Album Reviews

Concrete Boys “It’s Us Vol. 1” Review

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Lil Yachty’s label and music collective Concrete Boys have finally released their long-awaited debut album, It’s Us Vol. 1. The project is the first major showing of each of the five group members, which include Lil Yachty himself alongside Camo, Karrahbooo, Dc2trill, and the very first Concrete Boys signee Draft Day. The album, which officially released on April 5, runs 16 tracks over 47 minutes and offers a wide array of posse cuts, solo tracks, and all kinds of blends and mixtures along the way. Let’s dive into the material on It’s Us Vol. 1 without further ado and review the project’s best and worst moments.

The Project Does Not Start With A Bang

It’s Us Vol. 1 opens with a laid-back intro by Camo, with a brief Lil Yachty appearance creeping into the final moments of the track. While the song “Point Me To It” is a solid track, it doesn’t bring the kind of hype or excitement we’d like to see in an album opener. The following Karrahbooo-fronted track, “Where Yo Daddy,” is equally sleepy, offering smooth vocal delivery over a low-energy instrumental. Neither of these tracks is a bad showing of Lil Yachty and his Concrete Boys affiliates. However, it seems clear that It’s Us Vol. 1 should have opened with a strong, high-energy posse cut, especially since the major appeal of this album is the shared star power of Yachty’s multiple protégés. 

The third track, “Dialed In,” brings the banging energy required to invigorate listeners as Camo and Draft Day trade bars back and forth with expert precision, showcasing their excellent lyrical chemistry. All this takes place over a thumping, room-shaking sub bass and cowbell-heavy drums, making the track the project’s first real banger. Subsequent titles such as “Playa Walkin,” “Not Da 2,” and “Hit Diff” offer different Concrete Boys pairings, highlighting the blending sounds and combined charisma of the many budding solo artists alongside Lil Yachty himself.

Yachty Takes Center Stage On The Album

While it should come as no surprise that Lil Yachty is the major superstar of It’s Us Vol. 1, it is shocking that the talented young MC has so many solo placements among this tracklist. The first solo cut from Lil Yachty is “LA Reid,” which is sonically great but provides little to no justification for being present on the Concrete Boys project. If the track had been released as a single, perhaps it could have drawn additional eyes to the ensemble project, similar to J. Cole’s placing of “Middle Child” on 2019’s Revenge of the Dreamers 3. Instead, the song serves to grind the album’s momentum to a halt, and diverts fans toward other Yachty solo projects instead.

The same cannot be said for the following two Lil Yachty solo tracks, “M.O.B.” and “Pimpin Ain’t Easy,” which each earn their place on the Concrete Boys album by shouting out and name-checking other members of the crew. The former track sees Yachty floating over smooth piano jabs that provide a sparse, soothing melody, making it a perfect song to blast out the windows of your whip on a sunny day. The latter, “Pimpin Ain’t Easy,” is an R&B style crooner who sees the Quality Control signee reflecting on his blessings, including the important women in his life, and celebrating his ability to hold it down as the de-facto leader of the crew.

The Posse Cuts Are The Biggest High-Points

Unsurprisingly, the best moments on It’s Us Vol. 1 are the rare instances of all 5 MC’s forming like Voltron to tackle a long-form cypher. The first proper posse cut on the record comes in the form of a double-jointed track titled “2 Hands 2 Eyes 10 Whips/Rent Due.” This song features Lil Yachty giving it his all alongside all four of his Concrete Boys collaborators, with multiple stand-out moments. Yachty’s chilled-out delivery of the hook in the first leg transitions smoothly into a beat switch, bringing Karrahbooo into the mix with her most energetic showing on the album. Draft Day’s raspy vocal tenors provide some much-needed sonic diversity to the track before Dc2trill concludes the two-hander by tying the subject matter of the tracks together with a smooth reprisal of the “two hands, two eyes” refrain.

“On the Radar Concrete Cypher” is another high watermark for the album, as the entire crew locks in with explosive deliveries, including Camo’s best verse on the project. His lyrics, “Concrete diamonds, lay our chains on the ground and make a skating rink / My mans will slap a n**** at the award show like I’m Jada Pink,” are as hilarious as they are memorable, and are a real contender for best bars of 2024 thus far. The sparse horn section bolstering the instrumental on this track provides great room for the team to lock in with some of their best work yet. Other highlights on the album include the Dc2trill solo song “My Life,” which was released ahead of the project as a single. The track has handily the best beat on the entire project, making it a real shame that the run-time lasts just under two full minutes.

Conclusion

It’s Us Vol. 1 succeeds at its stated goal by showcasing each of the members of Lil Yachty’s Concrete Boys crew but doesn’t succeed at much else. The album is a great introduction to these artists for those who may not know them, but it never really provides any long-lasting intrigue. While the album likely won’t be revisited by hip hop historians 5 or 10 years down the line, it serves as a great foundation for flashier installments to come later on. After all, isn’t that what concrete is all about? 

[Via]

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Doja Cat “Scarlet 2” Review

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Doja Cat has dropped Scarlet 2 CLAUDE, the deluxe edition of her 2023 album Scarlet. The project has seven tracks with features from A$AP Rocky and Teezo Touchdown. The rollout was not quite as elaborate as Scarlet’s, though that’s to be expected with a deluxe edition of any project. Unfortunately, it also suffered from an online leak, though Doja remained unphased. Naturally, that attitude carries across Scarlet 2 CLAUDE as Doja continues to address her naysayers through creatively produced and arranged bangers. Like the original, the atmosphere of the songs ranges from aggressive to fun and everything in between.

Read More: What Is Doja Cat’s Best-Selling Album?

Doja Does Things Her Way

Doja Cat’s Scarlet 2 CLAUDE continues to push the boundaries by expounding her sound with influences outside of hip-hop. The opener “ACKNOWLEDGE ME” leans into soulful territory with crisp harmonies and flows that shine through massive production. Ultimately, Doja’s ear for production remains unmatched, especially how she weaves her vocals around sounds, like on “DISRESPECTFUL,” where the claps center around the hook. Doja’s verses here are delivered with a relaxed confidence as she raps over a melodic piano. While this track may resonate more with rap purists, “OKLOSER” is one for those who prefer Doja’s eccentricity. An accessible and jovial delivery made this one a fan favorite. However, the weakest moments come on “PISS” where a questionable hook combines with an overdose of layered background vocals and tranquil production that doesn’t quite come together how it should.

On the project closer “HEADHIGH,” she dials things all the way back to the dreamy soundscapes people have heard from her before. Over several guitars, Doja sings a soothing hook and with a slight vocal filter, drops a vulnerable verse. The energy she had throughout most of the album returns on the second verse but this track is still comparatively a comedown.

Complimentary Features

There are only two features on Scarlet 2 CLAUDE. This is not surprising considering Scarlet had zero features. On the A$AP Rocky featuring “URRRGE!!!!!!!!!!” Doja raps on a track that opens with a Shawty Pimp sample. Over warping bass, unnerving piano keys, and a faint siren, Doja takes a playful approach that pairs well with the track’s atmosphere. Meanwhile, Rocky has some fun of his own with bars like “His blood look orange, call him Dev Hynes.”

On “MASC,” Doja Cat replicates Teezo Touchdown’s vocal style by extending almost every word in the track’s simple hook. She takes a soft rap-sung approach to the verse, contrasting the stuttering and clattering drums. Though the piano overpowers the percussion, Teezo cuts through it with his distinguished voice. Towards the end of his contribution, the song reaches a brief crescendo as a myriad of sounds blend with his voice, almost to an overwhelming extent. This moment ends almost as soon as it arrives and the entire song ends moments later. Had this portion been extended and Doja’s final hook removed, the track could have had a truly powerful conclusion. 

Read More: Doja Cat Refutes “Tacky” Satanist Accusations

Final Thoughts

In conclusion, Doja Cat’s Scarlet 2 CLAUDE, offers some supplementary tracks for those who truly loved the predecessor. With seven tracks, the deluxe is EP length, making it an easy listen without feeling like another album entirely. While nothing on the project is exceptional, Doja doubled down on her commitment to shifting her music to the rap lane. Her unphased confidence and commentary on what people say about her fuels each verse. This is an example of her behavior on social media lining up with what she says in the booth.

The music continues to set itself apart from the other artists within hip-hop, and it shows how effortlessly she stands out. She continues to show that she can exist both in the pop and rap lanes and no matter what she does – people will be tuned in. The project’s pros outweigh its cons, making it a worthy listen for anyone still doubting her rap abilities.

[via]

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J. Cole “Might Delete Later” Review

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In the midst of what some have been referring to as hip-hop’s civil war, J Cole’s shifty eyes peek between both sides anxiously at the mere thought of betraying either friend, Drake and Kendrick Lamar. Together they formed the Big 3, a trifecta of MCs who carried their mentors’ legacies and affirmed lyricism’s position in the mainstream during the 2010s. What J Cole – and the public – may have celebrated as three generational talents who’ve pushed the boundaries of hip-hop to its commercial peak as a unified front, his other two counterparts have made it abundantly clear that they’re playing for keeps. And as a result, the generational consensus for the better part of the 2010s was that J Cole was trailing behind as the third wheel with a catalog of snoozers and faux-philosophical revelations, and arguably, one of the most insufferable fanbases online. But, if it weren’t for his fans parading around the “platinum with no features” feat, he wouldn’t have actually tried to prove anyone wrong. 

His surprise drop, the tight 12-track mixtape, Might Delete Later is yet another affirmation of J Cole’s candidacy for the coveted GOAT title. At its core, the mixtape is a lyrical exercise emphasizing hip-hop’s competitive nature and extending his ambitious run into the 2020s. However, the release of Might Delete Later arrived on the heels of Future and Metro Boomin’s Kendrick Lamar-powered “Like That” and days before his annual Dreamville Festival. Along with the snippets that arrived before its release, the bar for Cole was raised much higher due to external circumstances that could’ve easily gone unacknowledged.

Might Delete Later highlights the hunger in Cole’s belly, one that became evident in projects like K.O.D. where he pushed back at the narratives being spun by young Soundcloud prodigies like Lil Pump and Smokepurpp. However, in the following years, Cole has been on a mission to bridge generational gaps, play peacemaker between his other two cohorts, and prove that his relevance isn’t limited to his fanbase. He’s been able to move at his own pace and afforded the luxury of reaching new heights on his schedule. Much of these periods of silence have been dedicated to sharpening his craft, and figuring out how to transcend the lyrical box he’s been placed in without losing sight of his talent, albeit with stints of pro ball here and there. It became clear on his 2018 feature run that to be the best, he would have to align himself with other artists – specifically those that he isn’t necessarily friends with – who could push him outside of his comfort zone.

It’s been especially refreshing to hear J Cole embrace his Southern roots more openly, too, whether through collaborations alongside Dreamville cohorts or otherwise. “Pricey,” the opening track, sets the tone with a calming and cool effect that sounds like it should soundtrack an old-school Cadillac with gold plates riding through a deeply leafy and muddy forest, accented by Ari Lennox’s decadent vocals and Young Dro’s hypnotizing bridge over glossy bluesy guitar strings. However, the inclusion of Gucci Mane, who previously collaborated with Cole on “There I Go,” helps bookend the album, alongside Trae Tha Truth’s appearance on “Trae Tha Truth In Ibiza.” Their spoken word passages that conclude the songs they respectively appear on allow Cole to push an uplifting message without sounding preachy. 

But as much as J Cole’s humble lifestyle is a central force of this project, whether he’s bragging about pulling “your b*tch with no line-up and Crocs,” scoffing at the notion of extravagant bottle service, or simply, recollecting harsh memories growing up in Cumberland, Might Delete Later isn’t a body of work that aims to do much else besides wreak lyrical tyranny on the rest of hip-hop and make it clear where he stands among the crowd. It’s best summarized on “Crocodile Tearz,” a fiery banger that’s filled a cut-throat performance from Cole over an eerie Memphis-leaning beat that has traces reminiscent of Drake and 21 Savage’s “Knife Talk” except even bigger. It’s here where he puts his peers on notice, rapping, “Should do the Freshman cover twice, I’m never outclassed/ It’s not another n***a breathin’ that could outlast/ The Fall Off is like Hov droppin’ Reasonable Doubt last.” 

Unfortunately, this level of vigor and tenacity in the spirited competition of hip-hop remains unmatched throughout the rest of the project, even on “7-Minute Drill.” Though a response to Kendrick’s internet-shattering verse on Future and Metro Boomin’s We Don’t Trust You, it may have been better considered a “warning shot” rather than an outright diss. Quite honestly, “7-Minute Drill” showcased a lack of self-awareness, especially when trying to come at another artist’s discography with non-descript bars that could be toward anyone. But what’s worse is that even the idea of poking fun at Kendrick Lamar’s 5’5” stature weighed heavily on his conscious. For the first 48 hours, he was nearly declared the winner of the first round yet the discourse on his response ultimately became overwhelming. Then came his infamous Dreamville Festival apology, where he gracefully bowed out from the feud, admitting that he fell victim to peer pressure.

Nonetheless, this project attempts to reinvigorate the spirit of battle rap within J Cole, who has openly stated that artists like Canibus and Eminem inspired him. While records like “3001,” “Huntin’ Wabbits,” and the Alchemist-produced, “Stickz & Stonez” further fortify Cole’s M.O. across this album of being an elite MC, his efforts to chase clever and witty bars put a spotlight on his questionable rhymes – both on this album and historically. “Pi,” the Daylyt and Ab-Soul-assisted song, feels like an ode to “WROH” from Ab-Soul’s These Days where the TDE MC and the battle rap veteran trade bars a capella. For Cole, attempting to land a transphobic punchline was just a tone-deaf decision. Even if he wants to argue that it’s for the sake of creative freedom – and, let’s say that was the case: why exercise that liberty for a throwaway bar that’s hardly effective outside of being offensive? Haven’t we learned anything from the “Jodeci Freestyle?”

Regardless of some of the missteps, Might Delete Later remains a step up in J Cole’s catalog, especially having not released a mixtape since Friday Night Lights. He finds places to push his pen further and other moments where he can simply enjoy the fruits of his labor. “H.Y.B” and “Stealth Mode” are prime examples of Cole’s ability to find inspiration from the new generation, even outside of the U.S. Bas, who appears on both tracks, pulls J Cole into a hedonistic lifestyle on both tracks that extends the themes of songs like “Passport Bros.” Central Cee’s inclusion on “H.Y.B” is another heavyweight co-sign for the Brit. However, much like “Pi” and “Crocodile Tearz,” the tinges of external influences, namely 2023’s “Sprinter,” seep through the summer-friendly production. 

As a precursor to The Fall Off, J Cole’s fourth mixtape stands as a strong body of work but one that will likely be remembered in the shadows of the controversy that surrounds it. For an artist who declared, “​​​​I hit ’em up, bitch, I’m 2Pac twin,” he ultimately succumbed to the pressure that comes with the #1 spot. Unlike his hoop dreams, his efforts to enter the battle rap octagon have been thwarted completely, though whether this permanently erases his place among the Big 3 will be determined with time. Nonetheless, Might Delete Later continues an epic run for J Cole, only if he dismantled his momentum with an apology.

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Sainté “Still Local” Review

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Sainté, the Leicester-born maestro of the mic, has long been a harbinger of innovation in the UK rap scene. With a history of crafting tracks that resonate with both the heart and the streets, his music is a testament to his love for sonic experimentation. His latest mixtape, Still Local, which was released on March 29th, is a continuation of this legacy, offering a fresh take on the genre while paying homage to his roots. It’s a project that not only reflects his journey but also his fearless approach to blending different musical styles, ensuring that each song is a new discovery, a different shade of his artistic palette. Altogether, Sainté’s commitment to pushing boundaries is evident in every beat. This makes Still Local a bold statement in a career defined by a willingness to explore and evolve. 

Read More: 7 Rappers From London You Should Be Listening To

“Classic” Saintè

Many of Saintè’s fans love him for his nostalgic sounds. Thankfully, that isn’t missing in this mixtape as well. However, perhaps more interesting is his ability to pair nostalgia with a diverse range of topics. Moreover, most of these topics are deep and intimate.

The album opens up with “Too Much,” before moving on to “Tea Over Henny.” The latter stands out in Sainté’s discography as a track with stellar instrumentals that rival the acclaim of “Summer Is Blue.” With “Route 64” Sainté takes us on an introspective journey through his emotional highways. There is also “Stop Crying,” a juxtaposition of emotions set to rhythm. “Stop Crying” opens with the quintessential UK Sainté flair, a familiar prelude that fans have come to love. However, it’s the outro that leaves a lasting impression, a wistful and floaty departure from the norm that’s sure to become an earworm for those who appreciate Sainté’s experimental edge and creative spirit.

Reflections And Complexities

The artist is bold, without sacrificing power for quality, thought-provoking content. In “Y2K,” Sainté delivers a reflective narrative, pondering the transient nature of love and success against a backdrop of nostalgic beats. “They’ll See” continues this introspective journey, with Sainté’s laid-back flow offering a tranquil respite from the often intense UK rap scene. Meanwhile, “Love Is Deep” delves into the complexities of affection and connection, set against an enchanting soundscape that underscores the depth of the emotions explored within the track. Finally, with “Milwaukee,” Sainté holds a masterclass fusion. It is a song that marries the old with the new in a celebration of musical evolution. The track feels like a conversation across time, a dialogue between the past and the future, held together by the thread of Sainté’s unwavering flow.

Read More: Cash Cobain Links With Chow Lee Again On “Rump”

Saintè’s Collab Experiments

Most standout tracks on Still Local were able to shine, especially due to the diverse range of artists featured. “Currency” is an anthem for the grind, a testament to the hustle that’s both relentless and rhythmic. Sainté lays down verses that resonate with the pursuit of success, backed by a beat that’s as compelling as the almighty dollar. It’s also a track that pays homage to the drive for financial freedom, wrapped in a melody that’s rich with ambition. Draft Day doesn’t just deliver verses, he ventures into singing, complementing Sainté’s own melodies seamlessly. Altogether, it’s a melodic dialogue between two distinct artists. 

“Fancy,” featuring Chow Lee, is a cultural exchange set to music, a dialogue between continents that pulses with the energy of two worlds colliding. The track’s Jersey beat is a playful challenge, an invitation to dance at the intersection of tradition and innovation. The synergy between Sainté and Chow Lee is palpable, as their styles intertwine seamlessly, producing a track that’s as intriguing as it is enjoyable. 

“Alone,” featuring the ethereal vocals of Beattie and the dynamic presence of Loukeman, stands as a poignant exploration of solitude. Sainté’s verses, introspective and raw, delve into the dichotomy of life’s solitary journey against the backdrop of Beattie’s haunting harmonies and Loukeman’s compelling rhythms. Furthermore, the collaboration with Lil Silva on “Safe” is a dreamscape painted in sound, a lullaby for the soul that speaks of safety not as a place, but as a state of being. Finally, “G’s Reign,” the mixtape’s concluding track, is a raw and unfiltered narrative that strips away the layers to reveal the core of Sainté’s artistry. Featuring Potter Payper, it’s a track that lays bare the truths of life, a poignant reflection on purpose and presence.

The Verdict On Still Local

Summarily, Still Local is a commendable effort that showcases Sainté’s commitment to his roots and his ability to experiment with sound. It’s evident that the star is capable of leaving a lasting impact, even though the project feels wanting more sometimes. It lacks the cohesiveness and energy to elevate it beyond what we’ve come to admire already. So while the project’s potential is evident, it’s mired by a sense of everyday lingo that permeates through the tracks. 

Nonetheless, it’s a solid foundation, albeit one that leaves the listener yearning for a spark that will ignite a true artistic revolution, or perhaps more of the old stuff like “Champagne Shots.” In the end, Still Local feels like a prelude to Sainté’s capabilities. It’s a mixtape that has its moments, but Sainté will need to up his game by the time his expected album will finally arrive.   

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Lil Skies “Out Ur Body Music” Review

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Lil Skies is a 25-year-old MC who has been making waves for nearly a decade now. The Pennsylvania native just released his latest full-length effort, in the form of a mixtape titled Out Ur Body Music. Connected Sound producer Zerby solely produces the project, which has already sparked a wide array of responses from fans since its release on March 29th. Out Ur Body Music serves as a follow-up to Lil Skies’ sophomore effort, 2021’s Unbothered. The project spans 8 tracks, spread across 24 minutes, including a few singles that were released ahead of the tape’s Easter Sunday drop. Without further ado, let’s examine Lil Skies’ latest effort and review the material therein.

Read More: Lil Skies Teams Up With Landon Cube For “PlayThisAtMyFuneral”

The Mixtape Seriously Lacks Sonic Diversity

Out Ur Body Music starts strong with a track titled “Call Me.” The opener offers a distant vocal sample from the 2011 Joell Ortiz track of the same name, as Lil Skies raps about loneliness, difficulty connecting with friends, and his desire to turn to illicit substances to numb his pain. Unfortunately, the following track “Drank Talk” touts a nearly identical instrumental, and continues to harp on the same subject matter without adding any new or innovative ideas. Both songs utilize aggressive high hat-forward drum kits, stuttering over low-end 808s to provide a sparse background for Skies to synthesize interesting themes, though he ultimately never does.

Instead, Lil Skies auto-croons his way through some sleepy vocals, once again highlighting alcohol and drug use as self-medication for his tortured emotions. However, it’s important to note that Skies self-identifies as straight edge, opting to abstain from alcohol and drugs. This means that references to such substances throughout his music are there simply for artistic license, and ultimately ring hollow.

The Singles Didn’t Do Skies Any Favors

The mixtape continues into “Thousands” and “Death,” which were each released prior to Out Ur Body Music as singles. While “Thousands” serves as a preview to Lil Skies’ latest material, it ultimately falls flat. The track sees Skies tapping into a growling aggressive voice, which plays so against-type that it makes the track sound like Lil Skies’ lackluster attempt at performing a DMX song on karaoke night. The track also features painful lyrics such as “All you n****s talkin’ tough, but we know you ain’t bold. Treat ’em like some toilet paper, throw ’em down the toilet bowl.” 2024 has already been a big year for poop and toilet bars, which need to be retired from modern music at all cost so that we can progress as a society.

“Death” has some of the same problems, though Lil Skies’ deeper delivery sounds much better here than it does on “Thousands.” Still, this track sounds like Skies doing a forgettable Playboi Carti impression. Even after burying his voice in layer after layer of reverb and autotune, Skies fails to experiment outside of the sound presented in the first tracks of the mixtape, making the whole project run together in a blend of forgettable SoundCloud trap. Having said that, the vocal refrain of “I had to stomp him with the big Balenciaga boots” is admittedly catchy, and makes this track kind of a highlight.

Read More: Lil Skies Reportedly Turned Down The XXL Freshman Cover

Conclusion

Out Ur Body Music ends with a four-track run of ultimately forgettable songs the completely rehash the ideas at play in the first half of the tape, causing listeners to tune out somewhere between “Misunderstood” and “Change On Me.” The closing track is one of the worst on the outing, offering insufferable vocal mixing that overstays its welcome almost immediately. Unfortunately, Lil Skies didn’t put his best foot forward on this mixtape, leaving very little to love about Out Ur Body Music. The good news is, the only way to go from here is up, so perhaps the Atlantic signee’s next project will be his best yet.

[Via]

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RXKNephew “Mind Yo F***ing Business” Review

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RXKNephew has garnered recognition for his frequent music releases and distinctive punched-in technique. The rapper has built his career on saying hilarious and out-of-pocket lyrics over banging beats with plenty of style. So, it should come as no surprise that RXKNephew’s latest full-length release has been given the humorous title of Mind Yo F***ing Business. MYFB was released on March 29 and contains 11 off-the-wall tracks dispersed over 23 minutes. The project is Neph’s 59th studio album since he began dropping jewels in 2019, following up efforts such as Born 2 Die and 2023’s Life After Neph. Given that RXKNephew’s output has been so staggering, it’s absurd that he seems to show no signs of slowing or stopping. Here’s a look at Mind Yo F***ing Business and a review of the material within.

The Album Hasn’t Generated Much Buzz Online

Despite RXKNephew’s status as a meme icon in a number of social media circles, Mind Yo F***ing Business hasn’t been getting a lot of attention. Threads referencing the album in popular hip hop spaces such as Reddit and Twitter have received very few comments and replies, and the lyrics and album credits aren’t even available on sites like Genius. As a result, it’s seemingly impossible to identify the album’s sole vocal guest who appears on tracks such as “Punch Yo Father Out” and the alum’s opener “If You Play With Me I Will Kill You.”

The tepid response to Mind Yo F***ing Business seems to indicate that RXKNephew’s popularity is waning, likely due to the oversaturation of his sound in recent years. While many of his tracks, such as “American tteroristt” and “Tory Lanez Should Have Shot His Barbershop Up,” still get frequent rotation, his latest outing seems to be languishing in relative obscurity.

“MYFB” Has Some Hilarious Track Titles, But Not Much Else

On Mind Yo F***ing Business, RXKNephew offers a wide array of hilarious tracks, such as the brief but enjoyable “If You Play With Me I Will Kill You,” as well as more straightforward offerings like “Slap Yo Baby Mama.” Unfortunately, a number of these songs have very little to offer lyrically, as Neph provides the same jokes and turns of phrase to spin ghetto tales of shooting opps, slanging rocks, and stealing other rappers’ women. Tracks like “Jump On Yo Face,” “Imma Drink Everyday,” and “Ain’t No Heds Up We Gone Jump You” come and go without leaving any impact at all.

Still, there are a few highlights, such as the melodic spacey dance beat on “Wish I Went To School For Selling Crack,” which is all but guaranteed to lift you from your seat and get you dancing. The following track, “Knock Dreads Out Yo Head With A Switch,” is probably the funniest song on the album, with a spooky, ominous instrumental topped with lyrics like: “Parking lot pimping / I don’t play the club scene / Way too many guns / Way too many dreads in this view.” Meanwhile, “Walk In With A Bomb Strapped To My Chest” sees RXKNephew almost aping the style of an old-school Future banger, with a stream of consciousness flow referencing his frequent alcohol consumption and lack of respect for his peers.

Conclusion

Luckily, RXKNephew concludes Mind Yo F***ing Business with a pair of bangers in “Please Don’t Make Me Shoot You” and “Put You In A Wheelchair” respectively. On these standout tracks, Neph offers soothing, jazzy instrumentals that allow his distinctive voice to flow smoothly. Unfortunately, there’s just not much to differentiate this album from the dozens of other projects dropped by Neph in recent years. Although the album art is among the best in his career, it seems like the project is already fading into obscurity.

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Beyoncé “Cowboy Carter” Review

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Beyoncé is a master manipulator of genres, and Cowboy Carter, her grandiose Western showcase, is a firm, root-stomping imposition of this fact. “Used to say I spoke ‘too country’ / And then the rejection came, said I wasn’t country enough” is perhaps the most arresting line in “AMERIICAN REQUIEM,” the album’s opener. But with Beyoncé, it was never going to be a straight line anyway. So, for those who held out hope for a country album in the style of the result of years of whitewashing, you’d be sorely disappointed. Beyoncé’s eighth album is a “Beyoncé album,” and Cowboy Carter is assisted by a confederation of sounds… Black sounds. 

Vivisecting Country Music & Its Origins

“Genres are a funny little concept, aren’t they?” Linda Martell rhetorically asks. “Yes, they are. In theory, they have a simple definition that’s easy to understand. But in practice, well, some may feel confined.” In summary, that’s what Beyoncé’s Cowboy Carter stands for: the universality of sounds as a human right. After all, what right does anyone have to “own” a genre that didn’t belong to them in the first place? The melodies that birthed the foundation of the country music genre were a result of Black ministers and enslaved churchgoers. 

Beyoncé famously (or should I say infamously) got up on the Country Music Awards stage in 2016 alongside The Chicks. As a result, the Houston, Texas native was ironically blackballed from the sounds of her ancestors. This incident led to the artist diving into the genre’s rich history. Now, she’s emerged with an album several years in the making. So, in a sense, Cowboy Carter is Beyoncé’s most delicious middle finger ever. And if y’all want to contest her authenticity, you’d be fighting a lost cause. Ultimately, she proudly reminds us that she’s “the grandbaby of a moonshine man” from Gadsden, Alabama.

Cowboy Carter’s Collaborations

With Act I: Renaissance, she helped reclaim House music. In the same vein, this apprehending second act is about sounding the alarm of country music’s roots. Unsurprisingly, she’s received co-signs from a few heavyweights in the game. Dolly Parton, Willie Nelson, and Linda Martell all tip their hats at Bey, the latter being the first successful Black woman country artist ever. Altogether, their appearances not only boost the album’s credibility but elevate the overall listening experience. In radio-style format, these three country juggernauts ease the listener’s journey, guiding us just as the elders they are. 

Country music darlings Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts join Beyoncé on Cowboy Carter, appearing on “BLACKBIIRD.” The cover of the iconic Beatles track was originally penned as a tribute to the iconic Little Rock Nine. This makes it especially special, considering Beyoncé enlisted the younger stirrers of the genre as featured artists. The harmonious track is a warm pat on the back, effectively encouraging other acts who feel out of place, even at home. 

Beyoncé’s daughter, Rumi Carter, is heard on “PROTECTOR,” a triumphant affirmation about a mother’s love. X-Factor alum Willie Jones joins Bey on “JUST FOR FUN” as the pair croon about getting through better days. The alternative-country artist Shaboozey shines on “SPAGHETTII,” an ode to Southern Hip Hop, and “SWEET HONEY BUCKIIN.” Moreover, Post Malone and Miley Cyrus deliver in a magnificent way. While the former dons his sexiest persona so far on “LEVII’S JEANS,” Cyrus comes through guns a-blazing on “II MOST WANTED,” as she and Bey reiterate, “I’ll be your shotgun rider ’til the day I die.”

“That’s What Makes It A Unique Listening Experience”

Beyoncé’s “Jolene” cover on Cowboy Carter strays a bit from the original, giving it a huge kick. While Parton “begs” Jolene not to take her man, Mrs. Carter issues a warning. “I’m still a Creole banjee bitch from Louisianne,” she sings, channeling her mother Tina. The cover is followed by “DAUGHTER,” the haunting number that exposes some of Bey’s darkest, most violent thoughts. The apex of the aforementioned track, however, is when she blesses us with her rendition of the 18th-century Italian aria opera classic, “Caro Mio Ben.” Nonetheless, the Queen sounds right at home in country territory, touching all of country music’s bases. “TEXAS HOLD’ EM” and “16 CARRIAGES” are perhaps the most orderly tracks on the project, which served as a teaser to the foundational essence of Cowboy Carter. 

But on B8, there’s more than just roots-reminders and political commentary. The icon also, and in true Beyoncé fashion, taps into the religious, romantic, and even sleazy sections of the genre.  And if you thought the dance floor bumpers were left out… think again. Linda Martell introduces “YA YA” as a song that “stretches across a range of genres.” Between the Nancy Sinatra sample and the Beach Boys’ “Good Vibrations,” she throws a party on one of the album’s undeniable standouts. Fans of the dance classic Renaissance are awarded a suite of four infectious club hits, kicking off with “RIIVERDANCE,” segueing into “II HANDS II HEAVEN,” “TYRANT,” and wrapping up with “SWEET HONEY BUCKIIN.”

”History Can’t Be Erased”

At the end of the day, Beyoncé handles country music the way she’s handled her music in the past decade–in her own way. She’s tackled R&B, Pop, Hip Hop, Afrobeats, and House and emerged victorious. So, why not her musical birthright? At 27 tracks, the album still doesn’t feel long, clocking in at a comfortable 80 minutes. But in the midst of it all, Cowboy Carter is Beyonce’s deduction of her American experience, flaws and all. Amen to that.

[via]

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

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In December 2023, Metro Boomin expressed dissatisfaction with how the 2024 awards show season dismissed his HEROES & VILLAINS LP as the best hip-hop full-length of that timespan. While this relates to his current Drake beef, it displays an important principle. People need to push for quality and quantity, earned success, and a genuine approach to making resonant art. It’s this philosophy that Metro Boomin and Future’s new collaborative album WE DON’T TRUST YOU champions above all else.

Here, the iconic trap duo reunites for a whole project for the first time… at least officially. They’ve both been instrumental to each other’s rise in rap’s top tier, and few pairings are as revered, complimentary, or rewarding in the genre’s mainstream today. While this first of two albums from them is not a perfect attempt, it does showcase a lot of focus, new approaches, intent-driven artistry, and most importantly, a lot of bangers.

Read More: Future & Metro Boomin “We Don’t Trust You”: The 7 Best Beats

Do We Trust Future?

For the most part, Future is carrying the lyrical load and largely lives up to that responsibility. His vocal tone and inflections are as buttery and rich as the sensational cheesecake he loves, and the infectiousness of this delivery hasn’t lost its luster over his legendary decade-plus-long run. Whether it’s menacing croons on “GTA,” aggressive barks on “WTFYM,” or the heartfelt and dynamic melancholy on the bonus cut “Where My Twin @,” the Atlanta MC’s able to highlight his versatility here.

Future offers some great switch-ups in his flow to keep his verses riveting. WE DON’T TRUST YOU find him skating over the title track, “Young Metro,” “Runnin Outta Time,” “Fiend (She A Vibe),” and many more. Sadly, on other songs, the 40-year-old fails to keep up these acrobatics. While passionate and fast verses carry “Ain’t No Love,” despite stagnant flows, these repetitive lyrical performance patterns can’t bring “Slimed In” above a background mood listen.

Read More: Drake Walks Out To Future Track At His Show

Do We Trust Metro Boomin?

But every single beat on here ends better than how it started, and that’s meant as high praise. Through a lot of well-balanced and progressive structural arrangements, Metro Boomin continues his penchant for making simple yet subtly evolutionary records. There’s the chilling calmness of “Cinderella,” the bombastic and expertly put-together Eazy-E and Rodney O homages on “Like That,” the incredible beat switch and sample flips on “Everyday Hustle“… the list goes on. With woodwinds, horns, strings, electric guitar solos, organs, vocal samples, and probably a lot more, he makes unassuming pianos, synths, and drum patterns loom large.

However, Metro Boomin’s beats can sometimes have a hollow impact on arrival. Take “Ice Attack,” a song whose familiar piano beat becomes all but forgotten once the second (and much better) instrumental sampling La Chat’s “Yeah, I Rob” switches in. There are only so many melodic layers you can pile up song after song before you start noticing a pattern, albeit a very well-executed one that often reaches Metro’s past highs. There are also some small mixing miscalculations like Future’s muffled vocals kickstarting “Magic Don Juan (Princess Diana)” and the overpowering hi-hats in its second half.

Read More: Metro Boomin Addresses Rumors About Future & Drake Beef

Why Are Future & Metro Boomin Distrusting On Here?

Those are just small details in the face of the thematic focuses of WE DON’T TRUST YOU, but let’s make one thing clear: this isn’t revolutionary Future writing. Success, loyalty, the streets, lack of romantic satisfaction, wealth, weapons, and the weary reflections of a women-and-party-loving lifestyle of a global superstar surround the “Ridin Strikers” spitter. Regardless, his high-quality performances make this well-treaded ground grow gardens of standout bars throughout, despite some dead-on-arrival moments.

WE DON’T TRUST YOU narrates an unquenchable ambition and luxury fueled by paranoia on “Claustrophobic,” odes to hard work and pain on “Seen It All,” and so much more. But these themes seem more deliberate than ever, emphasizing distrust in the rap game at large. They’re losing faith in its authenticity, skill level, work ethic, loyalty, and significantly, the competition. Of course, there are a few other people on this project that cemented this idea.

Read More: Future & Metro Boomin’s “WE DON’T TRUST YOU” First Week Sales Projections Are In

Who Do Future & Metro Boomin Trust On This Album?

The Weeknd’s background vocals stun, Travis Scott moves through “Cinderella” like smoke with earworm flows, and he and Playboi Carti are a fantastic tag team on “Type S**t.” Some short vocals from Young Thug appear, and Rick Ross asserts his way through impressive rhyme schemes. Perhaps the most significant guest to name is Prodigy, the late Mobb Deep legend whose “corny rappers” rant from decades ago narrates many songs here through vocal samples (plus sampling Mobb’s “Quiet Storm”).

P’s words, plus Kendrick Lamar’s earth-shattering feature on “Like That,” represent the narrative of beef that currently dominates much of WE DON’T TRUST YOU‘s reception. This album never lets you forget its pressure-stressing theme and provides amazing hip-hop to represent two collaborators who’ve built a strong trust through a decade-plus run of consistency. Hendrix is as consumed by his vices as he is compelled to seek them out to authentically live the lifestyle that lyrically leads to both pain and prosperity.

Read More: Future & Metro Boomin’s “We Don’t Trust You” Is Turning Everyone Into A Comedian Online

How Does WE DON’T TRUST YOU Flow Together?

Like every great trap album that came before WE DON’T TRUST YOU, this makes for a fulfilling push and pull. A few smooth transitions between distinct and unique songs make this album flow quite seamlessly. Southside, Boi-1da, Mike Dean, Wheezy, Alan Ritter, Honorable C.N.O.T.E., Zaytoven, and more help shape this run behind the board. It’s not quite varied or thematically versatile enough to escape occasional fatigue and recycling, but for its contemporary appeal, it certainly succeeds.

To no one’s surprise, the sheer chemistry between Future and Metro Boomin defines WE DON’T TRUST YOU. There is always something up to standard, and maybe even exceeding it, to latch onto with each new cut, whether beat or verse-wise. In addition, this project still retains the darkness, ethereal intoxication, and grittiness associated with their collaborative history. For classic and newer fans, there’s a lot to love.

Read More: OVO Chubbs Laughs Off Drake’s Beef With Metro Boomin & Supposed NAV Rift

Metro & Pluto Pick A Side

WE DON’T TRUST YOU is, in many ways, exactly what we expected. It feels like a throwback to 2014-2016 on many occasions in the best way, although some beats evoke past projects like HEROES & VILLAINS almost too much. The album falters in its artists’ occasional lack of consistency or idiosyncrasy, and in being what we predicted and have heard for years. This aside, their loyalty to their sound does not replace their will to make it the best it can be, every single time.

This resulted in rap’s next big beef, one that WE DON’T TRUST YOU might not outshine right now, but will likely outlast due to its many highlights and the overall album experience. But what Metro Boomin and Future want is for the genre’s mainstream to take itself seriously among the best that the culture has to offer. On that metric, there are a few areas in which this project could’ve done better. Yet based on these songs, its upcoming sequel will not fall victim to complacency.

Read More: Metro Boomin Details His & Future’s Recording Process

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Tyla “Tyla” Review

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The most important thing to take away from Tyla’s artistry is her unquestionable devotion to her roots. After snagging the inaugural Grammy Award for Best African Performance, her career trajectory maintained a steady upward rise. Not that she needed it anyway… her record-breaking “Water” became a global smash hit last year. However, with her eponymous debut album, Tyla proves there’s more than enough material to diminish any thought of her being a one-hit wonder. A priceless marriage of Amapiano, Afrobeat, R&B, and Pop, TYLA is an exceptional showcase of an artist flirting with musical polyamory, while simultaneously staying close to her one true love.  

Africa’s Pop Princess Has Been Years In The Making

Long before the release of her debut album, Tyla Seethal, born in 2002, has been hard at work crafting sultry dance music. With sensual, breathy vocals, her South African imprint elevates her sound beyond mere dance beats and melodies. In 2019, she began to garner buzz following the release of the single, “Getting Late.” The midnight house track, produced by Kooldrink, swiftly enjoyed success in her native South Africa. Released fresh off her high school graduation, it was pretty evident that a star was on the rise. Fast forward half a decade later, and her hard work has since paid off, and on a grand scale too. 

Amapiano Is At The Forefront Of Tyla’s Debut Album

The backbone of Tyla’s debut album is evidently Amapiano. The signature South African sound is heard all through the project, and is clearly where the singer is most comfortable. Since her mainstream debut, Tyla has been vocal about her love for the genre. Moreover, she’s remarkably helped to push the genre’s overall popularity to a higher level. With her music, Tyla is striving to bring listeners back to her home turf. Dance music, although global, is permanently etched into Africa’s history after all. 

Even on tracks like “On and On,” which could easily be passed onto the likes of a Victoria Monét, or Kehlani, it’s the African elements that make it a Tyla song. Moreover, while shining in her comfort zone, Tyla’s vocals are illuminating, resting gently on the album’s many mesmerizing beats. Production credits include Sir Nolan, who has worked with everyone from Muni Long, to Selena Gomez, and Justin Bieber, and is behind the seductive “Butterflies.”

However, Sammy Soso, Believve, Ceebeats, and Ebenezer Maxwell are some of the major champions on Tyla’s debut album. Their eclectic mix of Amapiano helps give the album a cohesive feel. From the album’s second track, “Safer,” it’s evident that there’s already another hit single if Tyla chooses. And that’s what makes TYLA a worthwhile project- it’s laced with hits, but isn’t simply a collective of singles. Another key element on the fire track is the contribution of Ariowa Irosogie, also known as Ari Pensmith. The British writer and producer, and his frequent collaborator Richard Isong, a.k.a., P2J, are felt all over the album. 

A Coming-Of-Age Showcase

Tyla’s debut album is also a significant milestone in her rise as a definitive artist. The album covers several different emotions, offering relatable stories of love, lust, and the limelight. Her features are also worth noting. She joins forces with her inspiration, and fellow Grammy-winner Tems, on “No.1.” The track, which has the potential to become a major anthem, is all about realizing one’s self-worth. “I gotta put me number one, no compromisin,” both women sing with believable confidence.

“Jump,” which blends reggaeton, Amapiano, and Hip Hop, is easily one of the project’s standout moments. Tyla travels between the highest and lowest parts of her register, for a definitive dance number about her bod. Gunna and Skillibeng also lend their talents, and each star is given more than enough room to shine. The album’s 11th track, “On My Body,” which features Becky G, is a proclamation of feminine sexuality and energy. Altogether, Tyla evidently found a musical sweet spot, where her sex appeal is on full display lyrically. 

Tyla Is Here To Stay

On her debut album, Tyla makes it clear that this is just a highlight of what’s to come. She worms herself into darker themes, as heard on “Breathe Me” and “Priorities.” However, the glue that ties it all together is her South African musical style. Tyla’s mission is evidently to keep the world on their feet. From “Jozi to Ibiza,” there’s nobody doing it quite like her at the moment. And at just 22, she’s about to extend SA’s mainstream reach on a greater scale.

[via]

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Bktherula “LVL5 P2” Review

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21-year-old Atlanta MC Bktherula recently released her latest full-length LP LVL5 P2. The project serves as one of her most ambitious outings yet following her mixtape LVL5 P1, which she released in February of 2023. In the four years that she has been releasing music professionally, the Warner Music Group signee has amassed over 1 million monthly Spotify listeners, with many surely flocking to LVL5 P2 with joyous anticipation. The album spans 13 tracks disbursed over 31 minutes, and includes a pair of well-placed features from the likes of Cash Cobain and JID. Here’s a brief overview of Bktherula’s latest project, as well as a review of the material therein.

Read More: Bktherula Interview: On New Album’s Duality, Freedom, Faith & Flowing With The Process

LVL5 P2 Brings Trippy Glitch-Hop Production

As soon as the album opens, fans can tell that LVL5 P2 is no run-of-the-mill trap outing. On the opening track, aptly titled “Code,” Bktherula offers crackling glitchy synth pads and buzzing bass lines, which make the track feel like you’ve been transported inside a computer to engage in a shoot-out with a malicious virus. BK’s dissonant, sometimes arrhythmic rapping is reminiscent of other abstract artists such as RXK Nephew, and her lyrical content clashes interestingly with the soundscape of the song.

This trend continues through the following few tracks, with outings such as “Nun,” “Tatti,” and “Boi” each focussing on Bktherula exploring themes of self-empowerment and sexual liberation. In these songs, BK raps about stealing women from the less popular people around her and being unable to remain satisfied with one partner, resulting in her frequently hiding her phone and engaging in trysts. These themes continue throughout the album, being frequently referenced through the full run-time.

A Bit Too Repetitive

Unfortunately, Bktherula’s lyrical content sometimes repeats itself, causing some tracks to fade into the background. While the 21-year-old femcee undoubtedly possesses great talent, listeners can only hear someone boast about stealing their girl so many times before it becomes monotonous. Tracks like “Shakin It,” “Wishuwasdacrew,” and “Insane” showcase Bktherula effortlessly gliding on the beat, offering an enjoyable listening experience. However, these tracks fail to explore new lyrical territory on the record, suggesting that merging them into one track while discarding the other two could have been a better approach.

The track “Crayon” sees Bktherula doing her best Playboi Carti impression, which sounds delightful, but makes listeners want to tune in to Whole Lotta Red more than it makes them want to continue listening to LVL5 P2. Likewise, JID steals the show so hard with his lyrically-verbose guest appearance on “Woman” that it inspires listeners to turn the album off and switch to a full-length JID project. “Woman” is easily the stand-out track on the album, with BK providing an excellent vocal performance of her own, despite the fact that she can’t hold a candle to JID’s impeccable rhymes.

Read More: Bktherula And NBA YoungBoy Get Into Their Melodic Bag On “CRAZY GIRL P2”

The Album Ends On A High Note

Despite the problems with LVL5 P2, Bktherula managed to end the project on a high note, with the thematically focused “Racks Up.” The final track offers a well-written and concise exploration of the themes that plague the entire album, such as infidelity, trust issues, and struggling to find a partner who can adjust to BK’s fast-paced lifestyle of fame, riches, and nationwide tours.

At the end of the day, each track on this record has merit, but Bktherula’s inability to diversify her range of topics on LVL5 P2 makes it a repetitive listen, even with its brief run-time. Your best bet with this album is likely to pick a handful of songs to add to your playlist, rather than running back the full project multiple times.

[Via]

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