Stream/Download "Gilded Cage" by Curxes on iTunes

Review: Tim Ajayi's "Made For More" EP

Hip-Hop has always had a “two ships in the night” relationship with Gospel and Inspirational music.  From the desperate prayers of DMX on his debut album “It’s Dark and Hell Is Hot” to trailblazing worship leader Kirk Franklin’s use of Cheryl James (one third of the legendary group “Salt N Pepa”) on a verse of his hit single “Stomp.”  Rap and Gospel are no longer doing business in a dark room in an attempt to avoid judgment from either side.  Rappers like Lecrae have been steadily creeping in more mainstream radio station’s playlist.  In this fashion artist Tim Ajayi offers us something for the grown and godly in his EP “Made For More.” 

Strings and a playful guitar rift highlight “Into the Journey.” Tim flows about his faith, racial injustice, how loss leads to his benefit and how Christ’s sacrifice has made his life all the better. The guitar solo at the end was special!  “What is Life” features some relaxed, and subdued production over chopping kicks and snares.  Mr. Ajayi waxes poetics about being in a relationship with a significant other that has him so perplexed he asks “What is Life?” (I think we’ve all been there).

“Get Used to It” is a great song.  The track sounds like late nineties Q-Tip (A Tribe Called Quest) production.  The emcee raps about his meager beginnings to his prosperous situation due to prayer and positivity.  "Stay strapped with the bible/ So when it comes to words/ It's like I'm spraying tech nine rifles" is a good line.  The vocal stylings of Dyna Edyne are a nice touch.  “Take a Sip” is another one.  The New York 1990’s classic production is on point.  The singing of rap lyrics accented the song in a wonderful way.  “Still I stand/ machete in the hand/ Got my angels in front of me/ Singing Ali Bomaye/Killing all my enemies. Singing that line just worked so well.  The ad lib singing at the end of the song was a great touch.

On “Top 3 Selected” Top 3 Selected” Ajayi using a fast flow over a classic Grime beat that warns the fake and the fraudulent to heed his position in the rap game.  “M’s” is a getting money anthem.  The emcees talks about striving for the better things in life.  There is no other way to say it.  The hook is lit.  The line “Elevate/Medicate/Meditate/Educate/Everyday/Everyday/Blessing are never late” was impressive.  

"Kelly Price” uses one of my favorite Migos songs of the same name.  Subtract Actavis, Guns and Percocet’s and substitute angels, grace, and purpose and you get the gist.  Over a busy Drum & Bass track Mr. Ajayi advises everyone on the advantages of being an individual on the track “Who You Are.”

Projects like “Made For More” are proof Gospel or Inspirational themed albums belong in the conversation of mainstream music. Good Work!        

Review: The PNTHN's "From Disorder" Mixtape

The PNTHN (pronounced The Pantheon) out of San Marco, Texas presents us with their latest mixtape “From Disorder.”  “From Disorder” is like a rhyme relay where the collective passes around the mic to deliver wordy, abstract, metaphor soaked sixteens in an attempt to win a gold medal in Hip-Hop relevance.  Quite frankly if this offering is any measure of their potential it won’t be long before they are in the winner’s circle.  Here are some key tracks.

The smooth and beautiful bass rifted “Saucy” is about the up and downs of pursuing panties, and the women that own them.  The production strolls leisurely out the audio compelling the most uptight citizen to two-step.  The hook is hella good and the reference to B.B.D Michael Bivens is a nice touch.  I loved the line “Feenin since the whitie tighties.”  On “Blood Sucka” the production sounds like the game “Super Mario Brothers” when Luigi would battle Bowser to save the princess at the end of the board (In a great way).  The emcees engage in subject rich rapid fire flows.  “Peeing on my demons on the daily” and “Lit like I resemble Camels” are two of the more stand out pieces of the verse.  

The production and rappers operate just over the speed of chopped and screwed on “Nosferatu.” There is a very well placed ode to Joey Crack himself on the song. Rappers deliver lyrics on lyrics about sex and sedatives.  “Skip School” uses a simple but super effective loop.  The rapper tells us today was a good day being that he has money, and ambition to work for the finer things in life.  “Acting all shy like he grew up in the Windy City” was a great line.  “Sun Collapse” induces a hallucinogenic nod with its AMC movie style sample.  Like Swiss movement, the members of The PNTHN recite complex, captivating rhymes like ”I’m heavily handling equity/Damn this is fun/Damaging funds.”

“Never Die” is my favorite song on the album.  The slow motion, melodic moog style sound complimented by twinkling bells is fantastic.  The “I’m too high“ chant fits perfectly.  The PNTHN members are so adept in the art of cadence and pronunciation that they make what seems like simple lines like “Ohhh I don’t miss her/Ohhh you prolly kissed her”; lyrics that you want to recite multiple times.

“From Disorder” is so download worthy.  Not just because you have artists lyrically going for broke from song to song.  Not just because the production was unorthodox, creative and authentic.  It’s that “From Disorder” gives you auditory overload.  It’s the high vocabulary, the coded language, and the delivery of it all.  It’s almost like The PNTHN procured their strain of choice, rolled it in a Thesaurus, and hit the studio. Great Job.  

Review: Chughey's "Pivotal" EP

Rock, Michigan’s very own Chughey brings us his “Pivotal” EP.  “Pivotal” is chock full of sample packed, engrossing, snare heavy production.  The rapper’s style is as if the D.N.A of Yelawolf and ninety’s group Bone Thugs-n-Harmony was combined; producing a catchy, country, caffeinated cadence that maneuvers like an over sugared, teenager on a trampoline.  In an outstanding way. 
“Pivotal” begins with “Sandals” a bouncy worthy track where the emcee rails against dishonest heads of state, outdated drug laws, the military industrial complex, and the current state of social media.  Chughey reminds us that despite these challenges that we all need to work toward a better world.  On “No Fronting” the rapper reminds us that he has been a long time student of the game.  Chugley highlights his commitment and drive and instead of paying dues it’s time for his art to pay off.   

“Dose” is just a wonderful exercise in warp speed wordplay.  It’s great. “Undertow” features slow acoustic guitars while rapper Chughey describes the negatives of being at the bottom of the tax bracket.  The emcee maintains that despite his current financial state better day are ahead of him through wisdom and perseverance. 

“Mailman” is a solemn ode to the struggle.  Chughey searches for peace in his art, hope, and occasionally medication.   The rhyme smith states that he was raised by rap and fathered by his flow and intends for Hip-Hop to be his way out.  Over a haunting simulated horn Chughey maintains that it is imperative that he finances his family through his art on the title track “Pivotal.”  Although he feels time is limited he believes through the love of the game, preparation, and trusting his prose and the process that he will eventually be successful.  

“Pivotal” is solid. Chughey style is a breath of fresh air.  If I had to level any criticism at this project it would be for the engineer.  Having such an unorthodox, dynamic style that the artist presents, the vocals just need to be louder.  Good stuff.    

Stream/Download "Pivotal" by Chughey            

Review: Tone Chop & Frost Gamble's "Respect is Earned Not Given" Album

Contrary to popular belief there was a time when lyricism was valued over “likes” on the web.  A time when aspiring emcees laid down classic material or “M.C Hammer-ed” their way to the mainstream.   Your skills had to be tight; your pants baggy, and Skytel Pagers couldn’t deliver hate to your rival’s social medias comment section. The Source was the bible.  You had a crush on Big Lex and or Ananda, and you dreamed about the opportunity to witness the “Ed Lover Dance” in person.  Rappers would hibernate in studios, and damn near embalm themselves with blunt smoke and liquor searching for the next uptown anthem.  There are a few who believe nostalgia should be the norm.  Tone Chop and Frost Gamble are in that number.

Tone Chop and Frost Gamble serve us with their latest project “Respect is Earned Not Given.” This album contains several subterranean songs showcasing their fanaticism for hip-hop’s foundation.  The outstanding “Walk the Walk” features the legendary “Kool G Rap” of the brilliant album “4, 5, 6”.  G-Rap blesses us with a verse about still living that “Fast Life” and promising anybody who challenges him will be doomed to singing those “Ill Street Blues.”  Tone Chop holds his own taking these newcomers to task; challenging their longevity, and making sure they respect the authenticity in his audio.  Frost Gamble utilizing an Inspectah Deck lyric from “The Art of Chess Boxing” makes clear that there is no fraudulence in the frequency of his production.  On ‘Bing Stories” Frost chops a sample worthy of a Godfather flick with Chop telling a tale of copping contraband for a cutie and falling victim to an armed robbery.  Applause for the art of storytelling that has been an integral part of the art form since the days of Slick Rick’s “Children’s Story.”

The bouncy head nodding “Passion” is an homage to the time of shell toes and sheep coats; as Tone raps about how he loved the art then, and is even more committed to it today.  Gamble lays down delicate pianos over shattering boom-bap on “In the Streets.”  Tone reminisces about cipha’s on corners, and trying to master verbs, nouns, and adjectives in search of that next quotable.  Delivering a fair one to the competition is the subject of “Get Beat Down.”  Frost rounds out the track with menacing horns and a B.D.P sample from the single “My Philosophy.” 
On songs like “Its Hip-hop” and “Beat-Knocking” Tone Chop makes it clear that he’s her to resurrect some of the founding practices of hip-hop, and that your current chart position will not save you.  Chop dumps verses on the current status quo.  On “Guillotine Chop” Tone Chop and Planet Asia administer deboning bars and filleting flows over Frost’s superior production; which includes samples from the GZA and the late great Phife Dog of “A Tribe Called Quest.”  
“Here I Go” features Tragedy Khadafi of “Arrest the President” fame. (How poignant) Tragedy and Tone exhibit verbal dominance while clowning current acts.  Frost provides a great sample that reminds me of “Win or Lose” by Mobb Deep.   Tone Chop shows his softer side on the track “See You Again.”   Chop pays tribute to the loss of a loved one.                      

“Respect is Earned Not Given” is a great album, but that’s not a surprise to me. When two individuals decide to be committed to being curators of the culture, and are fanatical about prioritizing the art form over fame and funds…it shines in the work.  

Stream/Download "Respect is Earned Not Given" on iTunes    

Review: Rapsody's "Laila's Wisdom" Album

It’s the way earthy collard greens sop up the buttery cornbread that mom dukes used to make in that’s cast iron skillet. The sound of fried fresh off the pole brim that pops used to bread in cornmeal and Old Bay.  Your auntie’s red devil cake with the cream cheese icing; the sweetness inducing partakers into that glycemic high afternoon nap.  The necessary funk of those chitterlings before Big Mama removes the membrane.  This is what Rapsody’s latest “Laila’s Wisdom” feels like.  Homemade music providing sustenance to your soul, and for the benefit of your being.  Here’s a look at some key tracks of this tour de force.  

The title track powered by producer Nottz is propelled by a piano that sounds like your local worship directors Sunday offering, and an attention getting rim shot that rivals small arms fire after a high school football game.  Snow Hill’s finest helms the mic with speed and precision assuring us that even though she appears to be a masterpiece in the making; the rapper is no overnight celebrity.  It took a lot of bars, beats, and tears to become a complete emcee executioner.  “Power” starts out so sixties that you expect Pam Grier to show up and pat her afro puffs and say “Show-Ya-Right.”  The track proceeds into a more bouncy baseline, and a great buzzing sound that I can’t identify.  Is it a guitar with an effect? A sound from an obscure sample pack? Let’s call it what it is…Ninth Wonder.  “Ninth” starts the song in full on “Pats-bloitation “music then transitions with a buzzing sound that more than makes the record.  I used to call Ninth Wonder the Pete Rock of the South, but with the catalogue that he has amassed it might be disrespectful.  The man needs no comparison, and is beginning to have no peer.  Rapsody begins about the power of the …. Let’s just say the part of woman that has Rob Kardashian pockets a little lighter, and the female anatomy that has Tiger sixteen over par, and doing the stanky leg on police dashboard cameras. She concludes by stating what real power is to her: creative control, success through individualism, and self-acceptance.  Kendrick blesses us with a verse that asks about the origins of power.  Do we attain it through the past, present through privilege or poverty? I don’t know. But it was excellent.     

On the Kashif produced “Pay-Up” the emcee talks about ladies who tax men for “bloody shoes” and other name brand materialism.  Midway through the funky tune Rapsody channels her inner “Badu” and takes these “Tyrone’s” to task for literally taking advantage of a woman’s worth.  Is that Heather Victoria breaking hearts on the hook?  We see and hear you lady.  That voice is like Tahitian Treat out the speaker!  “Nobody” is just an All-Star Game with Rapsody running the point with super descriptive wordplay ranging from social justice, the clergy, and that age old conversation: mainstream versus underground music.  Can we take a moment to appreciate?  “I get winded by the weight of it all.”  That’s on a T-shirt.  That’s a tattoo. It’s written on a cap before a graduate puts it in the air in victory.  Anderson Paak wails wonderfully on the chorus.  Professor Douthit is giving his usual genius lessons via his Maschine.  Top five dead or alive Tariq “Black Thought” Trotter of “The Legendary Roots Crew” comes out the woodwork, and guest lectures an inspiring verse about career, loss and motivation.

“Black and Ugly” is a beautiful composition devoted to television, and print media’s exclusion of certain physical representations.  The N.C State Freedom Tunnel rocking artist gives us a personal verse about her struggle with hue and body shaming.  A reference to Vanessa Huxtable’s Fiancé makes it all the more special.  The head banger “OooWee” has the rapper spitting brilliant, boastful, bars that would make the most seasoned rhyme smith second guess challenging the Jamla/RocNation artist’s skills.              

This project is a triumph not only for Hip-Hop, but for female artists who value “quotables” over the status quo.  “Laila’s Wisdom” isn’t evidence that the artist is coming for the coveted crown of The Queen of Hip-hop.  “Laila’s Wisdom” reveals that Ms. Evans is coming for all involved.  

Stream/Download "Laila's Wisdom" on iTunes    

Review: Bliss Consciousness's "BANDIT" Album

Bliss Consciousness hits us with his latest project “BANDIT.”  “BANDIT” is teaming with trap-tastic songs about the Strong Island native flooding a town near you with pounds of marijuana. Although Bliss shows his glowing potential on songs where he showcases his talent for operating “Two Phones”, it might be his personal, heartfelt, inspirational joints where he truly shines.    

The tracks “Pounds of Dro”, 1000 Miles A Week, and “Nothing Stays Gold” enlightens us on Bliss’s love for money, the obstacles of moving substantial amounts of contraband from state to state, his affinity for weed over cocaine, and his desire of death over incarceration.  The rapper expounds on his impoverished beginnings, and his transition to financial freedom through hard work, non-complacency, and maintaining a strong team.   

“Diamond” is an inspirational, and emotional song about uncertainty, coming of age, isolation, and how the rapper used focus, and self-determination to address those issues.  The chorus is great, and you can really hear Bliss’s need to gain personal growth in his situation even if he doesn’t know quite how to achieve it.  “Today’s the Day” is an open letter to one of the rappers failed relationships.  Bliss opens up his heart on the track spitting bars about a reluctant break-up that would be better for all involved in the end; while Alex Mendes delivers a chorus that is ready for retail. The title track “Bandit” evokes memories of “House of Pain” rapper Everlast later in his career.  Over an acoustic guitar the emcee again bares his soul about a member of the opposite sex that has pilfered his heart.

“Never Give In” is an encouraging track about the power of perseverance.  Bliss details his past experiences, difficulties, and invites those with similar circumstances to prevail by remaining focused, working hard, and by ignoring the critics.  Again, Alex Mendes’s chorus seems effortless and is extraordinary.  “Ride or Die” is excellent. Bliss switches up the style sounding, disheveled, unhinged, deranged, and suffering from a case of female fatigue.  Personally, I would have called it “Rob Kardashian”or “Black Chyna.” It’s that good. Whatever ambient sound is playing in the background during the hook is a nice touch.  Tracks like “Die Like This” and   “Way Back Home” are about self-discovery, individuality through work ethic and focus, opportunity cost, and character.  They are highlighted by the exceptional singing of Alex Mendes. 

“Biz 101” is the emcee’s own personal “10 Crack Commandments” or Jay-Z’s lesser known 1-900-Hustler.  Professor Bliss presents us with a lyrical lecture on how to “come up” by way of cannabis sales.  Money over all matters is the theme of “IDGAF.”  Bliss’s goal is to get money and whether it’s finance over females, or paper over the general population he gives no F***’s.  “It’s All Good” and “All Alone” are classic songs devoted to the age old story of: man me meets woman, man convinces woman to be committed to him, woman leaves man, man becomes depressed and a little stalkerish, woman comes back, man tells woman hit the proverbial bricks.  “What” is a gentlemen’s club anthem.  You can practically smell the chicken wings and, see the monsoon of money floating in the air when the D.J puts this song on. 

If I had any criticism for Bliss Consciousness’ “BANDIT”, it’s that for an emcee that has such a pronounced cadence and command of the track via his hawking, grimy, voice, you would like to hear production that was a little less mainstream.  One thing is for sure we are glad that Bliss followed his true calling exchanging bales for bars.       

Review: Savan DePaul's "Sketchpad" Album

Savan DePaul presents us with his latest work “Sketchpad.”  Savan takes us to the “International House of Production”, and serves us bottomless tracks of intergalactic, complex, rich, surreal, and creative musicianship.  Mr. DePaul’s skill level behind the boards has me reminiscing about Moby and the Chemical Brothers in their heyday or current act “Empire of the Sun.”  Now some may argue that the lyrical skills takes a back seat to the beats, but I had to disagree.  Savan may have an abstract, abnormal flow, but the artist has somehow managed to blur the lines between traditional Hip-Hop and Spoken Word; and then merge the two into his own style. Sometimes when I listen to “Sketchpad” I hear flashes of Def Poetry luminary Saul Williams; while in other spots I hear nineties underground rapper Jeru Da Damaja on Redbull. Never the less, it is very entrancing.

On the title track Savan informs us of his frustration with mental disorders, and how they hamper his creative vision.  Over a drum and based influenced percussion, and relaxing wind filled production; an individual gives us deeply personal accounts of challenges they face and refuse to succumb too.  “DePaul, Be Yourself” is just a master class of simulated sounds arranged in perfect harmony that blossoms from second to second. It’s amazing how all the moving parts work together, and don’t overshadow or crowd each other.  

“Day Trip to Gomorrah” and “Part 3” are songs about night life and the pursuit of sex.  It’s really incredible how these track support Savan’s style, and more traditional rhyming via the well done verse by rapper Wilfrid on “Daytrip to Gomorrah.” The reggae influenced “Part 3” just solidifies the artists versatility with production.   

“501” is a posse cut over alarming pianos, and filled with boastful backpacker friendly rhymes. Once again, on “Find the Peace” and “Incorporus” the artist displays exceptional craftsmanship on the production. On “Incorporus”, Savan engages in a wordplay workout with rapper Fats; until he flips the beat mid song into what sounds like an Asian influenced arrangement.  The “Kid Ice Interlude” starts of minimally and slowly swells into pulsating percussion, ambient whistling with a busy background.  Its jaw droopingly good.  Just when you think that all the Mr. Depaul has to offer is interstellar beats and surreal production he hit us with “Simplicity.”   “Simplicity” is smooth with a bouncing baseline and finished with what I think is simulated hand bells.  It’s just plain excellent. 

“Sketchpad” is not your typical, mainstream rap album, which is refreshing.  Savan courageously takes us where no emcee has gone before.  Purists might have a problem with the abstract, unorthodox rap style but I don’t.  Just do what ninety-five percent of the rap community needs to do; perfect it.  There is no other way to say it: The production is immaculate.  We need more. Well Done!                           

Stream/Download "Sketchpad" on Bandcamp

Review: A$AP Mob's "Cozy Tapes, Vol. 2: Too Cozy" Album

The history of Hip-Hop has been filled with crews and cliques that have had monumental impacts on the culture.  Busta Rhymes career changing verse on the classic Tribe Called Quest song “Scenario” would be nothing without their collective The Native Tongue Family.  Wu-Tang Clan’s “Enter the Wu-Tang (36 Chambers)” launched the careers of several superstars and made industry history by having a group being signed to multiple individual label deals.  Digging in the Crates crew crafted sounds for the deceased rapper Big L (R.I.P), underrated rapper O.C and last winter’s hit “All the Way Up” starring Don Cartagena himself, rapper Fat Joe.  Duck Down Records Boot Camp Clique and its sub set The Fab Five blessed us with the underground classic “Leflaur Leflah Eshkoska”. Now we have A$AP Mob’s “Cozy Tapes Volume 2: Too Cozy…

What should have been an embarrassment of riches managed to be uninspired refuse.  What is most frustrating to me is the fact artists with less have done more.  This project was green lit by RCA, which is owned by Sony Music Entertainment whose war chest has to be massive.  The production for the majority album is a series of snares surrounded by bass, wrapped around a white noise machine and sprinkled with random piano chords.  I have never been hypnotized to a state of aggravation until now.  For lack of a better word the sound is just plain lazy.  You can make the argument that sample clearance can be difficult and costly, and I would say you are right; but they’re artists that will play instruments for a fraction of the cost.  A case could be made that over produced songs overshadow the lyrical prowess and content of the emcee.  That ain’t the case with “Too Cozy.”  A$AP Rocky is phenomenal on this album and so is Ferg, but the fashion forward mainstream style maven whose little black book reads like a who’s who of the September Issue of Vogue could not save this project.  Frankly, it’s not his fault because Jaden Smith, Gucci Mane, School Boy Q, Flatbush Zombies, Chief Keef, Lil Yachty, Big Sean, Joey Bada$$, Quavo, Frank Ocean, and Lil Uzi Vert couldn’t salvage it either despite valiant efforts. However, for the most part barring the artists mentioned the lyricism is elementary, unimaginative, and inundated with run of the mill criminal activity, materialism and misogyny.  But wait; there are a few glimmers of light in the abyss.  

On “Perry Aye”, A$AP Rocky gives us a lesson in alliteration describing his lifestyle and showing his appreciation for all things French.  Jaden Smith steals the show.  The legacy of the Fresh Prince of Bel-Air gives a perfect chopped and screwed chorus.  The radio ready “BYF” (Be Your Friend) has the Mob professing its love utilizing a catchy chorus to a significant other on a RnB beat.  “What Happens” is great concept track asking what you would do in questionable and difficult situations.  The star studded “RAF” is a joint dedicated to the emcee’s love for RAF Simmons Clothing.

The Cozy Tapes just don’t have enough memorable moments or enough quotables.  It doesn’t have production that forces me to audio scrub my iPhone to figure out what effect was used, or what sound was distorted. “To whom much is given much will be required.”  I just expected a higher quality product from established artists.            

Stream/Download "Cozy Tapes, Vol. 2: Too Cozy" on iTunes

Review: Dave East's "Paranoia: A True Story" Album

Dave East, the Harlem based, Nas approved artist responsible for hood celebrated projects Kairi Channel, Black Rose, No Regrets, and my personal favorite, the “Apache” flipped sampled single “All Summer”, blesses us with his latest joint “Paranoia: A True Story.”

On the title track “Paranoia” East briefs us on his illegal dealing which bring about foreign cars, financial significance, self-imposed alienation, attractive females, jealous associates, and a less than healthy mental state that allows him to see the deceased.  Atlanta emcee “Jay “Jeezy” Jenkins delivers his standard verse outlining how courting chaos through excess can be lucrative yet problematic; but vows not to fall victim to the pitfalls of his lifestyle. Everybody criticizes the “Thug Motivation 101” rappers lyricism or lack thereof, but I swear I’m going to say “I made a million a million times” from now until “New Year’s.”

“The Hated” includes an introduction from Nas, but sadly no verse from one of the best to ever do it. Few artists have the longevity and success that the Queensbridge legend has attained. When it says “Featuring Nas” we need to hear bars not just promotion.  Anything else is downright criminal.  However, Dave East supplies a vivid narrative of nefarious deeds done by friends, family, and the rise and fall of two hustlers. “Phone Jumping” compares and contrasts the life that Mr. Brewster used to live to his current situation.  From being broke to being on a boat, to living in low income housing to blowing a re-up by betting on LeBron. Wiz Khalifa accompanies East on the track listing the ways wealth has given him opportunity in business, and personal relationships.  The start of the track makes me reminisce of Busta Rhymes song “Gimme Some More” on his album “Extinction Level Event. “The not safe for work “Jazzy Interlude” is a well done homage to  the Bad Boy Records R&B group Total’s nineties hit “Kissing You.”  

Pop stalwart Chris Brown sings of salacious acts while searching for a woman with physical flawlessness on “Perfect.” Dave East drops a verse divulging his plot to woo a particular woman using romance and materialism.  Perseverance and vision over an understated piano highlight the record “Find a Way.”  Dave rhymes about opportunity cost, needing a change of scenery, and how financial stability fuels his ambition which effect long term friendships.  The underrated, underappreciated producer Harry Fraud lays the foundation for Dave East and French Montana to offer us stylish stanzas about transforming from poverty to prosperity on “Maneuver.” The two emcees verbally tag team the track about the spoils gained by illicit acts.  
Over a guitar laced beat the emcee questions his relationship with a suspicious significant other on “My Dirty Little Secret.”  Mr. East ponders the motives of his object of affection just short of an obsessive compulsive disorder.  “Wanna Be Me” discusses the age old subject of artist’s frustration with fame. Dave talks about baby mama drama, family illness, the long lines to participate in mundane acts before his rise to celebrity, and the balance between taking care of friends, and being taken advantage by them. The emcee challenges others validity in the street on “Have You Ever.”  Dave details living a life of out of state drug trafficking, gangbanging, contraband on consignment, and dead friends memorialized on articles of clothing.  

It is not a surprise that Dave East is signed to highly exalted rhyme smith Nas’s Mass Appeal label.  The artist exhibits a unique style, more than competent bars, and something that is scarce in hip-hop right now; a talent for storytelling.  

Stream/Download "Paranoia: A True Story" on iTunes   

Review: Drew Vision's "Shades Of Summer" EP

I like my RnB like I like my Hennessy: smooth, refreshing, it properly places me in my feelings, and inspires me to practice producing offspring.  Drew Vision’s “Shades of Summer” fits the criteria entirely.  

On the first track “No Do Over’s” against ominous strings, and a back handing snare Drew atones for the impropriety in his relationship. He describes losing his soul to instant gratification, and the anguish of seeing his significant other with somebody else.  If you close your eyes and listen to Drew belt stunning ad libs over a perfectly placed guitar solo; you can actually picture the video director shooting the “rise and fall of the relationship montage” on this particular part of the song.

On the percussion filled “Want Em All” the crooner details tastefully like a kid in a “Ben & Jerry’s Store” all the different types of women that he wants to “court.”  Any individuals who have witnessed woman in these sun dresses, and other form fitting clothing on hot summer nights can relate to this song. The hook is simple, habit forming, and perfect.   

Mr. Vision on the song “Feel this Way” helms dynamic production, and illustrates the classic man meets woman, and man loses it physically, mentally and financially.   The breakdown is just genius. Of course it is. It’s the standard that RnB enthusiasts expect from a Bryan Michael Cox executive produced project.  Few artists can hold their own against the legendary producers work.  Drew Vision is in that minority.

On tracks like “I Give Good Love” and “Deep Water” it’s reasonable to believe that a certain sample of the population will be placing their unmentionables on the floor or entertaining that thought when encountering these two offering.  They are both well executed passionate pleas for intimacy with the artist guaranteeing satisfaction.  

“Shades of Summer” is a strong project. The five song EP is an exercise in quality over quantity that leaves little to be desired. Except the desire for more from Drew Vision.

Stream "Shades of Summer" EP on Soundcloud
 

Review: Brandon Barbaro's "TwentyTwo" EP

Brandon Barbaro hits us with his debut EP “TwentyTwo.”  Brandon has a laid back flow that reminds me of a mixture of rappers Logic and Big Sean. In a good way. Joints like “Want It”, “We Good”, and Night Out are good songs but lack the polish of an established artist. On these tracks, the emcee raps about work ethic, dealing with the opposite sex, and his ambition to ascend in the rap game.  Honestly, the record doesn’t start for me until track four.  

“22 The Interlude” is great.  Over harrowing production, the emcee outlines his frustration, and confusion with trying to reach his goals with not enough hours in the day.  Barbaro rides the kick and snare like a pro. This interlude needs to be a song. “Dreamin” is another great song. The piano loop is memorable and the accompanying percussion is on point.  Brandon raps and sings about the trials, and tribulations associated with the pursuit of a female.  You can hear the artist’s measurable growth and comfort in his style on this song. “Beautiful Day” is excellent. The head nodding generating production is infectious.  Brandon raps about days highlighted by getting high with the homies, gaining material worth through hard work, and just living a drama free life. On “Satisfaction”, the Rockville, Maryland artist asks if he will ever see the gains and spoils from the work he has put into his music. Although he has made countless sacrifices, the emcee seems not too optimistic that it will ever payoff.

"TwentyTwo" has some miscues but that’s to be expected from a fledgling artist.  The songs could be longer as the EP comes in just over fifteen minutes.  I think the production needs to be more dynamic to contrast the Brandon’s monotone style.  Make no mistake I’m eager to hear more from the emcee.  Rarely does an artist progress from song to song on their own project.  

Stream/Download "TwentyTwo" by Brandon Barbaro          

Review: A$AP Twelvyy's "12" Album

I have a confession. I’m a sucker for New York Hip-Hop. I used to own countless overly dubbed, distorted cassette tapes.  I used to crave DJ.Clue, Funkmaster Flex, and Ron G. to name a few. Biggie Small, Nas, Jay-Z, M.O.P, Fat Joe, Boot Camp Clique, Wu-Tang Clan, and Mobb Deep were always in heavy rotation in my stereo or Walkman.  I love block pharmacists turned lyricists who paint priceless, graphic poems depicting the dark side of inner city life on dirty murals.  Fulton Ave, Marcy Projects, Bedford-Stuyvesant, Flatbush, Queensbridge, Harlem World, these were landmarks where legends lived perfecting their craft, vying for the coveted title “King of New York.” Dealers draped in camouflage clothing, Pelle Pelle, Karl Kani or Guess; making money dreaming of prosperity while surrounded by the smell of death, despair, blunt smoke, and freshly urinated staircases. I gravitated to movies like Fresh, Juice, and New Jack City.  Forgive me, I do not wish to glorify these illegal acts as they are conducive to destruction, minority mass incarceration, and far too many funerals.  However, in those times there was a certain percentage of that generation that lived that hood famous, socio-economic quote by fictional drug lord Nino Brown in “New Jack City”…”Cause you gotta rob to get rich in the Reagan Era.”  Today, there is a small, hopeless population in underserved communities that believe you have to trap to triumph in a Trump Presidency.  I believe their stories should be told.  In this tradition we have A$AP Twelvyy’s debut album “12.”     

A$AP Twelvyy has an all too familiar problem in an over saturated gangsta rap genre. Twelvyy just doesn’t stand out.  Where guns, girls, grams, and excess are the norm creativity is a lost art.  On “Castle Hell” under the sound of I’m guessing police helicopters Twelvyy chronicles the everyday struggle of inhabitants of low income housing. The A$AP mob member lectures us on money and murder, gang banging, paranoia and sleepless nights due to his lifestyle choices. “Strapped” is more of the same. This project gives me an attention deficit. Songs like “Yea” Yea” and L.Y.B.B (Last Year Being Broke) just seem uninspired.  It’s almost formulaic. Add guns, women, money, murder, and misogyny and you have a song. Shades of the movie “CB4” come to mind.  “Sunset Park “is more of the same substance and no style.  “Hopout” is a great song especially with the enthusiastic hook from A$AP Ferg, but what sticks out the most is Twelvyy’s lack of verbal prowess compared to that of his counterparts.  

Let’s not write of “12” yet.  On the vacation inspired “Riviera” he shows flashes of brilliance.  On “Diamonds” featuring his A$AP Rocky, and his patented chopped and screwed flow Twelvyy rides the; what feels like fairy-dusted production like a pro.  “Periodic Table” and “Ea$tSideGho$t” are decent, but they just don’t compel me to hit the download button on my Apple Music.

I remember the euphoric feeling I got when hearing the Wu-Tang affiliated “Only Built for Cuban Links” by Raekwon & Ghostface Killa, and the satisfaction when GZA’s offering “Liquid Swords” was of the same quality. With heavy hitters like A$AP Ferg and A$AP Rocky (whose releases were great) in his camp, Twelvyy is going to have to go back to the lab and deliver a stronger project.                

Stream/Download "12" by A$AP Twelvyy on iTunes

Review: Tyler, the Creator's "Flower Boy" Album

The first time I encountered Tyler the Creator was on a YouTube Video.  A pre-incarcerated, carbohydrate rich Gucci Mane was performing “Photoshoot” when Tyler started dancing and was abruptly choked, manhandled, and thrown off the stage.  Within a few minutes he was on stage again violently head banging until he threw himself into a sea of humanity to crowd surf. That moment is indicative of Tyler’s career. A free spirited, brutally honest, talented, judgement resistant artist; who has relied on a spoonful of shock value to make the music go down.  Until now. 

The leader of the “Loiter Squad” presents his third release “Flower Boy”.  At first listen the drastic change in production style grabs your attention.  These aren’t your standard Logic Pro or Fruity Looped manufactured tracks with quantized percussion. The sound of this project feels like Tyler who produced the entire album ingested Anderson Paak and sampled “The Internet” with a few exceptions. It’s smooth, it’s dreamy, slightly jazz influenced and pleasantly lackadaisical.   

“Flower Boy” begins with “Foreword.”  Tyler expounds on excess and his battle to stay grounded over lazy guitars, a tapping synth, and wave like sounds finished by piercing ambient noises.  “Where This Flowers Blooms” is an exercise in piano playing while the emcee reminisces about a past life of limited means to his current opulent lifestyle over ear bud shattering kicks, snares and simulated guitar plucks.  Tyler exposes his infatuation with a significant other over a track that lullabies you with hand clap high hats that maneuver to an alarming baseline on “See You Again.” Songs like “I Ain’t Got the Time” and “Who Dat Boy” are classic Tyler the Creator doing his signature boasting banter over horror movie keys and 808’s.

The minimalist produced “Potholes” achieves its goal of inducing extreme head nodding. Mr.Okonma verbally illustrates his dilemma of trying navigate life while steering clear of snakes, haters and distractors.  “Garden Shed” feels like a surreal instrumental until the artist drops lyrics that the interweb mistakenly interprets as a statement about his sexuality.  I’ll let you decide.  The tracks “November” and “Boredom” are interesting offerings from this artist.  On “November” Tyler confesses his fear of failure on drums that are native to the 1980’s B-Boy Era.  “Boredom” with its relaxing background vocals is also production wise a brief hiatus from industry standard “Trap Drums” that over utilize the snare.   

The jazz influenced “Dropping Seeds” not only showcases featured artists “Lil Wayne’s” hot sixteen it makes the Young Money emcee sound like he is performing spoken word.  911/Mr. Lonely is my favorite song on the album. You can’t go wrong paying a musical homage to “The Gap Band’s “Outstanding.”

Although not your typical Tyler, the Creator record, “Flower Boy” displays his depth, maturity, and superior rhyme style.  What is surprising is the level of expertise and creativity of the production.    

Stream/Download "Flower Boy" by Tyler, the Creator

Review: Jay-Z's "4:44"

Jay-Z, the rapper responsible for over a hundred million albums sold, and the only hip-hop artist to be inducted into the Songwriter’s Hall of Fame released his fourteenth studio album “4:44”. At first listen it sounded a little different (at least the content), but on further inspection “4:44” is historically classic Jay-Z. When others rhymesmiths would sport gold herring bone chains to the event, Hov would illuminate the whole show with platinum bejeweled chains showcasing the highest cut, color and clarity.  While other rappers pulled up in the Benz; Jay would be detailing the Bentley.  Your favorite emcee brags about buying the bar, well Shawn Carter was stocking it with Armadale Vodka and now Dusse Cognac.  

Video shows with countless segments of artists touting their high end basketball shoe collection pale in comparison to Jay-Z selling his interest in the Brooklyn Nets to Jason Kidd. Other rappers baby mothers took to Instagram to air their dirty laundry; Jay’s wife was immortalizing his personal business in song. (Of course sometimes sh** go down when it’s a billion dollars on the elevator.) Literally his sister-in-law’s hits became hits.  When your favorite rapper’s label been turning out acts that have been going triple trash; Mr. Carter’s artist go platinum with no features.  Popular artist rhyming about “Groupie Love”?  What does Jay do? He wife’s arguably one of the most beautiful and talented woman in the world.  When the majority of the climate of hip-hop presents patterns of prescription drug use, excess, apathy, and misogyny; Jay does what he always does.  He one-ups the competition, and directs the conversation, and culture. On this occasion instead of materialism he ushers the discussion to family, social justice, wisdom and fiscal responsibility. 

The No-ID exclusively produced “4:44" starts off with “Kill Jay-Z" a lyrical exercise in choices, and regrets. Hov illustrates his struggle to let go of past conditioned behaviors and mindsets. He also takes Kanye to therapy where he diagnoses, prescribes and doses the “Life of Pablo” rapper in a few bars.  In “The Story of O.J” he laments about attaining wealth, and success and still being perceived as inferior.  Jay-Z also stresses living within your means, and the importance of credit.  Mr. Carter even regrets past purchases, and advises spending money on things that appreciate with value.  On “Smile” Shawn channels his inner self-help guru telling us to take the good with the bad, and informing us that happiness is a state of mind. He even raps an anecdote in support of gay rights.  With the help of Frank Ocean Jay delivers a crash course in discovering deception on “Caught Their Eyes.”  Jay-Z warns us to stay focused on the phony, and that to beware of compliments because they turn into competition.  The rapper even declares his disgust for the mismanagement of the late Prince’s estate.  

Official 4:44 Listening Party at Estate Creative Agency in Raleigh, NC, Friday, June 30th

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The howling title track "4:44" is an open letter to Beyoncé where he apologizes for womanizing, stillbirths, his failures as a husband, and his desire not to lose his family.  “Family Feud” is a song where Hov discusses his frustration with the divide of the old guard and the new guard.  He can’t get someone with greater success to mentor him, and the younger generation doesn’t want to be mentored.  He also regrets his Michael Corleone mentality of industry domination that hindered him from developing meaningful relationships in the business.  On songs like “Bam” and “Moonlight” the emcee gets back to his bread and butter, and explains that his peers don’t have the fortitude to hold his position in the street as a criminal. Also, they don’t have the creativity, or work ethic to be a successful artist.  The soulful “Marcy Me” is Jay reminiscing about his drug dealing past, the birth of his verbal skills, memorializing murderers, and the era that he came up in.  The light horned “Legacy” is Mr. Carter’s living will to his family tree, and his desire to break the chain of poverty.  He also discusses the hypocrisy of his father, and how it influenced his religious choices.

From dealer to dad. Hustler to husband and Marcy Project Menace to Media Download Mogul. Jay-Z’s “4:44” is an audio monument to his evolution.  Although one thing remains the same. From block to boardroom he is the best that has ever done it.