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Dizzee Rascal “Don’t Take It Personal” Review

February 20, 2024 by newhiphopnews

Last year commemorated the 20th anniversary of Dizzee Rascal’s groundbreaking debut, Boy In Da Corner, an extremely influential album that shaped grime as a genre. It also established Dizzee as the UK’s first rap star within its flourishing scene. Boy In Da Corner set the standard for both the UK grime scene and Dizzee himself as it is widely considered as an all-time classic.

He later ventured into dance music at a time when pop crossovers dominated the charts, eventually finding his way back to his grime roots with 2017’s Raskit. Dizzee Rascal’s last album, 2020’s E3 AF, found a happy medium between his musical roots and his knack for experimentation. It satisfied his core fanbase with stellar grime collaborations but branched out into drill and pop. This time around, he continues to explore his eclectic musical arsenal. Dizzee Rascal’s latest album, Don’t Take It Personal, displays the wide-ranging sounds of a veteran eager to compete within the scene he helped create.

Dizzee Rascal Maintains The Energy

Don’t Take It Personal starts on an upbeat note, with its first four songs representing Dizzee Rascal’s ability to easily rap over house and UK Garage production. “Stay In Your Lane” opens the album with a groovy dance beat featuring Dizzee’s signature staccato flow. Similarly, the soulful “Sugar and Spice” recalls the early days of UK Garage featuring a sleek and bouncy beat from iLL BLU. Songs like “How Did I Get So Calm” and “London Boy” see Dizzee Rascal effortlessly flowing over fast-paced house beats. His ability to sound so comfortable over upbeat production never fails to impress. Featured on “London Boy” is Frisco, who shares similar strengths as an MC. On this track, the two showcase their skill in fusing house and rap, though it pales in comparison to their previous grime collaborations.

Don’t Take It Personal also includes multiple house and dubstep songs toward the end of the album, including “Switch and Explode,” “POV,” and the closing track, “How Does It Feel.” These songs are far from his best attempts at house but show his capability at sounding good on almost any style of production. He may be able to rhyme over a variety of tempos and genres, but there is nothing quite like Dizzee Rascal over grime.

Grime Has Always Been Dizzee Rascal’s True Calling

Beyond EDM, Don’t Take It Personal traverses other genres, including the afrobeats-laced “Roll Wit Me.” There is also the relaxed hip hop track, “Here For Now” with Not3s and the drill banger, “Get Out The Way” featuring BackRoad Gee. Embroidered into the album’s adventurous nature are its many grime songs that see Dizzee at his sharpest and most exhilarating. His pop-oriented studio albums exhibited that grime has always been Dizzee Rascal’s true calling. Naturally, the genre he helped create is what he sounds best on. The fast and explosive rhythms of grime suit Dizzee’s flow better than any other style, which is certainly highlighted on this album as many standout tracks are grime songs.

“What You Know About That” is an instant favorite that sees Dizzee teaming up with grime veterans JME and D Double E for a catchy exchange of bars. Together, they recall the early days of grime. Each of the three lyricists embraces the cornerstones of the genre, including nods to pirate radio and various London neighborhoods. While the song speaks to the foundation of the genre and culture, it does not talk down to younger generations. Dizzee even raps, “Don’t wanna be the moaning OG that keeps tellin’ me they’re tryna see the old me.”

D Double E also features on “Swerve And Pivot,” another grime song where the two bask in their legendary status. Dizzee raps on the hook, “How can I quit when I already did it? How can I flex when I already live it?” P Money joins Dizzee and BackRoad Gee for “Keep That Same Energy,” a grime and dubstep blend that recreates the magic of their previous collaboration. With many grime collaborations on Don’t Take It Personal, Dizzee Rascal clearly shines alongside his peers.

A Veteran Here to Stay

On “Here For Now,” Dizzee Rascal salutes the longevity of his musical journey. He declares, “I’ve been on top for ages like I’m ageless.” Dizzee also triumphantly raps, “What’s the difference? I’ve done the distance / Full commitment, pure persistence. Gotta speak it into existence.” He is very much aware of his success, impact, and legacy as a pioneer. As a result, he has the creative freedom to happily express himself. On Don’t Take It Personal, we see Dizzee Rascal enjoying himself and his position as an artist who has done it all.

He undoubtedly still raps at a high caliber and is a skilled producer. However, the album is not nearly as creative as his classics or even Dizzee’s most recent efforts. The production may be varied in style, but it is not considerably outstanding compared to his early releases or his strongest efforts in recent memory. Dizzee Rascal is “flying, smiling and vibing” on his latest album. It is an enjoyable listen, but does not go far beyond that.

[via]

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Yeat “2093” Album Review

February 20, 2024 by newhiphopnews

Music fans are always looking for the new wave to hop on, and with so much amazing material dropping every day, these trends could dominate and vanish within months. Many folks out there thought Yeat would suffer this fate. His arrival on the scene, paired with the wider emergence of rage, brought a lot of buzz, an instant cult fanbase, and even a Minions collab. But with four albums under the Portland MC’s belt now, plus a wealth of mixtapes, he’s had plenty of time to capitalize on this hype. However, this didn’t answer the question that many fans still have: is he here to stay? Will this sound and approach age like fine wine or is it just a passing fad while we wait on the real future? Well, speaking of the future, the AftërLyfe visionary is here to take us to 2093.

This new album aims to provide a forward-thinking, fresh, unique, and alien artistic statement. Its 24 tracks (including the two “Phase 2” extras “As We Speak” with Drake and “Never quit”) are defined by buzzing and soaring synths, distorted percussion, a lot of reverb atmosphere, and a slew of verses, ad-libs, and vocal effects battling each other for your ear. Unlike past material, the lyrics here are actually highlighted quite intently, and this overall sets 2093 up as the most idiosyncratic release in this catalog. Fortunately for fans and new listeners alike, it’s also its best project yet. Although it’s not perfect, this is a truly definitive, impactful, and above all needle-pushing record that will probably join the likes of Whole Lotta Red, Yeezus, and even Exmilitary as aggressive and industrial benchmarks in hip-hop. But it’s clear that Yeat is in a class of his own.

Yeat’s Performance

If you want proof of that, look no further than his performance on the mic here -– and behind the board. If you recall last week, we published a list of five “wants” from this album, one of which was that Yeat would prioritize and focus on his best weapon in his arsenal: his voice and his delivery. We’re glad to say that he’s still got it. Through a lot of vocal layering, woozy effects, energetic ad-libs, and switches between slurred deliveries and clearer high notes, the 23-year-old maintains what makes him such a memorable and captivating artist. He switches between frantic flows, measured croons, and passionate screams with ease on any given track. The “Nun id change” creative feels so comfortable and seamlessly integrated into his sonic vision, which is the second-most important achievement of 2093. We’ll mention the top priority later.

He also takes over most of the production here, with credits on 13 tracks of its 24 offerings. In fact, one of the best songs here, “Riot & Set it off,” is produced entirely by the California native, and that speaks for itself. His vision is able to meld a lot of different influences together and make something new out of them. There’s a lot of Travis Scott and Kanye West worship here, distorted vocal treatments akin to Sematary, industrial tones and timbres that you might catch on material from Death Grips or HEALTH, and sci-fi soundscapes that seem more like scores than streaming success stories. But they all fit under 2093‘s universe like a glove, and have Yeat’s special touch all over them. It’s the most impressive part of this album.

Read More: Yeat Receives 10 RIAA Plaques

The Future Is Here: 2093‘s Production

This high praise is thanks to the cavalcade of producers here, of which there are too many to shout out individually. Key players, though, include Synthetic (7 credits), Dulio (5), GeoGotBands and Perdu (4 each), and LRBG, Radiate, and WhoIce (3 each). Together, they all execute Yeat’s vision in a cohesive way that also leads to another big strength on 2093: its engaging and well-paced flow. The dreamy and atmospheric outro on “Bought The Earth,” which is a nice cool-down moment on the LP, leads right into the rambunctious trap on “Nothing Changë.” Clubby rhythms and dance inspiration take center stage on “Breathe” (another absolute standout), “Shade,” “Keep Pushin,” and the title track. Most importantly, the distortion, synth variety, noisy mixes, and string embellishments all fuse in an epic and entrancing way.

Still, not every beat is a hitter. 2093‘s length means that cuts like “Tell më,” “Stand On It,” and “Psychocainë” feel repetitive. Regardless, this isn’t a sign of the album taking significant quality dips, as there are amazing records all the way to the last song. Also, there is so much quality behind Yeat’s production choices that, even if they sit in the same space, they don’t feel diluted in their impact. “U Should Know,” “ILUV,” “Mr. Inbetweenit,” and “If We Being Rëal” are just a handful of progressive, crunchy, well-structured, and thoroughly immersive beats. “Familia” is one of the most overtly psychedelic moments here, and “Never quit” ingeniously flips a guitar-driven beat into something more than a rock-rap fusion. Overall, this album is a true auditory treat, and likely a very influential one. The cherry on top? How they effortlessly set up his verses.

The Portland MC Reaches New Lyrical Highs

Lyrics never define any Yeat album, but this album takes his success and paints a dark picture with it. “I’ma cut you off, cut you off when you talkin’ to me,” he raps on the opener “Psycho CEO.” “I’m in 2093, where your life at?” The now-established Drake collaborator focuses a lot on financial success, loyalty, material wealth, substance use, and not feeling human. But he contrasts this with murderous thoughts, admissions of his own dishonesty, his apathy, and nihilistic remarks on what all this money and status even means. Through jumbled trains of thought, loose verses, and consistently catchy refrains, these themes become almost contradictory, yet never inauthentic. There’s a lot of CEO talk on 2093, and it seems like hedonism eats at its own tail here. The salient point is that these pleasures make this darkness worse, but also give it the freedom to roam freely.

Particularly sharp meta bars on “Run Thëy Mouth,” like, “I got four rings, four albums, b***h, I’m out / I was alivе for 4L, but it’s up to me for after now,” embody this theme well. It’s a scary picture, and one that Yeat paints with a “less is more” brush. While these topics and expressions are always compelling, they can feel like retreads.

2093‘s Less Futuristic Moments

Similarly, there are a few moments in 2093 that don’t match up to its futuristic vision. For example, the features are 50/50. Lil Wayne drops a good verse on “LyfeStylë,” but it feels a bit mismatched from the album’s established energy. Future’s appearance on “Stand On It” is mixed way too low, but he does his thing. More impressively, “As We Speak” is probably the wildest beat Drake’s ever been on, and he’s much more charismatic and well-presented here than on their previous collab, “IDGAF.” Childish Gambino’s uncredited vocals on the outro of “Power Trip,” though, are the only guest contributions that truly feel futuristic and wholly connected to this project. Since Yeat is so standoffish, homicidal, and downright misanthropic from a lyrical standpoint, this makes these inclusions a bit more out of place. That being said, it’s still a small blemish.

Otherwise, what keeps 2093 out of the higher echelons of hip-hop albums in their respective eras is its consistency. The aforementioned reruns of aesthetics and song structures, plus static lyrical focuses and underwhelming feature verses, bring things down a bit. But we want to emphasize that it’s only a bit. An overwhelming majority of this LP took Yeat to the next level in our eyes. In particular, his character portrait here is the most understandable, clear, and un-replicable. It seems like the Gen Z leader is embracing the villain role here, and his contradictions and extraterrestrial imagination -– or rather, reality -– seem just like they were there before the fame. Power is another central idea, one that seems just as indebted to physical possessions as it is to primal proclivities. Bloodlust and existentialism are palpable, and don’t aim for anything else but to shock, inspire, and evoke.

Conclusion

So, how exactly does 2093 shock, inspire, and evoke indescribable feelings of ambition and dominance in its listeners? Much like its creator, the album shrouds itself in a lot of mystery, both through its muddy and aggressive production and the varied rhythms and sonic worlds that it cycles through. The beats here progress, evolve, and keep ears locked in from song to song, and don’t allow for even a second to free you from its spell. Yeat is right at the center of the chaos, and gives up control to tap into his demons and desires as a dead man walking. He doesn’t mind calling others out for being dead too, as long as they know who is on top of the graveyard. The totality of these elements achieved the most important thing this record had to represent: evolution. Progress. The next step. The future.

The artist’s unique musical identity preserves and develops itself further into idiosyncrasy; the consistency and intent make this a fully satisfying listen; the rap styles of tread, witch house, rage, and more push forward; he might see his first No. 1 album of his career with a watershed moment of an LP; and the features… at least Donald Glover killed it. Jokes aside, they still played their role well and allowed Tonka’s biggest fan to take the whole spotlight. With all this in mind, did 2093 take us to 2093? Absolutely. It’s so exciting to see an album this mainstream be so challenging, so masterful with its influences, and so fun all throughout. Yeat’s come a long way, and he fully cemented himself as a legitimate mainstay and leading face of hip-hop today. Well, 70 years from now, anyway.

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Usher “Coming Home” Review

February 19, 2024 by newhiphopnews

It’s often expected for music legends to wane in popularity decades into their careers. However, Usher is one of the artists defying expectations, and his ninth album, Coming Home, is a testament to his status as the King of R&B. Hitting the streets ahead of his sultry, sweaty Super Bowl halftime performance, Coming Home reverts Usher back to his peak stardom of the 2000s. Remarkably, while distinctive in a newer sound, it’s a perfect blend of the old and the new.

As a result, Usher crafts a unique lane with Coming Home. The 45-year-old ATL crooner is more confident than ever while channeling the sex appeal of his younger days with much ease. During his spellbinding Vegas residency last year, Usher “steal yo’ girl” Raymond reminded the world why it would be a great disservice to compare him to anyone else in the game. He is evidently in his own lane, and just like wine, he’s only gotten more delicious with age.

Love, Lust, And A Lasting Legacy

Taking away from his signature sensuality, Coming Home is a culmination of the Usher’s legacy. When he sings about sex, he does so with enough intensity that it’s rather easy to swoon. However, the love songs scattered across the album prove one thing — Usher’s madly in love. After it was reported that he had privately tied the knot with music executive Jennifer Goicoechea, it became clearer. There are talks of wanting to be “a better man,” and “doing it right this time” that show forth his commitment to remaining faithful to his wife.

The quality of the music is also assuredly more sexually charged than ever, although his romance could potentially divert the listener’s attention. Therefore, even though Usher might not be singing to anyone else, it’s hard to remove oneself from the equation, almost as though the bachelor is still as present as the married man. This feels almost identical to his iconic Confessions album, where the average listener ignores the album’s plot, to immerse themselves in Usher’s own world. This ability to capture the audience is why, 30 years later, Usher still has us by the neck.

The King Of R&B Takes Necessary Leaps

Right at the center of Coming Home is passion, which Usher translates effortlessly into his craft, vocal abilities, and unmistakable arousal. Between baring his heart and soul out, he leaves his body on the line as well. The breakup anthem for mature lovers, “Good Good,” reunites him with Summer Walker for an easy standout on the project. He also chooses his features for their respective buzz. Particularly, Nigerian singer and producer Pheelz contributes production, writing, and vocal credits, introducing Usher to a more diverse Afrobeats sound. Their collaboration, “Ruin,” which is also co-written with South Africa’s Manana, is perhaps the best track on Coming Home.

Concurrently, on Coming Home, Usher proves he can stand on his own two feet and still make a major splash. With his flexible vocals, the R&B maestro is bold, nasty, vulnerable, and raw when he’s riding solo. “Stone Kold Freak,” “BIG,” “I Am The Party,” and “I Love U” maintain Usher’s versatility, proving he’s a Jack of all trades. Closing out the album is the remix of “Standing Next To You,” a collaboration with BTS’ Jungkook. Evidently, there’s no better way to describe the single, other than a sugary, pop-disco number that features two unlikely collaborators. Furthermore, Usher finds a similar comfort on the track, which is reminiscent of his union with none other than his idol, Michael Jackson.

A Comeback Worth Celebrating

Altogether, Usher keeps his place in R&B alive with Coming Home. The album also marks his most successful debut on the Billboard 200 in over a decade. As the artist preps for his Past Present Future World Tour, it’s clear that Usher’s determined to dominate the 2020s with newfound vigor. With all the uncertainty surrounding older acts attempting to make a powerful return, Usher breezes on by to the top. Altogether, talent and legacy unite for the legend, but this feat was no overnight endeavor. Through careful planning, a masterful combination of nostalgia and futurism, and strategic performances, Coming Home has the world longing for some more Usher, one of the last true R&B heroes of our time.

[via]

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TiaCorine “Almost There” Review

February 8, 2024 by newhiphopnews

TiaCorine’s highly anticipated major label debut EP, Almost There, is her first project under Interscope Records. After a forceful breakthrough, the colorful rapper evolves far beyond her previous projects. Infusing equal parts brightness and toughness in her new material, Almost There is a step in the right direction. However, as ironic as it may seem, the title fully encapsulates the rapper’s evolution. She’s finding her footing but still has a ways to go.

Upon diving into this release, listeners might notice a shift in dynamics compared to I Can’t Wait. Nonetheless, both projects greatly indicate her exploratory tendencies. On Almost There, TiaCorine transports you to a nightclub, the streets, the bedroom, and most importantly, the innermost parts of her mind. Altogether, the EP, much like her previous work, encompasses various styles and infectious flows. While this may put off some listeners who prefer artists with a trademark sound, it attracts another group of listeners: the curious and adventurous sort. Almost There is vastly different from anything TiaCorine has put out before. The XXL Freshman alum is more confident, consciously attempting to hone in on a more focused sonic landscape.

TiaCorine Electrifies On Almost There

The album kicks off with an electrifying start on “Yung Joc,” a collaboration with fellow XXL Freshman alum, Luh Tyler. On the bold track, TiaCorine is brash, effortlessly intertwining her cutthroat flow with Tyler’s distinct drawl. Despite the seemingly simple beat, a hazy, hypnotic backdrop seals the deal, making it a worthwhile choice for a single. Overall, TiaCorine strikes a balance between speed and vocal lethargy, which becomes a recurring theme on Almost There.

“Blick,” featuring Key Glock, maintains the album’s momentum with its hard-hitting beat. As a trap virtuoso, TiaCorine is comfortable, but not to the point of complacency. Her stylistic delivery might give room for Glock’s abilities, though she retains her artistic identity. In the same vein, she bounces back and forth between her dark and bright delivery, keeping a laser-focus on her words.

“Bonnet” is an infectious banger that instantly captivates the mind. With a frantic beat, and TiaCorine’s playful delivery, the track leaves a lasting impression on its audience and is easily a standout on Almost There. Subsequent tracks like “Give No F*ck” and “Shamone” do not match up to the rapper’s capabilities, however. Nonetheless, they exude the raw, unapologetic energy fans of TiaCorine have come to expect in bursts.

Hidden Vocal Gems

The EP’s third track, “Olive,” is another noteworthy moment on Almost There. Specifically, it features a stellar beat crafted by the skilled hands of BNYX. Moreover, Zelooperz lends the most infectious hook, injecting a dose of vivacity into the EP. While both TiaCorine and Zelooperz deliver exceptional verses, it’s hard to ignore the latter’s magnetic presence. Interestingly, while TiaCorine matches the flows of her contemporaries on the first two tracks, Zeeloperz successfully steals the spotlight on “Olive.”

Nonetheless, TiaCorine shines, and the track should be a prime contender for Almost There’s next single. “Olive” boasts such an infectious energy, and offering a visual narrative could further elevate the track’s impact. TiaCorine’s voice is deep, yet satiny and breathy smooth, which is yet another layer of artistry that she has mastered. Almost There, although lacking in a bulk of vocal moments, has just enough to earn TiaCorine a new wave of trap fans.

TiaCorine Sets The Scene For The Almost There Tour.

It also just happens that this EP is coming in the wake of TiaCorine’s Almost There tour announcement. Therefore, it’s easier to speculate that this project is more of a tour teaser, than a pointer to her new artistic trajectory. This introspection also raises intriguing questions about the evolution of TiaCorine’s sound and the potential direction she may be headed in.

Almost There is a compelling snapshot of TiaCorine’s current artistic state. Backed by a major label, and with an advanced production, the music is proof of her capabilities. However, as aforementioned, TiaCorine is still on a journey, and Almost There, although a worthy project, is just a teaser. Deep in the nooks of her music, there’s a much stronger rapper. Hopefully, we’ll get a greater taste of that soon.

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Kid Cudi “INSANO” Album Review

January 19, 2024 by newhiphopnews

Man on the Moon III: The Chosen (2020) was a great full-circle moment for Kid Cudi. He emulated Travis Scott (for whom he is a massive influence) and came through with psych-trap bangers, plus a versatile and emotionally powerful set of Cudder-style cuts. Unfortunately, on the Cleveland native’s ninth solo studio album and final Republic Records offering, INSANO, this experiment repeats itself with less exciting results, more filler, and an overall missing vision that usually ties his projects together seamlessly.

While he framed this album as a dedication to his OG fanbase, this sounds like more catering to the contemporary popular sounds in hip-hop that he helped innovate. However, this is no empty desert: Mr. Rager still delivers a handful of tracks worthy of his celebrated discography. But perhaps INSANO‘s biggest flaw is how it’s a pick-and-choose experience rather than a fulfilling front-to-back package.

What Makes INSANO Work?

If you’re a big fan of Kid Cudi’s hypnotic, dreamy, often cavernous, and entrancing style, or that of the artists he influences, then there’s a great chance you’ll like INSANO. “OFTEN, I HAVE THESE DREAMS,” “ELECTROWAVEBABY” (which got a Ye “co-sign”), “BLUE SKY,” and certain choruses, flows, and themes on other tracks are classic Cudi all the way. These are among the cuts that cohesively mesh his influences of hip-hop, pop, indie, and electronic, and this breaks up the track flow in the most engaging ways. “FRESHIE” also provides excellent flows and a structurally distinct song in comparison to the others, whereas “TORTURED” and “FUNKY WIZARD SMOKE” provide a strong focus on despondence and perseverance, respectively.

At first glance, or listening to any track out of context, there are always signs and displays of what makes Kid Cudi so great. Clean, crisp, but impactful production, engaging melodies across songs, carefree lyricism, emotional honesty and range, and an overall healing factor. On that last point, this is probably the 39-year-old’s most joyful album. INSANO starts with more bangers and slowly morphs into more mellow fare, but there’s a catch. By the time we finally leave the psych-trap lane in the tracklist, we’ve heard two or three of these records too many.

Where Did Kid Cudi Miss The Mark?

Kid Cudi INSANO Review Hip Hop News — Kid Cudi attends the premiere of “The Book of Clarence” on January 05, 2024 in Los Angeles, California. (Axelle/Bauer-Griffin/FilmMagic/Getty Images)

While INSANO represents the WZRD artist’s talents across the board, listening from top to bottom can be repetitive, vapid, and messy. He’s always had jumbled and choppy flows, but these instrumentals require a strong melodic and structural focus that these performances never capture. “KEEP BOUNCING,” “A TALE OF A KNIGHT,” and “CUD LIFE” are examples of tracks that come and go with minimal impact. In addition, with few instances of memorable wordplay or phrasing, detailed narratives, or strong hooks, there’s little to latch onto emotionally and lyrically beyond the basic descriptions we’ve heard so much in Kid Cudi’s catalog. There are only so many times we can hear about blunts, baddies, fast cars, and being better than all the haters he claims not to care about.

Even the professional-grade production is too limited in terms of psych-trap aesthetics and structure. Beats like “MOST AIN’T DENNIS” and “FRESHIE” are amazing, but they’re sonically not that different from the mostly passable and largely static pack of instrumentals here. Many of these songs needed more fleshing out and development to materialize fully, and to distinguish themselves from others. Meanwhile, the features range from very good to average, and most of them are too short to stun. A$AP Rocky shines on “WOW,” Kid Cudi goes back and forth with Travis Scott and Young Thug on “GET OFF ME” and “RAGER BOYZ” respectively, and Lil Wayne provides a brief but fun set of bars on “SEVEN.” Lil Yachty’s vibrato does its thing on “TOO DAMN HIGH,” Pharrell’s okay on “AT THE PARTY,” and the XXXTENTACION sample is well-treated. Alas, they don’t astonish.

What’s Next For Mr. Rager?

Overall, INSANO feels like Kid Cudi just having fun for an hour, but without the focus and intent to translate that experience compellingly. With a deluxe on the way and his career in limbo thanks to possible retirement (though he’s by no means slowing down beyond music), it’s hard to tell where he’ll go next. Still, there is one reason why this album should be celebrated that has nothing to do with its quality. Scott Mescudi’s been through a lot: the loss of a father, mental health struggles, addiction, and the constant criticism, doubt, attacks, and misunderstanding perceptions that have plagued him throughout his career.

For this album, we can’t say we don’t see where the haters are coming from. Yet despite his overbearing references to them, it feels like he is happier and healthier than ever, allowing himself to bask in this blessing and triumph while still speaking on his demons. As such, INSANO may not reach the standards Kid Cudi set for himself, but it does represent personal growth and peace that no project’s acclaim could amount to. So while this attempt was neither great nor terrible, we’ll always be excited for whatever he does next, whether as the artist we grew to love or as the influential, multi-disciplinary creative he always knew he’d become.

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Andre 3000 “New Blue Sun” Review

November 23, 2023 by newhiphopnews

On “?,” an underrated gem from Outkast’s Stankonia, Andre 3000 blazes through a relentless verse pondering on what makes humans do horrible things, either to others or themselves. Through the sounds of poured-out bottles towards the end, he seems to hint at his conclusion: alcohol. Excluding the Atlanta native’s latter half of Speakerboxxx/The Love Below, this is one of the very few songs to feature him without his partner Big Boi. On the rapper and flautist’s new album New Blue Sun, he’s asking a different question through a 90-minute ambient, new age, spiritual jazz album: What’s the next phase of his career? Instead of asking the world, Andre Benjamin asks himself and finds the answer from within. The result is a raw, imperfect, gorgeous, and deeply emotional statement of self-discovery.

One thing about New Blue Sun that anyone should be able to appreciate, regardless of their experience with new age, is the sonic craft behind it. Carlos Niño, who acts as producer, percussionist, and Andre 3000’s right-hand man in this album’s creation, brought a surprising aesthetic to the table. The production is heavy and dense despite the woodwinds leading us elsewhere. Bass elements are dark and cavernous and can add real evil to otherwise breezy soundscapes. Often, sharp static feedback, white noise, and hisses during the recording process give this record an earthy, grounded, and very raw feel. It all works together very seamlessly- and so do all the players, given the improvisational nature of these compositions which the production puts at center stage.

New Blue Sun‘s Production

In addition, the clicks of Andre 3000’s digital flute and other unwanted sounds as folks play their instruments occupy significant space in the mix. It adds to this feeling that you’re right there in the room with them — or rather, the mystical meadow and fantasy land that the music and the album’s title point to. The track “Ghandi, Dalai Lama, Your Lord & Savior J.C. / Bundy, Jeffrey Dahmer, And John Wayne Gacy” highlights Diego Gaeta’s gorgeous piano, while the closer “Dreams Once Buried Beneath the Dungeon Floor Slowly Sprout into Undying Gardens” is the most overt instance of ethereal guitar worship from Nate Mercereau’s playing.

That’s another thing: the production is so enveloping and dense that you can barely tell whether what you’re hearing is a guitar, flute, synth, or someone’s faint voice. Their intent to vary each song structurally when compared to the next is key to this album’s appeal. For example, for every improvisational linear and jazz-like moment, like the head melody and pondering movement of the opening track, “I swear, I Really Wanted To Make A ‘Rap’ Album But This Is Literally The Way The Wind Blew Me This Time,” there’s a song of pure ambient and meditative worship, like the next song “The Slang Word P(*)ssy Rolls Off The Tongue With Far Better Ease Than The Proper Word Vagina . Do You Agree?”

What Makes New Blue Sun Unique? What Hinders It?

Andre 3000 New Blue Sun Album Review Hip Hop News — (Marcus Ingram/WireImage/Getty Images)

This, plus its aforementioned density, sets New Blue Sun slightly apart from its influences. The tribal, primal, rhythmically patient, and tense hunter mind-state presented on “That Night In Hawaii When I Turned Into A Panther And Started Making These Low Register Purring Tones That I Couldn’t Control … Sh¥t Was Wild” is among this album’s most unique moments. But it’s difficult to identify those when talking about Andre 3000’s album holistically. Each track is a microcosm of the whole experience. Still, this versatility means that some moments will lean heavily enough into an ambient and meditative state that feels uneventful and disengaging. “Ninety Three ’Til Infinity and Beyoncé,” whose four-minute length feels like thirty seconds in the grand scheme of New Blue Sun, still makes an impact. The longer cuts, though, fall victim to their length and static stasis on occasion.

Also, the playing on New Blue Sun isn’t perfect, which is where it falters when compared to influences like Alice Coltrane, Laraaji, and others. In fact, it’s almost an ironic reality. Andre 3000’s flute, which he sometimes plays out of key and too meanderingly, might be the weakest aspect of this album’s composition and musicality. Even though space, meditation, and patience are key tenants of ambient music and spiritual jazz, sometimes this album stretches itself out a bit too thin with its adherence to that vibe. But don’t get it twisted: it’s still very expressive, serene, cohesive, and immersive. It just doesn’t hold up to other improvisational standards. Then again, Andre doesn’t know chords, notes, and music theory like that, which is totally fine.

What Did Andre 3000 Achieve Here?

For what it is, it stands as a great intro to this sound for casual music fans, not the next best thing in it. But what does it matter what a hip-hop writer says about an album that is so explicitly not hip-hop? Well, I’m going to invoke blasphemy and recall Drake’s Honestly Nevermind as a comparison point. The most important thing that album did, regardless of quality, was welcome an audience who might not have known how much they could like house music. So, Andre 3000’s New Blue Sun knows exactly what it’s doing. It ends up being a fitting tribute to these sounds from Steve Roach, Yoshio Ojima, Yusef Lateef, and more, rather than a distilled novelty.

All throughout New Blue Sun, there’s tension, and then release, which these inspirations are true masters at. Subtle key changes, futuristic effects, and melodic variations of each other’s structures do provide some respite for listeners looking for the fine details. As a background listen, it feels unrestrained and tender enough to focus on the bigger picture, so you can check Andre 3000’s album out either way. Just be cognizant of what you’re in for and take it at face value.

Conclusion

Even with little words, Andre 3000 still says a lot. New Blue Sun is deliberately peaceful, often somber, and sometimes chaotic with incredible swells on tracks like “BuyPoloDisorder’s Daughter Wears A 3000 Shirt Embroidered.” Emotionally, the album covers everything under the sun with the same sense of passionate wonder. Take “Ants To You, Gods To Who ?,” for example, with its cold, dreamy atmosphere accentuated by a unique flute tone and melodic direction. It also represents the “She Lives In My Lap” artist’s own role amid all this. This isn’t really a solo album — in fact, none of his work truly is. But his skill and sensibilities shine through on everything he touches, and 3 Stacks is incredibly grateful for all the avenues that championed his artistic freedom, of which this is the latest.

New Blue Sun‘s closer’s title references the Dungeon Family, the first space in which the flautist felt fully free to express himself in his career. Back then, that mode of self-discovery was through rap, which he pondered intensely as he wrote verses. If Andre’s a rap architect, then this is him as a gardener, planting seeds and experiencing how they grow. Those can’t blossom without the company he chose, and that synergy is palpable on this album. In that humility and inspiration, he crafted one of the greatest artistic legacies of all time, in which New Blue Sun is a pivotal piece. There’s nothing more emblematic of Andre 3000, or compelling to him as a human, than the constant search for an answer. He found it, is finding it, and will always seek the way the wind blows him next time.

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Offset Thanks Ebro After Receiving The Ultimate Compliment

October 16, 2023 by newhiphopnews

Throughout the past couple of years, Offset has been through a lot. Around this time last year, Takeoff was shot and killed in a senseless incident. Overall, this event shook hip-hop to its core, and many still can’t believe it happened. Subsequently, many wanted to see Set and Quavo reconcile. However, it took months for that to actually happen. Eventually, the two performed together at the BET Awards, and it turned out to be a truly amazing moment for everyone involved.

On Friday, the rapper dropped off his brand-new album simply titled Set It Off. This is a project that he has been working on for quite some time. The album comes with features from Cardi B, Travis Scott, Don Toliver, and more. Overall, there have been mixed reactions to the album. However, there is one person who loves what Set came through with. That man is Ebro, who took to Twitter to give Offset his flowers for the new body of work.

Offset Shows Appreciation

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Offset was extremely appreciative of the co-sign and made sure to thank Ebro accordingly. “Thank you brother for your guidance and time… for sitting down with me being in my corner whole time… means a lot,” the rapper wrote. Ebro has been known to be quite tough on rappers in the past. However, this time around, he opted to show some well-deserved love. This is something a lot of artists don’t get enough of these days. Either way, Set It Off will continue to get some radio play over these next few weeks.

It is always good to see the artist getting his flowers, especially at this stage in his career. With Offset’s new album officially on the market, let us know what you think of Set It Off, in the comments section below. Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will always be sure to bring you the latest updates on all of your favorite artists.

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Drake Eviscerates Joe Budden In Scathing Response To “For All The Dogs” Criticism

October 7, 2023 by newhiphopnews

Drake finally dropped his coveted new project For All The Dogs yesterday, and Joe Budden was quick to share his thoughts on his podcast. Budden weighed in on the album, making it clear that he wasn’t exactly impressed. He advised Drake to start hanging out with people his “own age” instead of young internet personalities like Kai Cenat, claiming that he’s now “rapping for the children.” Budden didn’t completely discredit the Canadian hitmaker, however, noting that he’s still “the golden child” and is likely to find success no matter what. While some thought the criticism was fair, others didn’t take to it kindly, including Drake.

Recently, Drizzy took to social media to clap back, and he went in. He claimed that Budden is nothing but a “quitter” who now has to comment on other people’s work in order to pay his bills. The lengthy rant didn’t stop there, however. Drake also claimed that Budden is simply “projecting his own self hate” onto other people, and is jealous of his success.

Drake Roasts Joe Budden In Response To Album Review

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Budden then responded to his comment with a simple message, claiming that Drake’s still got some maturing to do. “You’ll grow up sooner or later,” he wrote, adding “Father time is undefeated.” Clearly, Drake took things pretty far with his response, and Budden appears to be sticking to his guns for now.

With that being said, this certainly has the potential to develop further, and it’s likely that Joe Budden could provide a more detailed response to his rant sometime in the near future. What do you think of Drake’s response to Joe Budden’s For All The Dogs review? Do you think it was justified, or was Joe Budden’s criticism fair? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates on Drake and Joe Budden.

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DJ Khaled Reacts To Drake’s “For All The Dogs” Album

October 6, 2023 by newhiphopnews

DJ Khaled had an enthusiastic response to Drake’s highly-anticipated album For All The Dogs, which dropped today. Fans should expect nothing less from Khaled, as he’s been a long-standing Drake supporter for as long as the internet can remember. In a candid moment shared on his Instagram story today, Khaled expressed his excitement and eagerness to dive into Drake’s latest musical masterpiece. “I’m gonna listen to the new Drake album from top to bottom and catch a vibe,” Khaled announced before getting in his ride. Khaled continued to share stories of himself vibing to the music in the car. “The 6 God and Cole is crazy, we been wanting that for a long time,” Khaled said as “First Person Shooter,” played in the background.

The speakers were blasting loud and clear in every frame. But DJ Khaled didn’t stop at sharing his enthusiasm for Drake’s music. He also dropped a bombshell regarding his own forthcoming album, “2024 the album.” With his signature charisma and infectious energy, Khaled teased that his album was shaping up to be nothing short of incredible. “For all my fans out there, my album, 2024 the album, it’s coming out incredible,” he said. “I have two Drakes in the can, it’s locked and loaded. 2024, lets talk more. It feels so great to have two in the can. Two Drakes … I got it, (laughs).” Khaled bragged about having his favorite-collaborator on not just one, but two songs of his upcoming project.

Khaled Is Excited About His Upcoming Album Too

Indeed, DJ Khaled leaves no stone unturned when it comes to sharing his excitement about featuring two Drake tracks on his upcoming project. Just a week ago, he made a grand entrance alongside Drake at his Miami concert. What caught everyone’s attention was the large poster Khaled proudly displayed. The poster boldly declared, “I have 2 Drake songs on my new album, coming 2024.” This move left no doubt in anyone’s mind that Khaled is eager to make 2024 a year to remember for music lovers.

In other news, the internet has been reacting to For All The Dogs all day. With the 23-track project making its rounds on the internet, and fans have had mixed reactions towards it. “For All The Dogs was a fun listen but Drake was lying his a** off when he said this would sound like old drake,” one user wrote on X. “Ppl thought Virginia Beach was gonna be a diss track, whole time Drake just singing his heart out over a Frank Ocean sample,” another said. What are your thoughts on Drake’s latest project? And where does it rank in his discography? Let us know your thoughts on HNHH!

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Lil Wayne’s “Tha Fix Before Tha VI” Mixtape Review

September 29, 2023 by newhiphopnews

Lil Wayne has been active throughout this year. He toured North America, performed at the ESPY Awards, and featured on Nas’s latest album. Now Wayne is officially beginning the rollout for Tha Carter VI. Just in time for the fifth anniversary of Tha Carter V, he released Tha Fix Before Tha VI. His first official project since 2020, Lil Wayne’s ten-track commercial mixtape, is a precursor to his upcoming 14th studio album. The Young Money label boss is known for dropping preludes to his albums, including his Sorry 4 The Wait series, I Am Not A Human Being, and the Free Weezy Album. Lil Wayne’s latest release feeds his loyal fanbase with an appetizer, allowing their hunger to grow for the main course. Now that the project is finally out, it can be said that Tha Fix Before Tha VI builds more worry than anticipation.

Lil Wayne Plays To Both His Strengths & Weaknesses

On his latest mixtape, Lil Wayne highlights both his acclaimed skill set and the least palatable qualities of his music. He opens Tha Fix Before Tha VI with the Jon Batiste-assisted “Act Up.” Wayne’s signature lighter flick leads to an exciting mix of flows accentuated by the continuously building instrumental. His use of autotune brings out the emotion in his delivery, making for an attention-grabbing introduction. Wayne rides the song’s momentum with “Birds,” which is uniquely catchy. It features a bizarre, bird-sampling instrumental over which he sounds good, although the beat does get tiresome. His verses contain exciting flows, providing a catchy melody on the song’s chorus.

The song “Slip” is a prime example of how an abysmal hook can diminish Lil Wayne’s creative bars. He starts the track with some of his best rhyming on the entire project over a luscious instrumental. His second verse is also phenomenal as he spits punchlines like, “He’s a p*ssy, he can’t do a thing, now that’s just menopause.” Unfortunately, the chorus takes away from the verses as Lil Wayne nasally repeats, “Y’all n****s like extra skin on my d*ck.” The previously-released single, “Kat Food,” nods to Missy Elliott in its odd instrumental that Wayne effortlessly floats over.

Tha Fix Before Tha VI takes an interesting turn with “Tuxedo,” a rap-rock fusion that recalls his 2010 album, Rebirth. Wayne is joined by Young Money signee Euro and boasts about getting a pardon from President Trump. He raps, “I just called my n**** Donald Trump and that was that.” While the beat and overall style of the song are not fitting for Euro nor Wayne, both rappers sound comfortable over the instrumental.

Much Is To Be Desired

While there are promising moments on Tha Fix Before Tha VI, many are undermined by an off-putting chorus, instrumental, or lyric. The song “No New B*tches” may include effective rhyme schemes, but the track is filled with repetitive raps about sex over a cluttered beat. It is reminiscent of the overwhelmingly sexual lyricism that plagued 2013’s I Am Not A Human Being II. The song “Tity Boi” is pretty self-explanatory, featuring the same tiresome sex raps, although Lil Wayne rhymes well over the layered production. Again, the rapping is hindered by a poorly constructed chorus that becomes an obnoxiously repetitive Jersey Club track. With a title like “Tity Boi,” the content is to be expected, but Wayne has rapped about sex in significantly more creative ways before.

Tha Fix Before Tha VI has its bland moments, but it finishes strong with “Good Morning.” On this track, Lil Wayne comes to life over a triumphant instrumental. Unfortunately, it is too short, but it was made simply as a theme song for FS1’s Undisputed. The track would have made for a more exciting intro, but it closes the project on a positive note.

Ultimately, Lil Wayne’s latest commercial mixtape does leave much to be desired. However, it has been prefaced that the next installment of Tha Carter series is on the way. Nothing on this mixtape is as nearly as impressive as his Swizz Beatz-produced “Kant Nobody” single that arrived earlier this year. Wayne is clearly a gifted rapper, but his songwriting is still inconsistent and the project is tainted by lazy choruses and poor production selection. Let’s hope that Lil Wayne is saving his best material for Tha Carter VI.

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