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4Batz “u made me a st4r” Review

May 7, 2024 by newhiphopnews

4Batz first exploded onto the R&B scene late last year with viral sensations such as “act I: stickerz 99” and “act ii: date @ 8.” The crooner quickly picked up steam on platforms such as TikTok, with his chill soulful sound serving as the backing music to a wide array of viral videos. Despite only having a few songs available to the public, 4Batz managed to land a Drake feature and even inked a deal with Drake’s OVO label for 1 EP. After initially pushing back its initial April release date, 4Batz premiered u made me a st4r on May 3, amidst the ground-shattering Drake and Kendrick Lamar beef.

While u made me a st4r, released via 4Batz/gamma, may have been overshadowed by the brutal rap feud on its opening weekend, fans across the web still had plenty to say about the project. Perhaps as the dust settles on Kendrick and Drake’s intense back-and-forth, more fans will have an opportunity to relax with the laid-back smoker anthems present on 4Batz’s first-ever EP. Without any further preamble, let’s dive into the tracklist of u made me a st4r, and review the material therein.

A Slow Start

Despite u made me a st4r serving as 4Batz’ debut EP, the rising star does little to capitalize on his hype at the top of the record. The project begins with a brief intro skit, which humorously doesn’t shy away from 4Batz’s reputation as a potential industry plant. Admittedly, it would be a difficult allegation for 4Batz to duck, considering he has an EP deal with OVO Sound and major endorsements from industry giants like Timbaland, Drake, and Kanye West. Still, this intro, complete with a chirping smoke detector, establishes that Batz isn’t afraid to face these criticisms, as he considers himself “one of the biggest artists in the world.”

The EP then transitions into “act I: stickerz 99” and “act ii: date @ 8” back to back. While these tracks obviously lend a lot of viral weight to the release, it’s hard to say that they add any new flavors to the mix. In fact, the massive viral attention garnered by these songs, especially “date @ 8,” subtracts a bit from the project, which really could have shined without these existing songs. These tracks were already great as singles, and didn’t need to take up any extra space on this release.

4Batz Shows Signs Of Growth

One of the major hazards of reaching massive success at a young age is learning as you go, and failing publicly while doing so. 4Batz is only 20 years old, so some of the major missteps on u made me a st4r can be excused by the steep learning curve offered to such a young budding artist. Tracks like “act iv: fckin u (18+)” and “act v: there goes another vase” are great examples of these blenders, with Batz taking on subject matter that requires a much lighter touch than he’s currently capable of offering.

“act iv: fckin u (18+)” is a painfully awkward sex ballad, complete with vulgar sexual lyrics that come off more as misguided male bravado than they do sensual and smooth. While the track’s thumping West Coast beat may have otherwise made it an excellent candidate for a late-night drive, it’s tough to imagine blasting something like this in your whip publicly. Ultimately, the song doesn’t quite bring enough to the table to be considered for a sensual playlist and ends too abruptly to leave a lasting impact.

“act v: there goes another vase” is probably 4Batz’ biggest dud on the entire EP. The track is, confusingly, a domestic violence anthem, which disturbingly aggrandizes toxic relationships that resort to physical abuse. On this song, Batz sings “You gon’ turn around and throw another vase/ You damn near hit me in my face/ But if I punch on you, then I’ma get a case.” These bars are delivered in a regretful tone which, candidly, makes it sound like Batz is longing for a guilt-free opportunity to beat up his partner after a nasty argument.

Ending On A Major High Note

Despite hitting some major stutter steps along the way, 4Batz ends his EP strong, with two highly catchy back-to-back tracks. That is, as long as you don’t consider the abysmal “act iii: on god? (she like)” remix with Kanye West part of the regular tracklist. On “act vii: all we do is argue, argue” 4Batz dives into another toxic anthem that is a much better example of a failing relationship than “there goes another vase.” Without alluding to bizarre visions of domestic violence at any point, Batz outlines a relationship that suffers from cheating, disrespect, and heartache, that neither he nor his partner can seem to shake.

4Batz follows this up with another major highlight in “act viii: I hate to be alone.” The closing track is an instant favorite for fans, and seems to be the major standout on the project so far. Batz’ breathy vocal passages drown in waterfalls of reverb over a spacey beat, dragging the listener across a head-bobbing soundscape. Even if you’re not a fan of the rest of 4Batz’ music, this heartbreak anthem is worth catching before TikTok inevitably plays it to death.

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PartyNextDoor “P4” Review

May 2, 2024 by newhiphopnews

There comes a time in everyone’s life when change is inevitable, even if it’s not something they truly want to embrace. It’s a commonality within the creative process. Every artist should take a leap of faith toward what may feel like a new chapter, no matter how ambitious it might seem. For PartyNextDoor, his efforts have been at the forefront of R&B for the last decade. The imprint he left on Nothing Was The Same might be minimal on paper but it became the foundation of what he’d accomplish on his first mixtape. He’s the connective tissue in the lineage of Toronto’s sound. Drake and The Weeknd undoubtedly helped shape that foundation, but Party expanded it further, especially as the artists mentioned above began exploring their sonic palettes to a globally appealing level. In fact, one could even argue that Party has remained the only artist out of the three who remains rooted in the regional sound they spearheaded.

Whereas previous efforts, such as PartyMobile and PartyNextDoor 3, showcased his evolution as a producer and a writer, it only slightly displayed his pop sensibilities without deviating from the cloudy Toronto soundscape he helped develop and refine over the years. That said, P4 marks a shift in PartyNextDoor’s career. He finally embraces a cleaner and crisp sound — taking the bedroom R&B production and toying with it for an all-encompassing project that captures his evolution as both an artist and a person. Ironically, that wasn’t the initial reaction when he dropped the NSFW album cover last month. Paired with early singles like “r e a l w o m a n” and “h e r o l d f r i e n d s,” it felt as though we’d be getting even more toxic relationship advice from an individual who has historically failed to maintain one. However, the hedonism has toned down significantly while the Mississauga-born artist faces a fork-in-the-road dilemma. Coming into his 30s, there’s an urge to settle down and find an anchor to his chaotic life but also a reluctance to enter this specific phase.

The first lyrics heard on the album’s intro “c o n t r o l” are on-brand for Party. “Take your clothes off,” he sings seductively, prefacing the explosion of sexual tension that follows. The airy, euphoric production contrasts the typical PND intro song — glitchy and moody tributes to after-hours, Instagram Models, paranoia, and graphic descriptions of his bedroom activity. His ability to disguise his carnal urges as romance becomes even more effective when combined with the lush layers of production, including accents of opulent violins. It feels as though love is on his mind until the outro when a woman, a recurring voice across the album skits, divulges that PartyNextDoor proposed a ménage á trois. And just like that, we’re back to square one.

However, that intro only opens the floodgates to the moral quandary he faces across the album: is romance a fleeting concept, especially when weighed against temptation? Songs like “s t u c k i n m y w a y s” and “n o c h i l l” provide classic PND vibes on all fronts, down to the detailed materialistic displays of affection to the melancholic production that embodies the nocturnal side of Toronto. On the former, PND contemplates this newfound love and confronts his commitment issues. “Lettin’ all my h*es go,” he sings, “Love doin’ somethin’ to me, to make me stay.” But just as quickly, he retreats, singing, “Baby, don’t you be offended/ ‘Cause I’m so stuck in my ways, I never wanna change.”

The entire album provides a mixed bag of everything that has turned PartyNextDoor into a generational talent, albeit understated. During an interview with Billboard this year, he explained how he treated many songs on his last two albums as demos. Though the dim and hazy sound helped distinguish him from his peers and also contributed to the overall allure, it didn’t necessarily translate to commercial success. But after crafting hits for everyone from Rihanna, DJ Khaled, Drake, and Ye, to name a few, he said that P4 finds him “using everything I learned as a producer, as a writer, as an engineer.”

As a result, the rawness of his sound has vanished in his latest album. Part of it is due to the intentional decision to ditch the gritty auto-tune-friendly melodies to allow his passionate vocal prowess to take center stage, fueling his fiery delivery. It’s a minor change and not one that he hasn’t explored in the past. However, it’s what helps make songs like “c h e e r s” and “f o r c e r t a i n” clear contenders for summer anthems. While “c h e e r s” feels like a blatant radio-friendly record (one that works, by the way), it can feel a bit like a forced effort that plays up to the algorithm of DSPs and social media. Meanwhile, “f o r c e r t a i n” fuses dancehall with tinges of Latin flare — it almost has the essence of “Wild Thoughts,” which comes as no surprise since that’s yet another hit record that his pen was behind.

The beauty behind P4 is that it’s an excellent depiction of PND’s artistry and personality. Though he often comes across as a guarded individual who would prefer to succumb to his toxic traits as a defense mechanism, P4 allows his vulnerability to grow on both paper and in the booth. It’s evident in the skits across the album where he lets us eavesdrop on heated arguments. Then, on songs like “f a m i l y,” he peers at the past through a rearview with reluctance to move forward, though an understanding that he has to. While lead singles like, “r e a l w o m a n,” and the DMX-sampling, “l o s e m y m i n d” were infectious enough to keep us hooked, it’s how these pieces fit into P4 that makes the album such a gratifying listen.

[Via]

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A Boogie Wit Da Hoodie “Alone” EP Review

April 29, 2024 by newhiphopnews

Since signing with Atlantic Records in 2016, A Boogie Wit Da Hoodie has continuously tried to put out good music for his growing fanbase. In 2017, the New York-based rapper released his first studio album, The Bigger Artist. A Boogie followed up his successful debut with a sophomore effort in 2018, Hoodie SZN. The rapper’s first two albums received critical acclaim, and some fans tagged him as the next big thing. In his third studio album, Artist 2.0, released in 2020, the rapper had high-charting songs, “Look Back at It” and “Numbers.” However, with fans expecting more from A Boogie, his 2022 album Me vs. Myself didn’t do as well.

Despite mixed reactions to his 2022 album, A Boogie sold out his Me vs Myself Tour in 2023. He also had a great year performing in several concerts and festivals. Such amazing happenings meant something bigger was coming. Thus, his fans weren’t surprised when he announced he would release his fifth studio album, Better Off Alone, in 2024. In September 2023, A Boogie dropped an EP, B4 BOA (Before Better Off Alone), containing three tracks. With fans looking forward to Better Off Alone‘s release on May 17, 2024, A Boogie took them by surprise with the release of another EP titled Alone, which dropped on April 22. The four-track EP was released amid tensions between A Boogie and his on-and-off again baby mama, Ella Bands. Hence, it isn’t too surprising that the rapper’s latest EP focuses heavily on his relationship and personal struggles.

A Boogie Wit Da Hoodie’s Alone EP Was Probably Due To A Love Gone Wrong

Five days before the Alone EP’s release, a social media influencer, Marcy Diaz, accused A Boogie’s baby mama, Ella Bands, of cheating with her ex. A Boogie and Ella’s relationship was already dominated by past cheating allegations and several issues. However, his reaction to the new accusations showed he was done with the relationship this time. Taking to his Instagram Story, A Boogie wrote, “IM REALLY DTB [Don’t Trust B*****s] For Life LOL. B*****s BE WORST THAN N****S.” The songs in A Boogie Wit Da Hoodie’s Alone EP hint that he released it to speak about the things happening in his life lately.

The Alone EP’s first track is “Tiffanys,” in which he shows his vulnerable side. A Boogie raps about his struggles with his mental health and relationships. The song’s production is top-notch, with his autotuned rapping and singing complementing the song well. In “No More Questions,” A Boogie displays so much passion as he spits honest bars that depict his true feelings.

A Boogie Goes Hard & True in EP’s Concluding Songs

A Boogie Wit Da Hoodie’s Alone EP concludes with the songs “How To Love” and “D.T.N,” which translates to Don’t Trust N****s. In “How To Love,” A Boogie tackles his relationship issues. He accepts that he did his lover dirty but wonders why she could be done with him, though he took his time with her. In “D.T.N,” A Boogie continues with the EP’s emotional tone. He sings about how he’s been violated by people he loves. The song showcased A Boogie’s emotions, honest lyrics, and strong vocals, helping to convey its heartfelt meaning.

A Boogie Wit Da Hoodie’s Alone EP Sets The Tone For Next Album

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So far, A Boogie Wit Da Hoodie’s Alone EP has generated mixed reviews. However, the EP gives listeners a great view of his personal experiences and emotional challenges. A Boogie thrills his fans with a raw and authentic expression of his feelings. In the EP, he conveys his signature melodic style and dishes out poignant lyrics while displaying his vulnerability and speaking his truth. One positive aspect of Alone is that it proves how versatile A Boogie is and highlights his storytelling qualities. The EP is a good listen and gives a glimpse of what fans should expect when Better Off Alone drops next month.

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PARTYNEXTDOOR Strikes Again With Moody Sequel Album “P4”

April 26, 2024 by newhiphopnews

PARTYNEXTDOOR has quietly put together a stellar career. He’s been in the game for over a decade now, and he helped to solidify the “Toronto Sound” of the 2010s along with Drake and the rest of OVO. He experimented with different sounds on his last album, PARTYMOBILE (2020), but his new offering, PARTYNEXTDOOR 4 (or simply P4), serves as a return to form. It’s fourth installment in his self-titled series, and it’s a slick reminder that few artists are making better R&B music at the moment.

PARTYNEXTDOOR dropped four tracks ahead of the album’s release, and they all slide nicely into the tracklist. “Lose My Mind” and “Resentment” are standard PND fodder, solid if not spectacular. “Her Old Friends” changes things up with an acoustic guitar and a driving drum beat, while “Real Woman” remains a standout thanks to its slow jam tempo and sultry vocal sample. Thankfully, the bulk of the album falls in this slow jam sweet spot. P4 is at its best when it settles in and lets its singer ruminate about women who have wronged him (and vice versa). “Stuck In My Ways” is one of the moodiest songs PARTYNEXTDOOR has ever dropped. The chopped and screwed piano sample is hypnotic, especially when paired with the mournful vocals.

PARTYNEXTDOOR 4 Is Best When It Gets Moody

“Cheers” and “Make It to the Morning” provide mid-tempo reprieves from the album’s darker moments. The latter provides a glimpse of daylight in an otherwise nocturnal listen, and benefits from being right in the middle of the tracklist. There are a few missteps, like the plodding “No Chill,” which feels like its twice length. There’s also “Sorry, But I’m Outside,” which suffers from cloying breakup lyrics out of step with the PND playbook. P4 does rebound on the back end, though, with the glitchy track “Family” and the aforementioned “Resentment.” Overall, it’s a worthy addition to the PARTYNEXTDOOR series.

What are your thoughts on this new album, PARTYNEXTDOOR 4 (P4), by PARTYNEXTDOOR? Does PND still have the magic touch after four years off? Where does it rank in his self-titled album series? Which of the deep cuts was your favorite? We want to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news on PARTYNEXTDOOR. Finally, stay with us for the most informative song posts throughout the week.

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The Alchemist & Oh No “Heads I Win, Tails You Lose” Review

April 22, 2024 by newhiphopnews

The Alchemist and Oh No first teamed up as Gangrene in 2010, releasing their debut album, Gutter Water, that year. They established themselves as the ultimate duo. Both members excel within the underground scene with their unique approaches to lyricism and beat-making. As rappers and producers, their styles complement each other artistically. The Gangrene sound is defined by experimental production with busy instrumentation.

Alchemist and Oh No’s aggressive and jarringly violent bars reflect the organized chaos in the beats. Gangrene’s subsequent albums, 2012’s Vodka & Ayahuasca and 2015’s You Disgust Me, showed that no matter how much time had passed between albums and their countless solo ventures, they remained true to their sound. Heads I Win, Tails You Lose, their fourth full-length album and first in nine years, picks up right where they left off.

Gangrene’s Filthiest Album Yet

Heads I Win, Tails You Lose immediately places listeners into Gangrene’s mystical world of hard-hitting boom-bap loops. Its opening track, “Congratulations, You Lose,” begins with an ominous bassline and a thumping drum break. Setting the tone for the rest of the album, The Alchemist comes in with a menacing verse. He paints a vivid picture of “chewin a matchstick, I’ll spike the punch and send you on a bad trip.” Oh No matches the aggressive nature of Al’s bars in his verse, making for an exciting beginning of Gangrene’s reunion. The production on songs like “Oxnard Water Torture” and “The Gates of Hell” continues the album’s abrasive soundscape. The former’s screeching melody and off-kilter drums and the latter’s dissonant piano loop and jazzy percussion create an equally unsettling listening experience as it is intriguing.

Throughout its 39-minute run time, Heads I Win, Tails You Lose maintains its momentum. Its 13-song tracklist is quite consistent in its creative direction. The beats are bizarre and adventurous yet unmistakably traditional for The Alchemist and Oh No’s collaborative work. It might be a challenging listen compared to albums like Alfredo or A Long Red Hot Los Angeles Summer Night, but Gangrene is distinct from their other side projects because of its unconventional style.

Undeniable Chemistry

In addition to its cohesive tracklist, The Alchemist and Oh No continue their collaborative chemistry as both rappers and producers. Al handles the beats on eight songs, while Oh No produced the other five tracks. Both artists are versatile musicians, but the production blends together seamlessly as they stay true to their sound. As rappers, their chemistry is on full display. The Alchemist’s choppy flow and Oh No’s unpredictable rhyme patterns complete each other as they create new pockets within their own beats.

They rarely stray away from their signature flows, but the rapping is satisfying because they accompany each other so well. The features on Heads I Win, Tails You Lose also support their vocal and musical chemistry as Evidence, Boldly James, and ANKHLEJOHN specialize in this vein of underground hip hop. They also are known for sounding comfortable over production from The Alchemist and Oh No and when they rap alongside them. Evidence nonchalantly slides across the chill groove of “Magic Dust” while ANKHLEJOHN’s nasal vocal tone stands out on the minimal loop of “The Gates of Hell.” Additionally, Boldy James’s verse on the Alchemist-produced “Just Doing Art” aligns with the sounds of their three collaborative albums. Even with the guest verses, The Alchemist and Oh No do not rely on features. Their individual skill sets as rappers nearly outshine their own production.

The Progression Of The Alchemist & Oh No’s Everlasting Partnership

Nine years removed from their previous album, Heads I Win, Tails You Lose proves Gangrene to be reliable in delivering unorthodox beats and sharp rhymes. As a group, The Alchemist and Oh No may be predictable, but Gangrene remains unique in their sizable catalogs. The slow loops on their latest album are more subdued compared to that of Vodka & Ayahuasca and are more relaxed than You Disgust Me. Still, Heads I Win, Tails You Lose is Gangrene at their most refined, displaying each member’s artistic strengths. Between their solo ventures and countless collaborations, The Alchemist and Oh No always manage to tap into the sound they established long ago. Heads I Win, Tails You Lose assures that their everlasting partnership has not dwindled in the slightest.

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Mozzy “Children Of The Slums” Review

April 22, 2024 by newhiphopnews

Mozzy’s Children Of The Slums is a 17-track story that weaves the Sacramento rapper’s personal journey with a universal message of survival. The album also happens to be Mozzy’s eighth full-length studio LP and second under Collective Music Group/Interscope Records. Children Of The Slums features a solid lineup of collaborators including Fridayy, Eric Bellinger, E Mozzy, Celly Ru, and Afira but it’s impossible to drown him out. As expected, each of these names adds their unique flair to the overall narrative. Standout tracks like “Jaded” and “Living Proof” show Mozzy’s ability to blend different sounds and styles. Most important is the message behind Children Of The Slums. Those familiar with Mozzy might see this as a continuation of the poignant storytelling that marked his major label debut, Survivor’s Guilt, but that would be putting it too simply.

Pain, Struggle, And Survival

The album opens with not one, but two songs with a raw message of loss and betrayal. “Damn” is a mellow track that immediately sets the tone for the introspective journey ahead where Mozzy calls out a fair-weather friend over a beat that’s both haunting and soothing. Almost hurriedly, and to ensure the listener remains trapped, he moves on immediately to “Still Hurt.” On this, he layers a soulful sample over hi-hats, as Mozzy admits the lingering pain from the loss of loved ones.

A lot of songs on the album are just like these: Mozzy’s open wounds, shared with the world, perhaps in hopes of finding solace. On “Free JuJu” he pays homage to a lost guide and a person he wishes he could have set on the right path but couldn’t save in time. This is nearly the same as “Miss Big Bruh,” another heartfelt tribute. However, this time, it’s to a brotherly figure whose absence leaves a void in Mozzy’s heart.

But Mozzy is not just sad; he is a survivor. “I Can’t Go Out” and “If I Die Right Now” are powerful declarations of Mozzy’s determination to not just survive, but leave a legacy. In a similar vein, “I Can’t Go Out” is a passionate refusal to succumb to the streets while “If I Die Right Now” questions the depth of loyalty among friends and fans alike.

Reflection And Closure

When it is not about his sadness, Children Of The Slums is also deeply introspective. “Jaded” and “Living Proof” represent the duality of Mozzy’s psyche-battling demons while reaching for angels. The former delves into a cloudier soundscape, reflecting the internal struggle between good and evil. In contrast, “Living Proof” is a soulful anthem of triumph with E Mozzy joining to celebrate the realization of dreams against all odds.

The title track is a piano-driven piece that reflects on Mozzy’s efforts for his community. It’s a raw and honest account highlighting the rapper’s deep connection to his roots. “Red Nose Bully” shifts the mood but maintains the message, with Mozzy asserting his enduring presence in the rap game over vibrant pianos and crisp hi-hats. The only reference Mozzy makes to his time imprisoned is “Traumatized,” which highlights the harrowing experience of a court sentencing.

Another major highlight of Children Of The Slums is the finale. The album wraps up with “Better Without You,” a gloomy track that drowns in its own sample of Eiffel 65’s “Blue (Da Ba Dee).” In a way, this signifies the exhaustion of watching others suffer. It’s a somber end to an album that traverses the spectrum of human emotion.

Cohesive Charm Meets Longing Lyricism

Mozzy’s return to the music scene is as understated as it is profound. He made no grand gestures to mark his release. Here, Mozzy turns away from the trend of glorifying jail time, choosing instead to focus on the community that shaped him. His album doesn’t dwell on his personal struggles behind bars; rather, it serves as a beacon of hope and inspiration for those he speaks for. Through his lyrics, it is obvious Mozzy hopes to give a voice to the voiceless with authenticity and raw emotion. Children Of The Slums is not just an album — it’s Mozzy’s heartfelt note to the world, delivered with the same unassuming, yet impactful presence he embodies.

Throughout Children of the Slums, Mozzy’s pen game is sharp, his delivery is impassioned, and his storytelling is unparalleled. The album is evidence of his growth as an artist and a human being since his incarceration. It’s a story of resilience; a story of a man who rose from the slums to speak for those still trapped within them. With each track, Mozzy lays another brick in the foundation of his legacy, proving that even from the darkest corners, light can emerge.

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G Perico “G Slim’s Revenge” Review

April 20, 2024 by newhiphopnews

South Central Los Angeles rapper G Perico has been feeding the streets with multiple underrated projects in the last decade. After landing some significant feature placements with the likes of Nipsey Hussle, Royce da 5’9″, and J. Cole’s Dreamville, G Perico has continued to increase his base of listeners. His latest project, G Slim’s Revenge, sees the Roc Nation signee dropping some of his toughest gems yet, with numerous highlights across the project. G Slim’s Revenge runs 10 tracks over 22 minutes, with absolutely no skips. Without any further preamble, let’s dissect G Perico’s latest full-length effort, and review the material therein.

The Album Opens With Some Heat

The intro track to G Slim’s Revenge is “Any Means,” an ultra-hard lyric-packed opener that perfectly sets the tone for the project. The lyrics explore G Perico’s neighborhood, reference iconic rap refrains, and describe the state of the Black American experience by invoking such significant figures as Martin Luther King, Malcolm X, and Barack Obama. G Perico’s trademark blend of high-pitched vocal twang glides perfectly over the rough and rugged West Coast instrumental, even if he does, at times, sound like he’s doing an impression of Nipsey Hussle.

“Troll Patrol” continues this trend, with a swinging instrumental that allows G Perico to flow like a hot knife through butter. His cadence on this track is completely infectious, and may cause you to swerve side to side across a few lanes of traffic if you bump this record in your whip. Perico seems to have really found his groove on this album, as the flows and vocal melodies he presents are as smooth and effortless as they’ve ever sounded.

“How Will” Is A Microcosm Of The Whole Album

G Perico opens the third track “How Will” with a brief spoken intro, stating, “I ain’t gon’ lie man, I just wanna talk sh** on this beat right now.” Not only is that exactly what he delivers on the rest of the track, this statement could serve as the tagline for the entire project. G Slim’s Revenge may not have much of a high concept or a strong thematic through-line, but G Perico’s ability to completely turn out a beat with smooth, gang-heavy raps is all but unparalleled. The pitched-up R&B samples that break up his verses on “How Will” offer a melodic angle to the track. Perico leaps from topic to topic, offering his take on shallow women, his opps, the police, and the impoverished state of his home neighborhood.

Subsequent tracks on G Slim’s Revenge hone in on these topics singularly, with tracks like “She Sexy” offering a look into a particular woman who caught his eye. On the track, G Perico fixates on a woman with independent wealth, excellent taste in clothes and fragrances, and a bossed-up attitude that keeps her in her business. “Luxury” continues as a pop your sh** anthem, full of references to designer brands, expensive cars, and first-class flights. Wallie The Sensei appears as a vocal guest on the latter, with a laid-back melodic hook that perfectly clashes with G’s high-pitched twang.

The Album Closes Out As Strong As It Began

While G Slim’s Revenge does only run 10 tracks, it is still impressive just how consistent the project is overall. G Perico never hits a lull or a dip in the tracklist and continues to close out the back half of the record as powerfully as the front half. “Throw It Up” offers the best guest verse, with Tiny Doo offering brash, raspy vocal textures that clash perfectly with G Perico’s higher-pitched rhymes.

“Identification” is undoubtedly the climax of the record featuring G Perico’s strongest writing abilities on the entire album. The track centers on snitches, and every single bar could be its own tattoo. The songwriting on this track is exceptional, with every word carefully chosen to further the record’s “stop snitching” message. G Slim’s Revenge closes out with “Outtie,” a brief outro that ruminates on the themes of the album and teases further projects and developments to come in the near future.

While this may not necessarily be a 10/10 album, G Perico has proven on G Slim’s Revenge that he is in rare form, and simply does not miss. The record is bound to be criminally slept on, as Perico currently touts just over half a million monthly Spotify listeners at this time. Still, the record genuinely deserves to be celebrated, and arguably has a place in the top 10 rap records of 2024 so far.

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Rowdy Rebel & Fetty Luciano “Splash Brothers 2” Review

April 19, 2024 by newhiphopnews

Rowdy Rebel and Fetty Luciano are two Brooklyn MCs from the GS9 imprint. Their latest collaboration, Splash Brothers 2, just released on April 19, following the first Splash Brothers release from 2023. On Splash Brothers 2, Rowdy Rebel and Fetty Luciano flex their street ties and luxury lifestyles over drill beats for 11 tracks which span 25 minutes of run-time. Let’s dive into the body of Splash Brothers 2, and review the material therein.

The Project Begins With A Rocky Start

Splash Brothers 2 opens with the track “2024.” This song has a loud, abrasive vibe showcasing Rowdy Rebel and Fetty Luciano’s drill influences, though the mixing on this record leaves a lot to be desired. Rowdy sounds like Bizarre from D12 drowning in reverb, while a vocal feature from Lil Tjay comes and goes in the blink of an eye. This track doesn’t effectively set the tone for some of the highlights to come and could have easily ended up on the cutting room floor.

“Pistons” is another song that does very little to establish Rowdy Rebel and Fetty Luciano’s stage presence, as JB completely steals the show with his guest verse. Sonically, the instrumental sounds so similar to Ice Spice’s “Deli” that you could make a sound argument that Spice deserves a writing credit. Later in the tracklist, “Can’t Talk Hot” features a nearly identical instrumental as well, without the powerful guest vocals of JB. As a result, “Can’t Talk Hot” sounds like a poorly conceived B-side of “Pistons,” which already sounds like a B-side of “Deli.” While Splash Brothers 2 does go on to reach some major highlights, opening with this one-two combo of mediocre songs was certainly a bad move from Rowdy and Fetty.

Some Of The Featured Artists Really Shine

As stated, JB has the most compelling verse on “Pistons” by a country mile. This is not an isolated incident on Splash Brothers 2 as Rowdy Rebel and Fetty Luciano are outshined by their guests numerous times. The track “Shake” is one of many examples of this phenomenon, with Rowdy and Fetty both completely drowning their vocals in autotune effects that make them sound like they just discovered the technology for the first time. The vocal mixing completely drowns out Rowdy to the point of near incoherence while Fetty’s interpolation of “I Don’t Want To Wait” by Paula Cole sounds embarrassing and unintentionally hilarious. D Sturdy completely sweeps them both on the back end of this track, with one of the hardest guest features on the album.

Things aren’t all bad for Rowdy Rebel and Fetty Luciano. The pair hold their own against some other banging features elsewhere on the record. “Pissing Me Off” sees Fivio Foreign stealing the show, though both of the main Splash Brothers artists manage to keep up with some of their best lyrical showings on the album. “Pissing Me Off” is track 3 on Splash Brothers 2, but really sounds like it would have made a better opener.

Then there are tracks like “Spin First” and “My Block,” which see guest vocalists Curly and Chubbs blending in perfectly with Rowdy Rebel and Fetty Luciano respectively. The former is a thumping club shaker that sounds like it could soundtrack a fight scene in a bodega in an episode of Mr. & Mrs Smith, while the latter sees Rowdy and Fetty trading bars back and forth with Chubbs, who compares and contrasts the street life of Chicago with the streets of Brooklyn.

The Album Has Some High Highs

“My Block” is probably the best cut on Splash Brothers 2, but it’s not the only highlight. “Twin Story Pt2” shows Rowdy Rebel and Fetty Luciano rapping with no assistance, and illustrates their chemistry better than any other song on the project. The track is a direct sequel to track 6 off the first Splash Brothers album from last year and gets straight to the point as to why these two teamed to make an album together in the first place. Subsequent tracks such as “Pop Out (Yeah Yeah)” and “Good Night” also bring the heat, with the former serving as a street anthem loaded with references to smoking opps and luxury whips. “Good Night” brings some sonic diversity to the production which is severely lacking on most of the album, and showcases some versatile flows from Fetty Luciano especially.

At the end of the day, Splash Brothers 2 is more of the same from this crew. If you’re a fan of Rowdy Rebel and Fetty Luciano’s previous work, you’ll likely find 3 or 4 new tracks here to add to your playlist. If you’re a die-hard hater of the GS9 crew, this album will definitely not do much to change your mind. Overall, the team has created a solid project, albeit with a few duds thrown into the mix.

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YNW Melly Has Melodies For Days On New Album “Young New Wave”

April 19, 2024 by newhiphopnews

YNW Melly has a gift for melody. The Florida rapper broke onto the scene with the earworm 2018 single “Murder On My Mind,” and since then, he’s proven he can be an intriguing artist. Melly’s career has been derailed by murder charges, but whenever he focuses on the music, he’s good. Case in point, his latest album, Young New Wave. At 11 songs and 37 minutes, Melly avoids the bloated tracklists of so many of his hip-hop peers. It proves to be a smart call.

Young New Wave is heavy on guest features, but YNW Melly sets the tone by himself on the opener, “Fix That.” The bouncy production is undercut by mournful guitars that compliment the rapper’s vocals. Melly spends most of the album in this pocket. It makes for a good listen, but one that’s aware of what could happen when one lives dangerously. Melly is, after all, looking at a possible life sentence in prison. “In the Benzy” is a fun posse cut with piano stabs and guest verses from Lil 50 and BreezyLYN. “Unannounced” is another strong album track, as Melly SCY Jimm trade aggressive verses over a watery vocal sample. The former is really in his element whenever he softens up the edges of hard-hitting beats.

YNW Melly’s Latest Offering Is Brief And Catchy

Not every song goes over perfectly. “The “772 Love Pt. 3 (Your Love)” is an excellent showcase for YNW BSlime and YNW4L, but Melly lays the Autotune on thick and winds up sounding like a poor man’s Young Thug on the hook. “Top Off” and “Ville” are much better examples of Melly in crooner mode. The former might feature the catchiest chorus on the entire album. It’s difficult to say Young New Wave will generate momentum for YNW Melly, given that he’s currently behind bars, but the album does serve as a reminder of his prodigious talent.

What are your thoughts on this new album, Young New Wave, by YNW Melly? Do Melly’s hooks still grab you? Do you feel like he’s getting better as a rapper? Which of the album’s tracks was your favorite? We want to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news on YNW Melly. Finally, stay with us for the most informative song posts throughout the week.

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

April 16, 2024 by newhiphopnews

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

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

Metro Boomin: The Bigger They Are…

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

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

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

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

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

What Are The Highlights?

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

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

The Duo’s Current Paradox

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

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

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