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Future & Metro Boomin “WE STILL DON’T TRUST YOU” Album Review

April 16, 2024 by newhiphopnews

History doesn’t just repeat itself, but also repurposes itself for new contexts. Last decade, Future dropped his trap-centric self-titled album and the more R&B-inspired Hndrxx a week apart. With WE STILL DON’T TRUST YOU achieving this pattern three weeks after its predecessor, that seven-year-old novelty now characterizes Metro Boomin. However, the elephant in the room back then was the divisive response, and inconsistent execution, of this sugary approach.

Sadly, while this album boasts hits across all metrics, the sheer tracklist length (and the still-fresh seventeen tracks before them) exposes the cracks in Future and Metro Boomin’s trajectory. If you loved Hndrxx, you’ll probably enjoy this. If you don’t like their R&B stuff at all, you’re just hating. But if you want balance and more fresh ideas than tried-and-true ones, then WE STILL DON’T TRUST YOU might not earn your confidence.

Metro Boomin: The Bigger They Are…

All that said, Metro Boomin really showcases evolution here, tackling his work with artists like Don Toliver for almost a whole LP. Cuts like “Out Of My Hands” and “Came To The Party” could fit as a cool-down point on WE DON’T TRUST YOU, and we’ll get to Disc 2 later. Where the St. Louis beatsmith’s grandiose direction falters is in reiterating his multi-layered production with hollow structures and so-so Future efforts, dampening the ear candy’s impact. “Drink N Dance,” “Jealous,” and “Overload” lose their luster well before ending.

Yet these issues don’t affect production quality — everything sounds crisp. Entrancing instrumentals remain like “Nights Like This,” despite this example’s melodic similarity to last year’s “Calling.” Instead, the weaknesses concern how melodic leanings don’t lend themselves to less eventful beats. Sometimes, individual elements help, like the ’80s-style drums on “Luv Bad B***hes.” But when you’re trying to build out an epic beat often, whenever you do fall short, you really fall short, unless Future gifts the assist.

Future Is Ol’ Reliable On WE STILL DON’T TRUST YOU

The Atlanta titan’s performance across the board is what we expected considering his dexterity on WE DON’T TRUST YOU. By comparison, he shows off his dynamism, expressive tone, quirky deliveries, and shifty, smoky flows even more here, such as strained choruses on “Always Be My Fault” and “Right 4 You.” Even though his rapping excelled more on WDTY, he tries his best on STILL to do right by sometimes slightly overproduced beats like the two examples above (although the first is a gold standard here).

Lyrically, it’s a well-worn, more emotional Hendrix you’re likely familiar with, although his pen isn’t always melancholically or toxically relationship-driven. Also, hilariously self-aggrandizing bars here like “You can f**k on him as long as you think about me” are staples in his catalog. But this is all true until it isn’t. For example, Future’s intro/title track performance is meager, and a bare cut that should’ve lasted half its actual runtime. Others like “Gracious” and “One Big Family” are average, but this is Pluto: you’re bound to take away bangers here, as few or numerous as they may be on any given project.

What Are The Highlights?

WE STILL DON’T TRUST YOU works best by simply distilling what these artists have built over their careers, not by over-dramatizing established approaches. “This Sunday” has a calming, addictive synth line and Future is intoxicatingly ethereal. Speaking of this possible “Feel No Ways” reference track, a brief Drake mention: despite some subs, the beef feels less prominent here due to moodier energies. Moving on, “All To Myself” is a great duet with The Weeknd that contrasts their performances in empowering ways, and “Beat It” is one of the few exceptions that structurally and execution-wise live up to the larger-than-life presentation that Metro Boomin champions.

In addition, “Mile High Memories” throws it back to earlier Fewtch croons with spotlit vocal melodies and perfectly measured atmosphere, and the same goes for the “Amazing” interlude, but with rap flows. The features mixed the bag, though. Ty Dolla $ign and Chris Brown provide minimal but welcome background singing, and as for designated solo spots, Abel gives multiple standouts, but J. Cole can’t maximize his sleepy surprise appearance on the already languid “Red Leather.” That almost summarizes WE STILL DON’T TRUST YOU. Future and Metro Boomin can no longer avoid a quantity-over-quality predicament. Most importantly, they try to evolve the former’s soulful approaches and the latter’s auditory theatricality while forgetting what makes their creativity special.

The Duo’s Current Paradox

Here’s the album’s biggest holistic detriment. If Future and Metro Boomin fixed the bloat and backpedaling, WE STILL DON’T TRUST YOU still would’ve felt redundant. Disc 2 is an OG-sounding mixtape for their styles that is more compelling and goes harder than Disc 1 on average, thanks to more engaging beats, fiery performances, and solid features. If they had cut the filler and diversified the tracklist flow more, then we’d be talking about a much more solid album… that would’ve achieved the exact same as WE DON’T TRUST YOU.

All things considered, this series is nonetheless a dub for Future and Metro Boomin. They fed the fans with their trademark styles and are still dominating charts, music discussion, and the aux. Unfortunately, this also ends the producer’s air-tight studio album run this decade, and the “Solo” MC doesn’t fully capitalize on the moment. Nevertheless, WE STILL DON’T TRUST YOU contains peaks worthy of this legendary duo’s history, which they repurpose here to occasionally perfect effect. While we still trust them, they just surprisingly spend a little too much time repeating or forgetting that history here.

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GloRilla “Ehhthang Ehhthang” Review

April 12, 2024 by newhiphopnews

GloRilla’s latest mixtape, Ehhthang Ehhthang, carries a multifaceted message that resonates with the pulse of contemporary Hip Hop culture. Expectedly, the Memphis gem leans into her thick Southerness all through. As a result, the mixtape is a blunt journey through the sweltering streets and the unfiltered narratives of the South. Ehhthang Ehhthang is a nod to authenticity and a reminder that staying true to oneself is an art form.

Glorilla Keeps It A Buck

Straightaway, on “Yeah Glo!,” GloRilla flexes her lyrical muscles. She proclaims superiority over haters, flaunts her luxurious lifestyle, and delivers a hook that sticks like glue. Its unapologetic swagger becomes an invitation to join her in the spotlight. A definitive album opener, it sets the scene for the bold rap star. Moreover, GloRilla is also comfortable with her badassery. Take “Opp Sh*t” for example, a song about having to navigate love in hostile territory. Aggressive rap meets a hard-as-concrete beat, creating a concoction stronger than a four-horsemen drink. But the real gem? Her vivid storytelling keeps you on the edge, waiting for the next twist. It’s an in-your-face ode to heartbreak, convention, and probably even familial loyalty. The former choir girl is keeping things 100, asserting her gospel truth.

Balancing Tradition And Innovation

Tracks like “All Dere” also pay homage to the golden era of Hip Hop. GloRilla’s flow rides the beats like a seasoned surfer catching the perfect wave but she doesn’t stop there. She sprinkles her lyrics with modern references — Instagram flexing, crypto investments, and late-night Uber rides. It’s both a wink to the past and a nod to the present.

Furthermore, it’s important to think of the mixtape as a time machine that transports listeners to sweaty dance floors, neon-lit alleys, and the raw energy of underground parties from the late 90s and early 2000s. The beats evoke memories of boomboxes, breakdancing, and boom-bap. But this isn’t a mere throwback; it’s a reinvention. On Ehhthang Ehhthang, GloRilla takes the familiar and injects it with her own swag. By adding trap snares, distorted synths, and unexpected samples, the production boosts the album’s diverse sound. However, there’s a flip side. Some beats lack cohesion. They stumble, unsure of their identity. It’s as if they’re caught between two worlds — a nostalgic era and the trap-infused present. GloRilla, like a tightrope walker, navigates this balancing act as best she can though. She teeters on the edge, occasionally slipping into mediocrity but when she finds her footing, magic happens.

Collaboration And Chemistry

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Collaborations play a pivotal role in the mixtape. Whether it’s the undeniable chemistry with MoneyBagg Yo on “All Dere,” or the fierce energy alongside Megan Thee Stallion on “Wanna Be,” GloRilla thrives in partnership. These features were nearly magical, becoming a testament to the power of collective creativity. Unfortunately, though, not all of GloRilla’s guests shine this way on Ehhthang Ehhthang.

The mixtape includes a few other artists whose verses sometimes feel like obligatory pit stops rather than memorable collaborations. It’s nothing much to worry about, however; GloRilla herself remains the undisputed star. Her lyrical prowess is a beacon: sharp, unapologetic, and dripping with Southern charm. She can rap circles around most, and she knows it. Her verses are a masterclass in assertiveness, she’s definitely not one to play second fiddle.

On Ehhthang Ehhthang, GloRilla Touches All Bases

Throughout the album, GloRilla exudes energy. It’s infectious, like a fever spreading through a packed club. The beats pulse, urging listeners to move — whether they’re in a dimly lit room or nodding along during their morning commute. But here’s the paradox: while the overall experience is enjoyable, some individual songs fall into the “okay” category. They’re like snapshots — moments frozen in time, capturing the adrenaline rush but lacking depth.

Nonetheless, the club anthems to the introspective tracks, GloRilla paints a vivid picture of life’s highs and lows. She doesn’t shy away from the darker corners — the love for drugs, the tangled relationships, and the late-night escapades. It’s a raw exploration of human experiences, set against a backdrop of bass-heavy beats.

In the grand scheme, GloRilla’s trajectory is more than promising. If she hones her production choices, curates features that match her intensity, and continues to elevate her craft, her full-length debut could catapult her to the next level. She’s already among the best on CMG (Collective Music Group), and her star continues to rise. Ehhthang Ehhthang seems to be a mega-sized stepping stone, and it’s evidently just a glimpse of what’s to come for GloRilla. So keep your eyes on the horizon, because this Memphis native is seeking to rewrite the playbook.

[via]

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Sainté “Still Local” Review

April 9, 2024 by newhiphopnews

Sainté, the Leicester-born maestro of the mic, has long been a harbinger of innovation in the UK rap scene. With a history of crafting tracks that resonate with both the heart and the streets, his music is a testament to his love for sonic experimentation. His latest mixtape, Still Local, which was released on March 29th, is a continuation of this legacy, offering a fresh take on the genre while paying homage to his roots. It’s a project that not only reflects his journey but also his fearless approach to blending different musical styles, ensuring that each song is a new discovery, a different shade of his artistic palette. Altogether, Sainté’s commitment to pushing boundaries is evident in every beat. This makes Still Local a bold statement in a career defined by a willingness to explore and evolve.

“Classic” Saintè

Many of Saintè’s fans love him for his nostalgic sounds. Thankfully, that isn’t missing in this mixtape as well. However, perhaps more interesting is his ability to pair nostalgia with a diverse range of topics. Moreover, most of these topics are deep and intimate.

The album opens up with “Too Much,” before moving on to “Tea Over Henny.” The latter stands out in Sainté’s discography as a track with stellar instrumentals that rival the acclaim of “Summer Is Blue.” With “Route 64” Sainté takes us on an introspective journey through his emotional highways. There is also “Stop Crying,” a juxtaposition of emotions set to rhythm. “Stop Crying” opens with the quintessential UK Sainté flair, a familiar prelude that fans have come to love. However, it’s the outro that leaves a lasting impression, a wistful and floaty departure from the norm that’s sure to become an earworm for those who appreciate Sainté’s experimental edge and creative spirit.

Reflections And Complexities

The artist is bold, without sacrificing power for quality, thought-provoking content. In “Y2K,” Sainté delivers a reflective narrative, pondering the transient nature of love and success against a backdrop of nostalgic beats. “They’ll See” continues this introspective journey, with Sainté’s laid-back flow offering a tranquil respite from the often intense UK rap scene. Meanwhile, “Love Is Deep” delves into the complexities of affection and connection, set against an enchanting soundscape that underscores the depth of the emotions explored within the track. Finally, with “Milwaukee,” Sainté holds a masterclass fusion. It is a song that marries the old with the new in a celebration of musical evolution. The track feels like a conversation across time, a dialogue between the past and the future, held together by the thread of Sainté’s unwavering flow.

Saintè’s Collab Experiments

Most standout tracks on Still Local were able to shine, especially due to the diverse range of artists featured. “Currency” is an anthem for the grind, a testament to the hustle that’s both relentless and rhythmic. Sainté lays down verses that resonate with the pursuit of success, backed by a beat that’s as compelling as the almighty dollar. It’s also a track that pays homage to the drive for financial freedom, wrapped in a melody that’s rich with ambition. Draft Day doesn’t just deliver verses, he ventures into singing, complementing Sainté’s own melodies seamlessly. Altogether, it’s a melodic dialogue between two distinct artists.

“Fancy,” featuring Chow Lee, is a cultural exchange set to music, a dialogue between continents that pulses with the energy of two worlds colliding. The track’s Jersey beat is a playful challenge, an invitation to dance at the intersection of tradition and innovation. The synergy between Sainté and Chow Lee is palpable, as their styles intertwine seamlessly, producing a track that’s as intriguing as it is enjoyable.

“Alone,” featuring the ethereal vocals of Beattie and the dynamic presence of Loukeman, stands as a poignant exploration of solitude. Sainté’s verses, introspective and raw, delve into the dichotomy of life’s solitary journey against the backdrop of Beattie’s haunting harmonies and Loukeman’s compelling rhythms. Furthermore, the collaboration with Lil Silva on “Safe” is a dreamscape painted in sound, a lullaby for the soul that speaks of safety not as a place, but as a state of being. Finally, “G’s Reign,” the mixtape’s concluding track, is a raw and unfiltered narrative that strips away the layers to reveal the core of Sainté’s artistry. Featuring Potter Payper, it’s a track that lays bare the truths of life, a poignant reflection on purpose and presence.

The Verdict On Still Local

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Summarily, Still Local is a commendable effort that showcases Sainté’s commitment to his roots and his ability to experiment with sound. It’s evident that the star is capable of leaving a lasting impact, even though the project feels wanting more sometimes. It lacks the cohesiveness and energy to elevate it beyond what we’ve come to admire already. So while the project’s potential is evident, it’s mired by a sense of everyday lingo that permeates through the tracks.

Nonetheless, it’s a solid foundation, albeit one that leaves the listener yearning for a spark that will ignite a true artistic revolution, or perhaps more of the old stuff like “Champagne Shots.” In the end, Still Local feels like a prelude to Sainté’s capabilities. It’s a mixtape that has its moments, but Sainté will need to up his game by the time his expected album will finally arrive.

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RXKNephew “Mind Yo F***ing Business” Review

April 2, 2024 by newhiphopnews

RXKNephew has garnered recognition for his frequent music releases and distinctive punched-in technique. The rapper has built his career on saying hilarious and out-of-pocket lyrics over banging beats with plenty of style. So, it should come as no surprise that RXKNephew’s latest full-length release has been given the humorous title of Mind Yo F***ing Business. MYFB was released on March 29 and contains 11 off-the-wall tracks dispersed over 23 minutes. The project is Neph’s 59th studio album since he began dropping jewels in 2019, following up efforts such as Born 2 Die and 2023’s Life After Neph. Given that RXKNephew’s output has been so staggering, it’s absurd that he seems to show no signs of slowing or stopping. Here’s a look at Mind Yo F***ing Business and a review of the material within.

The Album Hasn’t Generated Much Buzz Online

Despite RXKNephew’s status as a meme icon in a number of social media circles, Mind Yo F***ing Business hasn’t been getting a lot of attention. Threads referencing the album in popular hip hop spaces such as Reddit and Twitter have received very few comments and replies, and the lyrics and album credits aren’t even available on sites like Genius. As a result, it’s seemingly impossible to identify the album’s sole vocal guest who appears on tracks such as “Punch Yo Father Out” and the alum’s opener “If You Play With Me I Will Kill You.”

The tepid response to Mind Yo F***ing Business seems to indicate that RXKNephew’s popularity is waning, likely due to the oversaturation of his sound in recent years. While many of his tracks, such as “American tteroristt” and “Tory Lanez Should Have Shot His Barbershop Up,” still get frequent rotation, his latest outing seems to be languishing in relative obscurity.

“MYFB” Has Some Hilarious Track Titles, But Not Much Else

On Mind Yo F***ing Business, RXKNephew offers a wide array of hilarious tracks, such as the brief but enjoyable “If You Play With Me I Will Kill You,” as well as more straightforward offerings like “Slap Yo Baby Mama.” Unfortunately, a number of these songs have very little to offer lyrically, as Neph provides the same jokes and turns of phrase to spin ghetto tales of shooting opps, slanging rocks, and stealing other rappers’ women. Tracks like “Jump On Yo Face,” “Imma Drink Everyday,” and “Ain’t No Heds Up We Gone Jump You” come and go without leaving any impact at all.

Still, there are a few highlights, such as the melodic spacey dance beat on “Wish I Went To School For Selling Crack,” which is all but guaranteed to lift you from your seat and get you dancing. The following track, “Knock Dreads Out Yo Head With A Switch,” is probably the funniest song on the album, with a spooky, ominous instrumental topped with lyrics like: “Parking lot pimping / I don’t play the club scene / Way too many guns / Way too many dreads in this view.” Meanwhile, “Walk In With A Bomb Strapped To My Chest” sees RXKNephew almost aping the style of an old-school Future banger, with a stream of consciousness flow referencing his frequent alcohol consumption and lack of respect for his peers.

Conclusion

Luckily, RXKNephew concludes Mind Yo F***ing Business with a pair of bangers in “Please Don’t Make Me Shoot You” and “Put You In A Wheelchair” respectively. On these standout tracks, Neph offers soothing, jazzy instrumentals that allow his distinctive voice to flow smoothly. Unfortunately, there’s just not much to differentiate this album from the dozens of other projects dropped by Neph in recent years. Although the album art is among the best in his career, it seems like the project is already fading into obscurity.

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Future & Metro Boomin “WE DON’T TRUST YOU” Album Review

March 26, 2024 by newhiphopnews

In December 2023, Metro Boomin expressed dissatisfaction with how the 2024 awards show season dismissed his HEROES & VILLAINS LP as the best hip-hop full-length of that timespan. While this relates to his current Drake beef, it displays an important principle. People need to push for quality and quantity, earned success, and a genuine approach to making resonant art. It’s this philosophy that Metro Boomin and Future’s new collaborative album WE DON’T TRUST YOU champions above all else.

Here, the iconic trap duo reunites for a whole project for the first time… at least officially. They’ve both been instrumental to each other’s rise in rap’s top tier, and few pairings are as revered, complimentary, or rewarding in the genre’s mainstream today. While this first of two albums from them is not a perfect attempt, it does showcase a lot of focus, new approaches, intent-driven artistry, and most importantly, a lot of bangers.

Do We Trust Future?

For the most part, Future is carrying the lyrical load and largely lives up to that responsibility. His vocal tone and inflections are as buttery and rich as the sensational cheesecake he loves, and the infectiousness of this delivery hasn’t lost its luster over his legendary decade-plus-long run. Whether it’s menacing croons on “GTA,” aggressive barks on “WTFYM,” or the heartfelt and dynamic melancholy on the bonus cut “Where My Twin @,” the Atlanta MC’s able to highlight his versatility here.

Future offers some great switch-ups in his flow to keep his verses riveting. WE DON’T TRUST YOU find him skating over the title track, “Young Metro,” “Runnin Outta Time,” “Fiend (She A Vibe),” and many more. Sadly, on other songs, the 40-year-old fails to keep up these acrobatics. While passionate and fast verses carry “Ain’t No Love,” despite stagnant flows, these repetitive lyrical performance patterns can’t bring “Slimed In” above a background mood listen.

Do We Trust Metro Boomin?

But every single beat on here ends better than how it started, and that’s meant as high praise. Through a lot of well-balanced and progressive structural arrangements, Metro Boomin continues his penchant for making simple yet subtly evolutionary records. There’s the chilling calmness of “Cinderella,” the bombastic and expertly put-together Eazy-E and Rodney O homages on “Like That,” the incredible beat switch and sample flips on “Everyday Hustle“… the list goes on. With woodwinds, horns, strings, electric guitar solos, organs, vocal samples, and probably a lot more, he makes unassuming pianos, synths, and drum patterns loom large.

However, Metro Boomin’s beats can sometimes have a hollow impact on arrival. Take “Ice Attack,” a song whose familiar piano beat becomes all but forgotten once the second (and much better) instrumental sampling La Chat’s “Yeah, I Rob” switches in. There are only so many melodic layers you can pile up song after song before you start noticing a pattern, albeit a very well-executed one that often reaches Metro’s past highs. There are also some small mixing miscalculations like Future’s muffled vocals kickstarting “Magic Don Juan (Princess Diana)” and the overpowering hi-hats in its second half.

Why Are Future & Metro Boomin Distrusting On Here?

Those are just small details in the face of the thematic focuses of WE DON’T TRUST YOU, but let’s make one thing clear: this isn’t revolutionary Future writing. Success, loyalty, the streets, lack of romantic satisfaction, wealth, weapons, and the weary reflections of a women-and-party-loving lifestyle of a global superstar surround the “Ridin Strikers” spitter. Regardless, his high-quality performances make this well-treaded ground grow gardens of standout bars throughout, despite some dead-on-arrival moments.

WE DON’T TRUST YOU narrates an unquenchable ambition and luxury fueled by paranoia on “Claustrophobic,” odes to hard work and pain on “Seen It All,” and so much more. But these themes seem more deliberate than ever, emphasizing distrust in the rap game at large. They’re losing faith in its authenticity, skill level, work ethic, loyalty, and significantly, the competition. Of course, there are a few other people on this project that cemented this idea.

Who Do Future & Metro Boomin Trust On This Album?

The Weeknd’s background vocals stun, Travis Scott moves through “Cinderella” like smoke with earworm flows, and he and Playboi Carti are a fantastic tag team on “Type S**t.” Some short vocals from Young Thug appear, and Rick Ross asserts his way through impressive rhyme schemes. Perhaps the most significant guest to name is Prodigy, the late Mobb Deep legend whose “corny rappers” rant from decades ago narrates many songs here through vocal samples (plus sampling Mobb’s “Quiet Storm”).

P’s words, plus Kendrick Lamar’s earth-shattering feature on “Like That,” represent the narrative of beef that currently dominates much of WE DON’T TRUST YOU‘s reception. This album never lets you forget its pressure-stressing theme and provides amazing hip-hop to represent two collaborators who’ve built a strong trust through a decade-plus run of consistency. Hendrix is as consumed by his vices as he is compelled to seek them out to authentically live the lifestyle that lyrically leads to both pain and prosperity.

How Does WE DON’T TRUST YOU Flow Together?

Like every great trap album that came before WE DON’T TRUST YOU, this makes for a fulfilling push and pull. A few smooth transitions between distinct and unique songs make this album flow quite seamlessly. Southside, Boi-1da, Mike Dean, Wheezy, Alan Ritter, Honorable C.N.O.T.E., Zaytoven, and more help shape this run behind the board. It’s not quite varied or thematically versatile enough to escape occasional fatigue and recycling, but for its contemporary appeal, it certainly succeeds.

To no one’s surprise, the sheer chemistry between Future and Metro Boomin defines WE DON’T TRUST YOU. There is always something up to standard, and maybe even exceeding it, to latch onto with each new cut, whether beat or verse-wise. In addition, this project still retains the darkness, ethereal intoxication, and grittiness associated with their collaborative history. For classic and newer fans, there’s a lot to love.

Metro & Pluto Pick A Side

WE DON’T TRUST YOU is, in many ways, exactly what we expected. It feels like a throwback to 2014-2016 on many occasions in the best way, although some beats evoke past projects like HEROES & VILLAINS almost too much. The album falters in its artists’ occasional lack of consistency or idiosyncrasy, and in being what we predicted and have heard for years. This aside, their loyalty to their sound does not replace their will to make it the best it can be, every single time.

This resulted in rap’s next big beef, one that WE DON’T TRUST YOU might not outshine right now, but will likely outlast due to its many highlights and the overall album experience. But what Metro Boomin and Future want is for the genre’s mainstream to take itself seriously among the best that the culture has to offer. On that metric, there are a few areas in which this project could’ve done better. Yet based on these songs, its upcoming sequel will not fall victim to complacency.

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Tyla “Tyla” Review

March 25, 2024 by newhiphopnews

The most important thing to take away from Tyla’s artistry is her unquestionable devotion to her roots. After snagging the inaugural Grammy Award for Best African Performance, her career trajectory maintained a steady upward rise. Not that she needed it anyway… her record-breaking “Water” became a global smash hit last year. However, with her eponymous debut album, Tyla proves there’s more than enough material to diminish any thought of her being a one-hit wonder. A priceless marriage of Amapiano, Afrobeat, R&B, and Pop, TYLA is an exceptional showcase of an artist flirting with musical polyamory, while simultaneously staying close to her one true love.

Africa’s Pop Princess Has Been Years In The Making

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Long before the release of her debut album, Tyla Seethal, born in 2002, has been hard at work crafting sultry dance music. With sensual, breathy vocals, her South African imprint elevates her sound beyond mere dance beats and melodies. In 2019, she began to garner buzz following the release of the single, “Getting Late.” The midnight house track, produced by Kooldrink, swiftly enjoyed success in her native South Africa. Released fresh off her high school graduation, it was pretty evident that a star was on the rise. Fast forward half a decade later, and her hard work has since paid off, and on a grand scale too.

Amapiano Is At The Forefront Of Tyla’s Debut Album

The backbone of Tyla’s debut album is evidently Amapiano. The signature South African sound is heard all through the project, and is clearly where the singer is most comfortable. Since her mainstream debut, Tyla has been vocal about her love for the genre. Moreover, she’s remarkably helped to push the genre’s overall popularity to a higher level. With her music, Tyla is striving to bring listeners back to her home turf. Dance music, although global, is permanently etched into Africa’s history after all.

Even on tracks like “On and On,” which could easily be passed onto the likes of a Victoria Monét, or Kehlani, it’s the African elements that make it a Tyla song. Moreover, while shining in her comfort zone, Tyla’s vocals are illuminating, resting gently on the album’s many mesmerizing beats. Production credits include Sir Nolan, who has worked with everyone from Muni Long, to Selena Gomez, and Justin Bieber, and is behind the seductive “Butterflies.”

However, Sammy Soso, Believve, Ceebeats, and Ebenezer Maxwell are some of the major champions on Tyla’s debut album. Their eclectic mix of Amapiano helps give the album a cohesive feel. From the album’s second track, “Safer,” it’s evident that there’s already another hit single if Tyla chooses. And that’s what makes TYLA a worthwhile project- it’s laced with hits, but isn’t simply a collective of singles. Another key element on the fire track is the contribution of Ariowa Irosogie, also known as Ari Pensmith. The British writer and producer, and his frequent collaborator Richard Isong, a.k.a., P2J, are felt all over the album.

A Coming-Of-Age Showcase

Tyla’s debut album is also a significant milestone in her rise as a definitive artist. The album covers several different emotions, offering relatable stories of love, lust, and the limelight. Her features are also worth noting. She joins forces with her inspiration, and fellow Grammy-winner Tems, on “No.1.” The track, which has the potential to become a major anthem, is all about realizing one’s self-worth. “I gotta put me number one, no compromisin,” both women sing with believable confidence.

“Jump,” which blends reggaeton, Amapiano, and Hip Hop, is easily one of the project’s standout moments. Tyla travels between the highest and lowest parts of her register, for a definitive dance number about her bod. Gunna and Skillibeng also lend their talents, and each star is given more than enough room to shine. The album’s 11th track, “On My Body,” which features Becky G, is a proclamation of feminine sexuality and energy. Altogether, Tyla evidently found a musical sweet spot, where her sex appeal is on full display lyrically.

Tyla Is Here To Stay

On her debut album, Tyla makes it clear that this is just a highlight of what’s to come. She worms herself into darker themes, as heard on “Breathe Me” and “Priorities.” However, the glue that ties it all together is her South African musical style. Tyla’s mission is evidently to keep the world on their feet. From “Jozi to Ibiza,” there’s nobody doing it quite like her at the moment. And at just 22, she’s about to extend SA’s mainstream reach on a greater scale.

[via]

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Justin Timberlake “Everything I Thought I Was” Album Review

March 19, 2024 by newhiphopnews

When a legacy pop act continues to churn out music decades after they debut, mainstream success begins to wane. However, there are exceptions. Justin Timberlake belongs in a unique class of artists who continue to enjoy popularity well past their musical breakthrough. On his sixth studio album, Everything I Thought I Was, he toes the line between nostalgic pop, breezy R&B, and funk. But while the album has a few impressive moments worth noting, JT’s latest offering isn’t quite sticking the landing.

From the intro alone, it’s evident that Justin Timberlake’s signature swag is on thin ice. However, it’s quite difficult to pinpoint when this decline began. At 18 songs long, Everything I Thought It Was is quite the hefty project but JT is already used to long-form storytelling. After all, 2018’s Man Of The Woods clocked at 16 songs. Moreover, the crooner split 2013’s The 20/20 Experience into two parts.

So while the length of the project isn’t the problem, it contributes to the overall quality. Sure, Justin Timberlake might sound confident and sexy, but a few things are missing: memorable tracks, and the sound his fans have come to know and appreciate.

JT Attempts To Resurrect Nostalgia

Just one listen into “Drown,” and we’re transported to 2002 again. As expected, his first album since the release of Britney Spears’ memoir, Pieces Of Me, appeared to shed light on the bombshell allegations made surrounding their relationship, ultimately leading to plenty of backlash. “Drown” almost serves as a follow-up to “Cry Me A River”; the songs are eerily similar. It will probably remain uncertain whether “Drown” serves as a sequel, but fans won’t be reaching if they come to that conclusion. All things considered though, it is one of the few standout tracks on Everything I Thought It Was.

Saving Grace Features

Each featured artist on Justin Timberlake’s sixth album contrasts the next. Thankfully, it plays to the album’s strengths since their distinct styles help boost Everything I Thought It Was’ mass appeal. The first of three featured artists on the album is Nigeria’s Fireboy DML. The Afro-pop star, who has collaborated with Ed Sheeran, D Smoke, and Chris Brown, delivers some of the most infectious moments on the project. On “Liar,” Timberlake slightly adopts Afrobeats and proves slightly comfortable in unfamiliar terrain.

“Sanctified,” which features Tobe Nwigwe, is another stellar moment for Justin Timberlake. A smooth blend of gospel, R&B, rock, and funk, JT sounds quite at home during one of the most daring moments on the album. If only more tracks on the album attempted to achieve this audacious level of experimentalism. Perhaps, the singer might have achieved a new musical high. Unfortunately, there’s a lack of ambition on many other tracks.

Though the other two features on Everything I Thought I Was are first-time collaborators in JT’s circle, the singer’s latest album brought a much-anticipated dose of nostalgia. Despite the tumultuous year that 2023 was for him, one of the highs was the NSYNC reunion at the VMAs where they confirmed new music was on the way. While the grandiose expectations were blown up by Britney Spears’ revelations, the all-star boy band produced “Paradise.” The penultimate track on the album is pop perfection, and offers a healthy dose of some much-needed nostalgia. Vocally, Justin Timberlake and his comrades are very impressive, with piercing harmonies, reminiscent of their 90s days. Maybe, if the dust settles enough, there’ll be some more NSYNC in store for us.

Conclusion

Justin Timberlake offers just enough of the qualities that make an album worth giving a try. However, this is the same star that delivered “Rock Your Body” and “Suit And Tie” a decade apart. That’s why it’s a bit disappointing that there are no standouts of such magnitude in his latest body of work. Timberlake has never been one to rush an album. However, Everything I Thought It Was feels that way. At just over an hour and seventeen minutes long, the album isn’t choked by any means. Regardless, Justin Timberlake is definitely capable of producing some more refined music.

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Ariana Grande “eternal sunshine” Review

March 12, 2024 by newhiphopnews

Ariana Grande’s eternal sunshine shows that she knows heartbreak quite well. In the same vein, she learned to allow her aching pain to metamorphose into sugary pop and R&B pieces of confectionery. On the chart-topping 2018 single “thank u, next,” Grande held out hope for a forever love but still entertained feelings of doubt. “God forbid something happens… Least this song is a smash,” she sang, tiptoeing between consternation and temerity. Five years later, the worst had happened.

But on eternal sunshine, her seventh album, Ariana Grande deals with her latest heartbreak and everything surrounding it rather ruefully. It’s evident that the pop sensation’s emotions are heightened, but in an almost vampiric sense, she’s venturing back into the night. Her latest album is a diary entry projected to the world on the template of her overwhelming success. The verdict? She sees and hears what you’re all saying, but she stopped giving a damn a long time ago. If anything, eternal sunshine is Ariana Grande’s reminder to the world that she won’t stop putting herself first.

Ariana Grande Is Still Shedding Her Skin

Since 2018, Ariana Grande has repeatedly made herself clear about rising above negativity. The pipeline from “no tears left to cry” to “yes, and?” is laced with several IDGAF prompts. As with most child stars, growing up under the intense scrutiny of the public eye can have detrimental effects. However, Grande has chosen herself, resulting in some of the most vulnerable music in her catalog. On eternal sunshine, she continues the trend of returning the middle finger to her naysayers. However, this time, it’s with more sleek cheekiness, because now the joke’s on everyone else.

Eternal Sunshine Is Woeful Pop At Its Sexiest

A master of cheerful cheerlessness, Grande is a definitive lyricist. Post-divorce, her words prove a lack of malice, choosing the amicable exit from her ex-husband. The culmination of her feelings has left her shaky, but not unsure of her decision. Indeed, the obvious subjects of eternal sunshine are her past and present loves. While the latter offers a glimmer of hope, there’s a melancholy attached to the references to the former.

Tracks like “bye,” “i wish i hated you,” and “we can’t be friends” are lyrically on the nose. However, it’s on the latter that her bleeding heart is loudest. Moreover, it’s the delivery that drives home Grande’s point. Regardless of her breakup, which she saw coming, there’s no hate involved. “we can’t be friends” also has the privilege of being the artist’s second single.

The music video borrows from the movie Eternal Sunshine Of The Spotless Mind. In it, Grande attempts to let go of the memories of her lost love. It’s one of the most vulnerable moments in her musical career. But the summary remains: It’s over.

Ariana Grande’s After A Supernatural Love

Indeed, the soft ballads are a worthwhile addition to the album’s overall cohesion. But Grande’s no-nonsense lyricism is her greatest contribution to eternal sunshine. “the boy is mine,” which interpolates the classic song of the same name, is the perfect example. Everyone can remember how the news of her new beau rocked the media. As a result, Grande was labeled everything, from “homewrecker,” to “not a girl’s girl.”

While she has since shared that the allegations are, in fact, false, her music takes a rougher approach. In “the boy is mine,” she’s conflicted in her emotions. But that won’t stop her from giving the man in her sights a try. Overall, Grande’s excited; almost addicted to what’s right in front of her, and she’s going all in. The track may not spend 11 weeks atop the Hot 100 as Brandy and Monica did. But “the boy is mine” is the sharpest, wittiest song on eternal sunshine, and where Grande shines brightest.

Chasing Imperfect Perfection

Altogether, eternal sunshine is a serious improvement over 2020’s positions. This is why it’s rather bittersweet that heartbreak and controversy bring out the deepest parts of the pop star. Ariana Grande is moving on from the weight of her past and in a cheeky, powerful fashion. Despite her newfound romance, she’s still madly in love with herself.

That’s what makes eternal sunshine some of her boldest, rawest, most authentic work. R&B and pop sit side by side with experimental Scandi-inspired music. Through the use of synthesizers and electronic influences, Grande sounds even more otherworldly, letting the music guide her crisp vocals, and not the other way around. Surely, the star is still evolving.

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Kid Cudi “INSANO (NITRO MEGA)” Review

February 26, 2024 by newhiphopnews

Kid Cudi said in his 2021 documentary, A Man Named Scott that he no longer desires “to make any more dark records.” His 2020 album, Man On The Moon III: The Chosen, closed his iconic saga that introduced his unconventional style and emotionally transparent lyricism. Early in his career, fans connected to Cudi through songs that saw him in his most desolate state. Man On the Moon III concluded this chapter in his musical journey, but it also signified the start of something new. Lately, Kid Cudi has tapped into other aspects of his musical skill set. His Entergalactic album chronicled the love story of his star-studded animated film of the same name.

After all these years, it seems that Kid Cudi does not have anything to prove to his core fanbase. Last month, he unleashed INSANO, his latest studio album that saw him simply enjoying himself, freely experimenting with his sound. More rap-oriented than any previous project, Cudi traded his catchy melodies and irresistible hums for fast flows. A more upbeat and modern album is a natural progression for Kid Cudi considering his newfound lighter approach to music. While INSANO consisted of high-energy production, it was not varied enough to sustain its lengthy runtime. For such a long album, the announcement of a deluxe felt like an overwhelming amount of material in such a short amount of time. However, Kid Cudi’s latest offering, INSANO (NITRO MEGA), acts more as a sequel than a deluxe.

INSANO (NITRO MEGA) Is An Entirely New Album

Originally announced as a deluxe, Kid Cudi later clarified that INSANO (NITRO MEGA) is a completely new album. Acting as a spiritual successor to INSANO, its sequel contains entirely new material along with some surprises for Cudi’s day-one fans. Also included is “Electrowavebaby 2.0,” a Steve Aoki remix that reimagines the song from INSANO as a big room house banger. It brings a brand new lively energy to the original song despite feeling out of place on the album. INSANO was adventurous in its own way, but Aoki’s contributions to a house remix and a trap song with members of Bone Thugs-N-Harmony speak to the wide range of NITRO MEGA that its predecessor ultimately lacked. This album continues the carefree and vibrant nature of INSANO but with more musical variety throughout the tracklist.

Much like on Man On The Moon III and Entergalactic, Kid Cudi rapped over modern trap with auto-tuned ad-libs on INSANO. NITRO MEGA continues the bouncy trap production but with more musical variety. The album includes Fast House, Jersey Club, and slower melodic tracks. The diverse tracklist makes it an entertaining listen that is unique from its precursor, but it is nothing particularly innovative or outstanding for Kid Cudi.

Where Kid Cudi’s Latest Offering Impresses and Underwhelms

The music on INSANO (NITRO MEGA) is good for the most part with Kid Cudi at peace emotionally and creatively. There is a solid mix between uptempo trap beats and laidback songs reminiscent of Man On The Moon III. NITRO MEGA includes some of the slow melodies that were mostly missing from the original, which are some of the album’s standout moments. Tracks like “Diamonds Lights Fast Cars” and “All My Life” bring the best out of Cudi vocally while “Round N Round” with Lil Yachty is one of its most generic moments.

The bursts of energy on NITRO MEGA also contribute to its dynamic tracklist. “Human Made” opens the album on a high note with an incredible beat produced by Dot Da Genius. Cudi sounds amazing on this track, switching between flows and singing a soft melody in the chorus. Songs like “Animate” also impress as Cudi flexes his illustrious career and carefree attitude. Where NITRO MEGA underwhelms is when the trap songs sound almost identical to much of INSANO. “Crash Test Cudi,” “Ill What I Bleed,” “Moon Man Shit,” and “Superboy” serve as reminders of where INSANO fell flat. However, these tracks would certainly punch harder if Kid Cudi had not released a 21-track album just a month earlier. As a standalone project, this album certainly has its highlights and its shortcomings.

INSANO (NITRO MEGA) Encompasses The Best and Worst Eras Of Kid Cudi

INSANO (NITRO MEGA) is clearly intended for day-one Kid Cudi fans. Glimpses of the old Cudi are dispersed throughout the INSANO sound. It encompasses the best and worst eras of Kid Cudi. There is the melodic creativity of the first two Man On the Moon albums and the lively confidence of Indicud and Man On the Moon III. Unfortunately, the album’s lowest moments like “Willis” also contain his most cringeworthy vocal performances reminiscent of WZRD and Speedin’ Bullet 2 Heaven. In fact, “Rocket (2011)” is a previously unreleased track from the WZRD sessions. It satisfies diehard fans that have demanded the song for over a decade. Still, it disconnects from the rest of the album.

Another fan favorite that sees an official release on INSANO (NITRO MEGA) is “Dose of Dopeness (2007).” This track restores the feeling of Man On The Moon Kid Cudi as a beautifully written song. It is a standout moment on the album, but it also sits awkwardly within the tracklist considering Kid Cudi’s deliberate musical progression. The inclusion of both “Rocket (2011)” and “Dose Of Dopeness (2007)” act as a time capsule for his core fanbase, highlighting his musical peaks and valleys.

Exciting & Familiar Collaborations

INSANO branched out with its guest features. It included many of the artists inspired by Kid Cudi, such as Travis Scott, Lil Yachty, and Young Thug. Except for Pharrell and Lil Wayne, the overall aesthetic and features of younger artists feel intentionally modern. The familiar collaborations on INSANO (NITRO MEGA) on the other hand appear to be catered to Cudi’s core fans. Frequent collaborator Chip Tha Ripper returns to his old alias for two songs, and the aforementioned Steve Aoki tracks add to their working relationship. The features from Layzie and Krayzie Bone are an organic Cleveland connection. Additionally, Cudi and Pusha T’s reconnection recalls the GOOD Music days. It was good to see him branching out on INSANO, but he has significantly better chemistry with most of the collaborators on NITRO MEGA.

Overall, Kid Cudi’s latest offering plays more smoothly than its predecessor because of its eclectic tracklist, though it has its blemishes. In one way, it jumps all over the place, but it is also a well-rounded and enjoyable listen. Lyrically, it is not anything extraordinary, but it makes its point as a fun project dedicated to Cudi’s day-one supporters. INSANO (NITRO MEGA) is ultimately nothing groundbreaking. However, it serves its purpose for an artist who has constantly pushed himself musically. Kid Cudi is still very much in a creative zone, churning out a whopping 39 songs already this year with more new material on the way. It speaks to his artistic evolution and his personal growth.

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Joe Budden Thinks Kanye West Fumbled On “Vultures” Despite Other Praises

February 22, 2024 by newhiphopnews

Everybody’s got something to say about Kanye West and Ty Dolla $ign’s new collaborative album Vultures. As such, it’s no surprise that one of the most popular and wide-reaching voices in hip-hop culture right now has a hot take for the masses. Moreover, The Joe Budden Podcast recently reviewed the project on their latest episode, with its main host expressing that he overall likes the LP. Specifically, he had great things to say about the production and many of the duo’s featured guests on this supposed series’ first installment. But the biggest problem that the Slaughterhouse MC had with Vultures is none other than the Chicago creative behind it.

“This is some bad rapping on here,” Joe Budden shared with his show’s co-hosts. “I’m only talking about Kanye West. Freddie Gibbs went cr*zy. All the rappers I heard went cr*zy, except for Kanye West… He’s just chanting.” Elsewhere, he added some loose thoughts on a few moments here and there, remarking that some of Vultures‘ cuts are “a little too funky” and “too Yeezus-ish,” in his opinion. Still, the New York MC had some praise for the production overall, and for other specific guest appearances.

The Joe Budden Podcast Reviews Vultures: Watch

“He showed his a** on the production,” Joe Budden posited. “His production is unbelievable on here. ‘CARNIVAL’ on down is nuts… I’m still a little thot inside. Dawg, what a creative flip of ‘Back That Azz Up’ [on ‘DO IT’]. I need to hear this in the strip club loud. I absolutely love [‘BEG FORGIVENESS’], I don’t care that this beat stays the same. This is cr*zy.” Although there are certainly many admirable qualities about Vultures, it’s hard to deny that Kanye West is not as consistent as he’s been on past releases when it comes to his own performances. This isn’t even accounting for how much you condemn or ignore his recent controversial behavior concerning antisemitism, the far right, and his peers.

Meanwhile, Vultures resulted in a big payout for Ye and Ty Dolla, so all this discussion probably means little to them. They dropped this independently and likely plan on dominating as much as they can through this method. We’ll see whether this results in an uptick in quality, or if Joe’s take on Vultures 2 will be harsher. To find out, stay up to date on HNHH for the latest on Kanye West, Ty Dolla Sign, and Joe Budden.

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