Album Reviews Archives - Page 6 of 11

Tierra Whack “World Wide Whack” Album Review

March 21, 2024 by newhiphopnews

Since dropping 3 genre-blending EPs back in 2021, Philadelphia rapper Tierra Whack has remained mostly quiet. Her groundbreaking debut album Whack World showcased a unique blend of sounds and vibes when it dropped in 2018, though the project was criminally short with each track clocking in at just one minute in length or less. On March 15, 2-24, Whack finally released her long-awaited follow-up, World Wide Whack. The latest effort from the 28-year-old contains 15 tracks with a total run-time of 37 minutes, offering the most robust look into her growing catalog yet. World Wide Whack has no features and already serves as an easy contender for best album art of 2024.

Tierra Whack Is Ms. Morale

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While Tierra Whack has gone above and beyond to carve out her own lane in the music industry, crafting sonically unique tracks that sound unlike anything else, a few songs on World Wide Whack seemingly prove that she does have one major rap influence. The fried vocal effects and jungle-style drum patterns on “Ms Behave” make the track sound like it belongs on the Top Dawg Entertainment Black Panther soundtrack from 2018, curated by former TDE signee Kendrick Lamar. This isn’t the only time Kendrick Lamar’s influence is felt on the record, either, as the track “X” sounds like it could have easily been an early demo for Kendrick’s 2022 track “Mr. Morale.” The discordant piano melodies that open “Snake Eyes” are also reminiscent of the intro instrumentation to Kendrick’s “Count Me Out,” proving that the Compton, California rapper has an unshakable impact on the state of modern music.

Despite a few instances of World Wide Whack wearing its influences on its sleeve, the album is wholly original and entirely peerless, as no working artist is creating the specific blend of out-of-the-box sounds that Tierra Whack has mastered. One track near the back-end of the album, titled “Invitation,” offers the lyrics “Every song I drop I change the sound” showcasing Whack’s penchant for delivering a flurry of sonic curveballs.

The Album’s Themes Are Very Dark

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Unlike Tierra’s previous work, this album is very dark and often references depression, self-harm, and even suicide. The earliest and most glaring instances of these themes crop up on the track “Numb.” “Numb” is an especially vulnerable song, offering a haunting spaced-out instrumental with lyrics like “How’d I make it this far? Long sleeves cover scars/ My tears in a jar/ Drink ’em like I’m at the bar/ To the bridge in my car, now I’m swimming with the sharks/ Can’t swim so I’m goin’ down/ Can’t swim so I’m goin’ drown.”

From there, the album continues to provide additional thematic gut-punches, with tracks like “Burning Brains” and “Accessible” telling a tale of lost love in the final days of a failing relationship. While Tierra Whack’s woes do not all stem from her difficulty connecting with her partner, this impending break-up weighs heavy on her and worsens her already depressed state.

All of this comes to a head on the song “Imaginary Friends,” which sits dead in the center of the album’s tracklist. The song ties each of the major themes of World Wide Whack together at once, focusing on the cyclical nature of fighting and making up with your partner, depression and suicidal thoughts, and childhood innocence. On the surface, this song is about the nature of friendship, though reading between the lines offers a heart-breaking glimpse into Tierra Whack’s fractured view of love and loss.

Conclusion:

Tierra Whack concludes her latest album with a one-two punch of “Two Night” and “27 Club.” The former is a delightfully upbeat song that sees the Philadelphia native succumbing to her feelings about death, and finding herself in the throes of blissful acceptance. The track is a certified tearjerker, solidifying the album’s dark themes before transitioning into the haunting “27 Club.” World Wide Whack ends on an especially dour note, with Whack waxing poetic about the possibility of taking her own life.

While the album is sonically fantastic, fans of Tierra Whack’s music will surely be left in tears when the final track cuts to silence. Despite the album’s sad closer, World Wide Whack showcases Tierra’s generational talent, and offers some deep insight into her creative process. The project is handily one of the best releases of 2024 thus far, and is all but guaranteed to appear on several “best albums of the year” lists this coming December.

[Via]

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Tierra Whack “World Wide Whack” Album Review

March 21, 2024 by newhiphopnews

Tierra Whack Is Ms. Morale

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The Album’s Themes Are Very Dark

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Conclusion:

[Via]

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Jean Dawson “Boohoo” Review

March 20, 2024 by newhiphopnews

Jean Dawson is a Mexican-American experimental pop rapper, who has already been turning heads with his complex production and jaw-dropping instrumentation. Critics have compared the 28-year-old artist to other genre-blending and envelope-pushing musicians such as Steve Lacy, Paris Texas, Teezo Touchdown, and Standing On The Corner. The artist presently enjoys a listenership of over 1.1 million monthly streamers on Spotify alone. Jean Dawson’s latest release, a 3-pack EP by the name of Boohoo, dropped on March 7, and has already accumulated a great deal of recognition from fans.

Though the release only holds 3 tracks, running for a total of 8 minutes in length, the project has a lot to offer sonically. Despite the evident polish of these tracks, Jean Dawson has characterized the Boohoo 3-pack as an overture, indicating that it sets the stage for numerous upcoming releases from the up-and-comer in the future. Here’s a brief look at what each track has to offer new and returning listeners, and a review of the material therein.

“New Age Crisis”

Jean Dawson opens Boohoo with a shocking blend of R&B crooning and brash, almost heavy metal-inspired instrumentation, with the track “New Age Crisis.” The track is guaranteed to lift listeners out of their seats, as the slow-strumming guitar chords drop into shouting rock & roll bridges, developing multiple layers of sounds and vibes. Moreover, BBC Radio 1 named this track the “Hottest Record Of The Week” when it first debuted ahead of Boohoo‘s release, and this sentiment still stands over a week later.

“Divino Desmadre”

The middle track, “Divino Desmadre” is Jean Dawson’s first track performed entirely in Spanish, though a Duolingo subscription isn’t necessary to catch the song’s powerful vibe, or feel yourself possessed by the infectious grooves of the plucky Spanish guitar. The back half of the song offers ripping electric guitar riffs that would shake the roof off of a live venue, making Jean Dawson a bucket list live performer for many new listeners. Upon a further analysis of the track’s English translation on Genius, viewers unearth little additional context beyond discerning the song as a love ballad, as the lyrics unfold in a cryptic, poetic fashion.

The track features such lyrics as “The next time you tell me you love me, say it without tongue or lips and get a tattoo. Let’s see if your mother breaks your mind. We leave at night, jump out of the window.” Harkening back to Jean Dawson’s tortured experience as a youth in Tijuana, Mexico.

“Taste Like Metal”

The closing track on Boohoo, “Taste Like Metal” sounds like what the Imagine Dragons wish they could pull off, combined with Mr. Morale era Kendrick Lamar. The significantly moody track contains a combination of sonic flavors that leave you floating spiritually through the clouds and a powerful vocal range that simmers between shouting and soft-spoken poetry. Though Jean Dawson’s lyrics can be esoteric and hard to parse through at times, the artistic vibe is he curates remains consistent.

Conclusion

Jean Dawson is a certifiable rock star, and his music is exploding with potential. At his current trajectory, it would be absolutely shocking if he isn’t a household name in five years. 3-pack EPs like Boohoo probably won’t do much to raise Jean Dawson’s profile alone. Therefore, big things are surely coming when he gets into album mode. If this project indeed serves as merely an overture to introduce a new album soon, fans would be wise to stay vigilant and anticipate more music from the young performer.

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Justin Timberlake “Everything I Thought I Was” Album Review

March 19, 2024 by newhiphopnews

When a legacy pop act continues to churn out music decades after they debut, mainstream success begins to wane. However, there are exceptions. Justin Timberlake belongs in a unique class of artists who continue to enjoy popularity well past their musical breakthrough. On his sixth studio album, Everything I Thought I Was, he toes the line between nostalgic pop, breezy R&B, and funk. But while the album has a few impressive moments worth noting, JT’s latest offering isn’t quite sticking the landing.

From the intro alone, it’s evident that Justin Timberlake’s signature swag is on thin ice. However, it’s quite difficult to pinpoint when this decline began. At 18 songs long, Everything I Thought It Was is quite the hefty project but JT is already used to long-form storytelling. After all, 2018’s Man Of The Woods clocked at 16 songs. Moreover, the crooner split 2013’s The 20/20 Experience into two parts.

So while the length of the project isn’t the problem, it contributes to the overall quality. Sure, Justin Timberlake might sound confident and sexy, but a few things are missing: memorable tracks, and the sound his fans have come to know and appreciate.

JT Attempts To Resurrect Nostalgia

Just one listen into “Drown,” and we’re transported to 2002 again. As expected, his first album since the release of Britney Spears’ memoir, Pieces Of Me, appeared to shed light on the bombshell allegations made surrounding their relationship, ultimately leading to plenty of backlash. “Drown” almost serves as a follow-up to “Cry Me A River”; the songs are eerily similar. It will probably remain uncertain whether “Drown” serves as a sequel, but fans won’t be reaching if they come to that conclusion. All things considered though, it is one of the few standout tracks on Everything I Thought It Was.

Saving Grace Features

Each featured artist on Justin Timberlake’s sixth album contrasts the next. Thankfully, it plays to the album’s strengths since their distinct styles help boost Everything I Thought It Was’ mass appeal. The first of three featured artists on the album is Nigeria’s Fireboy DML. The Afro-pop star, who has collaborated with Ed Sheeran, D Smoke, and Chris Brown, delivers some of the most infectious moments on the project. On “Liar,” Timberlake slightly adopts Afrobeats and proves slightly comfortable in unfamiliar terrain.

“Sanctified,” which features Tobe Nwigwe, is another stellar moment for Justin Timberlake. A smooth blend of gospel, R&B, rock, and funk, JT sounds quite at home during one of the most daring moments on the album. If only more tracks on the album attempted to achieve this audacious level of experimentalism. Perhaps, the singer might have achieved a new musical high. Unfortunately, there’s a lack of ambition on many other tracks.

Though the other two features on Everything I Thought I Was are first-time collaborators in JT’s circle, the singer’s latest album brought a much-anticipated dose of nostalgia. Despite the tumultuous year that 2023 was for him, one of the highs was the NSYNC reunion at the VMAs where they confirmed new music was on the way. While the grandiose expectations were blown up by Britney Spears’ revelations, the all-star boy band produced “Paradise.” The penultimate track on the album is pop perfection, and offers a healthy dose of some much-needed nostalgia. Vocally, Justin Timberlake and his comrades are very impressive, with piercing harmonies, reminiscent of their 90s days. Maybe, if the dust settles enough, there’ll be some more NSYNC in store for us.

Conclusion

Justin Timberlake offers just enough of the qualities that make an album worth giving a try. However, this is the same star that delivered “Rock Your Body” and “Suit And Tie” a decade apart. That’s why it’s a bit disappointing that there are no standouts of such magnitude in his latest body of work. Timberlake has never been one to rush an album. However, Everything I Thought It Was feels that way. At just over an hour and seventeen minutes long, the album isn’t choked by any means. Regardless, Justin Timberlake is definitely capable of producing some more refined music.

[via]

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Ariana Grande “eternal sunshine” Review

March 12, 2024 by newhiphopnews

Ariana Grande’s eternal sunshine shows that she knows heartbreak quite well. In the same vein, she learned to allow her aching pain to metamorphose into sugary pop and R&B pieces of confectionery. On the chart-topping 2018 single “thank u, next,” Grande held out hope for a forever love but still entertained feelings of doubt. “God forbid something happens… Least this song is a smash,” she sang, tiptoeing between consternation and temerity. Five years later, the worst had happened.

But on eternal sunshine, her seventh album, Ariana Grande deals with her latest heartbreak and everything surrounding it rather ruefully. It’s evident that the pop sensation’s emotions are heightened, but in an almost vampiric sense, she’s venturing back into the night. Her latest album is a diary entry projected to the world on the template of her overwhelming success. The verdict? She sees and hears what you’re all saying, but she stopped giving a damn a long time ago. If anything, eternal sunshine is Ariana Grande’s reminder to the world that she won’t stop putting herself first.

Ariana Grande Is Still Shedding Her Skin

Since 2018, Ariana Grande has repeatedly made herself clear about rising above negativity. The pipeline from “no tears left to cry” to “yes, and?” is laced with several IDGAF prompts. As with most child stars, growing up under the intense scrutiny of the public eye can have detrimental effects. However, Grande has chosen herself, resulting in some of the most vulnerable music in her catalog. On eternal sunshine, she continues the trend of returning the middle finger to her naysayers. However, this time, it’s with more sleek cheekiness, because now the joke’s on everyone else.

Eternal Sunshine Is Woeful Pop At Its Sexiest

A master of cheerful cheerlessness, Grande is a definitive lyricist. Post-divorce, her words prove a lack of malice, choosing the amicable exit from her ex-husband. The culmination of her feelings has left her shaky, but not unsure of her decision. Indeed, the obvious subjects of eternal sunshine are her past and present loves. While the latter offers a glimmer of hope, there’s a melancholy attached to the references to the former.

Tracks like “bye,” “i wish i hated you,” and “we can’t be friends” are lyrically on the nose. However, it’s on the latter that her bleeding heart is loudest. Moreover, it’s the delivery that drives home Grande’s point. Regardless of her breakup, which she saw coming, there’s no hate involved. “we can’t be friends” also has the privilege of being the artist’s second single.

The music video borrows from the movie Eternal Sunshine Of The Spotless Mind. In it, Grande attempts to let go of the memories of her lost love. It’s one of the most vulnerable moments in her musical career. But the summary remains: It’s over.

Ariana Grande’s After A Supernatural Love

Indeed, the soft ballads are a worthwhile addition to the album’s overall cohesion. But Grande’s no-nonsense lyricism is her greatest contribution to eternal sunshine. “the boy is mine,” which interpolates the classic song of the same name, is the perfect example. Everyone can remember how the news of her new beau rocked the media. As a result, Grande was labeled everything, from “homewrecker,” to “not a girl’s girl.”

While she has since shared that the allegations are, in fact, false, her music takes a rougher approach. In “the boy is mine,” she’s conflicted in her emotions. But that won’t stop her from giving the man in her sights a try. Overall, Grande’s excited; almost addicted to what’s right in front of her, and she’s going all in. The track may not spend 11 weeks atop the Hot 100 as Brandy and Monica did. But “the boy is mine” is the sharpest, wittiest song on eternal sunshine, and where Grande shines brightest.

Chasing Imperfect Perfection

Altogether, eternal sunshine is a serious improvement over 2020’s positions. This is why it’s rather bittersweet that heartbreak and controversy bring out the deepest parts of the pop star. Ariana Grande is moving on from the weight of her past and in a cheeky, powerful fashion. Despite her newfound romance, she’s still madly in love with herself.

That’s what makes eternal sunshine some of her boldest, rawest, most authentic work. R&B and pop sit side by side with experimental Scandi-inspired music. Through the use of synthesizers and electronic influences, Grande sounds even more otherworldly, letting the music guide her crisp vocals, and not the other way around. Surely, the star is still evolving.

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ScHoolboy Q “Blue Lips” Review

March 9, 2024 by newhiphopnews

ScHoolboy Q is in his Pablo era. He says as much on the Freddie Gibbs-assisted, “oHio” from his latest album, Blue Lips. “Lookin’ at my life, think he Pablo/ Y’all poor,” he raps on the hook. Pablo Escobar might be a played-out reference at this point, especially as a hyperbolic benchmark of power and wealth. But ScHoolboy Q has a way of skewing the norm into a distinct portrayal of his growth and by extension, how the world around him has evolved. In this particular instance, it’s less to do with the accumulation of wealth but rather, what it’s afforded him: a sense of tranquility. As a result, ScHoolBoy Q delivers one of his strongest bodies of work with Blue Lips.

The 18-song album contains everything that CrasH Talk lacked – personality, depth, and a sense of purpose. At a time when the music industry was in a major overhaul as streaming continued dominating and platforms like Triller and TikTok directed the algorithm, ScHoolboy Q found himself trying to figure how where he fit into the puzzle. He explained to Zane Lowe that CrasH Talk captured his life after the success. In a lot of ways, it felt like a long-delayed sophomore slump in his career.

Fevered Reflections & Realizations

Blue Lips often feels like a volatile journey with unexpected twists and turns, thanks to the excellent sequencing. Beat switches and song transitions can often feel abrupt but the abrasiveness accentuates each moment. Through this, Q’s range takes heed uninterrupted. “THank God 4 Me,” produced by Kal Banx and initially teased during the producer’s Boiler Room set, opens up with a warm, tranquil flute, accented by gentle guitar strings before switching gears entirely into an abrasive banger that surrounds self-love in a way that only Q could deliver. It’s a commonality across the album that initially feels like jumbled concepts thrown into a blender. There’s a method to the chaos that lets the cohesion unfold organically, especially in ScHoolboy’s delivery. Q compartmentalizes each flow into concentrated moments across the album. It makes each sonic shift, each flow hit harder than the last.

“Love Birds,” for instance, finds Lance Skiiwalker reflecting on the shortcomings of a relationship but Q bursts through with debaucherous brags about a “house full of whores.” Then, there are songs like “Foux” with Ab-Soul. Over fevered jazz percussion, the two deliver another successor to the “Druggies Wit Hoes” series that deviates further from the hedonistic drug-fueled sexcapades that he and Ab-Soul once indulged in. Instead, “Foux” focuses on a void in their lives that can’t be fixed by copious amounts of substances, even with strides in their personal and professional careers.

Finding Hope

The concept of embracing change appears across the album, largely in juxtaposition with pivotal life moments that shaped him. However, the ultimate takeaway is that his worth was never rooted in material possessions but rather, the purity of his intentions. Even the moments where he’s bragging about Presidential Rolexes or foreign cars aren’t necessarily flexes. They are reminders of where it all began and the strides he’s made. It’s a noticeable shift from his mindset on his early albums which felt clouded by despondence.

But on Blue Lips, an album that arrives a decade after his major label debut Oxymoron, ScHoolboy Q finds a sense of hope that only came as he became more removed from the streets. Songs like “Blue Slides” and “Cooties,” specifically, allow a heightened sense of introspection to thrive within questions of existentialism. The former finds Q ruminating on the inevitable outcome of the streets but also, how the pressures of fame manifest in tragedy, whether it be the loss of Mac Miller or the public’s attitude towards mental health, specifically in the case of Ye.

“Cooties” encompasses the other side of the coin — Q is awestruck at marijuana-scented mansions in the Hills and his growth from “being trapped from all the things that you build” – yet he’s still affected by the same anxieties that the average American face. Though he’s never been one to be overtly political, Blue Lips does shed light on his outlook on governmental bodies, including Kamala Harris’ criminal justice record, and the dire threats to the next generation. “Mass shootings, when will they stop it? Hmm another kid gone for unlimited profits,” he raps on “Cooties.” “Rather keep my kid home, before you fuck up the process.”

ScHoolboy Q Finds Purpose

This consciousness of purpose and self-awareness makes ScHoolboy Q’s latest album such a refreshing entry in his catalog. Sure, the nihilism of gangster rap is pervasive on stand-outs like the hardcore-influenced “Pop” ft. Rico Nasty captures the rugged West Coast skater culture or the militant aggression of “Lost Times” and “Pig feet.” However, there’s a levity to his voice, writing, and attitude toward the world, even when he’s tapped into his most ruthless form.

While albums like Setbacks and Habits & Contradictions captured the numerous adversities he faced with an aloof tone, Blue Lips looks back at those moments as learning curves. The latter half of the project starts unraveling this album’s theme with more clarity. Songs like “germany ‘86” find Q returning to his birthplace. Through this, he details his mother’s return to Hoover after serving her country, only to be thrown to the wolves. It’s here where Q acknowledges that, despite how the women in his life tried to deter him from the streets, it was an inevitable outcome. The environment in which he grew up, regardless of whether he jumped off the porch, would’ve forced him to grow up far too quickly.

Conclusion

There’s a reason why an artist like ScHoolboy Q could wait five years before releasing another album. It’s a luxury that very few artists are afforded, no matter the medium. Blue Lips stands as ScHoolboy Q’s most ambitious album to date, one that pushes the boundaries that he set for himself. With a bit of clarity and ambition, the follow-up to CrasH Talk is a much more gratifying listen that encompasses a level of depth that we haven’t heard from ScHoolboy Q in the past. He’s at peace with himself but more importantly, comfortable in the mental space that he currently occupies.

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LaRussell, Hit-Boy “Rent Due” Review

February 29, 2024 by newhiphopnews

LaRussell and Hit-Boy have finally released their collaborative album Rent Due on streaming services, after first dropping the project a few weeks ago on the platform EVEN. The EVEN website allows creators to drop material for their fans ahead of schedule, in exchange for a pay-what-you-want method of listening, similar to BandCamp’s distribution system. Since rappers tend to make very little from the regular streaming avenues, this makes the exchange mutually beneficial for artists and listeners alike.

Rent Due is a 7-track EP that runs 18 minutes in length and features thoughtful lyrics penned by California’s own LaRussell over powerful drum-forward production from Hit-Boy. The project boasts guest features from MALACHI, Big Hit, and JANE HANDCOCK, and delivers a powerful and well-thought-out sound, despite LaRussell’s claim that he and Hit-Boy crafted the album in just 5 hours. Here’s an overview of the freshly released outing, and a review of the material within.

The EP Opens Very Strong

Some of the best material on Rent Due is front-loaded into the first few tracks on the EP. The opening track, “Lead Me To The Water” kicks off the project with an appearance from frequent LaRussell collaborator Tietta, who delivers a thoughtful and moving spoken word passage. Tietta’s lyrics reflect on life’s hardships and seek guidance from God as she relishes the blessings she’s received. The song’s airy spaced-out production from Hit-Boy allows LaRussell plenty of room to explore and experiment in his lone verse, which concludes with the lyrics “Can’t tell if I got a job, n****, I be home a lot/ Can’t tell if I really made it, n****, I be wearin Crocs/ I think I’ma end this song with a lesson from my pops/ Be a leader.”

These closing bars are particularly poignant as Hit-Boy’s real-life dad, Big Hit, joins LaRussell on “Another One” just a couple of tracks later. Unfortunately, the opportunity fails to tie in thematically with the EP’s general focus, as Big Hit offers very little in the way of traditional wisdom during his guest appearance. “Another One” serves as a vacuous trap banger, with bouncing rubbery bass perfect for blasting out your car’s speakers while rolling through your neighborhood with the windows down, but definitely feels like a pointless inclusion when compared to thoughtful lyrical outings such as “Ethics” and “Real Life.”

LaRussell & Hit-Boy Showcase Their Chemistry

“Real Life” is possibly the best track on the project, with guest vocals from MALACHI and JANE HANDCOCK. On the track, LaRussell offers a deep look into his personal outlook on life and takes listeners through the journey of his early days in Vallejo, California, all the way to his modern mastery of the rap sound. JANE HANDCOCK’s angelic hook vocals elevate the cool, laid-back banger to the next level.

Unfortunately, the final three tracks on Rent Due fail to capture the same magic as the first four, as LaRussell and Hit-Boy collaborate without any additional features. While the pair certainly work well together, it’s impossible to listen to Hit’s inspired production choices without comparing the project to the recent string of collaborative albums the producer made with Nas. If you’re one of the few hip-hop heads who somehow missed Nas and Hit-Boy’s King’s Disease and Magic album trilogies, Rent Due will certainly please your sensibilities. However, through no fault of his own, LaRussell’s pen game simply pales in comparison to Nas, making much of the album feel like a missed opportunity.

[Via]

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EarthGang “Robophobia” Review

February 28, 2024 by newhiphopnews

Atlanta rap duo EarthGang have carved out a sonically unique niche for themselves within the rap genre, which elevates them to the status of underground legends. With nearly 3.5 million monthly Spotify listeners, the duo have solidified their catalogue with complex genre-blending bangers, making them one of the most fascinating rap acts currently working. The pair, who are signed to J. Cole’s Dreamville label alongside frequent collaborators such as JID, Bas, and Ari Lennox, have been releasing a series of EPs under the banner EarthGang vs. The Algorithm, with their latest effort Robophobia showcasing the encroaching influences of artificial intelligence on art and music. Robophobia offers yet another sonic curveball for fans of the eccentric group, with funk and trap influences blending the group’s sound into a cornucopia of high-intensity jams.

The EP Blends Jazz And Funk Soul Influences

EarthGang’s Robophobia lends itself to a number of fascinating sounds. This is evident right from the beginning, as the first song “Blacklight” offers a smooth funk tune which entices and sucks listeners into the immersive world of the growing EarthGang Vs. The Algorithm narrative. “Blacklight” served as the lead single for the tape, initially released in November 2023. Although already available to the public, the song takes on a new significance when considered within the broader context of Robophobia, highlighting human error and imperfection in an era increasingly dominated by digital creation and auto-tuned vocal passages.

The following track, “Put In Work” opens with a few jazzy piano thrusts before launching into a thumping banger with alternative vocalist Tommy Newport featured on the hook. The track possesses a versatile quality, suitable for both a lively nightclub atmosphere and a relaxed smoke session at home. However, its infectious basslines and pulsating percussion may compel you to involuntarily leap from your seat and bust out a few dance moves.

The Duo Frequently Switch Roles In Their Music

While both Olu and WowGr8 are recognized for their versatility in music, Olu has developed a reputation for leading the melodic and note-carrying aspects of most EarthGang tracks, while WowGr8 often employs lyrical double entendres that appeal to die-hard hip-hop enthusiasts. This dynamic is evident on some Robophobia tracks, such as “Put In Work,” but shifts on songs like “Osmosis,” where WowGr8’s heavenly vocal arrangements take center stage while Olu raps like the rent is due.

As the project’s closing track, “Perfect Fantasy” offers powerful sample-heavy production, with a concluding through-line about celebrating life’s blessings. The track also showcases the best guest feature on the effort, with a lively performance from West Coast legend Snoop Dogg. The 52-year-old MC has delivered a few underwhelming features in recent years, though the “Murder Was The Case” rapper knew to bring his A-game when working with one of the most talented and creative duos active today.

Conclusion

Due to the nature of EarthGang’s ever-changing sound and style, Robophobia has as much potential to be your favorite project from the duo as it does to be your least favorite. Fans of the group will surely appreciate the bold new direction the EP takes, though some more lyrically inclined listeners may prefer EarthGang’s earlier work. At the end of the day, the EP accomplishes its stated goals, to make contemplative genre-blending music which furthers the narrative of EarthGang vs. the Algorithm, and truly makes the listener think about the state of art and music in a digital landscape.

[Via]

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Ka$hdami “oasis” Review

February 27, 2024 by newhiphopnews

Ka$hdami is an up-and-coming rapper born in Las Vegas, Nevada and raised primarily in the DMV. He first started writing and developing his music skills between the ages of 8 and 13, before dropping several singles and projects from 2018 to the present day. The rapper, who is currently 19 years old, just dropped the latest in a long line of projects, titled oasis. Despite his young age, Dami has amassed a loyal following of over 1.1 million monthly Spotify listeners and even managed to pull in over 500,000 streams on oasis in less than 24 hours, showcasing his high-profile viral output.

Like many modern young artists, Ka$hdami broke into the industry by blowing up on social media apps such as TikTok, with a viral pop-rap sound that spread as the backing music for a number of highly-proliferated videos. Like many TikTok-era rappers, Dami has tailored his music to cater to the platform’s algorithm, which seems to remain the case with his latest album. In fact, the longest song on oasis clocks in at just barely over 2 minutes. The full project touts 12 tracks at a full length of 18 minutes. Here’s a brief look at the project and a review of the material therein.

Drowning In His Influences

Despite having spent years tinkering with music behind the scenes, Ka$hdami is still a relative newcomer to the hip-hop landscape. As a result, it becomes rapidly clear on oasis that he is still developing his own sound, and remains in the shadows of his favorite artists sonically. The opening track to the project, “Ain’t Me – Intro” sees the rapper doing a semi-decent Juice WRLD impression, with emo crooning vocal passages leading into a break-up voicemail from an unnamed female love interest.

Despite touting his namesake, the track “Kount Kash” sounds like the young MC’s best attempt at performing a Young Thug track at karaoke night, with high-pitched vocal inflections contrasting against the low-end 808s. Subsequent songs on oasis borrow flow patterns, melodies, and rhyme schemes from the likes of Playboi Carti, Trey Songz, Trippie Redd, and other hip-hop & R&B acts who have taken the time to carve out unique sounds within the industry. While Ka$hdami’s take on these sounds is perfectly acceptable and sonically enjoyable, it’s hard not to see that the 19-year-old has a lot of growing to do before he can deliver a unique classic all his own.

Ka$hdami’s Age Shows

Some of the best songs on oasis, such as “Loyalty,” offer interesting production choices which should, in theory, provide the record with an identity of its own. Unfortunately, the hyper-brief run-time of the record, at just one minute and 16 seconds, leaves little to no time to get invested in the musical themes or concepts at play. Furthermore, comparing Ka$hdami to his contemporaries, such as 19-year-old Redveil, displays how shallow and empty Dami’s lyrical content can be. Most tracks on the recent project have very little to say beyond the run-of-the-mill references to partying, being gangster, and stealing girls from uncool peers.

The only track on the album that is truly terrible is the penultimate song, “UshyGushy.” “UshyGushy” is nearly unlistenable, with jarring and unpleasant vocal tenors, disgusting juvenile references to female anatomy, and lyrics that reference the video game Minecraft, truly making the song sound like an anthem for a 10-year-old’s Twitch stream.

oasis Shows Promise For The Future

Despite the clear and present issues plaguing the release, oasis still displays a good deal of musical talent. Ka$hdami is obviously more than capable of delivering smooth lyrics and carrying a tune, and his ear for production is genuinely quite refined. Even though this project is unlikely to wow new listeners, Ka$hdami seems to have what it takes to become a formidable force in the rap industry, as long as he continues to refine his sound.

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Kid Cudi “INSANO (NITRO MEGA)” Review

February 26, 2024 by newhiphopnews

Kid Cudi said in his 2021 documentary, A Man Named Scott that he no longer desires “to make any more dark records.” His 2020 album, Man On The Moon III: The Chosen, closed his iconic saga that introduced his unconventional style and emotionally transparent lyricism. Early in his career, fans connected to Cudi through songs that saw him in his most desolate state. Man On the Moon III concluded this chapter in his musical journey, but it also signified the start of something new. Lately, Kid Cudi has tapped into other aspects of his musical skill set. His Entergalactic album chronicled the love story of his star-studded animated film of the same name.

After all these years, it seems that Kid Cudi does not have anything to prove to his core fanbase. Last month, he unleashed INSANO, his latest studio album that saw him simply enjoying himself, freely experimenting with his sound. More rap-oriented than any previous project, Cudi traded his catchy melodies and irresistible hums for fast flows. A more upbeat and modern album is a natural progression for Kid Cudi considering his newfound lighter approach to music. While INSANO consisted of high-energy production, it was not varied enough to sustain its lengthy runtime. For such a long album, the announcement of a deluxe felt like an overwhelming amount of material in such a short amount of time. However, Kid Cudi’s latest offering, INSANO (NITRO MEGA), acts more as a sequel than a deluxe.

INSANO (NITRO MEGA) Is An Entirely New Album

Originally announced as a deluxe, Kid Cudi later clarified that INSANO (NITRO MEGA) is a completely new album. Acting as a spiritual successor to INSANO, its sequel contains entirely new material along with some surprises for Cudi’s day-one fans. Also included is “Electrowavebaby 2.0,” a Steve Aoki remix that reimagines the song from INSANO as a big room house banger. It brings a brand new lively energy to the original song despite feeling out of place on the album. INSANO was adventurous in its own way, but Aoki’s contributions to a house remix and a trap song with members of Bone Thugs-N-Harmony speak to the wide range of NITRO MEGA that its predecessor ultimately lacked. This album continues the carefree and vibrant nature of INSANO but with more musical variety throughout the tracklist.

Much like on Man On The Moon III and Entergalactic, Kid Cudi rapped over modern trap with auto-tuned ad-libs on INSANO. NITRO MEGA continues the bouncy trap production but with more musical variety. The album includes Fast House, Jersey Club, and slower melodic tracks. The diverse tracklist makes it an entertaining listen that is unique from its precursor, but it is nothing particularly innovative or outstanding for Kid Cudi.

Where Kid Cudi’s Latest Offering Impresses and Underwhelms

The music on INSANO (NITRO MEGA) is good for the most part with Kid Cudi at peace emotionally and creatively. There is a solid mix between uptempo trap beats and laidback songs reminiscent of Man On The Moon III. NITRO MEGA includes some of the slow melodies that were mostly missing from the original, which are some of the album’s standout moments. Tracks like “Diamonds Lights Fast Cars” and “All My Life” bring the best out of Cudi vocally while “Round N Round” with Lil Yachty is one of its most generic moments.

The bursts of energy on NITRO MEGA also contribute to its dynamic tracklist. “Human Made” opens the album on a high note with an incredible beat produced by Dot Da Genius. Cudi sounds amazing on this track, switching between flows and singing a soft melody in the chorus. Songs like “Animate” also impress as Cudi flexes his illustrious career and carefree attitude. Where NITRO MEGA underwhelms is when the trap songs sound almost identical to much of INSANO. “Crash Test Cudi,” “Ill What I Bleed,” “Moon Man Shit,” and “Superboy” serve as reminders of where INSANO fell flat. However, these tracks would certainly punch harder if Kid Cudi had not released a 21-track album just a month earlier. As a standalone project, this album certainly has its highlights and its shortcomings.

INSANO (NITRO MEGA) Encompasses The Best and Worst Eras Of Kid Cudi

INSANO (NITRO MEGA) is clearly intended for day-one Kid Cudi fans. Glimpses of the old Cudi are dispersed throughout the INSANO sound. It encompasses the best and worst eras of Kid Cudi. There is the melodic creativity of the first two Man On the Moon albums and the lively confidence of Indicud and Man On the Moon III. Unfortunately, the album’s lowest moments like “Willis” also contain his most cringeworthy vocal performances reminiscent of WZRD and Speedin’ Bullet 2 Heaven. In fact, “Rocket (2011)” is a previously unreleased track from the WZRD sessions. It satisfies diehard fans that have demanded the song for over a decade. Still, it disconnects from the rest of the album.

Another fan favorite that sees an official release on INSANO (NITRO MEGA) is “Dose of Dopeness (2007).” This track restores the feeling of Man On The Moon Kid Cudi as a beautifully written song. It is a standout moment on the album, but it also sits awkwardly within the tracklist considering Kid Cudi’s deliberate musical progression. The inclusion of both “Rocket (2011)” and “Dose Of Dopeness (2007)” act as a time capsule for his core fanbase, highlighting his musical peaks and valleys.

Exciting & Familiar Collaborations

INSANO branched out with its guest features. It included many of the artists inspired by Kid Cudi, such as Travis Scott, Lil Yachty, and Young Thug. Except for Pharrell and Lil Wayne, the overall aesthetic and features of younger artists feel intentionally modern. The familiar collaborations on INSANO (NITRO MEGA) on the other hand appear to be catered to Cudi’s core fans. Frequent collaborator Chip Tha Ripper returns to his old alias for two songs, and the aforementioned Steve Aoki tracks add to their working relationship. The features from Layzie and Krayzie Bone are an organic Cleveland connection. Additionally, Cudi and Pusha T’s reconnection recalls the GOOD Music days. It was good to see him branching out on INSANO, but he has significantly better chemistry with most of the collaborators on NITRO MEGA.

Overall, Kid Cudi’s latest offering plays more smoothly than its predecessor because of its eclectic tracklist, though it has its blemishes. In one way, it jumps all over the place, but it is also a well-rounded and enjoyable listen. Lyrically, it is not anything extraordinary, but it makes its point as a fun project dedicated to Cudi’s day-one supporters. INSANO (NITRO MEGA) is ultimately nothing groundbreaking. However, it serves its purpose for an artist who has constantly pushed himself musically. Kid Cudi is still very much in a creative zone, churning out a whopping 39 songs already this year with more new material on the way. It speaks to his artistic evolution and his personal growth.

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