PARTYNEXTDOOR has quietly put together a stellar career. He’s been in the game for over a decade now, and he helped to solidify the “Toronto Sound” of the 2010s along with Drake and the rest of OVO. He experimented with different sounds on his last album, PARTYMOBILE (2020), but his new offering, PARTYNEXTDOOR 4 (or simply P4), serves as a return to form. It’s fourth installment in his self-titled series, and it’s a slick reminder that few artists are making better R&B music at the moment.
PARTYNEXTDOOR dropped four tracks ahead of the album’s release, and they all slide nicely into the tracklist. “Lose My Mind” and “Resentment” are standard PND fodder, solid if not spectacular. “Her Old Friends” changes things up with an acoustic guitar and a driving drum beat, while “Real Woman” remains a standout thanks to its slow jam tempo and sultry vocal sample. Thankfully, the bulk of the album falls in this slow jam sweet spot. P4 is at its best when it settles in and lets its singer ruminate about women who have wronged him (and vice versa). “Stuck In My Ways” is one of the moodiest songs PARTYNEXTDOOR has ever dropped. The chopped and screwed piano sample is hypnotic, especially when paired with the mournful vocals.
“Cheers” and “Make It to the Morning” provide mid-tempo reprieves from the album’s darker moments. The latter provides a glimpse of daylight in an otherwise nocturnal listen, and benefits from being right in the middle of the tracklist. There are a few missteps, like the plodding “No Chill,” which feels like its twice length. There’s also “Sorry, But I’m Outside,” which suffers from cloying breakup lyrics out of step with the PND playbook. P4 does rebound on the back end, though, with the glitchy track “Family” and the aforementioned “Resentment.” Overall, it’s a worthy addition to the PARTYNEXTDOOR series.
What are your thoughts on this new album, PARTYNEXTDOOR 4 (P4), by PARTYNEXTDOOR? Does PND still have the magic touch after four years off? Where does it rank in his self-titled album series? Which of the deep cuts was your favorite? We want to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news on PARTYNEXTDOOR. Finally, stay with us for the most informative song posts throughout the week.
The Alchemist and Oh No first teamed up as Gangrene in 2010, releasing their debut album, Gutter Water, that year. They established themselves as the ultimate duo. Both members excel within the underground scene with their unique approaches to lyricism and beat-making. As rappers and producers, their styles complement each other artistically. The Gangrene sound is defined by experimental production with busy instrumentation.
Alchemist and Oh No’s aggressive and jarringly violent bars reflect the organized chaos in the beats. Gangrene’s subsequent albums, 2012’s Vodka & Ayahuasca and 2015’s You Disgust Me, showed that no matter how much time had passed between albums and their countless solo ventures, they remained true to their sound. Heads I Win, Tails You Lose, their fourth full-length album and first in nine years, picks up right where they left off.
Gangrene’s Filthiest Album Yet
Heads I Win, Tails You Lose immediately places listeners into Gangrene’s mystical world of hard-hitting boom-bap loops. Its opening track, “Congratulations, You Lose,” begins with an ominous bassline and a thumping drum break. Setting the tone for the rest of the album, The Alchemist comes in with a menacing verse. He paints a vivid picture of “chewin a matchstick, I’ll spike the punch and send you on a bad trip.” Oh No matches the aggressive nature of Al’s bars in his verse, making for an exciting beginning of Gangrene’s reunion. The production on songs like “Oxnard Water Torture” and “The Gates of Hell” continues the album’s abrasive soundscape. The former’s screeching melody and off-kilter drums and the latter’s dissonant piano loop and jazzy percussion create an equally unsettling listening experience as it is intriguing.
Throughout its 39-minute run time, Heads I Win, Tails You Lose maintains its momentum. Its 13-song tracklist is quite consistent in its creative direction. The beats are bizarre and adventurous yet unmistakably traditional for The Alchemist and Oh No’s collaborative work. It might be a challenging listen compared to albums like Alfredo or A Long Red Hot Los Angeles Summer Night, but Gangrene is distinct from their other side projects because of its unconventional style.
Undeniable Chemistry
In addition to its cohesive tracklist, The Alchemist and Oh No continue their collaborative chemistry as both rappers and producers. Al handles the beats on eight songs, while Oh No produced the other five tracks. Both artists are versatile musicians, but the production blends together seamlessly as they stay true to their sound. As rappers, their chemistry is on full display. The Alchemist’s choppy flow and Oh No’s unpredictable rhyme patterns complete each other as they create new pockets within their own beats.
They rarely stray away from their signature flows, but the rapping is satisfying because they accompany each other so well. The features on Heads I Win, Tails You Lose also support their vocal and musical chemistry as Evidence, Boldly James, and ANKHLEJOHN specialize in this vein of underground hip hop. They also are known for sounding comfortable over production from The Alchemist and Oh No and when they rap alongside them. Evidence nonchalantly slides across the chill groove of “Magic Dust” while ANKHLEJOHN’s nasal vocal tone stands out on the minimal loop of “The Gates of Hell.” Additionally, Boldy James’s verse on the Alchemist-produced “Just Doing Art” aligns with the sounds of their three collaborative albums. Even with the guest verses, The Alchemist and Oh No do not rely on features. Their individual skill sets as rappers nearly outshine their own production.
The Progression Of The Alchemist & Oh No’s Everlasting Partnership
Nine years removed from their previous album, Heads I Win, Tails You Lose proves Gangrene to be reliable in delivering unorthodox beats and sharp rhymes. As a group, The Alchemist and Oh No may be predictable, but Gangrene remains unique in their sizable catalogs. The slow loops on their latest album are more subdued compared to that of Vodka & Ayahuasca and are more relaxed than You Disgust Me. Still, Heads I Win, Tails You Lose is Gangrene at their most refined, displaying each member’s artistic strengths. Between their solo ventures and countless collaborations, The Alchemist and Oh No always manage to tap into the sound they established long ago. Heads I Win, Tails You Lose assures that their everlasting partnership has not dwindled in the slightest.
Mozzy’s Children Of The Slums is a 17-track story that weaves the Sacramento rapper’s personal journey with a universal message of survival. The album also happens to be Mozzy’s eighth full-length studio LP and second under Collective Music Group/Interscope Records. Children Of TheSlums features a solid lineup of collaborators including Fridayy, Eric Bellinger, E Mozzy, Celly Ru, and Afira but it’s impossible to drown him out. As expected, each of these names adds their unique flair to the overall narrative. Standout tracks like “Jaded” and “Living Proof” show Mozzy’s ability to blend different sounds and styles. Most important is the message behind Children Of The Slums. Those familiar with Mozzy might see this as a continuation of the poignant storytelling that marked his major label debut, Survivor’s Guilt, but that would be putting it too simply.
The album opens with not one, but two songs with a raw message of loss and betrayal. “Damn” is a mellow track that immediately sets the tone for the introspective journey ahead where Mozzy calls out a fair-weather friend over a beat that’s both haunting and soothing. Almost hurriedly, and to ensure the listener remains trapped, he moves on immediately to “Still Hurt.” On this, he layers a soulful sample over hi-hats, as Mozzy admits the lingering pain from the loss of loved ones.
A lot of songs on the album are just like these: Mozzy’s open wounds, shared with the world, perhaps in hopes of finding solace. On “Free JuJu” he pays homage to a lost guide and a person he wishes he could have set on the right path but couldn’t save in time. This is nearly the same as “Miss Big Bruh,” another heartfelt tribute. However, this time, it’s to a brotherly figure whose absence leaves a void in Mozzy’s heart.
But Mozzy is not just sad; he is a survivor. “I Can’t Go Out” and “If I Die Right Now” are powerful declarations of Mozzy’s determination to not just survive, but leave a legacy. In a similar vein, “I Can’t Go Out” is a passionate refusal to succumb to the streets while “If I Die Right Now” questions the depth of loyalty among friends and fans alike.
Reflection And Closure
When it is not about his sadness, Children Of The Slums is also deeply introspective. “Jaded” and “Living Proof” represent the duality of Mozzy’s psyche-battling demons while reaching for angels. The former delves into a cloudier soundscape, reflecting the internal struggle between good and evil. In contrast, “Living Proof” is a soulful anthem of triumph with E Mozzy joining to celebrate the realization of dreams against all odds.
The title track is a piano-driven piece that reflects on Mozzy’s efforts for his community. It’s a raw and honest account highlighting the rapper’s deep connection to his roots. “Red Nose Bully” shifts the mood but maintains the message, with Mozzy asserting his enduring presence in the rap game over vibrant pianos and crisp hi-hats. The only reference Mozzy makes to his time imprisoned is “Traumatized,” which highlights the harrowing experience of a court sentencing.
Another major highlight of Children Of The Slums is the finale. The album wraps up with “Better Without You,” a gloomy track that drowns in its own sample of Eiffel 65’s “Blue (Da Ba Dee).” In a way, this signifies the exhaustion of watching others suffer. It’s a somber end to an album that traverses the spectrum of human emotion.
Mozzy’s return to the music scene is as understated as it is profound. He made no grand gestures to mark his release. Here, Mozzy turns away from the trend of glorifying jail time, choosing instead to focus on the community that shaped him. His album doesn’t dwell on his personal struggles behind bars; rather, it serves as a beacon of hope and inspiration for those he speaks for. Through his lyrics, it is obvious Mozzy hopes to give a voice to the voiceless with authenticity and raw emotion. Children Of The Slums is not just an album — it’s Mozzy’s heartfelt note to the world, delivered with the same unassuming, yet impactful presence he embodies.
Throughout Children of the Slums, Mozzy’s pen game is sharp, his delivery is impassioned, and his storytelling is unparalleled. The album is evidence of his growth as an artist and a human being since his incarceration. It’s a story of resilience; a story of a man who rose from the slums to speak for those still trapped within them. With each track, Mozzy lays another brick in the foundation of his legacy, proving that even from the darkest corners, light can emerge.
South Central Los Angeles rapper G Perico has been feeding the streets with multiple underrated projects in the last decade. After landing some significant feature placements with the likes of Nipsey Hussle, Royce da 5’9″, and J. Cole’s Dreamville, G Perico has continued to increase his base of listeners. His latest project, G Slim’s Revenge, sees the Roc Nation signee dropping some of his toughest gems yet, with numerous highlights across the project. G Slim’s Revenge runs 10 tracks over 22 minutes, with absolutely no skips. Without any further preamble, let’s dissect G Perico’s latest full-length effort, and review the material therein.
The intro track to G Slim’s Revenge is “Any Means,” an ultra-hard lyric-packed opener that perfectly sets the tone for the project. The lyrics explore G Perico’s neighborhood, reference iconic rap refrains, and describe the state of the Black American experience by invoking such significant figures as Martin Luther King, Malcolm X, and Barack Obama. G Perico’s trademark blend of high-pitched vocal twang glides perfectly over the rough and rugged West Coast instrumental, even if he does, at times, sound like he’s doing an impression of Nipsey Hussle.
“Troll Patrol” continues this trend, with a swinging instrumental that allows G Perico to flow like a hot knife through butter. His cadence on this track is completely infectious, and may cause you to swerve side to side across a few lanes of traffic if you bump this record in your whip. Perico seems to have really found his groove on this album, as the flows and vocal melodies he presents are as smooth and effortless as they’ve ever sounded.
“How Will” Is A Microcosm Of The Whole Album
G Perico opens the third track “How Will” with a brief spoken intro, stating, “I ain’t gon’ lie man, I just wanna talk sh** on this beat right now.” Not only is that exactly what he delivers on the rest of the track, this statement could serve as the tagline for the entire project. G Slim’s Revenge may not have much of a high concept or a strong thematic through-line, but G Perico’s ability to completely turn out a beat with smooth, gang-heavy raps is all but unparalleled. The pitched-up R&B samples that break up his verses on “How Will” offer a melodic angle to the track. Perico leaps from topic to topic, offering his take on shallow women, his opps, the police, and the impoverished state of his home neighborhood.
Subsequent tracks on G Slim’s Revenge hone in on these topics singularly, with tracks like “She Sexy” offering a look into a particular woman who caught his eye. On the track, G Perico fixates on a woman with independent wealth, excellent taste in clothes and fragrances, and a bossed-up attitude that keeps her in her business. “Luxury” continues as a pop your sh** anthem, full of references to designer brands, expensive cars, and first-class flights. Wallie The Sensei appears as a vocal guest on the latter, with a laid-back melodic hook that perfectly clashes with G’s high-pitched twang.
While G Slim’s Revenge does only run 10 tracks, it is still impressive just how consistent the project is overall. G Perico never hits a lull or a dip in the tracklist and continues to close out the back half of the record as powerfully as the front half. “Throw It Up” offers the best guest verse, with Tiny Doo offering brash, raspy vocal textures that clash perfectly with G Perico’s higher-pitched rhymes.
“Identification” is undoubtedly the climax of the record featuring G Perico’s strongest writing abilities on the entire album. The track centers on snitches, and every single bar could be its own tattoo. The songwriting on this track is exceptional, with every word carefully chosen to further the record’s “stop snitching” message. G Slim’s Revenge closes out with “Outtie,” a brief outro that ruminates on the themes of the album and teases further projects and developments to come in the near future.
While this may not necessarily be a 10/10 album, G Perico has proven on G Slim’s Revenge that he is in rare form, and simply does not miss. The record is bound to be criminally slept on, as Perico currently touts just over half a million monthly Spotify listeners at this time. Still, the record genuinely deserves to be celebrated, and arguably has a place in the top 10 rap records of 2024 so far.
Rowdy Rebel and Fetty Luciano are two Brooklyn MCs from the GS9 imprint. Their latest collaboration, Splash Brothers 2, just released on April 19, following the first Splash Brothers release from 2023. On Splash Brothers 2, Rowdy Rebel and Fetty Luciano flex their street ties and luxury lifestyles over drill beats for 11 tracks which span 25 minutes of run-time. Let’s dive into the body of Splash Brothers 2, and review the material therein.
Splash Brothers 2 opens with the track “2024.” This song has a loud, abrasive vibe showcasing Rowdy Rebel and Fetty Luciano’s drill influences, though the mixing on this record leaves a lot to be desired. Rowdy sounds like Bizarre from D12 drowning in reverb, while a vocal feature from Lil Tjay comes and goes in the blink of an eye. This track doesn’t effectively set the tone for some of the highlights to come and could have easily ended up on the cutting room floor.
“Pistons” is another song that does very little to establish Rowdy Rebel and Fetty Luciano’s stage presence, as JB completely steals the show with his guest verse. Sonically, the instrumental sounds so similar to Ice Spice’s “Deli” that you could make a sound argument that Spice deserves a writing credit. Later in the tracklist, “Can’t Talk Hot” features a nearly identical instrumental as well, without the powerful guest vocals of JB. As a result, “Can’t Talk Hot” sounds like a poorly conceived B-side of “Pistons,” which already sounds like a B-side of “Deli.” While Splash Brothers 2 does go on to reach some major highlights, opening with this one-two combo of mediocre songs was certainly a bad move from Rowdy and Fetty.
Some Of The Featured Artists Really Shine
As stated, JB has the most compelling verse on “Pistons” by a country mile. This is not an isolated incident on Splash Brothers 2 as Rowdy Rebel and Fetty Luciano are outshined by their guests numerous times. The track “Shake” is one of many examples of this phenomenon, with Rowdy and Fetty both completely drowning their vocals in autotune effects that make them sound like they just discovered the technology for the first time. The vocal mixing completely drowns out Rowdy to the point of near incoherence while Fetty’s interpolation of “I Don’t Want To Wait” by Paula Cole sounds embarrassing and unintentionally hilarious. D Sturdy completely sweeps them both on the back end of this track, with one of the hardest guest features on the album.
Things aren’t all bad for Rowdy Rebel and Fetty Luciano. The pair hold their own against some other banging features elsewhere on the record. “Pissing Me Off” sees Fivio Foreign stealing the show, though both of the main Splash Brothers artists manage to keep up with some of their best lyrical showings on the album. “Pissing Me Off” is track 3 on Splash Brothers 2, but really sounds like it would have made a better opener.
Then there are tracks like “Spin First” and “My Block,” which see guest vocalists Curly and Chubbs blending in perfectly with Rowdy Rebel and Fetty Luciano respectively. The former is a thumping club shaker that sounds like it could soundtrack a fight scene in a bodega in an episode of Mr. & Mrs Smith, while the latter sees Rowdy and Fetty trading bars back and forth with Chubbs, who compares and contrasts the street life of Chicago with the streets of Brooklyn.
“My Block” is probably the best cut on Splash Brothers 2, but it’s not the only highlight. “Twin Story Pt2” shows Rowdy Rebel and Fetty Luciano rapping with no assistance, and illustrates their chemistry better than any other song on the project. The track is a direct sequel to track 6 off the first Splash Brothers album from last year and gets straight to the point as to why these two teamed to make an album together in the first place. Subsequent tracks such as “Pop Out (Yeah Yeah)” and “Good Night” also bring the heat, with the former serving as a street anthem loaded with references to smoking opps and luxury whips. “Good Night” brings some sonic diversity to the production which is severely lacking on most of the album, and showcases some versatile flows from Fetty Luciano especially.
At the end of the day, Splash Brothers 2 is more of the same from this crew. If you’re a fan of Rowdy Rebel and Fetty Luciano’s previous work, you’ll likely find 3 or 4 new tracks here to add to your playlist. If you’re a die-hard hater of the GS9 crew, this album will definitely not do much to change your mind. Overall, the team has created a solid project, albeit with a few duds thrown into the mix.
YNW Melly has a gift for melody. The Florida rapper broke onto the scene with the earworm 2018 single “Murder On My Mind,” and since then, he’s proven he can be an intriguing artist. Melly’s career has been derailed by murder charges, but whenever he focuses on the music, he’s good. Case in point, his latest album, Young New Wave. At 11 songs and 37 minutes, Melly avoids the bloated tracklists of so many of his hip-hop peers. It proves to be a smart call.
Young New Wave is heavy on guest features, but YNW Melly sets the tone by himself on the opener, “Fix That.” The bouncy production is undercut by mournful guitars that compliment the rapper’s vocals. Melly spends most of the album in this pocket. It makes for a good listen, but one that’s aware of what could happen when one lives dangerously. Melly is, after all, looking at a possible life sentence in prison. “In the Benzy” is a fun posse cut with piano stabs and guest verses from Lil 50 and BreezyLYN. “Unannounced” is another strong album track, as Melly SCY Jimm trade aggressive verses over a watery vocal sample. The former is really in his element whenever he softens up the edges of hard-hitting beats.
Not every song goes over perfectly. “The “772 Love Pt. 3 (Your Love)” is an excellent showcase for YNW BSlime and YNW4L, but Melly lays the Autotune on thick and winds up sounding like a poor man’s Young Thug on the hook. “Top Off” and “Ville” are much better examples of Melly in crooner mode. The former might feature the catchiest chorus on the entire album. It’s difficult to say Young New Wave will generate momentum for YNW Melly, given that he’s currently behind bars, but the album does serve as a reminder of his prodigious talent.
What are your thoughts on this new album, Young New Wave, by YNW Melly? Do Melly’s hooks still grab you? Do you feel like he’s getting better as a rapper? Which of the album’s tracks was your favorite? We want to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news on YNW Melly. Finally, stay with us for the most informative song posts throughout the week.
History doesn’t just repeat itself, but also repurposes itself for new contexts. Last decade, Future dropped his trap-centric self-titled album and the more R&B-inspired Hndrxx a week apart. With WE STILL DON’T TRUST YOU achieving this pattern three weeks after its predecessor, that seven-year-old novelty now characterizes Metro Boomin. However, the elephant in the room back then was the divisive response, and inconsistent execution, of this sugary approach.
Sadly, while this album boasts hits across all metrics, the sheer tracklist length (and the still-fresh seventeen tracks before them) exposes the cracks in Future and Metro Boomin’s trajectory. If you loved Hndrxx, you’ll probably enjoy this. If you don’t like their R&B stuff at all, you’re just hating. But if you want balance and more fresh ideas than tried-and-true ones, then WE STILL DON’T TRUST YOU might not earn your confidence.
All that said, Metro Boomin really showcases evolution here, tackling his work with artists like Don Toliver for almost a whole LP. Cuts like “Out Of My Hands” and “Came To The Party” could fit as a cool-down point on WE DON’T TRUST YOU, and we’ll get to Disc 2 later. Where the St. Louis beatsmith’s grandiose direction falters is in reiterating his multi-layered production with hollow structures and so-so Future efforts, dampening the ear candy’s impact. “Drink N Dance,” “Jealous,” and “Overload” lose their luster well before ending.
Yet these issues don’t affect production quality — everything sounds crisp. Entrancing instrumentals remain like “Nights Like This,” despite this example’s melodic similarity to last year’s “Calling.” Instead, the weaknesses concern how melodic leanings don’t lend themselves to less eventful beats. Sometimes, individual elements help, like the ’80s-style drums on “Luv Bad B***hes.” But when you’re trying to build out an epic beat often, whenever you do fall short, you really fall short, unless Future gifts the assist.
Future Is Ol’ Reliable On WE STILL DON’T TRUST YOU
The Atlanta titan’s performance across the board is what we expected considering his dexterity on WE DON’T TRUST YOU. By comparison, he shows off his dynamism, expressive tone, quirky deliveries, and shifty, smoky flows even more here, such as strained choruses on “Always Be My Fault” and “Right 4 You.” Even though his rapping excelled more on WDTY, he tries his best on STILL to do right by sometimes slightly overproduced beats like the two examples above (although the first is a gold standard here).
Lyrically, it’s a well-worn, more emotional Hendrix you’re likely familiar with, although his pen isn’t always melancholically or toxically relationship-driven. Also, hilariously self-aggrandizing bars here like “You can f**k on him as long as you think about me” are staples in his catalog. But this is all true until it isn’t. For example, Future’s intro/title track performance is meager, and a bare cut that should’ve lasted half its actual runtime. Others like “Gracious” and “One Big Family” are average, but this is Pluto: you’re bound to take away bangers here, as few or numerous as they may be on any given project.
WE STILL DON’T TRUST YOU works best by simply distilling what these artists have built over their careers, not by over-dramatizing established approaches. “This Sunday” has a calming, addictive synth line and Future is intoxicatingly ethereal. Speaking of this possible “Feel No Ways” reference track, a brief Drake mention: despite some subs, the beef feels less prominent here due to moodier energies. Moving on, “All To Myself” is a great duet with The Weeknd that contrasts their performances in empowering ways, and “Beat It” is one of the few exceptions that structurally and execution-wise live up to the larger-than-life presentation that Metro Boomin champions.
In addition, “Mile High Memories” throws it back to earlier Fewtch croons with spotlit vocal melodies and perfectly measured atmosphere, and the same goes for the “Amazing” interlude, but with rap flows. The features mixed the bag, though. Ty Dolla $ign and Chris Brown provide minimal but welcome background singing, and as for designated solo spots, Abel gives multiple standouts, but J. Cole can’t maximize his sleepy surprise appearance on the already languid “Red Leather.” That almost summarizes WE STILL DON’T TRUST YOU. Future and Metro Boomin can no longer avoid a quantity-over-quality predicament. Most importantly, they try to evolve the former’s soulful approaches and the latter’s auditory theatricality while forgetting what makes their creativity special.
Here’s the album’s biggest holistic detriment. If Future and Metro Boomin fixed the bloat and backpedaling, WE STILL DON’T TRUST YOU still would’ve felt redundant. Disc 2 is an OG-sounding mixtape for their styles that is more compelling and goes harder than Disc 1 on average, thanks to more engaging beats, fiery performances, and solid features. If they had cut the filler and diversified the tracklist flow more, then we’d be talking about a much more solid album… that would’ve achieved the exact same as WE DON’T TRUST YOU.
All things considered, this series is nonetheless a dub for Future and Metro Boomin. They fed the fans with their trademark styles and are still dominating charts, music discussion, and the aux. Unfortunately, this also ends the producer’s air-tight studio album run this decade, and the “Solo” MC doesn’t fully capitalize on the moment. Nevertheless, WE STILL DON’T TRUST YOU contains peaks worthy of this legendary duo’s history, which they repurpose here to occasionally perfect effect. While we still trust them, they just surprisingly spend a little too much time repeating or forgetting that history here.
Jazz band BadBadNotGood and singer Baby Rose have dropped a collab EP called Slow Burn. The band burst onto the scene with a co-sign from a young Tyler, The Creator who also performed with them. Many latched on to them for their jazz covers of rap songs on their first two projects. However, as the years went on, they shifted to albums comprised entirely of original music including a project with the Wu-Tang Clan’s Ghostface Killah. Though they’ve certainly cemented a sound within hip-hop, their musicality undoubtedly reaches well beyond the genre while remaining rooted in jazz. As for Baby Rose, she’s established her distinct voice across various projects, including the Insecure and Creed III soundtracks and Revenge of the Dreamers III. She also appeared on projects from The Internet’s Matt Martians, Big K.R.I.T and Erick The Architect’s I’ve Never Been Here Before.
The five-track EP from BadBadNotGood and Baby Rose showcases a brief but effective group of styles without losing its central themes, sonically and lyrically. The concept of love is explored in various ways across the project with Baby Rose expressing her trials and tribulations of romance. She keeps things interesting by sharing how it has hurt her and how she has moved on from it through a variety of sonically excellent moods across the project.
Slow Burn Is A Showcase Of Excellent Vocals And Instrumentation
Opener “On My Mind,” BadBadNotGood’s organs help Baby Ross keep her cool on the verses before her vocals charge up on the hook. The explosively expressive electric guitar blends with Baby Rose’s powerful vocals, while basslines carry to the forefront and she accents her verses with background vocals that enhance the track’s mood.
One standout song on Slow Burn is “It’s Alright,” the most upbeat record on the EP. The drums on this one are a little faster, helping enhance its slightly light-hearted atmosphere. However, Baby Rose’s lyrics exemplify the emotional depth she carries in her songwriting. This track takes some detours as the energy dies down briefly to introduce unique sounds in the song’s final minute. The lyrical prowess continues “Weekness” whose creative spelling offers a glimpse into the song’s content. Baby Rose lists how things in her relationship change over the days. This track’s gritty electric guitar give it a slightly more aggressive feeling than the rest of the EP but the project remains cohesive.
The EP Has One Feature And An Immersive Single
The only feature on BadBadNotGood and Baby’s Rose’s EP appears on “Caroline” with a contribution from Mereba. Her and Baby Rose provide some beautiful back-and-forth moments and harmonies across the track. Their contrasting voices complement each other well and while Mereba does not have a full verse, she handles the pre-hook of the track mostly on her own. This one’s gentle acoustic guitar and steady drums give it a peaceful atmosphere that would pair well with a sunny day at the park. The subtle woodwind instrument only adds to this mood as it almost becomes the third voice in the song despite its almost understated presence.
BadBadNotGood and Baby Rose’s Slow Burn had one single released for it. Titled “One Last Dance,” it sounds like something one would hear in a lounge from the days of the past. A peaceful organ, floaty woodwind and soothing bass provide the soundscape for Baby Rose’s vintage-like vocals as she talks of seeing her once-lover return to her life. This track is the EP’s last song, functioning as a final chapter to the other tales of love shared across the rest of the project.
Slow Burn is an EP for people looking for something that blends a myriad of tranquil genres together. However, if we were forced to put labels on it, we’d say those genres are specifically jazz, R&B and soul. Baby Rose’s songwriting is excellent across the entire EP with some verses being shorter than others but still as effective. BadBadNotGood’s musical compositions are relaxing throughout most of the project with brief moments of high energy that aren’t jarring. If you’re unfamiliar with either artist, this is an excellent introduction to them and with its brief length, you can let the whole EP play and then go back to replay your favorites.
Summrs is a 24-year-old MC who hails from Lafayette, Louisiana. As a member of the SoundCloud era, Summrs has been steadily releasing music since 2016, with a prolific output that has sometimes resulted in the rapper dropping multiple projects per month. His latest effort, B4DaRaven, serves as a prequel mixtape for his upcoming album Tale Of Da Raven. Summrs will release Tale Of Da Raven sometime in May. The project, which was released on April 12, runs seven tracks over the course of 18 minutes. Let’s dive into the brief tracklist of B4DaRaven and examine the material therein.
The Project Starts Strong
B4DaRaven has a strong opener with “Curbside at The Ritz,” a trap banger with pulsing 808 patterns and stabby string instruments. On the song, Summers spits a few bars, updating the public on his recent misadventures, including beating cases, cutting off fake friends, and partying with fast women. The song is a pretty standard trap outing, all things considered, but it sets the tone for B4DaRaven well enough and serves as a highlight overall.
“Made Man” continues the hot streak as the young rapper describes themes of crime and extravagance in his rhymes. On this track, Summrs’s voice is characteristically drowning in autotune, though the mixing of the track lends itself to the robotic vocal effects, making it aesthetically pleasing. The upbeat cowbell-heavy drums provide a light and airy sense of weightlessness to the track, making Summrs’s confessions sound chill and laid-back.
“B4DaRaven” Hits A Lul Fast
“Situationships” is kind of a painful listen. Summrs gives his take on a number of women, referenced by first name, and why he couldn’t make a full-time relationship work with them. This song sounds like a cheap imitation of tracks like “Mambo No. 5” or Anderson Paak’s 2018 track “Sweet Chick.” Unfortunately, this song is the first major dud on the album, but not the last.
The two-hander “Sneaky Link/Love that 4 us” is clearly designed to be a focal point of B4DaRaven, with a wailing guitar solo that separates the first leg of the track from the second in an obvious attempt at replicating the success of Kanye West’s “Devil In A New Dress.” Unfortunately, the vocal performance on this one is repetitive and redundant, and mixed like you’re hearing it through a Bluetooth speaker in a plastic bag from the inside of a high school’s stairwell. Additionally, Summrs bites Lil Uzi’s vocal style so hard on this song that Uzi could probably legally demand royalties.
The Back Half Of The Tape Loses It’s Momentum
After the one-two punch of “Situationships” and “Sneaky Link/Love that 4 us,” Summrs never truly regains his footing on the project. “Drank n Sex” is as predictable as the title would suggest while offering drowned-out autotune mixing that pales in comparison to earlier songs such as “Made Man.” “In our favor” is a rare gem that offers Summr’s insight into poverty, struggle, and the American dream. Still, the track is criminally short, and offers very little time to marinate on the ideas presented in the lyrics. The final track on the tape, “Brioni shawl collar/Catfish,” sees Summrs rapping about fashion and luxury brands in a two-hander that is much better than “Sneaky Link/Love that 4 us,” but is still too little too late to save the project at this point.
B4DaRaven certainly won’t be nominated for any Grammy Awards and likely won’t appear on many “best of 2024” lists. Still, at the end of the day, this project exists mostly to build hype for Summrs’s upcoming album. While the showings on B4DaRaven offer very little on their own, they serve as passable scraps pulled from the cutting room floor to promote the rapper’s new material.
GloRilla’s latest mixtape, Ehhthang Ehhthang, carries a multifaceted message that resonates with the pulse of contemporary Hip Hop culture. Expectedly, the Memphis gem leans into her thick Southerness all through. As a result, the mixtape is a blunt journey through the sweltering streets and the unfiltered narratives of the South. Ehhthang Ehhthang is a nod to authenticity and a reminder that staying true to oneself is an art form.
Straightaway, on “Yeah Glo!,” GloRilla flexes her lyrical muscles. She proclaims superiority over haters, flaunts her luxurious lifestyle, and delivers a hook that sticks like glue. Its unapologetic swagger becomes an invitation to join her in the spotlight. A definitive album opener, it sets the scene for the bold rap star. Moreover, GloRilla is also comfortable with her badassery. Take “Opp Sh*t” for example, a song about having to navigate love in hostile territory. Aggressive rap meets a hard-as-concrete beat, creating a concoction stronger than a four-horsemen drink. But the real gem? Her vivid storytelling keeps you on the edge, waiting for the next twist. It’s an in-your-face ode to heartbreak, convention, and probably even familial loyalty. The former choir girl is keeping things 100, asserting her gospel truth.
Balancing Tradition And Innovation
Tracks like “All Dere” also pay homage to the golden era of Hip Hop. GloRilla’s flow rides the beats like a seasoned surfer catching the perfect wave but she doesn’t stop there. She sprinkles her lyrics with modern references — Instagram flexing, crypto investments, and late-night Uber rides. It’s both a wink to the past and a nod to the present.
Furthermore, it’s important to think of the mixtape as a time machine that transports listeners to sweaty dance floors, neon-lit alleys, and the raw energy of underground parties from the late 90s and early 2000s. The beats evoke memories of boomboxes, breakdancing, and boom-bap. But this isn’t a mere throwback; it’s a reinvention. On Ehhthang Ehhthang, GloRilla takes the familiar and injects it with her own swag. By adding trap snares, distorted synths, and unexpected samples, the production boosts the album’s diverse sound. However, there’s a flip side. Some beats lack cohesion. They stumble, unsure of their identity. It’s as if they’re caught between two worlds — a nostalgic era and the trap-infused present. GloRilla, like a tightrope walker, navigates this balancing act as best she can though. She teeters on the edge, occasionally slipping into mediocrity but when she finds her footing, magic happens.
Collaborations play a pivotal role in the mixtape. Whether it’s the undeniable chemistry with MoneyBagg Yo on “All Dere,” or the fierce energy alongside Megan Thee Stallion on “Wanna Be,” GloRilla thrives in partnership. These features were nearly magical, becoming a testament to the power of collective creativity. Unfortunately, though, not all of GloRilla’s guests shine this way on Ehhthang Ehhthang.
The mixtape includes a few other artists whose verses sometimes feel like obligatory pit stops rather than memorable collaborations. It’s nothing much to worry about, however; GloRilla herself remains the undisputed star. Her lyrical prowess is a beacon: sharp, unapologetic, and dripping with Southern charm. She can rap circles around most, and she knows it. Her verses are a masterclass in assertiveness, she’s definitely not one to play second fiddle.
On Ehhthang Ehhthang, GloRilla Touches All Bases
Throughout the album, GloRilla exudes energy. It’s infectious, like a fever spreading through a packed club. The beats pulse, urging listeners to move — whether they’re in a dimly lit room or nodding along during their morning commute. But here’s the paradox: while the overall experience is enjoyable, some individual songs fall into the “okay” category. They’re like snapshots — moments frozen in time, capturing the adrenaline rush but lacking depth.
Nonetheless, the club anthems to the introspective tracks, GloRilla paints a vivid picture of life’s highs and lows. She doesn’t shy away from the darker corners — the love for drugs, the tangled relationships, and the late-night escapades. It’s a raw exploration of human experiences, set against a backdrop of bass-heavy beats.
In the grand scheme, GloRilla’s trajectory is more than promising. If she hones her production choices, curates features that match her intensity, and continues to elevate her craft, her full-length debut could catapult her to the next level. She’s already among the best on CMG (Collective Music Group), and her star continues to rise. Ehhthang Ehhthang seems to be a mega-sized stepping stone, and it’s evidently just a glimpse of what’s to come for GloRilla. So keep your eyes on the horizon, because this Memphis native is seeking to rewrite the playbook.
