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Kendrick Lamar’s Albums, Ranked

March 11, 2023 by newhiphopnews

Kendrick Lamar’s status as one of the greatest MCs of our time is undisputed. Growing up listening to West-Coast icons such as Snoop Dogg or 2Pac, he has solidified himself as an icon of our generation. The mastermind is more than just a musician. He architected the explosion of Top Dog Entertainment (TDE) as a minority owner, and has collaborated with a variety of film or clothing brands over the past five years.

Growing up in Compton, Lamar never subscribed to the traditional lifestyle of those around him. Achieving straight A’s in high school, his friends described him as a recluse that often spent time in alone. The creative icon clearly had a vision, one that began with a series of mixtapes which he began releasing at the age of 16. Signing with TDE at 17 years old, he was soon collaborating with fellow California MCs such as Jay Rock. Co-signed by Lil Wayne, he released debut ‘Kendrick Lamar EP’ in 2009. Lamar would jump leaps and bounds between every project, unwavering in his psychedelic blends of R&B and rap.

The Compton-born rapper would go on to release a number of Grammy-nominated classics, from the banger-heavy ‘Good Kid M.A.A.D City” to the socially conscious ‘Mr. Morale and the Big Steppers.’ So, how do you organize his records into ranked list? It certainly wasn’t easy, and there isn’t one right answer. Similar to the likes of Tyler, the Creator or Kanye West, everyone is going to have a different opinion. However, we did our best to rank Kendrick Lamar’s albums from worst to best.

8. ‘The Kendrick Lamar EP’

Kendrick Lamar’s first official release, the self-titled EP is an engaging listen for fans who want to hear how his sound and lyricism has progressed over the years. Featuring fellow West-Coast MCs like Schoolboy Q and BJ The Chicago Kid, the timid personality is boastful on the mixtape. Referencing the Grammy’s multiple times, there was a clear path to fame that the 21-year old was pursuing.

However, it’s far more than a traditionally boastful or trap-inherent record. Surprisingly mature for his age, he has intricate takes on being raised in the violent streets of Compton. Talking about his Uncle Tony or his tumultuous home life, many of the topics referenced would be discussed in more detail on ‘Good Kidd Maad City.’ In addition, he doesn’t shy away from more melodic tracks that would be more fully-fledged out on ‘Section 80.’

Lamar isn’t commanding beats and switching up his flows like he would on future projects. However, his ambition is apparent and attractive as a listener. Straining for start to finish, it’s an admirable project that would set the groundwork for the remainder of his career. The record’s final track concludes with external voices saying “Who are you? What are you trying to say? What are you trying to accomplish?” These are all questions he’s still navigating, which explains the half-baked nature of the mixtape’s sound and lyricism.

7. ‘Overly Dedicated’

At 23 years old, ‘Overly Dedicated’ comes from a rapper who’s still trying to figure out his sound. Often impersonating the likes of Lil Wayne or Eminem, Lamar is still “in the dungeon” in terms of drilling his own voice. However, he’s taken noticeable leaps from his debut mixtape. Lamar doesn’t constantly sound out of breath or lagging on a beat. In addition, the record sees him dramatically grow from a songwriting perspective, which is especially noticeable on tracks such as “The Heart Pt. 2.”

More abstract than ever on the production end, the attempt, similar to his self-titled EP, is hit or miss. Jhene Aiko makes an appearance on the lead track, delivering fleeting background vocals amidst a lofi R&B beat. Again, Lamar recruits his fellow So-Cal MCs such as Schoolboy Q and Ab-Soul. All of it sounds more in control and calculated. Lamar doesn’t know where he’s going to end up, but he finally knows where he’s going. Darting from smooth melodies to aggressive verses, ‘Overly Dedicated’ represents a steadfast improvement from his messy mixtape.

6. ‘Untitled, Unmastered’

It’s not uncommon for hallmark artists to release mixtapes or projects that exclusively feature lost tracks. Of course, these projects are almost always met with lowered expectations. After all, these are songs that weren’t quality enough to make an official release. However, ‘Untitled, Unmastered’ is shockingly great. Is it messy and sloppy? Sure, but the ideas here make it a worthwhile listen for any Kendrick Lamar fan.

‘Untitled, Unmastered’ is just as much an intricate piece of commentary as it is a piece of music. Songs randomly depart into spoken-word sections, or off-kilter audio recordings. For example, ‘Untitled 07’ starts off as a grimy banger, featuring wonky synths as Lamar yells out “levitate!” The track then diverts into a recording session amongst Kendrick and his friends. What does it mean from a conceptual perspective? There’s plenty of loose-ends left up to the interpretation of the listener, which is a consistent theme throughout the record.

A collection of leftovers from the ‘To Pimp a Butterfly’ recording sessions, the 34-minute record still demonstrates far more power and originality than his most early works. Lines such as “See I’m living with anxiety, duck at the sobriety” prove that ‘Untitled, Unmastered’ is still an engaging record from a storytelling perspective, even if it’s jaded.

5. ‘Section 80’

In many people’s eyes, ‘Section 80’ is when the career of Kendrick Lamar really kicked off. The debut studio album from Kendrick Lamar, ‘Section 80’ is a fully realized version of ‘Overly Dedicated.’ Sampling the likes of Gil-Scott Heron and the Wu Tang Clan, he implements his childhood influences throughout the record. Kendrick essentials such as “A.D.H.D” and “HiiiPower” appear on an album that’s proven to be timeless.

Kendrick expresses his love through multi-faceted verses and soul-induced beats on ‘Section 80.’ His most somber listen yet, it’s a stark contrast to the bangers than would populate his next album. It’s his most summertime album yet, as he pitches down his voice and lays down catchy melodies on an album that isn’t as a feature heavy compared to his previous records. However, he still finds the space to include the likes of Ab-Soul and BJ the Chicago Kid.

Relentless and conceptual, the project attacks themes such as the 80s crack epidemic, racism, and complex love interests. ‘Section 80’ proved that the name Kendrick Lamar would be here to stay. While not quite as tight-knit or consistent as his later projects, it’s a generational album that propelled him onto the main stage of hip-hop.

4. ‘DAMN‘

Kendrick Lamar’s favorite album (up until Mr. Morale and the Big Steppers), ‘DAMN’ is the fourth studio album from Kung Fu Kenny. He was on-fire going into ‘DAMN,’ piggybacking off of the hype of his previous two records. Featuring a big-budget sound and a celebratory feature list, it’s undoubtedly his most mainstream record yet. However, this doesn’t mean that the record is wallpaper or repetitive. Kendrick attacks plenty of fresh territory on ‘DAMN,’ such as on the drop-dead gorgeous “LOVE.”

Touching on topics such as race relations in a post-Obama America and a deteriorating personal faith, Kendrick seems as unsure of himself as ever on ‘DAMN.’ It’s surprising considering his aforementioned success, but it’s presented in an eye-opening and engaging manner. His most successful commercial release to date, hit lead single “HUMBLE” is nearing 2 billion streams on Spotify. In addition, “DNA” is approaching 1 billion streams.

Somehow, Kendrick finds a way to re-invent himself on the 2017 release. His most scattered album yet, each song employs a completely left-field sound. Whether it be the oddball sample on “FEEL” or the explosive “DNA,” it’s certainly a mind-boggling first listen. In many ways, ‘DAMN’ blends the softer elements of ‘Section 80’ with the rap anthem aspects of ‘GKMC.’ While the album is missing the replay value of our top three records, Kendrick’s frankness about his flaws makes ‘DAMN’ a hell of a ride.

3. ‘Mr. Morale and the Big Steppers’

Kendrick Lamar’s most recent release, ‘Mr. Morale and the Big Steppers’ was his most introspective record to date. His sixth and last release for Top Dog Entertainment, the album symbolizes a new era for the elusive rapper. Purposefully taking himself out of the limelight over a two to three year span, he returned with a newfound perspective after having his second daughter with fiancé Whitney Alford. Featuring the likes of Sampha, Kodak Black, and Summer Walker, it was arguably his strongest feature album yet.

The record sees Kendrick fully tackle many of the personal demos that he hinted at on ‘DAMN.’ Finally at peace with the reality that he (just like all of us) is inherently flawed, he sheathes his ego in favor of a therapeutic 78-minute expression of sound. The two disks symbolize two sides of Kendrick. On the first disk, he’s at a darker place, coming from a place of anger rather than understanding. The second disk sees Kendrick overcome his trauma through therapy and reflection on difficult experiences. Menacing piano chords and dark commentary populate much of the record, generating a unique sound that aids to the narrative of the album.

Even though ‘Mr. Morale and the Big Steppers’ is full of tearful ballads, that’s not to say that he doesn’t have any sort of fun. Teaming up with Baby Keem for electronic banger “N95,” rapid and wistful synths blend in with Kendrick’s menacing voice. “Die Hard” is a feel-good song through and through, as Kendrick takes a backseat to allow Blxst and Amanda Reifer to deliver gleeful vocal falsettos. “Rich Spirit” makes the listener feel as if they’re underwater, as the far-away vocals and snappy 808s aid to the relaxing, cerebral feel of the track.

‘Mr. Morale and the Big Steppers’ feels like the tight-knit, narratively conceptual project that ‘DAMN’ was meant to be. An emotional rollercoaster, Kendrick tackles his demons through transparent lyricism and experimental piano loops or synths. While Kendrick doesn’t quite match the vocal performances or consistency of our top 2 records, the Grammy-winning project was his “return of the king” moment.

2. ‘good Kid, m.A.A.d. city’

The quintessential coming of age rap album, ‘GKMC’ was Kendrick’s most banger-heavy record yet. Full of timeless rap anthems, it’s a conceptual callback to his Compton roots. Kendrick’s “we made it” record, the listener feels like he’s driving through Southern California in a Mercedes Benz with Kenny and his friends. Kendrick addresses many of the ills of growing up in Compton, from racial profiling to constant pressures to conform to the toxicity around him.

Releasing a mere year after ‘Section 80,’ ‘GKMC’ continued to solidify Kendrick as a socially aware lyricist, whose verses proved to be just as effective under a variety of genre-bending styles. However, this was undeniably his most hardcore hip-hop album to date. From “Money Trees” to “Swimming Pools,” he’s drowning in money, alcohol, and fame amidst trap beats. Many of the bangers act as smokescreens for his deep-rooted issues. “Swimming Pools” sounds like a simple banger that endorses alcohol on first listen. However, more listens make the nuance of Kendrick’s message about alcohol or drugs apparent.

Kendrick assumes a variety of alter-egos to symbolize his varying states of consciousness on the record. On “Backseat Freestyle,” he states “I pray my d**k get big as the Eiffel Tower” amidst a wind-chime sampled beat and a booming base. However, tracks such as “Real” reveal this ego to be un-founded, as it represents Kendrick behind drawn into the toxic life around him. “Sing About Me, Dying of Thirst” is commonly believed to be one of his best songs. A deeply religious track, Kendrick comes crashing down from the highs of fame and drug-use.

One of the greatest rap albums of the 2010s, the record was infamously snubbed for a Grammy by Macklemore’s ‘The Heist.’ However, it’s sound is un-paralleled. Kendrick is just a teenager trying to withhold the temptation to fall into the status quo of his surroundings, and the creative expression of that time in his life is beautiful.

1. ‘To Pimp a Butterfly’

At our number one spot, we have ‘To Pimp a Butterfly.’ Kendrick’s third studio album under TDE, he incorporates jazz, funk, and soul into a once-in-a-lifetime experience. The theatricality is the record is all-encompassing, as Kendrick embraces all that comes with his roots. His most textured and in-depth studio album, he negates the claims of a utopic black future that many associated with President Obama. ‘To Pimp a Butterfly’ is theatrical, crushing, and electric all at once.

‘To Pimp a Butterfly’ spans the history of African-American music, as proven by the hints of jazz and funk throughout the album. A tribute to those who struggled before him, his message is unsurprisingly layered and meaningful. With the cover art featuring his friends and brothers from Compton, the group stands over a white judge with his eyes crossed out. Seemingly an expression of solidarity and African-American expression, it’s one of the more powerful album covers of all time.

Kendrick covers topics such as race, sex, and poverty through funky grooves. As personal as ever, he discusses not being there enough for his relatives, or for the death of his friend. Take “Wesley’s Theory,” where he raps as various alter-egos amongst wailing g-funk synthesizers. Portraying that success come with debts, we also get our bangers such as “King Kunta” and “Alright.” Alcohol is a common theme throughout the album. In fact, you can literally how the swishing of liquor amongst the background of numerous tracks, symbolizing how fame has equated with him feeling more out of touch.

‘To Pimp a Butterfly’ is Kendrick Lamar’s best album, both on the sonic and conceptual front. From Thundercat’s basslines to the somber horns on “How Much a Dollar Cost?,” it’s a polarizing record in the best way possible. His most daring and ambitious project, the record signified a definite end to the bling era of rap. Balancing the grim reality of tragedy with the hope for a better future, it’s one of the most lyrically dense records of all time.

Juice WRLD’s Albums, Ranked

March 8, 2023 by newhiphopnews

A generational talent gone way too soon, Juice Wrld was one of the most influential artists to this day. Born December 2, 1998, Jarad Anthony Higgins, better known as Juice Wrld, was a rising star from the Soundcloud era. Starting his musical career in high school, many of his peers persuaded him to rap and freestyle.

Releasing his first song, “Forever,” on SoundCloud in 2014, Juice Wrld knew he had the talent to continue forward. Furthermore, dropping his first EP, “999,” on June 15, 2017, which included his most streamed song today, “Lucid Dreams.”

Album Rankings

Juice Wrld performs onstage during Made In America – Day 1. (Photo by Kevin Mazur/Getty Images for Roc Nation)

According to Spotify’s Twitter on April 4, 2022, these would be the rankings based on streams. “Goodbye & Good Riddance” (6.4 B+), “Legends Never Die” (4.2B+), “Death Race For Love” (4.2B+), “Fighting Demons” (1.4B+), and”WRLD ON DRUGS” (1.1B+).

With the news/leaks of his final album, “The Party Never Ends,” potentially dropping this year. Let’s take a look at Juice Wrld’s album catalog and rank them.

Death Race For Love

A bit of a controversial pick between this album and “Goodbye & Good Riddance,” but in terms of versatility and pure talent, this album is number one. Released on March 8, 2019, this was Juice’s second studio album and the last album to be released during his lifetime.

Freestyling the album in just five days is a skill that not many can achieve. In this album, Juice Wrld speaks about taking drugs and his addictions, as well as talking about relationships and his love and lust.

An accomplishment in his career as this album was his first to score a No. 1 on the Billboard 200. As well as producing hit songs like “Robbery,” “Empty,” “Fast,” “Make Believe,” etc. The album feels like a journey into the life of Juice Wrld, as the songs reference his lifestyle and his love for his recent girlfriend, Alli Lotti.

Goodbye & Good Riddance

Arguably one of Juice Wrld’s best albums to many of his fans was also the first album that many of his fans came across. This was Juice’s first studio album, released on May 23, 2018. Featuring 17 songs with just one feature (Lil Uzi Vert), this album is a roller coaster of a journey. Including the use of skits in the album; if you listened to the songs in a specific order, you could see his journey.

In this album, the songs varied between the drug use and addiction he faced, as well as referencing his past relationships and achieving success over time.

Some of Juice Wrlds most popular songs came off this album, like “All Girls Are The Same,” “Lucid Dreams,” “Lean Wit Me,” “Armed And Dangerous,” and many more. To this day, many will believe this is the number one album to date and is a staple to his music career.

Fighting Demons

His most recent album to date, “Fighting Demons“ comes in at number three. Released on December 10, 2021, just two days after the two-year anniversary of his death. The album initially had 18 songs, but after reaching specific goals put out by Grade A, like getting a certain amount of views on YouTube and the community begging for more songs. So on March 18, 2022, five more songs were added to the album.

Again Juice Wrld referenced his battle with drug addiction and added Eminem and Justin Bieber to the album to talk about their struggles as well. The album also spoke about what the name implies, and that’s the battling of his demons. The album was mainly a catalog of leaks many fans had heard before and where the names or beats were changed but still used the original lyrics.

This album is still new to the list, but it holds a lot of fans’ favorite unreleased songs at the time. Examples would be “Burn,” “Cigarettes,” “Rockstar In His Prime,” “You Wouldn’t Understand,” and probably one of the most favorite songs in the community, “Sometimes.”

Legends Never Die

This was Juice Wrld’s first posthumous album after his death in December 2019. The album consisted of 22 songs and was realized seven months after his death on July 10, 2020. This album felt like a different vibe from the usual music he created. The album gave more of a poetic side to Juice as well as a melodic side as this album consisted of a lot of vocalizing and singing in a way.

The album came with a response of positive views, and according to Metacritic, they rated this album a 75/100 based on ten reviews. The difference with this album was that it was also released with many singles. Additionally, that meant we heard a decent amount of songs before the release.

This album did have some songs played on the radio and made big success on the music charts. Songs like “Righteous,” “Come & Go,” “Tell Me U Luv Me,” and “Smile” made significant impacts. But “Wishing Well” was probably the most influential song on this album as it spoke about his hardships with drugs and needing help.

Future & Juice Wrld Present… Wrld on Drugs

Not much of an album, but more of a mixtape; this was Juice Wrld’s only published collab “album.” This mixtape was a joint effort between Juice Wrld and Future. Releasing on October 19, 2018, this mixtape can be considered underrated.

Even though this is a mixtape, this deserves a spot on the list, even if it’s last. The style and charisma Juice had on this album were insane. Mixed with a legend like Future, with his well-known voice and vocals, making this a special mixtape. The chemistry these two had with each other was incredible.

This mixtape barely gets spoken about, but it has made some bangers and has had some decent success. Some songs to look at for would be “Jet Lag,” “Fine China,” “Realer N Realer,” and “7 Am Freestyle.“

End Note

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Even after the death of Juice Wrld, he continues to push insane numbers and has a very loyal fanbase. Arguably when he features on an album, he puts in some maximum effort and helps push that song to popularity.

We will never know how his full potential, but he will always have a special place in the rap community.

Post Malone Albums, Ranked

March 8, 2023 by newhiphopnews

Post Malone burst onto the music scene with the 2015 hit single White Iverson. The song peaked at number 14 on the US Billboard Hot 100, cementing Malone, also known as Austin Post, as a performer to keep an eye on.

He’s now up to four studio albums with the recent release of Twelve Carat Toothache. The hip-hop artist has certainly had his ups and downs and he’s been a bit of a controversial music figure. However, his staying power and popularity are undeniable.

He’ll never make the lyrically raw music of someone like Kendrick Lamar, but Malone has found a lane that works for him and is cruising in it beautifully.

Stoney: Post Malone’s rocky start

Stoney, the first studio album for Malone, is admittedly a bit of an inauspicious start to his music career. There are certainly good tracks on it, like Congratulations, Go Flex, I Fall Apart and others. However, it’s a very hit or miss album.

While White Iverson arguably got the music world’s attention, it’s not a particularly great song. It’s not the best on this album, and his later albums have even more superior tracks.

The Stoney era is also an interesting one for Post Malone’s overall career. He’s often found himself in the middle of pop music and hip-hop, without a clear place in either.

Now, he’s comfortable doing his own thing. In the past, particularly in the Stoney era, he tried to be what he wasn’t. There was a time in Malone’s career when he appeared to be leeching off of hip-hop and just riffing on what popular hip-hop artists did.

He was trying to sound like them, write like them and more or less be them. That’s not who he is and it resulted in a lackluster album that largely serves as a reminder for how far he’s come.

Stoney isn’t an awful album. There’s plenty to like, but there’s also a lot to ignore. For a debut album, that isn’t a major surprise, but it does firmly make this his worst album to date.

Beerbongs & Bentleys: Perhaps there’s more to Malone

With Beerbongs & Bentleys, Post Malone began to shed the label that had followed him around for Stoney. He began to make his own music and stopped worrying about being someone else.

There are still a few misses on this album, such as Candy Paint, Same B*****s or Zack and Codeine. It’s also probably too long, which is ultimately a product of the streaming era.

Still, some of the tracks on this album hold up among his best work, even almost five years later. Otherside is tremendous. Spoil My Night has perhaps Malone’s most iconic lyric delivery and a nice Swae Lee feature. Sugar Wraith, while admittedly a bit self-indulgent, is an absolute hit.

When looking back at his albums in order, it’s easy to see a lot of growth. That’s evident from Stoney to Beerbongs. Naturally, he kept growing and kept getting better, but this is a good album nonetheless.

Twelve Carat Toothache: This is who Post Malone is

Malone’s fourth studio album Twelve Carat Toothache debuted in 2022 and comes in just shy of the top spot in this list. It can certainly be argued that it’s his best work yet, too. It feels the most Post Malone of any album he’s put out yet.

Even with two bonus tracks, it’s shorter than his other albums. Finally, he shed the idea that more is better and stripped the album down to its best parts. Some of those parts, like Euthanasia or Waiting for a Miracle are pretty rough listens.

However, for the most part, the rest of the tracklist ranges from solid to incredible. It’s a shame the original version of the album doesn’t have Waiting for Never because it’s perhaps the quintessential Malone track and it’s perhaps his best to date.

Not to be outdone, the original tracklist does have When I’m Alone, which is again one of his best songs yet. His pairing with The Weekdn on One Right Now has most music fans begging for the two to work together on a full album.

The features, with the exception of Roddy Ricch’s verse on Cooped Up are really good, too. Doja Cat spins a delightful verse on I Like You (A Happier Song) and Gunna fits right in with I Cannot Be (A Sadder Song).

Lemon Tree is the most experimental song on the album and it’s yet another classic for Malone. The way he croons “better” throughout the song in a stark country twang is something no one else in the pop or hip-hop genre could pull off and it’s beautiful.

There’s a little bit of self-reflection on the artist’s part here, too, but not too much. Malone is, after all, more interested in fun than being brutally honest on his songs.

Hollywood’s Bleeding: The experiments paid off

Hollywood’s Bleeding edges out Twelve Carat Toothache by a hair to be Malone’s best album yet. It features a maturity not found on Beerbongs & Bentleys or Stoney and it’s out of the box enough to feel like exactly who the singer is.

In fact, it’s as if Malone just threw together artists and song ideas at random and it works. Malone has never been about precision or subtlety and this album doesn’t even pretend about that.

The simple fact that he put Ozzie Osbourne and Travis Scott on the same song is incredible. The fact that it’s actually a good song is even more mind-boggling. Pairing rapper Future and pop singer Halsey together was light work after that one.

The standouts here, and there are a lot, are really good. Saint-Tropez is a wonderful song- it’s a true shame it’s so short. Hollywood’s Bleeding is the best opening track a Post Malone album has had yet.

Sunflower, thanks to its place in Spider-Man: Into the Spider-Verse, has become a cultural phenomenon. It also features a brilliant Swae Lee. A Thousand Bad Times and On the Road are very different songs that are both excellent.

It’s a Malone album, so it’s not without a couple of skips. Internet is not a good song and Wow. and Enemies with DaBaby are mediocre. Still, the consistent quality across the board is better than any other Post Malone albums yet.

Tyler, The Creator’s Albums: Ranked

February 28, 2023 by newhiphopnews

Tyler, the Creator has long been a marquee name in the music industry. First blowing up off of the wonky New-York-based banger “Yonkers,” the Los Angeles-born-and-raised artist would soon found music and entertainment collective ‘Odd Future.’ Undeniably himself, he’s never been one to hold his tongue. With the spotlight on him in his early 20s, he wasn’t one to shy away from controversy. For example, he was banned from the UK for his “derogatory” and “offensive” lyrics. However, his unwavering insistence on being himself would soon curate the artist a cult-like fanbase.

Tyler, The Creator Is Known For Being Very Controversial

Calling Tyler the most controversial rapper of the early to mid 2010s hews far closer to fact than opinion. Tyler’s raspy voice meshed with grimy bangers on his earlier records, such as ‘Bastard’ and ‘Goblin’. Rapping amidst distorted drum patterns and screeching guitar riffs, his sound blended the soundscapes of New York and Los Angeles. The confident MC and producer is well-known for his “do it yourself” personality. From riding bikes around Santa Barbara to pioneering a distinct clothing style, he’s captured the imagination of an entire generation.

As Tyler references on ‘Call Me If You Get Lost,’ he really began to hit his stride around the age of 25. Releasing the controversial “Cherry Bomb,” he began to approach his career with a higher level of intent. This would bleed over into a new era for Tyler, beginning with “Flower Boy.” While he toyed with blends of pop and soul on previous records, songs such as “See You Again” and “911/Mr. Lonely” would force fans to take him more seriously. He would go on to release ‘Igor’ and ‘Call Me If You Get Lost’. Both projects ended up winning Grammys for Rap Album of the Year.

Now approaching the Spring, Tyler fans will know that he has a tendency to release every 2 years over the Summer. While there’s been rumblings of a disco record, Tyler publicly refuted this over Twitter. Fans will have to keep guessing about what’s next for one of the most talented and influential artists today.

Tyler, the Creator performs onstage during 2022 Made In America at Benjamin Franklin Parkway. (Photo by Theo Wargo/Getty Images for Roc Nation)

7. Goblin

Considering the sudden rise of the eclectic ‘Odd Future,’ ‘Goblin’ represents the first album that was highly anticipated from Tyler. Many of you may be surprised to see this record at the bottom of our list. In fact, ‘Goblin’ features both two tracks that established him as more than just an oddball internet personality. “Yonkers” is a 808-induded NYC banger, with menacing lyrics such as “I slipped myself some pink Xannies and danced around the house in all-over print pannies.” Tyler has stated that he’s never really been into drugs. However, the purposefully dramatic songwriting added to the aura and mysticism of his fame.

“She” proved that Tyler didn’t need to rely on rapping to create hits. It featured melodic vocals from Frank Ocean, 80s synths and a heavy bass. It had thousands crying out the lyrics at concerts around the world. Frank Ocean wouldn’t be the only Odd Future member on the record, with the likes of Domo Genesis and Hodgy making appearances on multiple tracks. However, Tyler purposefully keeps the feature list limited in order to draw attention to his songwriting.

‘Goblin’ very much has its flaws as an overall record. As he attempts to redefine himself amidst lofi beats and piano chords, the frequent result is tracks that feel under-produced, or are a flat-out mess. Similar to his debut mixtape, Tyler lashes out in anger through multiple personas throughout the record. However, the production doesn’t represent that in as cohesive of a manner compared to ‘Bastard.’ While he doesn’t stick the landing, it’s still an important record in his discography.

6. Bastard

Tyler’s debut mixtape, ‘Bastard’ predated much of the Odd Future hype and drama. Releasing the project at 18 years old, Tyler is very much existing in his own world rather than attempting to adhere to mainstream sounds. The production is purposefully messy, and his rapping dabbles into overtly offensive or “out of pocket” lyricism. However, there’s a certain appeal to the frankness of it all. Tyler’s messy voice was highly distinctive from the rest of the Odd Future collective, meshing well with the “ugliness” of the production on the record.

‘Bastard’ sees Tyler take a swipe at multiple aspects of his life. Whether it be his negligent father or the overall toxicity of the rap industry, he’s angry from start to finish. Distorted 808s and rugged synths parallel this emotion from start to finish, making for a cohesive listen. Tyler paints himself as a menacing, villainous character while rapping about dark topics such as kidnap or murder. At times, it’s hard to tell whether he’s playing a character or just being himself. However, it’s a record where he dives into the darkest corners of his mind.

Created on a limited budget, ‘Bastard’ is a stark contrast to the polished quality of his recent work. Therefore, it’s an essential listen for any new Tyler, the Creator fans who want to learn about how he matured both artistically and personally.

5. Cherry Bomb

Tyler’s fourth studio album, ‘Cherry Bomb’ is an awkward record that symbolized the transition phase of his career. Wanting to prove he was more than a rapper, ‘Cherry Bomb’ sees Okonma hone in on his producing and singing. More soulful than ever, the likes of Kali Uchis and Charlie Wilson contribute features. Opting to focus more on sound and less on lyricism, the result is a mixed bag.

‘Cherry Bomb’ mixes the old and new eras of Tyler. He doesn’t want to let go with the old version of himself. However, the consistently muddy and painfully mixed beats come off as worse than his older works, such as on the wild title track “Cherry Bomb.” As previously mentioned, he’s looking to root his soul influences into more of a soul-based sound. However, the result is more so an impersonation of those soundscapes rather than something that’s genuine. “Find Your Wings” and “Perfect” are charming enough, but pale in comparison the pop-soul blends on ‘Flower Boy.’

Ultimately, ‘Cherry Bomb’ was the record Tyler needed to create in order to eventually get to ‘Flower Boy’ and ‘Igor.’ His uninspiring singing would morph into the exhilarating vocal pitching on ‘Igor.’ The chord-filled tracks that were lyrically surface level would inspire him to hone in on his songwriting on ‘Flower Boy.’ Point beating, ‘Cherry Bomb’ represented the metamorphosis into who he is today.

4. Wolf

‘Wolf’ is the first record that hints at more of a conceptual, mature Tyler. More vulnerable than ever about his trying childhood, he opens up about his complex relationship with his father. On “Answer,” he’s torn between hating his father, yet knowing that “when I call, I hope you pickup your phone” amidst layered guitar strings.

A stark departure from his first two records, his third studio album is more glossy from a mixing perspective. However, his natural rapping voice doesn’t mesh with the new sonic ideas. To put it simply, his rapping and production levels don’t meet the levels he would set on projects. In many ways, ‘Call Me If You Get Lost’ symbolizes Tyler redefining the flaws on this record.

Even if ‘Wolf’ feels like an awkward departure from the “messy” days of his music, there’s still numerous quality tracks on the record. “Tamale” is goofy in the best ways possible, with a mystic chorus that somehow works. “IFHY” features Tyler’s main inspiration, Pharrell Williams. The colorful synths blended with Pharrell’s voice makes for one of the standout moments in his entire discography. Tyler experiences the full spectrum of infatuation with his love interest, repeating the phrase “I f**king hate you, but I love you.”

Tyler The Creator performs during the 2022 Forecastle Music Festival at Waterfront Park. (Photo by Stephen J. Cohen/Getty Images)

3. Call Me If You Get Lost

Traveling from Geneva to Paris, ‘Call Me If You Get Lost‘ is a collage of experiences from Tyler. Mirroring the aesthetics of 80s European films, Tyler takes on the alter-ego of Sr. Baudelaire to aid to the theme of travel. The listener is taken across the world as he curates a banger-focused mixtape from “Lumberjack” to “Lemonhead.” His lavish lifestyle puts the audience into a dreamy setting, as he unequivocally boasts about his extensive car and jewelry collection.

While his previous two albums drifted from rap into more conceptual, genre-bending releases, ‘Call Me If You Get Lost’ sees Tyler return to his roots. After falling out of love with rap, he described how working with Westside Gunn reinvigorated his love for the genre. In fact, intro track “Sr. Baudelaire” samples a Westside Gunn beat as he introduces us to his pristine world. Bringing the likes of NBA Youngboy, Lil Wayne, and 42 Dugg into the mix, he drew many comparisons to Kanye West regarding his ability to maximize the talents of his features.

However, ‘Call Me If You Get Lost’ is more in-depth than a getaway vacation. In fact, all of this boasting is a mask for his broken heart. He exposes the story on “Wilshire” on top of a lofi drum beat. It’s not a straightforward rap album. “Sweet / I Thought You Wanted To Dance” meshes reggae and soul into a groovy 10-minute experience that’s undeniably one of his best. Tracks such as “Wusyaname” and “Hot Wind Blows” sample 70s soul cuts. While “Call Me If You Get Lost” isn’t quite as threaded together or conceptual, it’s a fun vanity project that sees him in peak rapping form.

2. Flower Boy

‘Flower Boy‘ still feels like Tyler’s career-defining record. Up to this point, many argued that his artistic growth after ‘Bastard’ hadn’t lived up to his initial hype. ‘Cherry Bomb’ was met with a predominantly mixed reception, which meant that there was an inevitable pressure on Tyler to deliver with his next project. Fulling diving into the elements of pop/soul that he half-way committed to on ‘Cherry Bomb,’ ‘Flower Boy’ throws the listener into the soundscape of a lonely summer day.

Tyler sings about loneliness throughout the record. Sitting in a room with the sun shining through, he’s waiting for someone to “call me sometime.” However, the emphasis on the record is absolutely on the sound rather than the lyrics. Love-stricken and lonely, his music is rooted in sunny days biking around the park. Growing up listening to the likes of Stevie Wonder or Marvin Gaye, their influence is apparent throughout the record.

From “find some time to do something” to “can I get a kiss, and can you make it last forever,” there are so many quotable moments that stick. As Tyler puts it, his ultimate goal of music to blend ‘pretty’ and ‘hard’ music. ‘Flower Boy’ is the prime example of him doing that. While the record is missing some of the messy kinks that would distinguish his sound on ‘Igor,’ it’s drop-dead gorgeous from start to finish.

Tyler, the Creator performs on day 3 of Wireless Festival 2022 at Crystal Palace Park. (Photo by Burak Cingi/Redferns)

1. Igor

‘Igor‘ is Tyler, the Creator’s best album. In our opinion, it’s really not close. In fact, Tyler himself agrees with us. During an interview with Rick Rubin, he said this was the first record he created where “when people told me they liked it, I said “I know””. While ‘Flower Boy’ saw Tyler tone down his radical ideas in favor of a smoother record, ‘Igor’ is the best of both worlds. The character ‘Igor’ originates from Frankenstein. His deformed body represented a symbolic threat to the politeness of society. Tyler takes the frame of this character to archetype the overall record.

Integrating wonky vocal pitching and distorted drums with soft soul chords, ‘Igor’ sounds like Tyler more than any record before or after it. Darting from rap bangers such as “What’s Good” to the rapid punk drums on “New Magic Wand,” the 2019 record was one of the best breakup albums of the decade. The 40-minute experience was initially met with a mixed reception. However, it’s cocooned into being widely accepted as his best work. Hidden features add to the unpredictable initial listening experience. From the shocking contribution from Kanye West on “Puppet” to the Kali Uchis’s mellow vocals on “I Don’t Love You Anymore,” not explicitly putting their names on the album aids to the idea that ‘Igor’ is meant to be experienced from start to finish.

‘Igor’ Would Be The Perfect Movie Soundtrack

With Tyler openly speaking about his desire to one day direct films, it’s no coincidence that ‘Igor’ is structured like the soundtrack to a saddening romantic film. ‘Igor’s Theme’ begins with static synths, as if we’re being introduced to an 80s film. The album transitions through every stage of love to acceptance. Tyler falls in love on the groovy “I Think,” to then feeling like he needs a “New Magic Wand” to make this person love him, to finally accepting his loss on “Gone, Gone / Thank You.” ‘Igor’ is his best record from both a sonic and thematic perspective.

Let us know how you would rank Tyler’s albums in the comments below!

Yeat – ‘AfterLyfe’ Album Review

February 27, 2023 by newhiphopnews

Yeat’s oddball cloud rap isn’t engaging enough to justify the 1-hour runtime, but is undeniably exhilarating in small doses on ‘AfterLyfe’.

Yeat has been on a creative rager since blowing up onto the scene. The mystifying MC first blew up in 2021 with eccentric vocals and a sound that blended the trap/electronic genres. Tracks such as “Sorry About That” began populating millions of videos on TikTok. Similar to fellow cloud-rappers, he got his start releasing various mixtapes on Soundcloud. Now an established trendsetter and Internet personality, he’s been a hot topic of debate throughout the hip-hop scene. Since then, Yeat has been on a mission to prove that here’s here to stay. ‘AfterLyfe’ is his sixth full-length record, and potentially his first of multiple projects to populate 2023.

Is Yeat a trend-setter building on the cloud-punk blend of trap that Playboi Carti pioneered? Is he just another derivative rapper who became famous off of sheer appeal rather than quality of music? In many ways, ‘AfterLyfe’ proves both of these perspectives correct. Featuring 22 tracks, it’s a marathon of a listen with unpredictable highs and lows. The likes of “Back Up” and “Heavyweight” employ Yeat’s oh-so-familiar distorted 808s and electronic hooks. Are they fun on one listen with a few beers in your system? Sure. However, they lack the potency of his past bangers such as “Turban.”

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‘AfterLyfe’ Is Different From Anything He’s Done Before

‘AfterLyfe’ is certainly not a copy and paste of previous projects. Yeat toys with even more ridiculous ab-libs and vocal patterns. Purposefully off-beat, he’s able to keep the audience guessing on what tone or pattern he’ll employ next. Take the electric “Woa,” where Yeat seamlessly flows from low to high pitching amidst a heavy beat. He attempts to make up for the distinct lack of features by ushering in his alter-personas “Kranky Kranky” and “Luh Geeky” on tracks such as “Rav3 p4rty” and “Now.” However, YNBA (NBA Youngboy) is the one exception to this. On “Shmunk,” a warped bop, he delivers a much-needed alternative voice.

Dancehall beats and melodic acoustic strings also ease their way into the production. Take “Nun id change,” a groovy blend of dance and hip-hop that almost sounds as if it would’ve fit on Drake‘s ‘Honestly, Nevermind.’ “Back home” is driven by acoustic strings and smooth 808s, shooting more of a traditional trap sound. Emotive closer “Myself” is yet another guitar-driven cut. Melodic and introspective, Yeat celebrates his come-up into the scene with lines such as “Got all these racks, I did it.”

Yeat Shares His Vulnerabilities

While “AfterLyfe” mirrors other records regarding its constant flexing, he’s vulnerable about his shortcomings that continue to put a stain on his life. Whether it be his reclusiveness or drug-related issues, he particularly addresses this to open and close the album. On “No More Talk,” he states “I’m working on dying, ridin’ with my demons, they my deadliest friends.” He continues to reference these “demons” (and Satan specifically) throughout the record, which one can assume is a metaphor for impotent drug-use. To end the record, he states “I been druggin’, these days I’m in my hell” and “You don’t know what I feel / I don’t know how to feel.” ‘AfterLyfe’ makes it clear that he continues to fight the same demons that he was when he first began his career.

CHICAGO, ILLINOIS – JUNE 19: Yeat performs during the Summer Smash Festival at Douglass Park on June 19, 2022 in Chicago, Illinois. (Photo by Barry Brecheisen/WireImage)

Running at 22 tracks, ‘AfterLyfe’ is certainly a fatiguing record that loses steam over the latter half. However, this has been a running theme throughout his discography. Fans pick and choose from a handful of tracks that land with them. It’s a strategy that fits well into Internet culture; fleeting, fun, and with plenty of options. ‘AfterLyfe’ is no different. The record is a wild combination of bangers that range from redundant to flat-out fun. Additionally, Yeat mixes in new stylistic tropes, from more traditional trap structures to melodic, acoustic songs. While he’s not always able to stick the landing, the attempt is admirable in a record that continues to define Yeat as a musical force.

What did you think of ‘AfterLyfe’?

If you’ve already listened to ‘Afterlyfe,’ what are your takes on the project? Has he taken a step back by going for less of a banger-heavy record, or are the occasional switch-ups in sound refreshing? Let us know your feelings in the comments section below.

NBA YoungBoy “I Rest My Case” Album Review

January 12, 2023 by newhiphopnews

Over the years, “YB Better” has become both a valid argument supporting NBA YoungBoy’s unwavering dominance and a go-to insult for internet trolls hoping to irritate his contemporaries. Rappers like Kodak Black and Polo G have even vocalized their frustrations with fans spamming “YB Better” under their posts. Nevertheless, that hasn’t stopped YoungBoy from getting in on the fun, too. In the lead-up to his Sincerely, Kentrell album in 2021, he commissioned several “YB Better” billboards across the United States.

Despite the annoying nature of his infamous tagline, YoungBoy Never Broke Again has repeatedly proven he’s better than his competition. With four Billboard 200 chart-toppers on his rapidly growing resume, he is easily one of his generation’s top commercial performers. On the contrary, YoungBoy also doesn’t even seem too concerned with the charts. Last year, the Baton Rouge native sporadically released eight projects, and his fans ate them up with ravenous excitement. Without a doubt, the 23-year-old rapper stayed on top of his game by rewarding his cult following with endless material. Still, dropping projects nonstop can be a death sentence, and the threat of listener fatigue undoubtedly loomed over the horizon.

Nevertheless, NBA YoungBoy stormed into 2023 by announcing his first new album of the year. Then, on Friday, January 6, he delivered I Rest My Case.

DALLAS, TX – MAY 03: YoungBoy Never Broke Again performs during JMBLYA at Fair Park on May 3, 2019 in Dallas, Texas. (Photo by Cooper Neill/Getty Images)

Metro Boomin “Heroes & Villains” Album Review

December 8, 2022 by newhiphopnews

Hip-hop’s obsession with grading, categorizing, and sweeping statements can be as burdensome as it is flattering, especially when the consensus is that you’re one of the finest in your field.

As soon as you’re dubbed the “greatest” of an era, time frame, or particular movement, the pressure that this accolade exerts is immense. Suddenly, great is no longer good enough and slip-ups are all but unfathomable to those who believe you have the recipe to make seminal music with every outing. Saddled with this kind of pressure, it’s understandable that many people will wilt. Coupled with the decreasing hunger and tenacity that comes with success, gaining such a degree of reverence too soon can actually be destructive. Suddenly, you’re operating from a vastly different airspace than the one in which you initially thrived. Yet for those who can never lose sight of how and why they embarked on their creative journey in the first place, the added sense of occasion that’s hard-wired into every body of work is anything but demotivating.

In the case of Metro Boomin, the fact that he’s been assigned such subtitles as “the most trusted guy in rap” and the defining producer of a generation since his early 20’s has done nothing to deter him from seeking to continually deliver work that is not only of the highest standard but quite literally alters perceptions of what is sonically possible within his own universe.

A man who leads with the heartening ideology of Why would I wanna do something that I did?, Metro Boomin isn’t a producer who’d off-handedly release any product to the world in order to flood the market. After all, this is a guy who’d already obtained a platinum-selling solo project by age 25 with Not All Heroes Wear Capes. Perhaps, most impressively of all, this is the very same St. Louis-born man who besieged ATL to the extent that his sound practically became the thudding heartbeat of its music scene.

ATLANTA, GA – DECEMBER 02: Metro Boomin attends Metro Boomin “Heros & Villains” Official Album release Party on December 2, 2022 in Atlanta, Georgia.(Photo by Prince Williams/Wireimage)

So, while it’s fair to say that Metro has very little to prove at this point and could coast by making beats from time-to-time, that doesn’t mean he doesn’t still have the desire to create and realize his own vision in long form. Five years on from his debut standalone project and two years after the release of Savage Mode II, Metro’s latest record, Heroes & Villains is inherently bittersweet and was almost derailed entirely by the tragic death of his mother. Suddenly bereft of his biggest supporter, a talk with his aunt reaffirmed his faith in the power of music.

“[She] was just like, ‘Everything you’re feeling right now, you could channel that”, Metro Boomin recalled her telling him. “That’s when a lot of the most impactful art and music has ever been made.’”

The result was Heroes & Villains. Although it was made under the all-encompassing shadow of sorrow, it’s safe to say that Metro followed a proud hip-hop tradition of turning tragedy into triumph on this blockbuster, tour-de-force of a project.

Metro Boomin is best known for his contributions to the world of trap, but his a persistent desire for him to push his sound in recent years has done its part to prevent any stagnation. “As the ambassador-representative of what’s going on, I look at it like a real responsibility,” he recently informed GQ. It’s no exaggeration to say that he certainly lived up to that manifesto with his production across the project.

Opening with “On Time”, the magnanimous tones of A$AP Rocky signal Metro’s re-entry into our solar system. Built on exultant vocal harmonies as John Legend plays the lead in his very own choir, a sample of a speech from embattled Homelander of The Boys speaks to the duality of man that resides at the heart of the project.

Lines such as “you need me to save you, I am the only one who possibly can” not only speaks to the gravity of Metro returning as a conquering hero but acts as a symbolic nod to the ingenuity that he brings to the game. He may relish the power that he wields yet knows that what he does is for the greater good of hip-hop’s creative climate.

Segueing with style to spare into the Pluto-led “Superhero”, its 808s and intimidatingly distorted horns permit Future to float like he’s been catapulted back to the days of DS2.

It’s clear that phoning it in couldn’t have been further from Metro’s mind. Across Heroes & Villains near 50-minute runtime, Metro maximizes the efficacy of every hi-hat and recurring synth motif without ever making them outstay their welcome. Aside from what he’s physically doing behind the boards, the project is also the site of Metro pushing artists into new terrain in one instance, while providing a sleek new take on their trademark style in the very next breath.

For Travis Scott, “Raindrops” invokes the psychedelically-subdued cloud-rap sound of his Rodeo days, before “Trance” sees him and Thugger do battle with poignant violin stabs. The pulsating four-on-the-floor beat on “Trance” forces La Flame to edge closer to the work of frequent Daft Punk collaborator Romanthony on the outro than anything we’ve heard from him in the past.

Elsewhere, the reverberating, poised piano of “Umbrella” gives 21 Savage the chance to resummon the macabre energy of the Savage Mode team-up, alongside a highly complimentary verse from his cousin Young Nudy. By no means is this 21’s only guest appearance but it’s a testament to the mutual respect and trust that the two have in each other. Metro Boomin later crafts a foreboding soundscape for 21 to unabashedly flex on with “Walk Em Down (Don’t Kill Civilians) — accented with the mournful vocals of Mustafa — that will live on as one of the project’s surefire defining moments.

Metro expertly aligns The Weeknd’s pained, transcendent vocals with Mario Winan’s “I Don’t Wanna Know” and the famed sample of Enya’s “Boadicea” that gave The Fugees one of their biggest hits on “Creepin.” He opts to keep the integrity, sparseness, and ambiance of the original R&B classic while updating it for a new generation, a welcomed surprise that left every listener pleasantly dumbfounded on the first listen. At the same time, 21 pushes himself out of the austere street storytelling into a place of vulnerability which is not only thrilling to witness but hard to imagine him undertaking for anyone else but his close collaborator.

Metro Boomin’s capacity to coax greatness out of his core acts is well known, but it’s still encouraging to see that he hasn’t lost his knack for tampering with an artist’s DNA as if they were born to be on his beats. Among the typically exhilarating turns from his tried-and-tested platoon of talent, Don Toliver is one man who seizes every moment that he has on the project. So, when it came time to take the lead on the mesmeric, spacious world of “Around Me,” it’s no surprise that he brought his A-game and continued to steadily switch up as the beat evolved.

Metro’s trunk-rattling production and infectious refrains make his approach clear on the project. Any track could conceivably be a single, but the album is just as thrilling in its linear setting. Where many producer albums are intended to be fragmented, Metro was set on sequencing and sustaining a vibe that eventually brings listeners to a crescendo.

INDIO, CALIFORNIA – APRIL 16: 21 Savage and Metro Boomin perform at the Sahara Tent at 2022 Coachella Valley Music and Arts Festival weekend 1 – day 2 on April 16, 2022 in Indio, California. (Photo by Matt Winkelmeyer/Getty Images for Coachella)

In recent interviews, he has claimed that the project was modeled by Dr. Dre’s 2001. The similarities register in both the production’s cinematic gravity to the tight-knit crew of collaborators that make up the album. However, one critique that’s been leveled at the album is that he should’ve incorporated some newer talents into the roster. But, to make this argument is ultimately to overlook the thematic underpinning of the project. Heroes & Villains is devised in much of the same way as a movie, complete with its protagonists & antagonists. The features on the project act more like an ensemble cast rather than a random assortment of names picked from a hat.

Naturally, many of the all-stars of his career are accounted for. Future, 21 Savage, and Young Thug are essentially his de facto Avengers or Justice League. Meanwhile, Travis Scott, Don Toliver (who Metro has claimed is akin to the Nate Dogg of the project) & ASAP Rocky are the newer recruits to his crack team, appearing as if from another franchise entirely.

On the subject of Jeffery, his delivery over the thunderous “Metro Spider” is almost unrivaled across the project. A track that features one of his most fired-up verses in years can’t be anything other than heartbreaking to hear Thug proclaim, “If anything happens, my kids got Ms so everything’s alright.”

But while the rappers naturally take a lot of the limelight, they aren’t the only ones who are allowed to stunt with their versatility and technical know-how. Case in point, the seamless transition from “Metro Spider” to “Can’t Save You” with Future & Don Toliver is one that shows the length & breadth of Metro’s imagination. Then, the scintillating guitar strains of “Lock On Me” with Trav and Future prove that he’s finding ways to work within the existing confines of trap without rehashing what’s been done before. It’s these moments that reaffirm that there’s just nobody doing it like Metro.

As forward-thinking as the project is, it no less ends on a nostalgic, almost dewy-eyed note. Metro leads “Feel The Fiyaaah” through a deft re-envisioning of an old Peabo Bryson joint á la pink polo Kanye. Meanwhile, Flacko’s opening verse is authoritative without ever threatening to overwhelm the instrumental nor detract attention from the man whose moment this really is. It’s almost fitting that Takeoff’s first posthumous track is one that shows off his exemplary and often overlooked rhyming ability in all its glory. Though he was initially slated to be on three tracks on the album before his untimely passing, the late, great Rocket Man enlists an alphabetical flow and propulsive pattern on “Feel The Fiyaaah” that would have MF DOOM or Grand Puba tipping their caps to his dazzling wordplay.

On his sophomore solo project, Metro Boomin and his all-star cast make it clear that the hero is back to reinvigorate trap music. And what’s more, he did it in style. A project which delivered on all of its promise and pomp & circumstance, its consistency and replay value certainly won’t slow down the GOAT producer calls, either. If anything, this is an album that has sufficient range and consistent quality that will undoubtedly intensify them.