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Vince Staples “Dark Times” Album Review

May 28, 2024 by newhiphopnews

“It’s not that deep” might be one of Vince Staples’ favorite sentiments, whether in his recent Apple Music interview or when responding to overzealous fans online. The West Coast native has a beloved reputation for his upfront, earnest, and unfiltered perspective on hip-hop, commercialization, and the Black experience that is often perceived more comically than it should. What he says is not for shock value or nihilistic validation, but just a clear-cut explanation of why he views the world more cynically and skeptically than most. Vince always crystallizes reasons for this approach into his music, especially on his new album Dark Times.

This LP also serves as a bit of a sonic, emotive, and structural continuation of the ideas he championed in his last two solo studio albums. Vince Staples’ self-titled record was a moody deconstruction of his personal woes, beliefs, and demeanor whereas Ramona Park Broke My Heart nostalgically reflected on how the blessings and stresses of his upbringing in Long Beach shaped him. With Dark Times, he combines those two narratives to craft a more holistic, complete, and broad statement on history, temptation, and struggle as stormy clouds that are hard to strike light through in his life. Despite the sheer weight of this approach, the 30-year-old engages with it calmly and compellingly across a gorgeous sonic pallet that says much more in 35 minutes than most rap projects do in 70.

Dark Times‘ Production Lives Up To Its Title

Brevity and tightness are a staple of Vince’s recent catalog, and while Dark Times is not the most extreme example of this, it’s the most fully realized. Thanks to seamless song transitions, consistently watery and soulful instrumentals with wondrous sample selection, and a very consistent emotional temperature, this album feels carefully constructed and assembled in a no-frills, minimal way that makes it clear that this deliberation is the result of a focused mindset at the moment, not meticulous and over-explanatory planning. As far as the sound, even the “Liars” interlude holds some dreamy woodwinds and tender piano, a beauty which other moments like the subtle bass on “Shame On The Devil” reinforce. Even if the album can sound ominous, the guitar licks and peppy percussion on cuts like “Children’s Song” embody the blue skies in Ramona Park.

There are guest vocalists on here like Baby Rose, María Real, Maddy Davis, and Kilo Kish that add more color, harmony, and ethereal vibes to already pristine productions. As far as the personnel behind the board, LeKen Taylor and Tyler Page take over most of the beats, with Cardo, Jay Versace, Michael Uzowuru, and more also being big players. Yet the extensive production roster doesn’t dampen the cohesive flow of Dark Times, nor does it render its warm, cavernous sound redundant. Songs such as “Étouffée” give the album a welcome bounce to keep the energies afloat, while the pots-and-pans drums and wintery keys on “Nothing Matters” bring us back to concrete. In fact, even sparse, staccato notes on “Black&Blue” combine with organs to really make bare elements sound all the more lush, and the dreary but lyrically triumphant “Freeman” solidifies this “less is more” belief.

Vince Staples’ Lyricism

Over these beats, Vince Staples delivers sharp, relatable, blunt, and sometimes brutal bars on all the topics his catalog tackles. The lyrical matter (in this case, not directly from his pen) comments on systemic paradoxes and conflicting experiences, such as the short intro’s breezy wind chimes leading into lynching imagery: “To live is to be, like the n***a in the tree.” But it also invokes vast pop culture knowledge and boasts cheeky lines like, “I don’t need your flowers, I’m living / First time I seen a million dollars, I squinted.” Vince also flexes some storytelling muscles through the disillusionment of cheating on “Justin” and a conversation with an incarcerated friend on “Government Cheese.” The ode to music’s apologetic power on “‘Radio’” and the more positive and hopeful “Little Homies” flesh out the overall character portrait through specific periods of growth.

All in all, Vince Staples talks a lot about duality and misleading behaviors in Dark Times. Whether it’s his commentary on how disposable people treat romantic partnerships, or his thoughts on the cyclical violence and combative frame of mind that white institutions exploit, his skepticism is overt. Most interestingly, though, the “SAMO” spitter seems to flip the idea of “making it out” on its head. Whereas this would be a grateful escape for someone of his background, he actually can’t fathom how his fame wouldn’t make him more sensitive and hyper-aware of his hardships. But it’s also not as hopeless of a conclusion as you might expect. Rather than use the light to forget the dark times, this album appreciates and savors those sunny days while acknowledging there is always something murky and much more real and urgent underneath.

A Stellar Career In Sum

Empathy is a dangerous quality in Dark Times. It can falsely equate rich people’s problems to prison time, blind one to insincere romantic advances, and serve as a crutch for guilt, separation, and evolution. Vince Staples faces these contradictions with his head held high and an unflinching gaze. Still, through deepening that empathy and understanding of the less green grass he came from, someone of his stature and lived experience can characterize it. Much like the grounded selflessness and removal of ego that this comes from, the lyricism and sonic pallet here are easy to comprehend, but difficult to fully reckon with if you don’t share that 20/20 hindsight. Most importantly, they portray a man who “longs for loving and affection,” but chooses to value simplicity and familiarity in the face of once again placing misguided trust in justice, love, or safety.

Dark Times as an album is fulfilling despite its short runtime, and the somber but occasionally bright production and well-paced, measured writing go a long way to impress and evoke. But it’s also somewhat of a summary and acknowledgment of everything Vince Staples has waxed poetically about since his Def Jam debut over a decade ago. The “Blue Suede” synth returns here, and the closing bird chirps and background noise on the Santigold-assisted outro, “Why Won’t The Sun Come Out?,” bleeds perfectly back into the project’s opener, “Close Your Eyes And Swing.” This thematic distinction and journey is not a loop that Vince feels stuck in: it’s one that he’s just been patient with unpacking. It resulted in an amazing artistic run that, while “not that deep,” speaks volumes to the need to understand our world for ourselves, and ourselves alone.

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Rapsody “Please Don’t Cry” Album Review

May 24, 2024 by newhiphopnews

Amid the slew of clever, seamless, and versatile pop culture references on Rapsody’s new album Please Don’t Cry, one name gets a lot of particular love: Lauryn Hill. The buckets of ink spilled on the Fugees member’s ambivalence to the spotlight become moot when compared to the musings of a fellow femcee. Rather than equate this absence to some sort of contrived deficiency, the North Carolina native chose to question what are the forces that drive artists to that space in the first place. Her answer affirms that she will not choose that path, but find another one that can provide similar catharsis, self-love, and clarity in the hurricane of fame and acclaim.

Furthermore, the five-year studio album wait for Please Don’t Cry definitely feels justified due in large part to the personal weight and scope of its themes. Sonically and lyrically, Rapsody is as soulful, sharp, and wise as she’s ever been, bolstered by a more tranquil albeit unshifting sonic pallet. But the difference is that the approach to themes including identity, grief, Black plight, sexuality, familial bonds, romance, mental health, and many more is much more blunt, personal, and direct than the grander concepts and stories behind LPs like Laila’s Wisdom. While not every piece connects across this sprawling and dense project, its greatest achievement is not only the consistency of its quality, but also the compassion with which she translates her lived experience of growth into an equivalent body of work.

Please Don’t Cry‘s Beats Keep It Cool

Please Don’t Cry best characterizes this therapeutic approach through the calm cohesion of its production, which was mostly masterminded by BLK ODYSSEY, Major Seven, S1, Eric G, Hit-Boy, and more. The bread and butter is simple: warm bass, crisp percussion, heavenly background vocals, and light chords are all over this album. Not only does this create a lot of space, but it also highlights more subtle instrumentation in ways that more complicated beats would overshadow. Key examples are the fluttering guitar on “Look What You’ve Done,” the gentle woodwinds on “That One Time,” the watery synths on the cheeky self-love anthem “Lonely Woman,” and the wandering keys on the titular interlude. However, some deviations don’t hit as hard, such as the trite trap drum sequencing on “Black Popstar” with DIXSON or the boisterous “Back In My Bag.”

That’s not to say that this tracklist doesn’t switch up in compelling ways, though, as the reggae chiller “Never Enough” with Keznamdi and Nicole Bus proves. The important part is the stasis that Please Don’t Cry maintains when it returns to its boom-bap roots, and that ties Rapsody’s themes together with ease and gives them the atmosphere to really breathe and develop in. Any addition to that pallet feels earned and welcome, like Erykah Badu’s ethereal chorus on “3:AM,” a charismatic (yet terribly mixed) Lil Wayne verse on “Raw” with Niko Brim, and a killer g-funk Monica flip from Bee-B on “DND (It’s Not Personal).” Every piece lends a purpose to the overall thesis of self-betterment and self-consciousness, themes heavy enough to warrant calmer production curation. Of course, classically meditative sample worship on cuts like “God’s Light” and “Stand Tall” keeps the old-school hip-hop heads happy.

Rapsody Wipes Off Her Tears

If there’s any one thing that any rap listener should hone in on when it comes to Please Don’t Cry, it’s unmistakably Rapsody’s pen. Whereas the production keeps things level, she begins the album with songs like “Marlanna” and “Asteroids” that set up her identity, her perception of self, and the totality of her aspirations, fears, skills, and passions. Little by little, the album opens itself up with more specific details, like a rumination on police brutality on “He Shot Me” or a reckoning with a family member’s dementia (and also Alzheimer’s later on in the tracklist) on “Loose Rocks” with wonderful contributions from Alex Isley. While the lyricism is very impressive throughout (such as the standout “Clinging to society who always label me, but can’t define me quite entirely“), its graceful honesty and humility stands out here, not over-acrobatic wordplay or rhyme schemes.

Still, Please Don’t Cry sometimes spins its own wheels in place thematically or takes too jarring and sharp of a turn off-road. One example of the latter is the dramatic “Diary Of A Mad B***h” with Bibi Bourelly, though there’s also plenty of topical focus on other tracks to warrant these swerves from one theme to the next. There’s Baby Tate’s dreamy verse on “A Ballad For Homegirls,” which is all about cutting an unfaithful and toxic relationship out of your life, plus a Mantragold-assisted ode to… well, “Faith.” Family, God, self-worth, knowledge, and connection are the emotional pillars on this record, and Rapsody expertly links them across her life both in their totality and in their specificity. It’s also worth mentioning how much she praises many of her female industry peers, and rallies against double standards separating them.

“The Only Way Out Is In”

Maybe that conflict is one of the things that Lauryn Hill wanted to avoid, something that neither we nor Rapsody may never find the answer to. But at least we know that the 41-year-old is finding her answers with her head held high, a note that Please Don’t Cry beautifully summarizes. The album opened with “She’s Expecting You” with actress Phylicia Rashad, who presumably plays a hair stylist or, perhaps in practice, informal therapist of Marlanna Evans’. The closing track “Forget Me Not” with Amber Navran sees her return to Rashad despite her previous state of distress, confusion, and guilt. It’s a testament to perseverance, facing challenges head-on, and knowing oneself before pretending to know anything about the people around them.

There are plenty of obstacles in Rapsody’s way that only time could move away, such as illness, grief, fame, or systemic discrimination. But that doesn’t mean that she can’t act on those problems from a personal standpoint, or that she can’t put in the work to be at peace with the constant fight for brighter days the next morning. Please Don’t Cry is a very healing-centric and tender album in that sense, giving listeners the assurance that Rapsody sought in herself. It’s definitely not for the impatient, and some bloat can be cut out here and there, but it’s the earnest result of a lot of reflection and consideration on the connective tissue across her life. As Rapsody found, and as you might find too, illusions of self-loathing can eventually lead out of that darkness to our deepest truths.

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Mach-Hommy “#RICHAXXHAITIAN” Album Review

May 23, 2024 by newhiphopnews

Mere weeks after Mach-Hommy released Pray For Haiti in 2021, the nation’s 43rd president was assassinated, injecting a dire and gut-wrenching sense of realism into anyone who didn’t take its title seriously. The Haitian-American rapper has always made it clear that his music is about much more than a polyglot pen, intricate rhyme schemes, wordplay that can be as narrative and culturally rooted as it is clever, and lest we forget his mystical beat selection. Now that his home country is further politically destabilized, rampant with gang activity, and still in a languid humanitarian crisis, this mission to give back, educate, and inspire seems as heartening and futile as it’s ever been.

However, Mach-Hommy refuses to make any effort go to waste, and out of the dark and saddening shroud of Haiti’s 2024 so far, he made one of his brightest and most immediate albums up to this point. #RICHAXXHAITIAN concludes a tetralogy that began with 2016’s HBO (Haitian Body Odor) and continued with Pray For Haiti and that year’s subsequent Balens Cho (Hot Candles), which seems overtly dedicated to Mach’s Caribbean home (and, in Pray For Haiti‘s case as one of his first streamable efforts, contributes monetarily to his fund for educational advancement and infrastructure in Haitian communities). Whereas all these projects wear this influence on their sleeve, this new album builds off of the struggle and perseverance of previous installments to craft a triumphant and awe-inspiring experience.

The Sound Of #RICHAXXHAITIAN

#RICHAXXHAITIAN offers a comparatively more colorful, vivid, and accessible sonic pallet than albums like Balens Cho. Warm sample flips and fuzzy production contrast icy drum timbres and melancholy melodies all over this album, such as the regal horns on “POLITickle” with Drea D’Nur and a languid guitar loop on “GORGON ZOE LAN.” Across the board, the beats here feel fuller and more lush, but elements like the stark percussion on “THE SERPENT AND THE RAINBOW” bring them back down to Earth when they soar too close to the sun. Of these high-flying moments, there are touching glimpses of longing desperation, such as the woodwinds on “LON LON” with Archie Whitewater, paired with more expected Mach-Hommy fare like the hunched-over creaks on “GUGGENHEIM JUNE” or the Wild West atmosphere on “ANTONOMASIA” with Roc Marciano.

Speaking of stellar features, the Newark and Port-au-Prince MC enlists familiar faces like Tha God Fahim on “PADON,” Your Old Droog on “EMPTY SPACES,” and Big Cheeko on “SAME 24” with Norman Connors to provide some cutting verses. In addition to Mach-Hommy himself, August Fanon, Elijah Hooks, Conductor Williams, Quelle Chris, Fortes, Messiah Musik, and a heavy Sadhu Gold presence flesh things out behind the board. #RICHAXXHAITIAN results in a cohesive and well-flowing journey for your ears, revamping and reinvigorating the East Coast griminess that outfits like Griselda have popularized and, for some, oversaturated. Here, though, the wondrous and explorative nature of the instrumentals points to a new way forward, and Mach is always up front and center to lead the pack.

Mach-Hommy Is One Of Hip-Hop’s Most Razor-Sharp Pens

We won’t spoil the extent of this lyrical mastery here. After all, he is a hunter, and wants us to also enjoy the prowl more than the end result. Mach-Hommy flips everything to perfection, whether it’s a sly Star Wars bar, a reflection on the work of Howard Thurman, the trials and tribulations of Foxy Brown, or white phosphorus in Gaza. There are deep-rooted references here to extinct Haitian birds, New York drill rappers, representations of Haiti in film, cultural appropriation and exploitation, and the contrast between riches and rewards. “F**k a Forbes list,” the Dump Gawd spits at one point, eschewing the status that his wealth brings in favor of focusing on improving his family’s situation. The “XEROX CLAT” interlude with Haitian Jack blasts “avaricious hyper-capitalistic aims” and the next track proclaims its creator as the richest-ever Haitian.

This duality defines much of #RICHAXXHAITIAN and sets it apart the most from predecessors like Pray For Haiti. Yet Mach-Hommy is able to divide his attention and conquer his subject matter with ease, with a cut alongside an excellent Black Thought feature focusing on snitches, farcity, and a lack of principle in the hip-hop game, for example. Interludes like “AUX BON PARFUMS” highlight Haiti’s plight, and some cuts like “(…)” and “SUR LE PONT d’AVIGNON (Reparation #1)” use French and Krèyol to make the album’s cultural identity unmistakable. Throughout, Mach employs absolutely absurd rhyme schemes (see “SONJE” for a quick mind-blow) and the year’s best quotables so far, such as particularly hard bars about vegan thoughts, fetuses on trays, Tyshawn Jones, parking fees, and forty pieces of silver.

Answering Haiti’s Prayers

Towards the end of “COPY COLD,” you can hear a Sky News report on the current state of Haiti before the KAYTRANDA-produced title track with 03 Greedo gets you up and dancing with irresistible rhythms and double-time flows. “HOLY ____” infuses gospel into #RICHAXXHAITIAN‘s toolbox to close the album out on a hopeful, calm, healing, and almost victorious note. These moments really stress the accomplishments behind the project, as Mach-Hommy basks in his success, skill, and acclaim while still giving back to the circumstances that produced it. Despite the mystery behind this career and its pricey release methods, no other 2024 album places as much emphasis on the music speaking for itself. It’s a treasure trove of references, history, and lessons to discover, and is easily the most rewarding LP to hit the game in a long time, let alone this year.

However, through sharper hooks, enjoyably immersive production, top-tier spitting, and a consistently confident demeanor, Mach-Hommy made #RICHAXXHAITIAN every bit as simply impactful as it is often overwhelming. The fight for Haiti’s soul is much bigger than any one hip-hop album, and the difficult nature of soldiering for it has failed to slow him down one bit. This tetralogy tied up with a gorgeous bow, and one that pushes the influence and value of Haitian culture across the world with all the joy and amazement that the hardship of previous projects earned. Mach is a literary artist who refuses to compromise his worth for comfort, and one that’s clearly still on the hunt for evolution and fulfillment in every sense of his artistry.

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A Boogie Wit Da Hoodie “Better Off Alone” Review

May 21, 2024 by newhiphopnews

On May 17th, A Boogie Wit da Hoodie released Better Off Alone. His fifth album offers listeners a reflective look at the dualities of fame and the cost of artistic expression. Before it dropped, the anticipation for Better Off Alone was fueled by the release of the B4 BOA EP. Now, with his latest work, A Boogie invites listeners into a slightly more mature, contemplative space. For the rapper, his new project is all about personal redemption and a promising journey. It’s also been released just in time for the North American leg of his world tour.

Modern Nostalgia Via Production

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The beats across the album are meticulously crafted, with producers like 254Bodi, ATL Jacob, and CashMoneyAP bringing their A-game. Specifically, the production choices on Better Off Alone reflect A Boogie’s New York roots. However, they also leave room for experimentation and embrace a more expansive, global sound. For example, “Dark King,” the album’s second song, stands out with its crisp percussion and haunting melodies. It also helps set the tone for the album’s introspective narrative.

Better Off Alone features a number of Hip Hop samples that elevate A Boogie’s album. The rapper’s clever use of these samples helps add layers of depth to the tracks. For instance, “Steppas” incorporates a sample that pays homage to Hip Hop’s past while infusing it with a modern twist that resonates with today’s audience. This interplay between old and new is a recurring theme throughout the album and works for the most part. However, the album’s overall sound can be critiqued as lacking cohesion. This mix of old and new elements sometimes clashes, resulting in a slightly disjointed listening experience.

About BOA

The album is a 57-minute, 21-track experience. From the title track, which also serves as the album’s opener, one can assume that A Boogie is opting for a more reflective sound. As the album’s emotional core, the rapper is unsettled by the solitude that comes with success. “Stained my mind like you stained my sheets… I think I’m better off alone, babe,” he raps.

The repeated motif of emotional vulnerability continues on other tracks, such as “Somebody.” On the Future-assisted track, A Boogie continues to explore the need for genuine connections to help with the burden of fame. “Somebody need somebody, need somebody, yeah,” he spits before pinching himself awake with the line, “I’m payin’ seven-figure taxes, ain’t got time for no relaxin’.”

Betrayal & Loss

On Better Off Alone, A Boogie doesn’t shy away from darker themes, such as betrayal and the loss of close ones. In tracks like “Tiffany and Ashley,” he pays homage to the late PnB Rock while addressing the harsh realities of street life. A Boogie also explores his past resilience in dealing with personal demons and navigating the music industry. The lyrics in nearly every track seem to reiterate A Boogie’s sense of determination to rise above challenges and emerge stronger.

Highlights & Lowlights

“Better Off Alone” is not just the album’s title track but also a statement piece from A Boogie. Its haunting hook and reflective lyrics set the stage for the album’s exploration of solitude. Meanwhile, “Tiffanys” and “Did Me Wrong” are just as effective, becoming emotional anchors that capture the essence of A Boogie’s lyrical prowess. “Her Birthday” and “Booby Trap” were initially released as part of the B4 BOA EP. They have since become fan favorites, further highlighting A Boogie’s ability to connect with his audience on a personal level.

However, while the album does its best at attempting to explore these themes of solitude and the emotional toll of fame, some of its lyrics unfortunately fail to scratch the surface of these complex topics. As a result, the attempt at introspection sometimes feels forced. Other times, familiar tropes and braggadocio overshadow the album’s purported reflective nature. Moreover, the album’s length, with 21 tracks, is a handicap in itself. There is so much thematic repetition that it dilutes the impact of its more potent messages, as explored in tracks like “Dark King,” “Body,” and “I Already Know.”

Features & Collaborations

Better Off Alone, despite its title, is filled with collaborations. Young Thug’s unique cadence on “Let’s Go Away” complements A Boogie’s introspective verses, creating a standout track that’s both catchy and contemplative. Future’s contribution to “Somebody” adds a layer of gritty realism. Additionally, Lil Durk’s raw storytelling in “Spotlight” contrasts A Boogie’s melodic flow. The inclusion of rising talents like Fridayy and Mariah The Scientist on tracks such as “Need You Around” and “P&E” also shows A Boogie’s knack for spotlighting fresh voices, making for a full-circle moment. Altogether, the aforementioned features add depth and diversity to the project.

Conclusion

The introspective nature and A Boogie’s evolution on Better Off Alone are the album’s major strengths. With a successful, ongoing world tour and a strong presence on and off streaming platforms, Better Off Alone may succeed at helping A Boogie Wit da Hoodie gain some more ground as a pivotal figure in modern Hip Hop. However, despite chart success and potential hits, A Boogie’s evolution may be coming at a price. This album slightly falls short of the high standards set by his previous work. Nonetheless, while it’s too early to detect the impact of Better Off Alone on A Boogie’s career commercially, the album has evidently sparked a conversation about the direction of his sound.

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Conway The Machine “Slant Face Killah” Album Review

May 17, 2024 by newhiphopnews

What happens when great isn’t good enough anymore? That’s what every Griselda affiliate has asked themself for the past few years, as the collective’s consistent releases and knack for lyricism and gritty production resulted in lots of acclaim and some mild reception. Conway The Machine might be the most salient example of this right now, who followed up the excellent God Don’t Make Mistakes in 2022 with the expectedly solid WON’T HE DO IT in 2023. With Slant Face Killah, he continues to suffer a similar fate.

Conway The Machine is combating his own prime: even meeting half of that quality would still overshadow many pens, production aesthetics, and artistic approaches in the rap game today. On this album, the Buffalo MC retreads old territory to the point of exhaustion, and also, backtracks on the skill that we expect across the board. It puts pressure on the next move to show a bit of evolution or quality control.

Slant Face Killah‘s Production

After a dramatic, short intro (“Despertar”), “Mutty” kicks things off with a dusty Conductor Williams beat, of which there are two more on Slant Face Killah. Other production mainstays include Daringer, Camoflauge Monk, Beat Butcha, and legends like Cool & Dre and Swizz Beatz, along with more potentially surprising names like Cardo, Don Cannon, and Cubeatz. In the record’s first half, Conway The Machine showcases grimy and piano-heavy boom-bap that he murders with such conviction. “Give & Give” brings more luxury with a complex rhyme scheme and soulful vocal samples, whereas “Karimi” shifts the album’s closing moments to a woozy and chunky place with mechanical percussion and synth pads.

Still, Slant Face Killah often stays in the same place production-wise for any given track’s entire runtime. Other times, the instrumental rewinds the clock in less flattering ways, such as the trite keys, lyrics, refrains, and trap hi-hats on “Dasani” that not even a solid Conway The Machine flow could save. The very next track, “Raw!,” ironically tributes Big Daddy Kane while almost venturing into rage territory. While La Máquina flows well on it, it feels like a translation of a boom-bap beat to a trap one rather than fully embracing some of the latter style’s more distinct qualities.

Conway The Machine’s Lyricism

“Griselda Records, I should be the logo,” Conway The Machine raps on “Kin Xpress” with Larry June. On Slant Face Killah, the 42-year-old’s pen remains sharp, vivid, confident, boisterous, murderous, self-aware, and focused. “Milano Nights, Pt. 1” easily has the best quotable on the LP with “I’ll do a drive-by to André 3000’s flute album,” a distilled duality that oddly speaks to the appeal of his music. Much of the rest, such as, “You writing sixteens, I’m like JK Rowling’s four-hundred eighty-eight page novel” on “Surf & Turf,” is as hard as it is indicative of his talents.

Alas, Conway The Machine can’t escape some cringe bars here and there: Twitch and Adin Ross on “Ninja Man” and how his girl’s fancy whip makes her feel like Khloe “Car-That-She-In.” Actually, there’s a specific inflection point that makes this more obvious. By the time we hit “Ten” with Key Glock, not only does Conway’s flow get washed by Glizock on a trap instrumental, but his wordplay and topical focuses just either recycle or become less captivating on impact. It’s hard to keep up a high level across the board here, especially when featured guests break up the pattern.

Where Does SFK Succeed & Fail?

Unsurprisingly great features from Method Man on “Meth Back!,” Joey Bada$$ on “Vertino,” and others like Ab-Soul, Jay Worthy, and Stove God Cooks really match him on the passion, the hunger, and the effort. Regardless, it would’ve been nice to see some more overt chemistry between them and Conway The Machine. For example, Tech N9ne underwhelms on Slant Face Killah beyond intricate rhymes, and Rya Maxwell’s bizarre cadence and boring beat selection make it feel like you put on a completely different album.

Some tracks overstay their welcome, such as the overlong intro to the “Rya Interlude” and extended outros on multiple cuts across Slant Face Killah‘s tracklist. The attempts to switch styles or stretch out some beats weren’t polished or intent-driven like previous albums in his discography. That being said, since the verses and instrumentals are mostly impressive, this is more of a retrospective issue, not something that incessantly interrupts the album experience.

Where Should La Máquina Go From Here?

For the most part, Slant Face Killah is still a very worthy album in Conway’s catalog; it’s just in some small but important Griselda details that it falters. When there’s so much quality to go through, it makes these crevices look like caverns. Whereas other Griselda affiliates or “type artists” like Boldy James benefit from knowing their lane and quality standard, Conway The Machine’s capable of doing everything under the sun from lyrical onslaughts to commercial crossovers and topical depth, so why wouldn’t he want to push himself beyond this lane?

Fortunately, the closing track on here stuns. While “The Red Moon In Osaka” is not necessarily a perfect pen performance, The Alchemist’s evolutionary and layered sample flip, plus Raekwon’s monologued advice to “stay on the come-up,” provides the most emotionally distinct, compelling, and unique track on Slant Face Killah. You don’t read the bars: you feel them. That’s the secret sauce that this album didn’t spread evenly, and one that’s hard to impress fans with at this point. So shock us on the next LP, Conway: you earned our undivided attention long ago.

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Ghostface Killah “Set The Tone (Guns & Roses)” Review

May 14, 2024 by newhiphopnews

Ghostface Killah is an iconic MC who truly requires no introduction. The rap legend has been churning out high-quality releases for over three decades, both as a solo artist and as a member of the Wu-Tang Clan. His latest effort, Set the Tone (Guns & Roses) released on May 10, features a wide array of rap industry icons. The record touts guest appearances from the likes of Method Man, Nas, Kanye West, Busta Rhymes, and more. Set the Tone (Guns & Roses) marks Ghostface Killah’s return with his first full-length album since 2019’s Ghostface Killahs, providing nearly five full years of new experiences for the artist to cover. Let’s dive into the project and review the material therein.

The Album Starts Off Strong

Ghostface Killah kicks off Set the Tone with the explosive track “6 Minutes,” offering rap verses with Ghost’s trademark brash delivery. The track features guest vocals from Jim Jones, Sheek Louch, and Harl3y, each blending perfectly with Ghost’s grimy East Coast flavor. The second track on the album, “Pair of Hammers,” is handily the best song on the entire project, as Ghost and Method Man exchange lyrical haymakers in a showing of pure Wu-Tang chemistry. Be sure to pack a spare pair of headphones when listening to this song because Method Man’s delivery of “I tell her ‘La-Di-Da-Di’ like I’m Rick / We jammin’ in the party, Bob Marley with the spliff / Black Bugatti with the shift / Look at Johnny, I’m blazin’, got an army, not a clique,” may leave your earbuds smoking.

“Skate Odyssey” continues this high-energy trend with a smooth, jazzy beat and a soulful sung chorus from October London. You wouldn’t normally expect this jazz-inspired vibe to fit well with Ghostface Killah’s in-your-face delivery, but the track manages to achieve perfect harmony with the juxtaposition. Raekwon appears for a brief feature on the back end, proving once again that Ghost works best alongside his Wu affiliates.

Set The Tone Begins To Lose Steam Halfway Through

While some tracks manage to maintain interest, such as “Scar Tissue” with Nas and “No Face” with Kanye, Set the Tone (Guns & Roses) begins to falter at the halfway mark. The album runs 19 tracks over the course of 52 minutes, with a solid amount of filler padding out the back end. Tracks such as “Kilo in the Safe,” “Cape Fear,” and “Locked In” are completely forgettable and frankly should have been left on the cutting room floor. Ghostface Killah also chose to cram a handful of pointless skits into the mix, which sees him speaking about cereal, flirting with a woman over the phone, and roasting his friends on a video call.

While Ghostface Killah does experiment with different sounds on a few tracks, many of them come off as bland and unfinished. Such is the case for the Reggae-inspired “Champion Sound,” which features Beniton singing in patois, or the Caribbean dance-inspired “Shots” with Busta Rhymes. While these tracks aren’t the lowest point on the album, they are mostly forgettable, with Ghost failing to bring enough energy to keep listeners attentive.

There Are Some Major Low Points

Despite Ghost’s best efforts, he throws some serious duds into the mix here, with tracks like “Bad B****” and “Touch You” offering absolutely no value to listeners. The latter track is a misguided love and sex ballad that makes the baffling decision to heavily interpolate Mario’s 2004 hit “Let Me Love You.” However, the absolute lowest moments on this record come from the songs “Plan B” and “Trap Phone.”

“Plan B” is an absolutely repugnant song that painstakingly lays out a narrative of Ghostface Killah cheating on his spouse and forcing his lustful affair to take a Plan B pill so as not to disrupt his existing family. All of this is punctuated with thousands of layers of obnoxious autotune. This track isn’t even worth listening to out of morbid curiosity. Furthermore, “Trap Phone” isn’t even really a Ghostface song at all, as Chucky HollyWood takes the lead for about 80 percent of the runtime, with a completely unlistenable whining autotune effect that sounds like he let a child loose in the studio to play with the vocal effect knobs.

Conclusion

Ghostface Killah does manage to recoup some interest in the final moments of Set the Tone (Guns & Roses) with an energetic final track titled “Yupp!” with Remy Ma. This song might have had a shot at bringing the vibe back, but it’s just too little too late after combing through some of the missteps. While the album does have some major high points, especially in the first handful of tracks, it falls flat overall.

[Via]

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Chief Keef “Almighty So 2” Album Review

May 14, 2024 by newhiphopnews

Chief Keef may be the youngest legend in hip-hop history. After his first mixtape at 14 and becoming a Chicago superstar by 16, the breadth and weight of his influence and impact became immediately clear by the time Almighty So dropped in 2013. Few rappers can claim this achievement in such a short amount of time, and with a lot of legal controversy and trouble along the way, this pioneer spirit only became more apparent over time. While this run didn’t result in the strongest string of projects due to its prolific nature, it kept Keef’s identity at the forefront, birthed classic full-lengths, and inspired realms beyond just drill, trap, and rage. Now that he’s as reflective on his legacy as he is committed to further planting it, this unique and youthful position made a diamond out of the rough.

Moreover, Almighty So 2‘s been in the works for years, and with delay after delay, many fans held it in the mythical regard of a Whole Lotta Red or ASTROWORLD. Fortunately, it was so worth the wait. This is Chief Keef’s most upfront, immediate, and instantly gratifying album in a long time, and revamps the original installment’s often woozy and genre-fusing formulas with a more direct, boisterous, and consistent approach. Despite that, reflections on loyalty, partnership, family, and self-worth don’t take the bite out of its relentless runtime and still fit well. Overall, it feels like we’re right back in 2012 with today’s knowledge, even before the first Almighty So, and we say that in the best way possible.

Almighty So 2‘s Production

The most apparent way in which Chief Keef achieves this throwback reimagining is through the aggressive, layered, well-structured, and expansive beats on Almighty So 2. Snares and kicks don’t just hit; they drill… pardon the pun. On the opening tracks alone, “Almighty (Intro)” and “Neph Nem” with Ballout and G Herbo, their triplet sequencing beats the instrumentals into the ground, paired with dramatic and grandiose samples like “O Fortuna.” Rather than sticking to a particular style of drill or trap, he mixes them together and focuses on developing sample usage to its fullest potential for maximum enjoyment. For example, multiple elements of Nancy Wilson’s “Streetrunner” on “Runner” provide an anticipatory intro, a catchy refrain, and orchestral instrumentation throughout the cut.

Still, some moments here take more of a breather, such as the breezy “Drifting Away” with a West Coast/Midwest-inspired bounce, and the piano worship with a similar rhythmic treatment on “Prince Charming.” The sheer aggression throughout most of the tracklist doesn’t lose its luster because of how uncompromised yet controlled it comes across. 16 tracks add up to an hour of runtime thanks to Chief Keef’s hard work at giving songs proper transitions, movements, and third verses, and the vividness of the punchy production keeps you engaged all throughout. There are even some slight dips into rage on “Never Fly Here” with Quavo and mixes between guitar-backed calmness and operatic moshpits on “Jesus” with Lil Gnar, meaning that the volatile peaks always have earned and fulfilling build-up. Above all, this will hook you the most with Almighty So 2 on the first listen.

Chief Keef Controls The Chaos

But if the production hooks you, Chief Keef is the reason you stick around. In a rap world full of hedonistic writing, flexing, and evocative phrasing, Sosa is able to make the best out of his production with lines that are equally in-your-face while still feeling grounded. He calls himself a wolf howling at the moon on “Grape Trees,” flaunts “blue cheese” and a “thousand islands” on “Tony Montana Flow,” and is able to perfectly mix the glamorous with the gritty (or even the mundane) through his bars. “Six hundred for the shoes that’s on top of my bunions, n***a / Yellow truck, it’s Funyuns, n***a, it just smell like onions, n***a,” the Chicago icon raps on “Banded Up.” The lyricism is often confrontational, almost always funny, sometimes clever, but most importantly, never boring.

While the flows lock you in, Chief Keef is also able to provide a lot of variety through his deliveries on equally combative instrumentals. In other words, even if a song is going hard, there are many deliberate choices to either scream alongside it or balance it out with a calmer tone, such as most of “Too Trim.” But there is also some topical balance here, even if it mostly appears towards the end of Almighty So 2. The track “Treat Myself,” for example, is all about the Glo Gang boss’ self-worth, and how he evades roads to self-deprecation by wanting to push himself to his fullest potential. “Take a look up in the mirror, I just wanna squeeze myself / I done been through so much smoke to where I couldn’t even see myself / I’ll never need a b***h, but I’ma always need mysеlf.”

AS2 Has No Brakes

Elsewhere, Chief Keef equally reflects on the hard times it took for him to get here and remarks on his current success and what’s next for him. “Believe” has a killer and nostalgic sample flip, honors his late grandmother, processes the horrible exposures and actions that he experienced and perpetrated as a young man due to his circumstances, and even promises himself to be a better father to his daughter. While much of Almighty So 2 delivers these themes as a staunch retort against these evils, there’s plenty of levity and blunt honesty throughout, no matter how it’s delivered. The fact that each song is relatively long makes the rollercoaster ride much more enjoyable from track to track than most “one-note” albums. It’s up to you to live in the moment and then look back on what deeper truths the album holds.

What’s more, is that Chief Keef does most of this solo. He handles almost every song’s production except one; additional production assistants include Mike WiLL Made-It, Young Malcolm, SantanaStar Beats, and more. On the other hand, features from Sexyy Red, Tierra Whack, and the like match Sosa’s energy like a glove, whether for their unbridled bravado, fiery performances, or unflinching confidence. Yet they don’t overwhelm him at any point, and their inclusions don’t bloat Almighty So 2. Other inclusions like Michael Blackson on the “Jesus Skit” provide a lot of life and character to the album, whereas more traditional cuts like “1,2,3” continue the prominent horn picks and overall larger-than-life persona that this record paints. There’s just enough novelty sprinkled between what we love Chief the most for, and few full-lengths in his catalog achieve that balance as well as this.

How Is Sosa Not Even 30 Yet?

That push-and-pull is perhaps best exemplified on the closing track, “I’m Tryna Sleep.” Tender pianos and vocal samples, a combative delivery, hard-hitting percussion, and themes of partnership and fearless street confrontation are a microcosm of what Chief Keef was able to achieve on Almighty So 2. It’s a classic all the way for Sosa fans with its dramatic and magnanimous presentation. He taps into what he influenced in contemporary hip-hop and contains the maturely simple and hedonistically loyal reflections of a man who did not seem to change at all with the fame. The prolific catalog will prove that in one way, but it’s only through meeting Keef on his own terms with his writing that you’ll see this God-fearing, authentic, and unstoppable drive for yourself.

The 28-year-old’s been off the lean for a couple of months now, and there’s definitely a clarity to the production, songwriting, and rapping performance here that could reinforce that personal achievement. But more importantly, it speaks to his self-consciousness and evolution as an artist: how he sees his legacy, his talents, and the authenticity of his perspective. It’s not about loving being high, hating being sober, or the other way around. Like many amazing MCs before and after him, Chief Keef recaptured what made him so special before the first Almighty So with all the experience and lessons that he’s collected since. Almighty So 2 is a true return to form in that regard and one that you might not like if you didn’t like Sosa to begin with. But he’s a Chicago champion who’s stuck to his guns and continues to evolve and influence the game; why wouldn’t you?

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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.

[via]

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