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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 Gibbswent 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.
“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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 AlmostThere. 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.
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.
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.
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.
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.
Kid Cudi performs at Rolling Loud Miami on July 22, 2022 in Miami, Florida. (Jason Koerner/Getty Images)
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.
