Review: “Featuring Ty Dolla $ign” Album by Ty Dolla $ign

Ty Dolla $ign is a generational talent. He’s among names such as Drake and Lil Wayne when it comes to being able to make any track better once your vocals touch it. He's been on so many albums it’s impossible to keep count. That’s why it was only fitting that his album was titled “Featuring Ty Dolla $ign”.

I am an avid listener of the Joe Budden Podcast. Joe, Mal, Rory and Parks have spent a lot of time over the past year excited for a new Ty project. Joe specifically has spoken about wanting to hear more music from Ty similar to his “Free TC” mixtape from 2015. For people who shared Joe’s sentiment, this album may not be what they were looking for. (Joe actually came on the podcast and said he hated this album.)

I personally enjoyed this album because I had no specific expectations coming in aside from dope music. The way I would describe it is it seems like Ty called in every industry favor he’d been owed over the last 5 years and used them for this album. The project features over 20 different artists ranging from lyricists such as Big Sean and Kanye, to wavy rappers like Roddy Rich, Quavo and Young Thug, to singers like 6LACK, Jhené Aiko and Kehlani.

With 25 tracks and tons of features, the album almost certainly has at least one or two tracks for everybody. You could throw this project on at a party/kickback, put it on shuffle and I don’t think anyone would be disappointed.

The reason I can understand someone not loving this project is because it feels more like a playlist/mixtape rather than an album. Albums typically are concise and focused on a particular theme and sound. Also, with albums, the main artist is typically the person you hear the majority of the time. This project essentially has every sound and every artist on it. It feels less like a Ty Dolla $ign album and more like one of DJ Khaled’s summer compilation projects like “Major Key” or “Father of Asahd”.

For what the project is, it’s really good. Ty makes good music and is great at deciding who would sound good on what track. There aren't many, if any, bad songs on the album. Even the more experimental, EDM type track “Ego Death” performs well in the right environment. If Ty’s goal on this project was to try and place himself in the conversation of most versatile artist out right now, I feel like he succeeded.

For me, my absolute favorite track on the album is “Track 6” which features Anderson .Paak, Kanye West and Thundercat. Maybe it’s because I’m such a .Paak stan, but I think that song is the main standout, Aside from that, I also enjoyed “By Yourself” featuring Jhene and Mustard as well as “Lift Me Up” featuring Future and Young Thug.

Ty displays his typical brand of smooth and wavy singing throughout the entire project while also reminding us of his ability to pick features, structure a project and choose dope production. Even if this wasn’t necessarily what you were expecting from the album, I feel it’s still incredibly enjoyable and replayable. Although I will say I’m interested to see if Ty ever does drop another album similar to “Free TC”.

Stream and Share “Featuring Ty Dolla $ign” on: Spotify | Apple Music

Review: "JP4" Album by Junglepussy

Junglepussy just released her “JP4” album, and she’s as wild as ever. Her talent hasn’t dwindled at all since her last album, “JP3”. The 28 year old blends alt-rock, rap and new sounds in an empowering way that we haven’t heard before.

The intro track, “Bad News”, an a newly emo take on Junglepussy with emo guitar and echoey effects. Think less bravado, and more a late night noir film with some ominous vibes. She’s making her sound more diverse, as artists like Princess Nokia have been doing with more experimental sounds that stretch the definition of hip hop. Men have been playing with sound for decades - why are girls boxed into corny lyrics and the male gaze? Track 6, “Spider” is another vintage-sounding, slowed down track perfect for late night vibes.

“Main attraction” lightens things up with some high hats and her a syrupy melody sung by Junglepussy. It’s almost like an alter ego to the last track, but her sugary delivery is permeated with her edgier rap voice. In the chorus of “Main Attraction”, we hear the rapper dreaming about a low-key bae who likes classy whiskey drink, and has antisocial tendencies: ‘I want somebody who don't like nobody (‘Body)/I want somebody who don't like to party (Party)/Sit in the crib and sip a hot toddy (Toddy)”

She brings out her less vulnerable side in the verses but still years for someone who’s “not a social butterfly” amidst a sea of lying, untrustworthy dudes. She just wants someone to do cozy thing and home with, and to be honest, ever since COVID, it seems like that’s all we can do anyway.

“Telepathy” has another equally weird background that feels like a Santigold meets N.E.R.D production with slicing words about the many fantasies in her complex mind with sexy, cocky lines like “I'm my own snack, why you brought me to the store?/You wanna buy me what it is you think I want/He purchasin' the sun, the moon, the stars”.

“Morning Rock” is the feminist wake n; bake anthem we never knew we needed. Setting our alarm clock to this song ASAP. As the playful refrain goes “Morning rock/ I roll the chef” she puts basic dudes on blast with statements like “Why I gotta smile so you comfy?/I gotta hate me for you to love me/I gotta teach you how to treat me/I gotta keep sellin' the fantasy” and “What a waste of this hairdo, six hours at the salon to impress you.”

She acknowledges that she needs to sell a fantasy that’s not the real her in order to succeed, but urges her fellow queens to be happy with themselves and the place they’re in, leaving us with a philosophical line that sticks in our memory. “Tellin' all stores the grass ain't greener on they side, nah/Whoever said that was high off the pesticides, bruh/Look at my lawn, bask in all the colors 'round here.”

“Arugula” transports us to deep Brooklyn in a Spike Lee scene with that drunken delivery against an equally slurry saxophone backbeat, but “Stamina” ft Gangsta Boo is still the highlight of the album for us, starting out with a beat that sounds like a tango.

The lyrics might be filled with sexually explicit spice, that’s more what we hear from the mainstream, but how could she not with a feature from the OG Gangsta Boo (the only female of Three-6-Mafia)? It’s about both being an outcast, but still embracing your sexuality as you desire.

Though each female rapper in the game is slaying their respective journey, “Stamina” is a quiet reminder that Junglepussy was here before Megan Thee Stallion, and Gangsta Boo was there before both of them.

It’s a way of letting us know that freakiness and embracing your sexuality has always been present in female rap, but these three multigenerational queens are here to remind you that their brand is definitely not for the male gaze.

Stream and Share “JP4” on Spotify

Review: "Shine" Album by TNV (That New Vessel)

“Shine” is the newest album from Detroit rapper TNV (That New Vessel) and his second release for 2020, the first being “Dirty Beautiful”. Throughout the course of 16 tracks (17 if you count the bonus track “Peace” available on the album’s Bandcamp page), TNV delivers motivational, uplifting anthems whilst examining his godly faith and the righteous, positive path he currently walks.

With this being my first listen to TNV’s work, I was thoroughly impressed by the thematic diversity, thoughtful wordplay and relatability he brought to this record. Yes, he delivers his fair share of inspirational cuts like the title track “Shine” (which features a fantastic verse from G.O.A.T - destined Brooklyn rapper Skyzoo), the lead single “Diamonds” and the incredibly moving “Motivated”. But his main focus involves rising over one’s social and moral circumstances in order to bring about internal and external change, even though it may seem like it’s too late (“Hurry Up”), overwhelming (“Only Now”) or difficult to the point of losing hope (“I Can’t Breathe”).

Though TNV isn’t afraid to express his Christian faith (like on “Point GOD” which features an excellent basketball-referencing verse from guest rapper Jered Sanders), he also exhibits fearlessness in revealing his past mistakes (which he does on tracks like the Common-sampling “Doin’ It”, the slightly disenchanted “Losing Myself” and the aptly-titled “Mistakes”) and personality flaws (like on the ego-centered “Get Over”).

The one main disappointment I had with “Shine” was the roughly 3-minute duration of each track. Even with its overall runtime being under an hour, the album does feel a tad bit overstuffed due to its lengthy track listing. And with every listen I gave this album, I still found myself wishing that at least one song could’ve crossed the 4 or even 5-minute mark.

Regardless, I still enjoyed “Shine”. I can imagine this album connecting more with die-hard fans of conscious hip hop than the average, trendy sound-seeking listener. But if you like your hip hop with depth and meaning – along with sharp wordplay and dope beats, of course – “Shine” is certainly worth the listen.

Stream and Share “Shine” on: Spotify | Bandcamp

Review: "Wide Awake Dreamin'" EP by Drew Graham

Ypsilanti, MI based rap artist and producer Drew Graham delivers freewheeling flows on the blissed-out vibes of his new EP, “Wide Awake Dreamin”. Lyrics have a nimble quality to them while they navigate a whole slew of different spectrums. Songs effortlessly blend into each other in a way that creates a coherent, cohesive whole.

Everything has a sun-drenched, almost Balearic quality to it. By incorporating a summery flavor to it, Drew’s flows are given additional emphasis, and the instrumentals exist and roll on through leisurely with such ease. Nothing ever becomes too dense for he ensures that the spaced-out quality remains intact.

Drew’s flows go for a mellowed-vibe akin to MF Doom’s style. Taking his time, he lets these tracks unfurl and evolve at their own pace. With the airy spaciousness the production goes for a Toro Y Moi intimacy. The bright textures work wonders featuring a slight nod towards pop without wholeheartedly embracing it. By straddling this thin line, the songs gain a certain degree of the unexpected for they shift in unexpectedly delightful ways. Samples go for a wide range going from ambient to jazz and everywhere in between.

“Galactic” dives headfirst into the sound with a small interaction magnified and done with such care. Cyclical looping gives “Doo Too Much” an effortless style, perfectly keeping in sync with the power of the lyrics. Here there is a joy to simply taking it easy, not stressing, just relaxing. The gentle keys of “$hootin Star” feel outright joyous, as the bubbling layers intermingle as the lyrics have a meditative spirit. Within these words a sense of a life lived to the fullest emerges, making it the heart and soul of the collection.

Nimble beats frame the whole of “The Secret (Interlude)”. Stately with its swagger is the nearly beatless scope of “Seen A Lot”, featuring Ann Arber, MI artist Obie Iyoha. Bass worms through on the heady mix of “Star Spangled”. Haunting melodies waft up into the heavens with the stunning finale of “10 Toes”.

The “Wide Awake Dreamin’” EP goes for a surreal scope, with Drew Graham exploring a series of small vignettes with the absolute utmost of care and compassion.

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Review: "The City Aint Safe" Album by Beeb

From the moment Brian de Palma’s “Scarface” became a part of hip hop culture, hip hop heads have found themselves intrigued by the calculated, ethical, resourceful and ambitious mindset of the hustler. “The City Aint Safe”, the newest album from Newark-based rapper Beeb, fits neatly into the violent and unpredictable world of street hustling, though lyrically it leans more towards personal insight and self-reflection than captivating narratives.

The production, handled entirely by Pyramid Tapes, is dark, cinematic and immersive. Within these soundscapes, Beeb adopts a cocky, cold-blooded, survivalist demeanor, keeping his ears to the streets, mind on his money and finger on the trigger. Despite his hushed, low-key delivery, Beeb commands every track on “The City Aint Safe”, thanks to his impressively proficient wordplay and appropriately bleak and self-aware topical focus.

The four guest rappers on the album deliver standout performances, from Plush Omega’s vicious contribution to “Desertion” (though I wish his vocals were less reliant on pitch-shifting) and Elespee’s rugged, stress-driven (to the point of baldness, in a noteworthy moment of dark humor) verse on the opening track “SOB (Sons of Babs)” to Calig Kontra and Moemaw Naedon who team up with Beeb to BODY the beat to “Old Times”. Though they appear overall on three tracks, their individual complementation of Beeb’s lyrical and thematic focus help create a sense of camaraderie throughout this record.

Where “The City Aint Safe” truly shines is the segmented use of what sounds like a real-life interview between a reporter and a Mafia boss. Every question asked by the reporter on the reasoning behind the boss’ nefarious activities is countered with an amoral yet honestly rational answer, from the importance of family (which opens “SOB”), the business side of his profession (on the interlude before “Old Times”) and the societal demand for his services (which concludes the final track “Stolen Land” on a chilling note). This interview brings a heightened level of focus and cohesion to the album and thus frames Beeb as a student of the gangsters of old, adopting their mindsets as a means to achieve financial freedom – by any means.

Overall, “The City Aint Safe” is a solid album, with some of Beeb’s strongest, most potent material to date. With so much hip hop to consume in the remaining weeks before 2021, I strongly recommend giving this album a listen, particularly if you’re a fan of unapologetically grimy street rap!

Stream and Share “The City Aint Safe” on: Spotify | Apple Music | Soundcloud

Review: "Burden of Proof" Album by Benny the Butcher

Buffalo rapper Benny the Butcher is one of the most promising hip hop players in the game right now, and the album “Burden of Proof,” (his first work since 2019) cements that. “Burden of Proof” is the leading track with crisp clear production and a bulletproof horn foundation. His rhymes are slick-tongued and filled with entrepreneurial hustle with a fire that reminds us of a young Jay Z.

It walks the line between distinguished man presented to the public, and the gangster underneath that mask who’s always in the shadows. Unlike some artists who exist purely for hype, ego and lifestyle, Benny carefully approaches himself not only as a rapper, a multi-faceted brand. He tells us about it in the first lines: “Yo, last year was 'bout brandin', this one about expandin'/Caught a flight to Cali, made twenty 'fore I landed/This rap shit easy, tell the truth, I can't stand it.”

Beyond this vicious intro, the fluttering back beat in “Sly Green” stands out as the next essential track. His flow stands up hard against it, as he reps Griselda with pride, zooming back with nostalgia to the 90’s, or the “shoebox era” as he calls it, and moving on to compare other rappers in the game as addicts that buy his poison: “Y'all comparin' me to niggas? (Huh) That's abusive to my name/I sold the dope to 'em, then I watch 'em shoot it in they veins.”

While we weren't too impressed with Rick Ross’s feature, “One Way Flight” is a gloriously intertwined collab between the Butcher and Freddie Gibs. It’s a tale of perseverance “I survived all them death threats and three felony convictions” next to surprisingly poignant lines that read like a haiku, “What's a stage with no mic and no voice of a poet?/What’s more important, the flower or the soil that grow it?”

These two sides of Benny the Butcher are present in every track on the album, speaking to his complexity as an artist, and a man. It sometimes feels impossible to pin him under any label, and we love that. Gibbs’ chorus is a message to a brokenhearted bae who might not be able to handle the side effects of fame, but can’t deny the shiny gleam of materialistic things: “Trips with that work, my baby made it back/I fuck with them hoes, I know she hated that/You gon' cry in that Toyota or this Maybach?"

“New Streets” is paired with the perfect sample (something Benny the Butcher always has on deck) and chronicles a chat with his girl over taking his gun with him on the road: ”Told baby girl I'd be back, she said be careful/I told baby girl I'd be strapped, that made her worry more”.

“Thank God I Made It” featuring Queen Naija is a love letter to single mothers “who had to teach their teenage boys to use rubbers” and disappointed but profound comments towards absent dads “I can't respect the man who don't raise his son/Then you blame the white man on what they become.”

Benny’s words are as poetic as they are raw. There are light moments, and there are dark, with genuine emotion through them all. The cohesion in this album is undeniable, and while there’s not too many minimalist, slowed down tracks, we almost prefer to see this artist flex his breath control and impressively delivered lyricism. In an album studded with celebrity features, Benny the Butcher is still the biggest star.

Stream and Share “Burden of Proof” on Spotify

Review: "New Beginnings" Album by Reason

TDE essentially never misses when it comes to signing artists. Aside from the main names on the roster such as Kendrick, ScHoolboy Q, Jay Rock and Ab-Soul, Top Dawg has signed dope newer artists such as SZA, Isaiah Rashad and now Reason.

I first heard about Reason when he was featured on the Black Panther Soundtrack on a record called “Seasons”. He also re-released a 2017 project of his is 2018 titled “There You Have It” which I was a huge fan of. When he announced he was dropping his first official album with TDE, “New Beginnings”, I was extremely excited.

Being a Reason fan, I had been listening to all the singles that he’d dropped leading up to the project. The tracks “Pop Sh*t, “Show Stop”, “Flick It Up” and “Sauce” had all been released before, yet sounded even better in the context of the album. I personally was excited to hear all the non-single tracks because those typically hold deeper content (and because I’d already listened to the singles about 100 times each).

Reason displays his typical brand of rapping throughout the project which includes lyricism, wordplay, similes, punchlines and storytelling; all elements of hip-hop that have become underappreciated in today’s musical climate.

There are two songs in particular that really stood out to me: “Gossip” and “Windows Cry”. “Gossip” reminded me of the track “Cut You Off (To Grow Closer)” by Kendrick Lamar. Reason speaks on how he has people in his own family who want to see him struggle and fail. Kendrick’s third verse on “Cut You Off” speaks on how he has family members who he wants to cut off because all they do is talk about other family members behind their backs.

The outro to Reason’s album, “Windows Cry” is a very deep and introspective track where Reason is very transparent about thoughts he’s had during his time being signed to TDE. He even goes as far as speaking on being nervous about being screwed over by a label as it has happened to many others in the industry. He talks about how Kendrick is the main focus on TDE and wonders what happens if he doesn’t reach K-Dot levels. He mentions that when joining a label he essentially is joining what’s supposed to be a family, but at the same time, they’re basically strangers to him. I really respect Reason for being this open and transparent about thoughts that crossed his mind about what most would perceive as “making it”.

Overall, I felt that this was a very solid debut album and one of the better hip-hop projects of 2020. There is a solid mix of replayable/catchy type records as well as introspective records. It’s full of lyricism and musicality as well as dope features. I’m proud of Reason and I feel he has a bright future ahead of him.

Stream and Share “New Beginnings” on: Spotify | Apple Music

Review: "A Thousand Shades of Black." Album by Kaze4letters

“A Thousand Shades of Black.” is the newest album from North Carolina rapper and VibeHouse founder, Kevin “Kaze” Thomas a.k.a. Kaze4Letters. Upon my first impression of its rather clever title, I did go in to the album expecting Kaze4Letters to concentrate solely on current political and racial matters of concern in the U.S. To my surprise, he covers a wide variety of everyday topics from love and relationships to black excellence and self-improvement, all from a mature, thoughtful and socially conscious lens.

On the subject of politics and race, the album opens and closes with two of its most powerful tracks: “Wake Up” and “Good Trouble”. The former has a soul-stirring, piano-driven beat and lyrics based on the recent police shootings of Breonna Taylor and Philando Castile, among others. The mellow, jazzy track “Good Trouble” finds Kaze4letters verbally defying a broken system that has kept African Americans subjugated for decades.

As expected, there are a few motivational joints, like the upbeat, bouncy “Past the Sun” with its potent, self-affirmative lyrics and DOPE scratches from DJ Flash and “Bringing Me Down” with its themes of quelling external critics and embracing your greatness, backed by a tranquil musical backdrop, brilliantly sung hook by Kaze4letters himself and beautiful post-hook by guest singer Alo Ver.

There’s also a few love-and-relationship-centered cuts on the album, like the breezy, sunny track “Be Yours” where Kaze4letters raps and sings (he does some 90s-R&B-inspired crooning on the hook) to a girl he wants to share his life with, and “Higher” (which features a great hook from guest singer Ethan Taylor) where he pays tribute to his significant other.

But the album’s major highlight comes in the form of “Dear Son”, which involves Kaze4letters sharing words of wisdom with his son. Not only does it have the best instrumental (a driving, soulful, 9th Wonder-esque beat) and most heartfelt lyrics, but it truly feels like a destined moment where Kaze4letters finally imparts the lessons he’s learnt throughout his life to a new generation of listeners.

Overall, I really enjoyed “A Thousand Shades of Black”. The production is consistent throughout, the performances from Kaze4letters and his guests are stellar, the subject matter is varied, relatable and relevant and there’s no shortage of thoughts, opinions and wordplay brought to the table. Whether you’re a fan of Kaze4letters’ music from the jump, or a newbie like I am, this album is a definite must listen!

Stream and Share “A Thousand Shades of Black.” on: Spotify | Apple Music

Review: "Occupational Hazard" Album by Mozzy

There’s no doubt about it, “Occupational Hazard” is one of the hardest Mozzy albums out there, and it’s intentional. In a press release, he mentioned that this was his favorite project because it was a return to the old Mozzy (aka, Hellgang Mozzy) - a shoutout to the streets as opposed to the mainstream, which he said “Beyond Bulletproof” was intended more for. Instead, “Occupational Hazard” isn’t all rainbows and Daisys - it’s a realistic discussions of topics only those that live a specific lifestyle will be familiar with.

The California rapper mentions that the message of this album is that you won’t always get a happy ending or a sunny ride if you decide to live this lifestyle. “When you choose to make your money a certain way, there can be consequences that come with that but own it, embrace it.” While it’s a warning to fully understand what you signed up for, it’s still a celebration of gang culture, which many people have mixed feelings about, given the nature of Nipsey Hussle’s death.

His smoky voice is a pleasant departure from the younger sounding rappers speaking on similar topics. In ‘Same 40” he spits, “watch what you troll on Instagram cause you could die today”, speaking to the effects that petty social media posts have on gang and gun culture. and the ease which which he could hire a hitman “i can get you cooked for less than what I got this rolley for”.

In “Heartbroken” Mozzy recruits Quando Rondo for a slowed down piano track that talks about how OGs need to numb their pain and heartbreak from all the friends lost to violence, and the paranoia you’re left with when you’re one of the few left standing “And the way I sip that purple potion, I'ma need some rehab/Roll up that dojo for the fallen soldiers/everytime I look over my shoulder, it's whole 'nother death”.

Quando raps about the perks of living the highlife, but in the back of his mind, he knows that his decadent and drippy lifestyle could be gone in an instant due to the path he chose: “Two double cups, I love to pour up, I'm switchin' lanes in the Lamb/This shit so crazy but I know right 'round the corner be death”.

“Never Lackin” is a tribute to his late grandmother “Damn I miss my granny, she the only one believed in me/Never pictured you leavin' me, wherever you are/I hope it's frequent that you think of me, forever you are/The only one it's hard to live without, eternally scarred.”

Still, he pushes through to make sure “momma rent is paid.” The chorus explains the title of the album, listing the range of well known occupational hazards that come with living the high-roller life, as he reminds listeners “I'm a gangster first and then a rapper.”

The slick lyrics and chorus rhyme patterns hit hard in “Hazardous” a fearless claim to street bravado and all the stories swirling around his notoriety, from “never feared another man, that n*gga bleed the same/I bought some balls and told the dealer he can keep the change” to “I hit my dawg inside his mouth and he don't speak the same/I keep it flame, he bowed his head when he seen the flames”.

“Occupational Hazard” seems like a clear message to the haters, and a reminder to his musical fans that he wouldn’t be making songs without the inspiration of his lifestyle and even so, he’ll always have an undefinable grit that makes him more than just another famous rapper.

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Review: "Alicia" Album by Alicia Keys

Alicia Keys calls “Alicia” genre-less, but we think it’s more like a mesmerizing melting pot filled with spices from all corners of the earth. The album is definitely guitar heavy as opposed to her previous piano preference. She utilizes the instrument in diverse and creative ways, so we don’t even miss those signature keys from Keys (don’t worry, we still get some in “Perfect Way to Die”). From the 80s to present day, Alicia weaves a gorgeous tapestry of sound. This is her first comeback since “This Girl Is On Fire” and it’s a glorious one, filled with flawless, carefully curated features. In this album, Keys’s natural musicality and seasoned years in the industry shine through organically.

The album begins with “truth without love” which feels like abstract jazz before her smooth vocals bring in an unusual R&B flow that we haven’t heard before, with notes of Solange. There’s a freeness to it that we event felt from the artist in more pop-centric tracks like “Girl On Fire”.

Its a bummer for the track “Time Machine” that clubs are closed, because this funk-inspired, danceable track takes us a couple decades back in time, soaking Keys in an Sade-style track that we’re obsessed with. For an artist that’s had as many musical chapters as Alicia Keys, it blows our minds that she’s still this innovative in 2020, a year that we needed it most.

Wasted Energy with Diamond Platinum slows down things to a bassy, mellow reggae beat and she softens her voice up for this song that we can all relate to. It’s a a tale of rejection and heartbreak that we’ve all felt at one point or another, “Brokеn promises along the way/Lost count of how many you made/My lovе, my love, my love/Tied up in your plans/still on center stage/no great escape.”

Usually these lyrics are reserved for more conventional R&B beats, but the sadness behind this beat speaks something more complex. She’s looking back on painful memories, but coming from a place of healing and reflection. Tanzanian artist Diamond Platnumz kills it on the outro before a choppy acoustic guitar wakes us up on the inspiring “Underdog.”

This song, co-written by Ed Sheeran, is a shoutout to the marginalized people who face adversity, as Alicia’s hook sings “This goes out to the underdog / Keep on keeping at what you love,"You'll find that someday soon enough / You will rise up.” It’s all about defying the odds, and a line that stands to us is “ They say I would never make it but I was built to break the mold.” For anyone experiencing a low, it’s kind of impossible not to feel uplifted by this track.

“3-Hour-Drive ” slows things down again to this baby-maker of a track that’s perfect for setting the mood, or going on an existential late night drive. As always, Sampha’s vocals give us goosebumps, especially against that spacey echo of a background beat.

We love that she’s gone back to her slow tempo R&B roots, especially in tracks with fellow crooner Miguel . This gentle guitar duet is a smoldering back and forth between the artists that definitely needs to be added to the 3 hour drive playlist. A song hasn’t given us this kind of tingle since Jhene Aiko’s more explicit “Pu$$y Fairy” released earlier this year. “So Done” ft Khalid is another glossy guitar track that Keys’ voice sounds like velvet against.

It feels almost surreal to see Keys do a collaboration with her protégée, Swedish R&B sensation Snoh Aalegra who sounds like Keys with a hefty dose of Amy Winehouse. It’s a love song to the one that acted as her saviour (we’re assuming she’s talking about hubby Swizz Beats and her kids) and the safety of a sure, secure, and healthy relationship: (“And if I could stay, I'll stay here forever/And if I could be here, we'll be here together/'Cause did you know that you save me?/Did you know that you save me from the fall?”).

Her guitar theme gets beefed up with some percussion in “Jill Scott” ft. Jill Scott as the two icons daydream about public displays of affection without a hint of shame - just pride to show that person off: “Kiss on me in the daytime/In front of the whole show/So they can all know/I want you to love on me, love on me/Love on me in the daytime/Like you do at bedtime/So they can all know”. It’s the anti-sidepiece anthem to remind women all over they deserve to be showered with unconditional love in all settings.

Her final song is a reminder to us that even though Keys is an A list celebrity, she’s still as earnest and genuine as she was since Day One. “Good Job” is a timely song dedicated to other “underdogs,” as Alicia likes to call them. From parents to teachers and frontline workers, it’s a celebration of the ordinary people, whose strength keeps the world turning: “you’re the engine that makes all things go/always in disguise my hero I see your light.” During coronavirus, when so many people are struggling, this track hit us hard in the hearts.

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Review: "Thoughts in the Belfry" Album by The Supposed So

Grab your tea and your coziest blanket and cozy up near a fire. Worcester, Massachusetts based singer-songwriter Michael McGuire, also known as The Supposed So, captures the true essence of live folk instrumentation on his new album “Thoughts in the Belfry”.

The Supposed So uses his production skills to explore some of the deep philosophies within, somewhat similar to that of Nahko and the Medicine for the People. These are talented artists who understand some of the harsh realities of life and are able to bring a lot of beauty and tribute to the lessons learned.

The album begins with “Gloria”, led by a soft acoustic guitar. Each pluck and strum, transports the listener on this journey of the mourning of love. A feeling lifted from that of sorrow- “How I wonder where the lonely people are”. As if saying, “I cannot be the only one who feels this way.” Solidarity.

“Fumblin’ Still” takes you to that backyard summer barbecue with your favorite friends. Kids running around. There’s a slip n’ slide somewhere. Everyone’s cheerful and happy. Smell of burgers and beer in the air. A waft of cigar smoke. A reminder to us adults, the importance of our innocence. And, the acceptance of our mistakes. The acceptance of imperfection.

On the nine songs of “Thoughts in the Belfry”, The Supposed So captures the importance of life. He uses his acoustic guitar to guide his songs, taking the listener on a journey through life with him, and we have thoroughly enjoyed the ride. And you definitely will too.

Stream and Share “Thoughts in the Belfry” on: Bandcamp | Spotify

Review: "Low Lights, Long Nights" Album by Delvaux

Shooters Hill, South East London based rapper Delvaux incorporates a wide slew of styles and sounds with his impeccably executed “Low Lights, Long Nights”. Everything from rave to trap to EDM all within a hip-hop template comes through into a singular stream of sound.

The whole album feels coated in a dark aura as these are tracks for the twilight for the night. Delvaux’s lyricism suggests as much for his has a particularly careful take on word choice. Flows are like fire and he delivers them with so much passion. Multifaceted and multilayered, Delvaux transforms the buildup into an art form, with every single element given plenty of room to shine.

Great space and geography emerge on the powerful opener of “She Knows”. Everything within the track features a unique sort of honestly for Delvaux delivers each line with so much intense honesty. Sounds go for an elastic tact on the disorienting flavor of “Coming Down”, featuring S1MMS, as it burns through the track length with a stately, physical groove.

Nimble percussion skitters through the agile “Low”, featuring Mass Idea and J Harden, as the track constantly contorts and reorients itself. Glowing guitar serves as a key focal point on the sly “Chase Me”. Toy box melodies rest front and center on the tender “Love Me”. Eerie atmospherics roll through on the physicality of “Space Coupe”. Neatly summarizing all that came before it is the lively sweeps of “Photograph”.

The “Low Lights, Long Nights” album offers a unique eerie sort of beauty, proving the OvaC collective founder, Delvaux, to be a master of atmosphere.

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Review: "Devotion" EP by Johnathan O’Gilvie

“Devotion” is the debut EP from Orlando R&B singer-songwriter/instrumentalist/producer Johnathan O’Gilvie. Consisting of 4 tracks, each under 2 ½ minutes, this EP tells a loose narrative of Johnathan’s devotion to an old flame.

On the bouncy, trap-based opening track “Cater 2 U”, emotions are reignited when Johnathan runs into his ex. Though she’s indecisive in terms of letting him back into her life, Johnathan assures her that he’ll always be there for her.

The following track “Favorite Song” has a smooth, relaxed beat, giving the impression that Johnathan and this woman have re-settled into their relationship. He eases the doubts and concerns she has on her mind by referencing lines from popular love songs, like the TIMELESS Mario song “Just a Friend”, most of which he interpolates in the second verse.

We then get the aptly-titled “Bad Shape” where, over a forlorn, nocturnal beat, Johnathan sings about how their relationship has gone south. In a powerfully self-aware moment, Johnathan tells his soon-to-be-ex on the hook that he doesn’t want her to suffer further in the relationship. He may see himself “in the right” of their current situation, but he’s not going to tie her down and make her feel unhappy.

On the closer “Trophy x Trophy”, with its moody yet slightly upbeat and hopeful instrumental, Johnathan chooses to compliment his ex on the strong, independent woman that she is instead of condemning her for the failed relationship. She’s already a “trophy”, and on the hook, Johnathan warns the next man to come into her life to treat her as such.

In the end, I found myself really enjoying this EP. It’s short, sweet and concise, with STELLAR vocal performances by Johnathan O’Gilvie, solid production and a highly-relatable, emotionally resonant narrative. I suspect this EP is designed to hold the world over until we get a full-length album from Johnathan, but in the meantime, if you’re looking for a little depth and meaning in your contemporary R&B and soul, I recommend giving “Devotion” a listen.

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Review: "How Far We Roam..." EP by Donny and Dinodondada

Donny and Dinodondada are two music producers who met on the campus of North Carolina Central University, and began collaborating on production based projects. Now they have picked up the mic and released their collaborative project “How Far We Roam…”, a ten track EP littered with poetic words that are relevant but remain timeless, and production that makes you yearn for the days of the legendary “The Infamous”, “Iron Man” and the purple tape.

Blasting off with Dinodondada and Donny’s intro, “feelinit” has a sparse backbeat - a canvas that allows these artists’ lyrical swag and confidence drip off of it, if you will.

“Toma” is another drunken and slowed down beat that sounds like a syrupy chopped and screwed jazz-meets-hip-hop vibe. Things wake up a bit with the pretty piano keys in “Caughtinit” that ride along with their aspirations and inspirations. The outro is a hilarious stream of consciousness that explores everything about what they looks for in woman, from foot fetishes to personal hygiene. We’re so used to rappers making a signature sound based off their beat and producers, but to see lyrics stand on their own feels like a refreshing difference.

“Close The Door” does fall into the millennial trap of materialism. And even though we’re in a raw time right now where we need to rap about principles and what we stand for, what would hip-hop be without the celebration of some good ol’ decadence and debauchery? As their eyes roam over “see-through sequins” on an alternative girl who loves fashion beyond the hype, draped in “high end everything, never with Balenciagas never with the upbeat shit/ never fuck with the Pradas” and saucy sneak peeks like “Victoria’s secrets under the sundress.”

Dinodondada and Donny takes a break from crooning to their honeys and livens things up with some brass instrumentals in “Paradise.” “Original Fake” leads us into an “Earth Wind and Fire” style beat that funkily croons along with Donny and Dinodondada as they flex their love for cannabis and fashion beyond the mainstream: “Gold from Acapulco/These ain’t Yeezys these from adidas from Yohji Yamamoto/Everything retro, so you know the Rollie is vintage.” As they looks down from the sky smoking the blunt, they reflects on what they have, what they love, what they smoke, and more. Donny and Dinodondada are not afraid to name drop in “Original Fake,” but want you to remember that they are far beyond the Instagram hype of things. They have their own style, and this song is part of the autobiography that weaves that tapestry.

“Chains” and “Nightflight” are essentially one song split into two (think a reverse “Life Is Good”). Nightflight is the first beat that slices sharp amidst the tracks with more jazzy, laid back instrumentals. A heart-thumping escape from the cops is still lined with their sense of style: “cops trying to kick the door/all they seen is my reflectin’ Jordan 4s/weed in my drawers” and fits in an homage to legends of the past “matched my two tone puffer/word to my mother/ I’m like puff in 94”.

The final track is fittingly titled “The End” and while it boats confidence, it warns listeners not to trust others too closely based on their braggadocio: “never doubt that were the illest/never believe in n***s who always say that they’re the realest”.

With a references to kingpin Ghost in Power, throughout their “How Far We Roam” EP, it’s clear that Dinothedondada and Donny are playing the lead in their own life stories and not backing down any time soon.

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Review: "CTV3: Cool Tape Vol. 3" Album by Jaden Smith

Being the son of Will Smith has got to be tough. Being the son of Will Smith and trying to have your own rap/music career has got to be even tougher. That being said, I believe that Jaden has carved his own path and found his own unique sound. He’s even removed the Smith from his artist name as he just goes by Jaden now. Jaden follows up his projects “SYRE” and “ERYS” with the third installment in his Cool Tapes Series.

Jaden’s debut album “SYRE” is what made me a fan of his. It had a myriad of sounds and styles. He showcased his rapping, singing and even spoken word abilities. Since then, it has been hard to predict what a Jaden project will sound like. When I heard “Cabin Fever” (the first single that dropped for the project), I got a sense of what direction the project was headed. The next single “Rainbow Bap” confirmed it.

For the longest time, I felt that there was no way Jaden would be able to make an album that I’d enjoy more than SYRE. Being completely honest, I believe he's done that with "CTV3: Cool Tape Vol. 3". Although there is minimal rapping on this project (much less than SYRE), I truly don't think there’s a single skippable track. I’ve played this album several times front to back with ease.

The first thing that I appreciated was the track “Falling For You” featuring Justin Bieber. For those who remember Bieber’s “Never Say Never”, this song was a nice reunion and reminder of just how much the two of them have grown. Not to mention, the track is insanely catchy.

For me, there’s only one real way to describe this album. It’s a vibe. This project can be played anywhere while doing anything. I had it playing in my friend’s car while we were on a drive and it was the perfect background music. It feels like one long journey. Half of the time I couldn’t tell when one song ended and another began.

Something else I appreciated about this project is how Jaden shows how he’s grown mentally and emotionally. Some of the content on this album lets the listener know that he has matured since his younger years.

The rapping on the project, although there isn’t much of it, is good and it shows me that he’s been working on the craft. I picked up on more advanced rhyme schemes and more lyricism than in his previous works.

Overall, I think "CTV3: Cool Tape Vol. 3" is in the running for Jaden’s best project. I gave SYRE around a 7.5 out of 10, but I’d give this project at least an 8. My standout tracks are “Falling for You”, “Young in Love” and “Deep End”, although all of them are great. A project like this helps to put him in the category of “artist” instead of trapping him in the box of “rapper”. All in all, Jaden just makes very good music. I’m excited to see what he does in the next 5-7 years.

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Review: "All Heroes Are On Tapes" Album by Young Chaser and Killa Music

Kitchener, ON based rapper Young Chaser offers chilled-out vibes with chill-out beats on the nostalgia-soaked spirit of “All Heroes Are On Tapes”. The samples here have a great poignancy to them, faded almost beyond recognition and giving them a lo-fi beats quality.

By far the highlight of the album comes from the passionate flows. Young Chaser’s vocals recall a life lived to the absolute fullest, for he neatly merges elements of storytelling and poetry into a coherent whole. Word choice is done with the utmost of care with balance placed on each verse. Refusing to speed things up, the atmospherics prove to be an essential element giving the entire trip an almost meditative quality. Much of this is attributed to the impeccable taste of producer Killa Music who brings a half-remembered quality into the fray.

The arrangements recall the audio manipulations of James Ferraro and Yung Lean. Akin to James Ferraro, the multiple layers are stretched and distorted. Rhythms are incorporated with great gusto as they morph into mutated hybrids. Melodies recall the eerie presence of Yung Lean’s “Unknown Death 2002” mixtape. So many different approaches are brought into the fray as the hip-hop and trap beats further emphasize the strange, surreal nature of the album. Every single track works off the last resulting a fully realized vision.

“Intro” sets the tone for what follows, featuring far-away loops that disorient and perfectly lead into “My Name”. Nimble beats skitter across “My Name” as the economic tempos work wonders. Delivery is pure fire on “Rap Game” where the morphed samples work wonders with the infectious, deep-set groove. Cryptic vibes tie the whole of the tense “The End”, featuring SwizZz.

Another highlight comes from the J-Dilla simplicity of “Truest” where the song has a glimmering sense of hope. A defiance defines the swagger of “Win”. “Outro” is actually not the concluding piece, yet offers a poignant insight on rap. Perfectly bringing everything together is another highlight, the fragile quality of “Cold North Anthem”, with Young Chaser’s brother Eloc.

The “All Heroes Are On Tapes” collaborative album with Killa Music reveals Young Chaser to be a rapper of the highest caliber, showing off a lyrical mastery that feels unusually intimate.

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