Review: "New Levels" EP by Amaru Muru

Throughout Amaru Muru’s debut EP “New Levels”, influences abound mostly from the new school of hip-hop. Forgoing speed, the clarity of the vision is akin to Kendrick Lamar’s patient, persistent flows. The Southampton, UK based artist ensures that every moment is clearly crafted for maximum impact.

Verses are balanced too in order to give it a stream of consciousness tact, one that fits nicely with his lower register vocals. In terms of a mixture of the R&B and trap influences, the minimal yet effective arrangements recall the dexterity of Flying Lotus’s genre-defying aural mutations, forgoing easy categorization yet employing impressively thick grooves.

“Do It Again” sets the tone for the collection, with low-slung bass lines and skittering percussive elements starting to establish the groove. It does not take long for Amaru Muru’s distinctive voice to take command of the late-night atmospherics. Melodies waft up to the sky with a dreamlike aura. Stately keys give “New One” a massive approach. Volume is a must for the way that “New One” evolves lends it a sort of physicality, even an urgency. Pulling back a bit, “Level Up” offers a bit of self-reflection into the fray. Playfulness with the right degree of swagger runs through “Surfboard”. Here Amaru Muru displays a degree of confidence as the song rolls through.

Layer upon layer filters into the mix on the colossal highlight of “Round 2” deeply immersive experience, Amaru Muru embarks upon a meditative personal journey on the powerful “New Levels”. Lyrics rest in the very heart of all of it, nicely anchored by the intense trap beats that hit with sheer physicality. His flow never feels rushed he takes his time in creating something that comes straight from the heart. His storytelling abilities are unparalleled as elements emerge from a life lived to the absolute fullest. Closing the collection off, “Round Two” is a joyous celebration, one that is full of so much love.

The genre-jumping tour de force incorporates pieces of hip-hop, R&B, and trap into a singular coherent whole. The production has a polished perfection to it courtesy of Ken McKay’s deft touch.

“New Levels” shows off Amaru Muru’s highly unique style resulting in a wild swirling sonic universe.

Stream and Share “New Levels” on: Spotify | Bandcamp

Review: "Detroit 2" Album by Big Sean

“Detroit 2” is symbolic of Big Sean’s long musical journey towards adulthood over the past decade. His past works (though just as fire) felt more adolescent. A youthful perspective that still had some more wisdom to gain. Just like the other albums, there’s a wordy stream of consciousness in every track that covers all the puzzle parts in the Big Sean autobiography.

Here, Sean is a deity in his own universe, and he’s pretty much perfect the art of the humble-brag. The intro track “Why Would I Stop?” is a cocky and relentless answer to his own question. From the first few lines alone, we can tell that he’s been working on his ever-evolving vocabulary, and we’re hype about it. That vocab stands up against a glitchy and bassy trap beat - the production on practically every song is flawless, and stitches a story when strung together. By the end of the first track, it’s clear that his serpent tongued metaphors and messages for the haters have improved vastly since IDFWU.

“Lucky Me” reveals health issues discovered at a young age, and unexpected solutions he found, like Eastern medicine. This track has more of an old school beat, but around 2:10, he switches up the flow, the key and the whole vibe of the track, speeding it up with a quick delivery that Twista would be proud of.

“Deep Reverence” ft. Nipsey Hussle is a haunted time capsule that does the late rapper justice and explored how Sean dealt with the aftermath and the hate that’s bred from nothing in his own community. He reflects, “After what happened to Nipsey, I reached out to Kendrick / It wasn’t even no real issues there to begin with / Lack of communication and wrong information from people fuelled by their ego.” He also tackles the mental health struggle for Black men with “In high school, I learned chemistry, biology/But not how to cope with anxiety” This line, along with the others that explore Eastern philosophy and spirituality, show dimensions of Big Sean in a light that African-American men in rap aren’t usually portrayed in.

Baby-maker track “Body Language” lightens things up, in a combo hip hop and bedroom track that gets even steamier when bae Jhene Aiko starts to croon, followed up by a syrupy Ty Dolla $ign chorus. It’s a dedication to the naughty queens who want some “Body to body, cheek to cheek, soulful moaning” but it’s equally a dedication.

On of our favorites track was “Harder Than my Demons,” the #blackboyjoy masterpiece which he dropped as the album’s first single, and is filled with more of the rapper’s dizzying metaphors and rhyme patterns.. Prioritizing positive vibes and self care, this anthem is also a triumph above his mental health struggles, or inner demons. If you put in the work like Sean, you can too.

Like many of the songs on this album, it’s a fast track at 2:21 minutes, but we wouldn’t call it short - this man can fit a lot of words into a tiny time frame. He manages to chill out a bit with “ZTFO,” where he drawls, “laid across the couch I’m zen the fuck out,” doling out advice to not feed comparisons, or worry what others think about your life.

As he ruminates on the lessons he’s learned over the years, he plays with genres. “Guard your Heart” is a departure from the heavy hitting hip hop production and explores a more soulful vibe, while “Lithuania” experiments with indie percussion, warped guitar, and a rock n’ roll feel.

In glimpses of tracks, we learn about the artist’s childhood, aversion to Western medicine, and spirituality, among other things, as he navigates life through his third and fourth eye. It doesn’t fit the template of formulaic rap albums nowadays, with seemingly conflicting aspects that merge harmoniously. We don’t know if it’s Aiko’s influence or that CBD he’s writing about, but “Detroit 2” proves that 2020 really is is Big Sean’s year.

Stream and Share “Detroit 2” on Spotify

Review: "Limbo" Album by Aminé

In March of 2016, Aminé made a big entrance into the music industry with his song “Caroline”. The song and video went viral and were on repeat for the rest of the year. In 2017, he dropped his debut project, “Good for You”, and he also made the 2017 XXL Freshman list. Needless to say, Aminé started off his career on fire.

One negative thing about having a song such as “Caroline” is feeling like you may never top it. There’s also the issue of feeling like you can’t make any songs that don’t sound exactly like that one. I felt like Aminé’s debut album was average. I don’t believe he experimented much sound wise and to me, it felt like he was trying to make more Carolines. Fast forward to 2020, and after releasing a couple singles, Aminé has now dropped his sophomore album, “Limbo”.

Off the bat, I will say that this project has put Aminé in a different light for me. With a song like “Caroline”, he was in instant danger of becoming sort of a one hit wonder. This project is well rounded, experimental and really just good.

“Limbo” has a lot of different elements to it. I appreciate that Aminé made it clear that he can truly rap as well as sing. There are several tracks where he raps over boom bap beats and it shows me that he takes rapping seriously and that he’s good at it. Songs such as “Burden” and “My Reality” prove this.

Aminé does a good job with feature selection on this project. Whereas on his last project, I felt like some of the features were more for the name and didn’t really fit. Artists such as JID, Young Thug and Summer Walker not only have the names to draw attention, but their sounds are perfect for the songs they were used on.

There are songs on this project that won’t just get a lot of replay, but are also quality records. The tracks “Compensating”, “Riri” and “Easy” are all songs that can and will get major play on the radio and even in clubs once the world opens back up. I believe each of these songs achieves the goal of outshining “Caroline”.

Aminé touches on several topics such as love, happiness vs. materialism and even how he feels about his mother. One specific person, however, is brought up throughout most of the project. That person is Kobe Bryant. Aminé makes it clear through both bars and skits that Kobe had a big impact on his youth and that his death affected him tremendously. RIP Kobe.

Overall, I really enjoyed this project. Aminé shows that he has grown as an artist since 2016/2017 and that he’s much more than a one hit wonder. I feel that there is at least one song on this album for every type of Hip-Hop fan. If I had to give it a number, It would be about an 8 out of 10. I’m proud of Aminé and I’m excited to see what this album does for his career.

Stream and Share “Limbo” on: Spotify | Apple Music

Review: “Rhythm and Vybes: Book 2 Side” Album by xDMWDx

Trenton, NJ duo xDMWDx sculpt infectious anthems on the tender inviting sound of “Rhythm & Vybes: Book 2 Side”. R&B and hip-hop, all within a pop framework go for a strong sense of purpose. The loveliness works wonders for their delivery has a power to it, and much care and compassion run through the collection.

A lush, luxurious approach simply washes over the listener for xDMWDx’s ear for melody proves to be unparalleled. By adding layer upon layer into the mix, things become delightfully ornate resulting in some gorgeous moments. Vocals go for the right amount of passion and fire for there is a yearning that reigns supreme over the album’s six songs.

The gentle spirit and reflection recall early Kanye West. With the swagger heavily in tow, the songs burst forth in such colorful highly detailed ways. Full of such a thoughtfulness to them they all perfectly come together to accurately depict a life lived to the absolute fullest. A hybrid approach and the insistence upon a more pop oriented focus also draws from those Southern rap innovators Outkast, for their influence emerges in small yet significant ways, from the hook-laden choruses to the laid-back mellowed grooves. The duo’s deliveries at times also have the effortless cool of Q-Tip.

“Go Getter” starts the album off with kinetic energy. Various jumpy percussion skitters about while the piece has a compact, joyous attitude. Neon-hued glowing synthesizers weave themselves on the communal fervor of “Mamacita”. The grandeur of “Ain’t Gon Lie” serves as the highlight. Deserving to be blasted at the highest possible volume there is a physicality to it, with the bass running through with an emotional impact.

The tropical flavored “In2u” resonates as a sundrenched, summery jam. Here the sound has a playfulness to it. “Murder By A Masterpiece” delves into a jazzy inflection for the piece unfurls at its own pace. Slowing things down, “Unrequited (Frozen Emotion)” brings things to a stylish, soothing close with a fantastic finale as the kaleidoscopic color delves into a cinematic flavor.

xDMWDx’s “Rhythm & Vybes: Book 2 Side” project displays an impressive storytelling ability, featuring some fresh flows and wonderful character studies. We can’t wait for the third release of this album series!

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Review: “Papercha$er The Mixtape” by Lil_E

Bridgeport, CT based rapper Lil_E holds nothing back on the urgency of “Papercha$er The Mixtape”. Narratives are drawn directly from his life helping to give the collection a unique highly personal vision. His delivery has an intensity to it with details that convey a strong sense of urgency. A sense of yearning and desire for something better propels the tracks forward. Clear eyed focus feels poignant as he captures that a swagger to want more and to try to get it.

On top of this comes the production itself: crisp, clean, with heavy emphasis on an old-school hip-hop quality. Samples go for a nostalgic aura for they convey so much depth. Bass rumbles and the crisp percussion further adds to the sense of a fully-fleshed out sound.

With few comparable contemporary rappers, Lil_E chooses a distinctly old-school set of references. For his most passionate performances, he draws from Wu-Tang at the height of their powers, even exploring the concept of money as a thing of conflict. Going deeper, his low-key swagger and thoughtful word choice reflects upon the East Coast spirit of Biggie Smalls with a tact that conveys a similarly structured sort of playfulness at times, alongside heavier themes woven into the overall tapestry.

“Intro” sets the tone of what follows with an anthemic tact. An early highlight comes from the highly detailed description of “Tryin’ EAT” where a sense of desperation is captured perfectly. Layer upon layer of sound intermingles on the gargantuan “16 BARS”. Going for a clear reflective stance is the thoughtfulness of “DEAD Presidents Freestyle”.

The heaviness of “DREAM$” goes for a sense of purpose for the whole of the track constantly builds up more and more. Wild, freeform verses cascade down with the kaleidoscopic “U Know”. Stripped down to the essentials is the spaciousness of “It’s LIT” where the bass hits with a sheer force of nature quality. “Everything I Had” chooses a jazz-like tact incorporating a great deal of lush sound into the mix. Bringing everything to a gorgeous conclusion is the triumphant “Outro”.

“Papercha$er The Mixtape” shows off Lil_E’s impressive fiery flows, with lyricism and storytelling that lingers long after it has ended.

Stream and Share “Papercha$er The Mixtape” on Soundcloud

Review: "Darrell" Album by Mitch Darrell

“Darrell” is the latest album from Raleigh, North Carolina-based Christian rapper Mitch Darrell. Prior to listening to this album, I checked out three of his earlier projects: 2016’s “Black Skin Colorless Soul”, 2017’s “My Experience” and 2019’s “Dreadhead Lando” (arguably the weakest of the three).

With Mitch’s new album, what impressed me from the jump was his wordplay, which has gotten considerably better since “Dreadhead Lando”. On “Mitch is Back”, he delivers a confident and purposeful first impression to both first-time and experienced listeners over a silky smooth, jazzy instrumental. Even on the delightful cypher “Rappity Rap” featuring Kody Free, Weez the Satellite Kiid and Joe Ayinde, Mitch shows that even amongst his peers, he can still be a formidable rapper.

Mitch also explores his Christianity and usage of rap as an outlet for mental and spiritual self-expression. On “No Turning Back Now” and “If I Die” respectively, Mitch raps about his imperfect yet spiritually necessary journey as a Christian, and his assurance that he will make it to Heaven once that journey has ended. On “Stuck”, he addresses his mental health, revealing that the anti-anxiety medication he continually takes leaves him depressed as a side effect. Though music is a successful cure to this depression, he questions the value of his musical output and overall rapping career on the following track “Give up my Dream”.

He even explores his own identity as an African American on the songs “I Wanna Quit” and “Black & Proud”, though in an appropriately narrow and broad focus respectively. The former, where Mitch expresses his loathing of his 9-to-5, hints that any chance at a higher position will most likely be hindered by his ethnicity. The latter is a joyous celebration of Black Pride, with its triumphant hook, upbeat instrumental (which switches to an EARGASMIC, G-funk-esque beat in the second half) and passionate performances by Mitch and guest rappers Montythehokage and James Gardin.

As a whole, “Darrell” is Mitch’s most well-conceived and well-assembled record in his discography thus far – and easily his best! The production, guest features and lack of filler help sustain the momentum of the album within its 14-track runtime and thematically, it’s guaranteed to stay with you long after you’ve heard it. If you’re a fan of conscious and/or Christian hip hop, this is an absolute must-listen!

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Review: "King's Disease" Album by Nas

The intro track to the album is a fearless anthem for the BLM movement, as it much of this album. People may have considered “Illmatic” to be his true comeback, but other Nas fans will find that this is where he truly shines.

While a lot of rappers are out here taking shots at each other and producing diss tracks a la Eminem and Machine Gun Kelly, Kings disease isn’t a refreshing reminder that we can all have success and use it to uplift each other rather than tear each other down.

Lines that give us goosebumps include: “You should want every brother to make it out But brothers want trophies, they troll for clout” and “You a king, you will be next to me, doing your own king shit, most definitely”

The lines encourage us to rise above gang culture, above social media culture , and above anything that promotes toxic forms of or comparison or masculinity. Much of this whole album feels like a big bro pep talk to the new era of rappers, instructing them to support their brothers rather than breeding animosity.

The transition into “Blue Benz” is flawless, and takes us straight to Queens, New York with a beat that hits and an ice cold Nas flow, his words like velvet as they explore debauchery and wild women.

"Replace Me” uses auto-tune the way it was intended, softens the track up along with a piano back beat. Nas spits, “That kid alright but I’m a kryptonite another type,“ leaving us pitying the next man that follows up a date with Nas - even if it’s with Big Sean or Toliver, who haven’t yet graduated to the throne. This track transforms the new school artists on it to old school, and that melodic, crooning chorus makes it even more addictive.

The lead single, “Ultra Black” is a celebration of Black physical beauty, like “Grace Jones skin tone, but multi that/Multiple colors, we come in all shades, mocha Black” and Black like “cornrows, afros” and it’s equally a tribute to black excellence and achievements, as Nas reflects on “Black like Kaep' blackballed from the Superbowls (Colin)”

Things cool down again with “All Bad” featuring Anderson Paak. This one has a chilled out and jazzy drum flow that permeates much of the album. The production choices feel like an homage of the mosaic of Black culture that led to hip hop, including jazz, blues, and soul.

Full circle features a round up of rappers that each murder their verse with ease. It’s especially exciting to see a comeback from foxy brown. It’s not all Lil Mosey and Bad Bhabie, for those of you who feel doomed. Biggie and Pac might be ghosts now, but their spirits live in Nas, a time capsule that manages to update itself and stay relevant time and time again. During this extremely bizzare time in the world, we’re facing an opportunity for rebirth, and this album is a sure symbol of that hope and optimism.

“10 Points” is another piece of brotherly advice that explores the judgement of Black celebs in the media, and reminds us “we all need knowledge instead of sneakers.“ It hits us with thought-provoking lines about materialism, where Nas pleads with us to remove the hype and re-focus.

Stream and Share “King’s Disease” on Spotify

Review: "Here For Now" Album by Louis the Child

Louis the Child (Robby Hauldren and Freddy Kennett) released their latest album ‘Here for Now’ on June 26th; a 14-song track list. It’s crazy. This album creates this energy and nature of the feeling of arrival, or coming into existence: a welcoming. Welcoming humans. As if our earth was starting over again.

‘Here For Now’ plays out like a How-to-Human simulation for dummies of the 21st century. Teaching humans how to live presently, how to be a person, and how to navigate love. Some seemingly simple attributes to being a characteristically good person.

The whole album embodies this theme, but we’ll narrow it down to the 3 major songs that explore these ideals; starting with Track 4: “Little Things”.

“Little Things”, produced beautifully by the amazingly talented Jon Bellion, and brought to life with vocals from Chelsea Cutler and Quinn XCII (team visionary music group’s greatest). The first lesson of this guide: how to live presently. “Little Things”…A song about appreciating, just that.

“And there will be come when a time when we’re slowin’ down

We’ll hold onto memories, memories

‘Til then, let’s wreck shit and hold it down”

It’s simple. All we have to do is, SLOW DOWN, as humans were so focused on What’s next? What’s trending? Who’s doing what? And Who’s going where? A reminder to live in the moment, and not worry about what’s going to happen next.

Then, at the end of the song you have this beautiful outro:

It’s like the professor at the end of class “okay, class you are free to go! But just remember…”

“Every single second is golden

Hold on to the moment

Hold on to the moment”

It’s such pure advice. It’s just the little things...

Now, that you have mastered the concept of gratitude, you will now learn the ins-and-outs of being a person and feeling emotions with Track 7: “Don’t Mind”. What this track does, is it explores the ideas of pressure, and feeling the need to exist for something or someone else. It’s a conversation with yourself. Hearing all of the stressors and then reacting positively to it. This song teaches you how to take care of yourself when you feel like the weight of the world is on your shoulders.

You hear the outside world telling you:

“Don’t mind

Don’t waste no time

Don’t make no lie

Don’t break no promises”

You hear the entire world just telling you “Don’t”. So, what do you do?

Just take a step back and tell yourself, all you have to do is:

“ [Try] to get to brighter days

You don't have to feel okay

It's okay

No you don't have to try

To try, to try to change it”

And! …

“No you don't have to wear

All these faces ”

*deep breath* and let it go.

The next challenge of the simulation is a much harder one to grasp: love.

Track 9: Get Together.

“We've got to get ourselves together

Like what's it gonna be?”

I think that the lesson here is embedded; open to interpretation. Because, can you actually teach someone how to love? Sure. Maybe, but I think the lesson here is that sometimes you just have to let the love run its course. And that’s it. That’s all you can do.

Louis the Child uses this album to shine light on some of the intricacies of the human existence, that often (too often), get overshadowed. Appropriately titled “Here For Now”, a reminder to all of us humans that we are literally only here… for now. We only borrow time on this planet, so let’s not waste it and at least try to be better.

Louis the Child starts the album with what I picture as a spaceship preparing to arrive on a new planet... and ends with Track 14: “Fade Away”. A full circle apparatus of our lives. This song is a celebration. Because, we did it, and at the end of our time on our earth, when we cease to exist on this planet, what will happen to us?

Stream and Share “Here For Now” on Spotify

Review: "Completion" Compilation Album by A.L. Laureate

As the speaker illustrates on the intro to “Completion”, the latest album from Miami-based rapper A.L. Laureate, “many pursuits will be finished and some will not. Either can be okay, as long as I can continually and regularly ask myself…..am I doing this for me or for some other purpose?” This project is essentially a compilation of previously unreleased tracks recorded long before, during and after the recording of his third album “Intrepid Perspective”, scheduled for release later this year. Admittedly, I should’ve checked out his previous projects in preparation for “Completion”, but thankfully this album gave me just enough insight into Laureate’s style and sound, and entertained the hell out of me in the process!

A.L’s love and admiration for ‘traditional’, pre-trap hip hop shines throughout the album’s 15-song tracklist, from his calculated - and rather poetic – wordplay to choices of thumping, head-nodding production. He even collaborates with renowned hip hop legends like D.J. Premier whose boom-bap instrumental he has fun with on the humorous “Dirty Underwear”, Detroit’s own Mr. Porter who provides the beat for the dramatic album opener “F.I.G.H.T. (Find Integrity Given Hard Times)” and Wu-affiliate Solomon Childs who delivers an excellent verse on the moody track “Within a Day” (one of the album’s highlights).

Each song is handled by a different producer, which does lessen the cohesion of the album with regards to production. Fortunately, this is a minor, albeit noticeable, flaw on “Completion”. Some producers provide musical backdrops for some of the album’s standout tracks and appear vocally on others – like the aforementioned “Within a Day” produced by Jof (whose unique flow on “Cents of Tranquility” manages to blend near- perfectly over its jazzy instrumental) and the chipmunk-soul-esque “Somebody Tell Me” produced by Cayoz (who appears on four tracks).

But the shining star in “Completion” is its host, as A.L. brings a heightened level of passion and focus that can only come from someone who loves his craft and truly wants to be a hip-hop torchbearer. This is significantly evident on the second half of the album, which starts with an emotionally moving tribute to his late brother Earl Patrick McNease (a.k.a. Praverb the Wyse), proceeds with one great song after another (like the Praverb-featured “Reason I Rise (Brainstormers Remix)”, my top favourite track on the album) and ends with the powerful “Equal Freedom” (whose hook alone is an instant earworm).

As a compilation and an intro to A.L.’s music, this album really worked for me! I’m looking forward to hearing a majority of the themes presented on this album (especially that of the legacy of his late brother he carries on through his music, which is a perfect answer to the question posed in the intro) explored further.

“Completion” has a little something for everyone, but overall, it’s music with punch, power and purpose, and more than enough to keep fans new and old satisfied until “Intrepid Perspective” comes out!

Stream and Share “Completion” on: Spotify | Bandcamp

Review: "love&light" EP by Milan André

Milan André delivers a bright and airy meditative world on the sun-drenched splendor of the “love&light” EP. Everything positively shines. His voice has a tremendous understated power to it for it goes for a gentle, intimate tact. Arrangements further highlight the poetic beauty of the sound always keeping things spacious.

Quite thoughtful, Milan’s incorporation of folk within a pop context feels pastoral. Flourishes are included within these pieces from the washes of ambient bliss to steady, determined beats that underpin for emotional impact. Balance is the trick for he manages to bring together many different styles and sounds as he makes an aural universe that feels refreshingly unique.

Folk truly does rest at the very heart of it, no matter what other genres Milan liberally brings into the fray. On this his compositions, rich, luxurious, but always grounded in a heartfelt sincerity, recalls the gorgeous compositions of Fleet Foxes. Akin to their work Milan is not afraid to let light experimentation into the mix. Even his voice has the same honeyed spirit as theirs. Beyond this, Milan’s urbane sensibility draws from the thought-provoking pop of Grizzly Bear in how carefully he lets each sound breathe.

Setting the tone for the collection is the sweeping beauty of the title track “love&light”. Delicate guitar strings have an insistent, almost Steve Reich-like mantra to them. This eventually shifts into something highly personal. For a while it is simply alone, Milan and the guitar before elements filter in helping to bring additional texture into the ever-expanding spirit. By far the highlight of the EP, the song opts for a tremendous soulfulness.

Going for a bit of defiance, the fire of “declare” grows and grows. Here the percussion is more prominently placed for maximum effect. Even for the final moments of the piece, the disorienting experience of the vocals feels real. For the finale, the cyclical “everything” goes for a reflective stance, as the piano gives the song a certain timelessness. Little atmospheric elements flutter about giving the song a sense of growth.

The “love&light” EP reveals Milan André to be a true master of storytelling crafting a world that is welcoming, warm, and kind.

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Review: "Eat the Weak" Album by Crossworm

An industrial edge to furious hip-hop flows makes the “Eat The Weak” album a truly powerful statement showing off Crossworm’s sheer intensity. By far the heart and soul of the album comes from the fire of Crossworm’s words.

Done as a mixture of narrative, poignant observation, and poetry, the album consumes the listener whole. Volume is a must for there is a sense of righteous anger that deserves to be absolutely felt. The arrangements draw from a heavy colossal gesture, incorporating hip-hop, industrial, noise, all with a great emphasis on aggression. Indeed, it is impossible to look away for the vocals have a commanding presence. Never rushed atmosphere proves to be the trick with brutal, harsh riffs alongside crushing rhythms.

Sonically, Crossworm draws from a select few. In terms of sheer strength of the sound Crossworm’s spirit is similar to Death Grips’ insistence on unflinching observation. Much of the style also brings early Nine Inch Nails into the streaming mix. Akin to Nine Inch Nails, there is an incredible focus on sculpting the sound for sheer emotional impact. When these two influences are brought together, Crossworm’s seething sensory experience becomes undeniably potent.

Not a moment is wasted for “Like Them” sets the tone for what follows, with a clear-eyed focus leading the way. Eerie spacious minimalism adds to the discomfort of the creepy melodies of “There’s Something Wrong With Me”. Percussion intermingles and is woven together on the anxious metallic nightmare of “On High”. Strangely infectious with its spaced-out riffs is the insistent groove of “Into The Ether”.

Cryptic lyricism worms its way through on the electro-influenced tact of “Don’t Tell Me”. By far one of the highlights of the album, “It’s Okay”, offers a pulsing, driving tempo as the song brings a bit of Krautrock’s motorik grooves. A grand buildup occurs with “What It Means To Be Me”. Unique dub effects emerge on the surreal title track “Eat The Weak”. Allowing for a bit of the dramatic is the sprawling scope of the finale “If I Ever See You Again”, featuring Red Eye God.

Grand Rapids, MI based artist and producer Crossworm deliver urgent observations with the bleak poetic lyricism of the “Eat The Weak” album.

Stream and Share “Eat The Weak” on: Spotify | Bandcamp

Review: "Folklore" Album by Taylor Swift

On July 24th of 2020 in the middle of the corona virus pandemic Taylor Swift surprised fans with her album ‘Folklore’.

‘Folklore’ demonstrates how prolific of a story teller Swift is. Swift has always been characteristically good at being able to tell stories; not only through her poetic writing but also through her production. However, Taylor Swift’s ‘Folklore’ takes her storytelling to the next level: making her an elitist of telling stories. ‘Folklore’ reveals an imaginative scene out of her own self-produced artistry, just like a movie. Making Taylor Swift not only a writer and musician, but also a fantastic director. The thing makes this album different than others in her discography is the flow of her albums. Swift’s albums tend to tell a story, with a beginning, middle, and end. But I’ve spent time with this album, and the take away is that this isn’t a whole story. It’s a scene.

But first, as listeners and audience members, we have to understand the groundwork for this album…

A folklore. What is a folklore? Well, according to Google, folklore is “the traditional beliefs, customs, and stories of a community, passed down through generations by word of mouth”. Wow, so as listeners, we are expecting exactly that. A sample from Swift’s repertoire of life experiences.

But from what I understand, Swift uses this album to share not only her folklores but also those of close friends and family. One song, one story unto the next, opening the scene with its first story: “the 1”, which embodies the nostalgia of a lost relationship.

As soon as the first second of this song plays, you’re weightlessly carried to that late-night campfire with your dearest friends. The smell of firewood interwoven into your cardigan, and the humming sounds of the night time insects. You’re invited in, with unencumbered love and unconditional peace. Everyone gathered in an energy bliss, sharing their honest vulnerabilities. One story blending into another. Laughter, tears, fears, and love all roaming within.

‘Folklore’, is exactly this place. A campfire with your best friends: bliss. A place to be reflective about your past relationships as well as those around you, a place to have unapologetic vulnerability, and a place where your stories are heard.

Swift as well as her co-writers (Jack Antonoff, Aaron Dessner, Bon Iver, Justin Vernon and so many other talented artists) all have ‘Folklore’ as a place to share some of their own personal insecurities like “Betty”. A song written by Swift and William Bowery (who is believed to be Swift’s brother under pseudonym). A confession: a song written as an apology for how William once treated a girl: betty. ‘Folklore’ gives a place for these insecurities and stories to belong: a safe place.

And what safer place than a campfire?

Swift chooses her co-writers and producers wisely. Handpicking those best in the folk industry. The best at capturing exactly what the atmosphere of this campfire of folklores would be like. Swift’s album ‘Folklore’ is impressive in its ability to capture the true grit of their stories; targeting the real, raw emotion involved in these stories. Swift’s ‘Folklore’ is an album that is beautiful, and Swift should receive accolades on her ability to bring life to these stories and place them into an album.

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Review: "Just Before Dawn" Album by Ezza of Choom Gang

Niagara, Ont based rapper Ezza of Choom Gang goes for an intense minimal trap take with the sheer physicality of his newly released album “Just Before Dawn”. The songs rumble for the bass has a force of nature quality to it while it lumbers on through. A woozy sensibility pours out of the powerful lyricism for they are delivered with a clear-eyed determination.

By far the highlight of the album, Ezza’s vocals never let up, going ever deeper and deeper. Narratives emerge capturing the small moments in life, whether it is area code pride or the ways that time slowly gets burned away. Everything is kept to the essentials; the songs have an almost psychedelic cyclical quality, and the samples and electro flourishes help to tie the entirety of the sound together.

Production takes on a number of unique tactics. Instead of going for the usual, Ezza incorporates a yellowed nostalgia. Never speeding things up, the slowed down churn adds to the emotional heft. Even further along the hazy spectrum, the graceful glide and mellowed tempos recall a bit of DJ Screw’s warped take on hip-hop.

Ezza’s delivery also feels acutely balanced to this more contemplative temperament, as he takes on the reflective cadence of Earl Sweatshirt’s careful stance. His wordplay further adds to the interior monologue Earl employs so deftly.

Echoes emerge on the opener “Pursuit of a Dream (Intro)”. Within this track, the slow coming into focus approach works wonders. Fragile delicate textures are woven together on the spacious “Ezza Bop”; check out the accompanying music video HERE. Swirling along in a celestial daze is the weird disorientation of “Fruit Roll Up”, feat. King Gordy. A bit of hometown pride emerges on the surprisingly intimate scope of “905ish” complete with a mournful string sample. Beats hit hard with the infectious “Someone Like Me”. A luxurious groove unfurls over the album highlight “Bowl up Dawn” as the multiple layers add to the work’s chilled-out vibes. “I’m Not One of You Remix”, feat. Jorel, brings things to a careful, considered whole.

The “Just Before Dawn” album shows off Ezza of Choom Gang’s impressive, unique tact proving him to be a rapper of piercingly good caliber.

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Review: "Off the Grid" Album by Ultra_eko

South London based rapper Ultra-eko explores the zeitgeist on the urgency of his debut album,“Off The Grid”. His delivery has a sprechgesang quality to it, and every single lyric feels carefully selected for maximum impact. The arrangements too further highlight the potency of these lyrics for they have a sense of a heavy grandeur.

Ultra_eko's lyrics focus upon the state of the world, the difficulties of how online and offline life intersect. Frustrations associated with trying to navigate the world at large emerge, for the temptations of modernity alongside the frayed relationships that define this moment feels ever so poignant. Samples are stretched out, distorted, and contorted in new unexpectedly beautiful ways.

Ultra _eko's flows are spit like fire for he proves to be a highly unique rapper. At times touching upon the hard-edged Sleaford Mods, the album works best when taken in as a singular whole. The bile that informs many of these tracks further draws from Sleaford Mods’ highly pessimistic view of the world. Production goes for something smoother, one that has a more discernibly electro quality. Stylistically pieces of chiptune, trap, and EDM are woven together to create a wild unhinged tapestry, at times reminiscent of Brainfeeder Records’ weirdness.

A sense of unease introduces the album and sets that tone with “Viral”. Facts race on by while the percussion goes for a force of nature physicality. Elements of glam intermingles in the funk grooves of “Yellow Redux”. Trap beats rule supreme over the woozy “Boy Done Good”. Reflective to its very core is the surprisingly tender “Eternal Sunshine”, which opts for a brutal honesty.

“Daddy” goes for an intense exploration of family dynamics, the sadness that can define someone's life. Neon-hued splendor anchors the whole of “My Life”. By far the highlight of the album, a bit of hope and light is allowed into the proceedings, resulting in one of the more optimistic tracks. Reflection runs through the soothing finale of “Neon City”.

The “Off The Grid” album shows off Ultra-eko’s powerful worldview, one that reveals a world full of constantly shifting social mores and knowledge.

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Review: "See You When I Am Famous!!!!!!!!!!!!" Album by KYLE

In May of 2018, KYLE released a project titled "Light of Mine". The album was narrated by Lil Yachty and it featured the most successful song of KYLE's career, "iSpy" (which also featured Lil Yachty). Two years later, KYLE has now dropped his new project "See You When I Am Famous!!!!!!!!!!!!".

Before listening to this project, I had been keeping up with KYLE's tweets. A few days before the release he stated that this project was his best work to date. Needless to say, I had high hopes going in. After listening to the album, I must say that I have mixed feelings about it.

KYLE dropped three singles for this project: "Bouncin", "YES!" and "What It Is". I loved "What It Is", thought "Bouncin" was ok and didn't really care for "YES!". These tracks left me very curious about how the full album would sound.

Now, it is very clear from the title and cover art, which both come from KYLE's high school yearbook, that this project was intended to be sort of a dive into the past. I believe that his goal was to sort of recreate the feel and sound that he had when he was a teenager hungry to make it big in the rap world. This is also made clear by the track 10 interlude and by track 11 where KYLE raps as K.i.D, his original rap name. He also mentions that he had a lot of his original team do work for the project, both musically and visually.

All that being said, as a fan of KYLE’s, I cannot agree with him that this is his best project. Truthfully I don’t think that it’s better than any of his previous ones. Tracks like, “Money Now” and “Forget” are cool but are really only likeable because of the bigger name features; Tyga and Trippie Redd. On the other hand, some songs are alright but seem to almost be ruined by the features. Examples of this are “YES!” featuring Rich The Kid & K CAMP and “GIRLS” featuring Rico Nasty.

The songs I truly enjoy and feel are up to par for KYLE are “Bouncin”, “Over It”, What It Is”, “The Sun” and “Mr Man & K.i.D”. Honestly, if it was an EP that consisted of just these songs, I would’ve enjoyed it more. The rest of the tracks either feel like filler or have features on them that feel unnecessary.

The reason I have mixed feelings about this project is because I believe that this was the music KYLE wanted to make. As an artist myself, I know what it feels like to make music that you personally love and to not have it be accepted as well as the catchy songs that you don’t really care about. I believe that making this project made KYLE happy, gave him a chance to reminisce and allowed him to feel the way he felt before he had all the pressure and stress of being a famous rapper. I also think it reminded him of his climb and just how far he has come from his humble beginning in high school.

If I had to rate this album off the music alone I would have to give it a 5 out of 10. To put that in perspective, I’d give “Light of Mine’ about a 7. I don’t believe that KYLE has fallen off or anything like that, I just think that this was a project he wanted/needed to make for himself. I can’t be mad at that.

Stream and Share “See You When I Am Famous!!!!!!!!!!!!" on: Spotify | Apple Music

Review: "No Pressure" Album by Logic

In 2014, Logic released his debut album titled “Under Pressure”. This project was extremely transparent as Logic detailed a lot of his tough home life and struggles growing up. He was relatively new to the rap game and was feeling both the pressure of escaping his troubled youth and the pressure to be a great rapper and artist.

Fast forward to 2020 and I think most would say that Logic has had a successful career. He has a huge, loyal fan base, several quality projects and mixtapes under his belt, several tours, a big radio hit (“1-800-273-8255”) and much more. This made it that much more surprising when about a week ago, Logic announced that he’d be releasing a new album titled “No Pressure” and that it would be his last.

Before even listening to the project, a lot was made clear by just the title and the cover art. Both are flips of “Under Pressure”. The title, mixed with the fact that Logic said this would be his last album, show that he’s now freeing himself from the pressure he’s been under since the beginning of his career. The cover art was essentially the same as the “Under Pressure” art but instead of Logic sitting at his computer he’s almost levitating as his computer monitor and speakers all float away.

From the very start of the album, it was clear to me that this was going to be one of the better Logic projects. His rapping made it very apparent that he was planning for this to be his last release. It almost felt like he was saying “Yo before I go, just remember I rap better than most of y’all”. It felt like he made a conscious effort to showcase his rapping ability instead of trying to make a catchy radio song.

Logic does a good job of mixing in bits of nostalgia for his fans throughout the album. It was just the right amount. He essentially remixed his track Soul Food (a fan favorite) on Soul Food II and occasionally mixed in some pieces of older verses. It was a good way to sort of recognize where he’s come from while also showing how his mindset has changed after several years in the industry. He now cares less about what others think about him and he realizes that some of the things he used to put a lot of weight in are no longer important to him.

Logic’s content matures in this album as he speaks on being a father. On “DadBod” he speaks on what his everyday life is like and how it really isn’t super exciting. He speaks on how fans criticize him for no longer making the music he used to make about his trials and tribulations. He sort of responds to this by saying it wouldn't be healthy for him mentally to always rap about his rough upbringing. Plus, who wants to hear 6 albums about the exact same thing.

The production on this album is excellent, which is to be expected since it was executive produced by the great No I.D. (who also produced Logic’s debut). The beats were perfect for Logic to do what he does best… rap.

I really like the production, sequencing, content and rapping on this project. I liked being able to hear the growth not only musically but emotionally/mentally from his debut up until now. After a few listens, I settled on rating this album an 8.2/10. To put that in perspective, I have “Under Pressure” at around an 8.5, “The Incredible True Story” at around an 8 and “Everybody” at about a 6.5.

Logic has signed an exclusive deal with Twitch as he plans to move into the next chapter of his life. The night before the album dropped, he got on Twitch and thanked everyone from his producers and fans to Kendrick and Drake. Something that really stuck out to me is he said every time he dropped a project he wanted to be loved. He would read the internet looking for that and would always be disappointed. He said that this time around he won’t be doing that because he finally loves himself.

This album was a solid final project for Logic and though I will miss his music, I’m excited to see what the next chapter of his life looks like.

Stream and Share “No Pressure” on: Apple Music | Spotify