Blu has been a prolific fixture in hip hop’s underground for over two decades now, with landmark records such as 2007’s Below The Heavens alongside Exile making waves with fans across the globe. Though he may not have millions of monthly Spotify streamers, the 40-year-old spitter has a dedicated and loyal fan base excited to see where his career takes him next. Conversely, producer Roy Royal is an emerging newcomer to the boom-bap hip-hop scene, also hailing from the heart of Los Angeles.
Blu and Roy Royal have teamed up for a brief but exciting LP, aptly titled Royal Blu, which showcases the “Knock Knock” vocalist’s lyrical versatility over Royal’s old-school instrumentation, complete with several well-placed sample scratches and pitched vocal passages. Royal Blu marks the third consecutive release from Blu which showcases the rapper locking in with a single producer to craft a full-length project, following efforts such as Bad News with Real Bad Man and Afrika with Nottz. The latest project is one of the most exciting collaborative efforts in years. Here’s a brief look at Royal Blu, and a review of the material within.
Blu & Roy Royal Are In Rare Form On This Brief But Effective Release
Despite the album containing only 8 tracks spread across 19 minutes of material, Royal Blu features some of the best work from either of the musical duo thus far. Blu glides over the boom-bap production provided by Roy Royal with the control and experience reserved for veterans, while still showcasing his hunger to take his career to the next level. Though the project is quintessentially Californian, the razor-sharp drum and piano-heavy beats, accompanied by powerful scratches and interspersed vocal samples have a clear Wu-Tang influence.
Blu confirms this East Coast influence on the track “The Royal” when he raps “My favorite album is Nas’ Illmatic/ It’s almost been 30 years since it dropped and the God is still at it.” This lyric serves as something of a thesis statement for the record, as Blu explores the future and past of his career, and pontificates about the possibility of becoming a revered legacy artist like Nas has with his King’s Disease and Magic album trilogies. It should also be noted that Nas found major success with these 6 recent albums in large part due to the close collaborative relationship he formed with producer Hit-Boy.
The Album’s Influences Showcase Some Of Hip Hop’s Finest Artists
The following tracks on the Blu and Roy Royal collaboration show clear Kanye West influences as well. Songs like “The Same OG” and “The Priceless” each provide a backdrop composed of pitched-up soul samples, chopped in the style of College Dropout-era Kanye. This is especially clear in the latter track, as Blu takes a specific lyrical focus on praising God for the professional heights and personally blessings he’s seen in his life. The album’s lone feature, Cashus King, joins in on “The Priceless” to echo these sentiments, rapping, “Hood wars set up kids for early graves and pearly gates/ Hell on earth is heavenless, yet I win/ God or Satan, I’m a travel agent/ These rhymes took me to some places that I never been.”
The best track on Royal Blu is the penultimate song, “Before I Go.” The track offers sparse production with plucky piano tones and stabbing vocal samples, as Blu raps about accomplishing his goals and passing the torch to his children before his eventual death. The track also highlights the highs and lows of his life, from dropping out of high school to mastering the rap game. Lyrics such as “I gotta put my children on before I’m gone” prove that the rapper has a deep desire to continue pushing his sound to the next level for the foreseeable future.
While the album’s very brief run time offers listeners little time to ruminate on the themes and topics provided in the body of work, Royal Blu serves as a showcase of some of Blu and Roy Royal’s finest work. While comparing the duo to the likes of MF DOOM and Madlib would certainly be overselling it, future collaborations between the rapper and producer could certainly yield a bonafide classic. This project is probably the best rapper and producer duo project since Joell Ortiz and L’Orange locked in for Signature last Summer. Blu has made it a habit to collaborate with several producers in the last year or so, but fans would certainly welcome a second joint venture with Roy Royal in the future.
Atlanta Rapper Money Man recently dropped his latest album Purple Heart. The project, fittingly released on Valentine’s Day, is the 22nd full-length LP by the rapper in a career spanning just over a decade. The former Cash Money signee has made it a goal to release fresh new music as often as possible, even stating in an exclusive interview for HotNewHipHop, “The music game is so slow. Behind the scenes is so slow with them, handling producers and getting the paperwork together and clearances… I don’t have time for that. That’s why my fan base loves me because I’m always keeping them with new music.”
With only 13 tracks interspersed over a 29-minute runtime, Money Man brings his trademark blend of hype and flavor to Purple Heart, offering a blend of 808-heavy club shakers sure to wow his dedicated and loyal base of listeners. Here’s a full overview of the project and a review of the material within.
Money Man’s muted flows and bass-heavy instrumentals provide a shock to the senses. The opening track on Purple Heart, “Staying Fly” perfectly captures the tone and energy of the album, though the tracks begin to get quite samey as you venture through the front half of the tracklist. By the time you reach the fifth track, “Turnt” which touts the sole feature of the album, Moneybagg Yo, it becomes clear that the project would benefit from a few additional collaborators.
While Money Man has made his position clear about the slow-moving machine of the music industry in the past, one can’t help but feel that the sonic diversity some additional vocalists could provide on this album would be just the kick Purple Heart needs to take it to the next level. While the LP may not be the most ambitious project the 37-year-old MC has ever released, Money’s relentless energy and dark street-wise lyrics do paint a powerful picture for the fans.
The Project Does Contain Some Stand-Out Moments
Despite a few flaws, Money Man does shine through with a few major highlights on Purple Heart. The aforementioned “Staying Fly” is a perfect intro track, while songs such as “Cover Up” and “Turnt” carry the frenetic energy throughout the release. When Money does switch up his style, it’s a welcome departure, highlighted in outings like “That’s Easy” which see the rapper crooning about showering his loved ones with material wealth and personal protection.
“That’s Easy” manages to depart from the established trap sound present on the rest of the LP without sacrificing Money Man’s trademark bass-heavy flavor, and provides greater insight into the rapper’s personal life. The track makes it clear that Money knows the best things in life are free, though his position as the breadwinner of his family allows him to offer health and security that others can’t. Unfortunately, the following track “Think About It” provides an immediate repeat of these themes, with a more off-beat slurred delivery that makes the track sound more like a B-side effort that should have been left on the cutting room floor.
The real counterpart to “That’s Easy” comes 4 tracks later with the explosive and fast-paced “I’m The One.” On this track, Money reflects on his high-risk high-reward lifestyle, showcasing the struggles and triumphs of a man in his high-profile position.
All in all, Money Man’s latest effort is a positive inclusion into his illustrious catalogue of music. Fans of Money Man’s dark trap sound will surely enjoy Purple Heart, even if the record does very little to court new listeners by offering a wide range of sonic soundscapes. Some additional collaboration from Money would set his next project in the right direction, but his core fans will surely follow his journey wherever it takes him.
Last year commemorated the 20th anniversary of Dizzee Rascal’s groundbreaking debut, Boy In Da Corner, an extremely influential album that shaped grime as a genre. It also established Dizzee as the UK’s first rap star within its flourishing scene. Boy In Da Corner set the standard for both the UK grime scene and Dizzee himself as it is widely considered as an all-time classic.
He later ventured into dance music at a time when pop crossovers dominated the charts, eventually finding his way back to his grime roots with 2017’s Raskit. Dizzee Rascal’s last album, 2020’s E3 AF, found a happy medium between his musical roots and his knack for experimentation. It satisfied his core fanbase with stellar grime collaborations but branched out into drill and pop. This time around, he continues to explore his eclectic musical arsenal. Dizzee Rascal’s latest album, Don’t Take It Personal, displays the wide-ranging sounds of a veteran eager to compete within the scene he helped create.
Dizzee Rascal Maintains The Energy
Don’t Take It Personal starts on an upbeat note, with its first four songs representing Dizzee Rascal’s ability to easily rap over house and UK Garage production. “Stay In Your Lane” opens the album with a groovy dance beat featuring Dizzee’s signature staccato flow. Similarly, the soulful “Sugar and Spice” recalls the early days of UK Garage featuring a sleek and bouncy beat from iLL BLU. Songs like “How Did I Get So Calm” and “London Boy” see Dizzee Rascal effortlessly flowing over fast-paced house beats. His ability to sound so comfortable over upbeat production never fails to impress. Featured on “London Boy” is Frisco, who shares similar strengths as an MC. On this track, the two showcase their skill in fusing house and rap, though it pales in comparison to their previous grime collaborations.
Don’t Take It Personal also includes multiple house and dubstep songs toward the end of the album, including “Switch and Explode,” “POV,” and the closing track, “How Does It Feel.” These songs are far from his best attempts at house but show his capability at sounding good on almost any style of production. He may be able to rhyme over a variety of tempos and genres, but there is nothing quite like Dizzee Rascal over grime.
Grime Has Always Been Dizzee Rascal’s True Calling
Beyond EDM, Don’t Take It Personal traverses other genres, including the afrobeats-laced “Roll Wit Me.” There is also the relaxed hip hop track, “Here For Now” with Not3s and the drill banger, “Get Out The Way” featuring BackRoad Gee. Embroidered into the album’s adventurous nature are its many grime songs that see Dizzee at his sharpest and most exhilarating. His pop-oriented studio albums exhibited that grime has always been Dizzee Rascal’s true calling. Naturally, the genre he helped create is what he sounds best on. The fast and explosive rhythms of grime suit Dizzee’s flow better than any other style, which is certainly highlighted on this album as many standout tracks are grime songs.
“What You Know About That” is an instant favorite that sees Dizzee teaming up with grime veterans JME and D Double E for a catchy exchange of bars. Together, they recall the early days of grime. Each of the three lyricists embraces the cornerstones of the genre, including nods to pirate radio and various London neighborhoods. While the song speaks to the foundation of the genre and culture, it does not talk down to younger generations. Dizzee even raps, “Don’t wanna be the moaning OG that keeps tellin’ me they’re tryna see the old me.”
D Double E also features on “Swerve And Pivot,” another grime song where the two bask in their legendary status. Dizzee raps on the hook, “How can I quit when I already did it? How can I flex when I already live it?” P Money joins Dizzee and BackRoad Gee for “Keep That Same Energy,” a grime and dubstep blend that recreates the magic of their previous collaboration. With many grime collaborations on Don’t Take It Personal, Dizzee Rascal clearly shines alongside his peers.
On “Here For Now,” Dizzee Rascal salutes the longevity of his musical journey. He declares, “I’ve been on top for ages like I’m ageless.” Dizzee also triumphantly raps, “What’s the difference? I’ve done the distance / Full commitment, pure persistence. Gotta speak it into existence.” He is very much aware of his success, impact, and legacy as a pioneer. As a result, he has the creative freedom to happily express himself. On Don’t Take It Personal, we see Dizzee Rascal enjoying himself and his position as an artist who has done it all.
He undoubtedly still raps at a high caliber and is a skilled producer. However, the album is not nearly as creative as his classics or even Dizzee’s most recent efforts. The production may be varied in style, but it is not considerably outstanding compared to his early releases or his strongest efforts in recent memory. Dizzee Rascal is “flying, smiling and vibing” on his latest album. It is an enjoyable listen, but does not go far beyond that.
Music fans are always looking for the new wave to hop on, and with so much amazing material dropping every day, these trends could dominate and vanish within months. Many folks out there thought Yeat would suffer this fate. His arrival on the scene, paired with the wider emergence of rage, brought a lot of buzz, an instant cult fanbase, and even a Minions collab. But with four albums under the Portland MC’s belt now, plus a wealth of mixtapes, he’s had plenty of time to capitalize on this hype. However, this didn’t answer the question that many fans still have: is he here to stay? Will this sound and approach age like fine wine or is it just a passing fad while we wait on the real future? Well, speaking of the future, the AftërLyfe visionary is here to take us to 2093.
This new album aims to provide a forward-thinking, fresh, unique, and alien artistic statement. Its 24 tracks (including the two “Phase 2” extras “As We Speak” with Drake and “Never quit”) are defined by buzzing and soaring synths, distorted percussion, a lot of reverb atmosphere, and a slew of verses, ad-libs, and vocal effects battling each other for your ear. Unlike past material, the lyrics here are actually highlighted quite intently, and this overall sets 2093 up as the most idiosyncratic release in this catalog. Fortunately for fans and new listeners alike, it’s also its best project yet. Although it’s not perfect, this is a truly definitive, impactful, and above all needle-pushing record that will probably join the likes of Whole Lotta Red, Yeezus, and even Exmilitary as aggressive and industrial benchmarks in hip-hop. But it’s clear that Yeat is in a class of his own.
Yeat’s Performance
If you want proof of that, look no further than his performance on the mic here -– and behind the board. If you recall last week, we published a list of five “wants” from this album, one of which was that Yeat would prioritize and focus on his best weapon in his arsenal: his voice and his delivery. We’re glad to say that he’s still got it. Through a lot of vocal layering, woozy effects, energetic ad-libs, and switches between slurred deliveries and clearer high notes, the 23-year-old maintains what makes him such a memorable and captivating artist. He switches between frantic flows, measured croons, and passionate screams with ease on any given track. The “Nun id change” creative feels so comfortable and seamlessly integrated into his sonic vision, which is the second-most important achievement of 2093. We’ll mention the top priority later.
He also takes over most of the production here, with credits on 13 tracks of its 24 offerings. In fact, one of the best songs here, “Riot & Set it off,” is produced entirely by the California native, and that speaks for itself. His vision is able to meld a lot of different influences together and make something new out of them. There’s a lot of Travis Scott and Kanye West worship here, distorted vocal treatments akin to Sematary, industrial tones and timbres that you might catch on material from Death Grips or HEALTH, and sci-fi soundscapes that seem more like scores than streaming success stories. But they all fit under 2093‘s universe like a glove, and have Yeat’s special touch all over them. It’s the most impressive part of this album.
This high praise is thanks to the cavalcade of producers here, of which there are too many to shout out individually. Key players, though, include Synthetic (7 credits), Dulio (5), GeoGotBands and Perdu (4 each), and LRBG, Radiate, and WhoIce (3 each). Together, they all execute Yeat’s vision in a cohesive way that also leads to another big strength on 2093: its engaging and well-paced flow. The dreamy and atmospheric outro on “Bought The Earth,” which is a nice cool-down moment on the LP, leads right into the rambunctious trap on “Nothing Changë.” Clubby rhythms and dance inspiration take center stage on “Breathe” (another absolute standout), “Shade,” “Keep Pushin,” and the title track. Most importantly, the distortion, synth variety, noisy mixes, and string embellishments all fuse in an epic and entrancing way.
Still, not every beat is a hitter. 2093‘s length means that cuts like “Tell më,” “Stand On It,” and “Psychocainë” feel repetitive. Regardless, this isn’t a sign of the album taking significant quality dips, as there are amazing records all the way to the last song. Also, there is so much quality behind Yeat’s production choices that, even if they sit in the same space, they don’t feel diluted in their impact. “U Should Know,” “ILUV,” “Mr. Inbetweenit,” and “If We Being Rëal” are just a handful of progressive, crunchy, well-structured, and thoroughly immersive beats. “Familia” is one of the most overtly psychedelic moments here, and “Never quit” ingeniously flips a guitar-driven beat into something more than a rock-rap fusion. Overall, this album is a true auditory treat, and likely a very influential one. The cherry on top? How they effortlessly set up his verses.
Lyrics never define any Yeat album, but this album takes his success and paints a dark picture with it. “I’ma cut you off, cut you off when you talkin’ to me,” he raps on the opener “Psycho CEO.” “I’m in 2093, where your life at?” The now-established Drake collaborator focuses a lot on financial success, loyalty, material wealth, substance use, and not feeling human. But he contrasts this with murderous thoughts, admissions of his own dishonesty, his apathy, and nihilistic remarks on what all this money and status even means. Through jumbled trains of thought, loose verses, and consistently catchy refrains, these themes become almost contradictory, yet never inauthentic. There’s a lot of CEO talk on 2093, and it seems like hedonism eats at its own tail here. The salient point is that these pleasures make this darkness worse, but also give it the freedom to roam freely.
Particularly sharp meta bars on “Run Thëy Mouth,” like, “I got four rings, four albums, b***h, I’m out / I was alivе for 4L, but it’s up to me for after now,” embody this theme well. It’s a scary picture, and one that Yeat paints with a “less is more” brush. While these topics and expressions are always compelling, they can feel like retreads.
Similarly, there are a few moments in 2093 that don’t match up to its futuristic vision. For example, the features are 50/50. Lil Wayne drops a good verse on “LyfeStylë,” but it feels a bit mismatched from the album’s established energy. Future’s appearance on “Stand On It” is mixed way too low, but he does his thing. More impressively, “As We Speak” is probably the wildest beat Drake’s ever been on, and he’s much more charismatic and well-presented here than on their previous collab, “IDGAF.” Childish Gambino’s uncredited vocals on the outro of “Power Trip,” though, are the only guest contributions that truly feel futuristic and wholly connected to this project. Since Yeat is so standoffish, homicidal, and downright misanthropic from a lyrical standpoint, this makes these inclusions a bit more out of place. That being said, it’s still a small blemish.
Otherwise, what keeps 2093 out of the higher echelons of hip-hop albums in their respective eras is its consistency. The aforementioned reruns of aesthetics and song structures, plus static lyrical focuses and underwhelming feature verses, bring things down a bit. But we want to emphasize that it’s only a bit. An overwhelming majority of this LP took Yeat to the next level in our eyes. In particular, his character portrait here is the most understandable, clear, and un-replicable. It seems like the Gen Z leader is embracing the villain role here, and his contradictions and extraterrestrial imagination -– or rather, reality -– seem just like they were there before the fame. Power is another central idea, one that seems just as indebted to physical possessions as it is to primal proclivities. Bloodlust and existentialism are palpable, and don’t aim for anything else but to shock, inspire, and evoke.
So, how exactly does 2093 shock, inspire, and evoke indescribable feelings of ambition and dominance in its listeners? Much like its creator, the album shrouds itself in a lot of mystery, both through its muddy and aggressive production and the varied rhythms and sonic worlds that it cycles through. The beats here progress, evolve, and keep ears locked in from song to song, and don’t allow for even a second to free you from its spell. Yeat is right at the center of the chaos, and gives up control to tap into his demons and desires as a dead man walking. He doesn’t mind calling others out for being dead too, as long as they know who is on top of the graveyard. The totality of these elements achieved the most important thing this record had to represent: evolution. Progress. The next step. The future.
The artist’s unique musical identity preserves and develops itself further into idiosyncrasy; the consistency and intent make this a fully satisfying listen; the rap styles of tread, witch house, rage, and more push forward; he might see his first No. 1 album of his career with a watershed moment of an LP; and the features… at least Donald Glover killed it. Jokes aside, they still played their role well and allowed Tonka’s biggest fan to take the whole spotlight. With all this in mind, did 2093 take us to 2093? Absolutely. It’s so exciting to see an album this mainstream be so challenging, so masterful with its influences, and so fun all throughout. Yeat’s come a long way, and he fully cemented himself as a legitimate mainstay and leading face of hip-hop today. Well, 70 years from now, anyway.
Atlanta rapper BabyDrill first made a splash after signing to Young Nudy’s Paradise East Records in 2022. Since then, the up-and-coming trap-rapper has released 3 studio albums and managed to snag some top-shelf collaborations with artists such as G Herbo, Latto, and 21 Savage. BabyDrill’s most recent outing, ScoreGod, released last week, less than a year after his Sophomore effort MadMan which dropped in June 2023.
ScoreGod showcases some of BabyDrill’s greatest flows, highlights his versatility on the mic, and expands his sound into a new and exciting sonic landscape. The 14-track project features guest verses from the likes of YTB Fatt, Rob49, Luh Tyler, and Hunxho. Here’s an overview and review of the brand-new record’s material.
With the record clocking in at only 37 minutes, BabyDrill ensures listeners that ScoreGod doesn’t overstay its welcome. The record’s brief run-time makes for an efficient listening experience, perfect for TikTok algorithms and the microwave attention span of modern listeners. Unfortunately, this does leave some tracks on the album to feel sparse and underdeveloped.
For instance, the title track, which features Luh Tyler, showcases an excellent blend of sounds from the two vocalists, whose voices contrast perfectly to keep the song sounding dynamic, but ultimately concludes just as abruptly as it begins. The final result is a track that sounds more like a snippet than a full song, and would certainly benefit from a third verse, or at least a bridge to round out the themes and ideas present before leaving listeners scrambling to find the “previous track” button.
BabyDrill manages to expertly tap into the grimy, murderous Atlanta trap sound throughout ScoreGod but ultimately fails to carve out a specific lane for himself. His sound makes him a perfect fit for Nudy’s label, though there are times on the record where you would be forgiven for confusing Drill for one of many other Nudy clones. While many of Drill’s lyrics may be true to his lived experience, there is very little to differentiate him from his peers and influences.
Some tracks, such as “Just Want You” offer a refreshing change of pace, with Drill tapping into a smoother melodic vibe, though many of the tracks on the back half of the album suffer from a lack of sonic diversity. “I Can’t Feel My Face” and “Down Bad” are also standout songs, with the former relying on resonant synth passages that would surely shake the venue during a live performance.
BabyDrill is still a relatively new artist and has plenty of time to grow into his own unique sound, but the majority of tracks on ScoreGod don’t do much to push the envelope. The album is certainly worth a listen, with some seriously high highs, but likely won’t be topping anyone’s “best of 2024” lists. If you’re a big fan of the grimy Atlanta trap sound, you’ll likely enjoy ScoreGod, even if the album won’t do much to inspire new fans of the sub-genre.
It’s often expected for music legends to wane in popularity decades into their careers. However, Usher is one of the artists defying expectations, and his ninth album, Coming Home, is a testament to his status as the King of R&B. Hitting the streets ahead of his sultry, sweaty Super Bowl halftime performance, Coming Home reverts Usher back to his peak stardom of the 2000s. Remarkably, while distinctive in a newer sound, it’s a perfect blend of the old and the new.
As a result, Usher crafts a unique lane with Coming Home. The 45-year-old ATL crooner is more confident than ever while channeling the sex appeal of his younger days with much ease. During his spellbinding Vegas residency last year, Usher “steal yo’ girl” Raymond reminded the world why it would be a great disservice to compare him to anyone else in the game. He is evidently in his own lane, and just like wine, he’s only gotten more delicious with age.
Taking away from his signature sensuality, Coming Home is a culmination of the Usher’s legacy. When he sings about sex, he does so with enough intensity that it’s rather easy to swoon. However, the love songs scattered across the album prove one thing — Usher’s madly in love. After it was reported that he had privately tied the knot with music executive Jennifer Goicoechea, it became clearer. There are talks of wanting to be “a better man,” and “doing it right this time” that show forth his commitment to remaining faithful to his wife.
The quality of the music is also assuredly more sexually charged than ever, although his romance could potentially divert the listener’s attention. Therefore, even though Usher might not be singing to anyone else, it’s hard to remove oneself from the equation, almost as though the bachelor is still as present as the married man. This feels almost identical to his iconic Confessions album, where the average listener ignores the album’s plot, to immerse themselves in Usher’s own world. This ability to capture the audience is why, 30 years later, Usher still has us by the neck.
The King Of R&B Takes Necessary Leaps
Right at the center of Coming Home is passion, which Usher translates effortlessly into his craft, vocal abilities, and unmistakable arousal. Between baring his heart and soul out, he leaves his body on the line as well. The breakup anthem for mature lovers, “Good Good,” reunites him with Summer Walker for an easy standout on the project. He also chooses his features for their respective buzz. Particularly, Nigerian singer and producer Pheelz contributes production, writing, and vocal credits, introducing Usher to a more diverse Afrobeats sound. Their collaboration, “Ruin,” which is also co-written with South Africa’s Manana, is perhaps the best track on Coming Home.
Concurrently, on Coming Home, Usher proves he can stand on his own two feet and still make a major splash. With his flexible vocals, the R&B maestro is bold, nasty, vulnerable, and raw when he’s riding solo. “Stone Kold Freak,” “BIG,” “I Am The Party,” and “I Love U” maintain Usher’s versatility, proving he’s a Jack of all trades. Closing out the album is the remix of “Standing Next To You,” a collaboration with BTS’ Jungkook. Evidently, there’s no better way to describe the single, other than a sugary, pop-disco number that features two unlikely collaborators. Furthermore, Usher finds a similar comfort on the track, which is reminiscent of his union with none other than his idol, Michael Jackson.
Altogether, Usher keeps his place in R&B alive with Coming Home. The album also marks his most successful debut on the Billboard 200 in over a decade. As the artist preps for his Past Present Future World Tour, it’s clear that Usher’s determined to dominate the 2020s with newfound vigor. With all the uncertainty surrounding older acts attempting to make a powerful return, Usher breezes on by to the top. Altogether, talent and legacy unite for the legend, but this feat was no overnight endeavor. Through careful planning, a masterful combination of nostalgia and futurism, and strategic performances, Coming Home has the world longing for some more Usher, one of the last true R&B heroes of our time.
It’s never easy witnessing the downfall of a cultural phenomenon, especially in the way that Kanye went from a beacon of hope to an artistic pariah who became more engulfed in controversy the further he was platformed. Unfortunately, the backlash wasn’t detached from his artistic output, and Ye has frequently failed to deliver an album without allowing his antics to overshadow it. In the case of Vultures 1, the first of three supposed collaborative albums between Ye and Ty Dolla $ign, that was almost the case. From listening events to hotel parties, the two artists delivered the album in different iterations as they tinkered with the final product and presumably, attempted to clear up some of the admin work attached with sample clearance.
At this point, Kanye West has gained notoriety for failing to release albums on schedule and the circus that surrounds these projects heavily contributes to the rollout. Unfortunately, that often means that, despite the wait, the music still sounds unfinished by the time it’s on DSPs and remains that way.
That’s the biggest difference between projects like Donda and Ye and Vultures 1. Though unveiled similarly, Kanye and Ty Dolla $ign’s collaborative effort sounds like a labor of love rather than a byproduct of a new Yeezy campaign. For the first time in a while, there’s a common ground between Ye’s ideas and the execution, largely carried by Ty Dolla $ign’s stellar performances across the album and an attention to detail that was sorely missing in recent albums. However, where Ye lacks from a lyrical standpoint – and there are plenty of those moments – he makes up for tenfold through his production.
Vultures Lands
Without a fresh bout of controversy to go up against, Vultures 1 remains a rather smooth listen from front to back. Since 2015, the chemistry between Kanye West and Ty Dolla $ign has delivered on all fronts with each collaboration. On Vultures 1, the two artists complement each other’s styles through plenty of contrast yet without losing a sense of cohesion. The two could weave through wholesome moments like “Talking/Once Again,” where North West makes an adorably assertive rap debut and Ty Dolla $ign leads the gospel to heavenly glory, then leap into a hypnotizingly muddy banger with “Hoodrat,” where Ye and Ty Dolla $ign capture the haziness of hotel afterparties and bathroom sex.
As a producer, Kanye’s ability to lead Ty Dolla $ign – and vice versa – allows the two of them to pull from each other’s respective strengths. Ty’s versatility made him a multi-faceted voice who could easily transition between touching ballads, ratchet bangers for the strip club, and soulful R&B with little effort. Through that, Ty becomes a vessel for Kanye’s ear, executing airy falsettos that elevate the orchestral production on “Stars” or his passionate earworm of a hook on “Burn” that allows Kanye to sound like he’s back in 2005. However, the familiarity that comes with both of these records feels like it lends itself to the formula that Kanye’s utilized since The Life Of Pablo, where he’s pulling ideas from his old catalog.
The Good & Bad Of “Carnival”
Yet he finds new ways to innovate sonic motifs. Kanye often used choirs to bring a sense of spirituality and soul to his music, whether on The College Dropout or Jesus Is King. However, the way he utilizes it on “Carnival” is unlike anything he’s delivered recently. “Carnival” stands as the crown jewel of the 16-song collection, if only because of the rambunctious and drunken collection of European Ultras yelling “head so good, she honor roll” in unison. The blistering chants and grinding synthesizers fuel the high-octane energy, reminiscent of UK punk and sweaty mosh pits.
Despite this, Ye delivers one of his worst lyrical performances of the album, likening himself to R. Kelly and Bill Cosby before landing on Jesus but by that point, you’re startled by Kanye stating that he’s “#MeToo me rich.” No matter how you look at it, it’s a weak attempt to troll, whether he’s crusading against cancel culture or actually advocating for the innocence of sexual predators.
With a wide range of collaborators at their disposal, Kanye and Ty Dolla $ign brought through some unexpected features on the project. Playboi Carti’s appearance on “Carnival” marks one of two stellar performances on the album, alongside the hypnotic ode to Memphis, “F*CKSUMN.” Evolving his delivery from a deeper register adds a level of curiosity to his flow. It’s almost whimsically inquisitive when he emerges on “Carnival” and pays homage to SahBabii or when he asks, “Shawty wanna fuck?” on the latter.
Meanwhile, Freddie Gibbs delivers the verse of the album, if not the year so far on “Back To Me.” He swiftly turns Ye’s cheeky interpolation of Jay’s “beautiful big t*tty women just don’t fall out the sky you know” into a katana-sharp verse that’s equally playful and gruff with bars like, “Turn a bird bitch to my X like I was Elon.” Other standout moments on the project come from Chris Brown who delivers a haunting gospel on “Beg Forgiveness,” and Quavo means business on “Paperwork.” There’s a lot of heavy lifting from collaborators across the project, to the point where this album likely wouldn’t be as digestible without them.
In its totality, Vultures 1 is the first album from Kanye West in a long time that feels like it isn’t trying to harness some bigger picture or push some sort of agenda outside of music. His vulnerability feels sincere on songs like the Timbaland-produced “Keys To My Life,” where he reflects on his dilapidated marriage to Kim Kardashian over sorrowfully pitched-up vocal samples of India Love. Fortunately, these moments are few and far between, which allows them to pack an even more potent punch on the tracklist.
Overall, Kanye sounds like he’s having a blast and it’s refreshing to hear. Ty’s penchant for smooth, sexually charged pen and Kanye’s flagrantly grotesque bars that often lean into the TMI territory fuel the self-indulgent tones. This level of playfulness yields solid results on songs like “Do It” ft. YG and Nipsey Hussle. It’s a return to the form of ratchet raps that both YG and Ty Dolla $ign helped establish in the West Coast alongside Mustard.
Meanwhile, Nipsey’s posthumous contributions, originally appearing on an unreleased Cardi B song titled “Wanna Know,” find an even better home over an eerily mesmerizing vocal loop. Unlike most posthumous features from Nipsey, “Do It” is a firm reminder of how adept he was at delivering stripper-friendly bops as much as lyrically-dense entrepreneurial gems. The addition of YG’s verse at the end, over a sample of Juvenile’s “Back That Azz Up,” is the icing top.
Perhaps the only thing that warranted an ounce of excitement surrounding the initial announcement of Vultures was Ty Dolla $ign’s involvement. He and Kanye are polar opposites in many ways, primarily because Ty is as unproblematic as they come while the same can’t be said for Ye. However, they’ve established such a strong rapport over the years that it’s clear Ty Dolla $ign has put some sort of battery in Kanye’s back, one that allowed him to challenge himself beyond what his ego (and his yes men) tells him is genius.
Most importantly, Kanye sounds like there’s a sense of joy in making music on Vultures 1. The past few albums became vessels of communication for larger grievances; an unrelenting wielding of influence in the face of the most influential institutes, whether Adidas, Nike, Disney & Hulu, or the Kardashian clan at large. While that remains prevalent, like in “Burn” when he declares that he “burned 8 billion to take off my chains,” there’s a sense of vindication that comes with no restrictions or major label contracts to adhere to.
Vultures 1 pales in comparison to a discography built on pushing boundaries and shifting the culture. That even extends to the collaborative projects in Ye’s arsenal. However, while Jay-Z and Kid Cudi unlocked new levels out of Kanye on Watch The Throne and Kids See Ghosts, Ty Dolla $ign helped Kanye find a place of comfort amid the chaos that has trailed behind him over the past six years. It’s a new era in Kanye’s career, one that doesn’t veer too far from where he was in 2022. But with Ty Dolla $ign’s companionship, Kanye’s able to hone his focus to deliver an album that’s more worthy of listening to than debating.
Little Simz started her Drop EP series back in 2014, with its first five editions surrounding the release of her 2015 debut album. Drop 6 arrived in 2020, acting as a transition between her critically acclaimed studio albums, Grey Area and Sometimes I Might Be Introvert. Unlike her Inflo-produced albums, the five-track EP included production from numerous beat-makers, including Kal Banx, BLK VYNL, and St Francis Hotel.
Since 2019, Simz and Inflo have been on a 3-peat run of stellar hip hop masterpieces. They have consistently outdone themselves as one of hip hop’s most talented rapper/producer duos. In 2022, they dropped their third full-length collaboration, No Thank You. With Inflo’s help, we are currently seeing Simz at what appears to be a long-lasting creative peak. As we await her next album, Little Simz is back with Drop 7, a new EP fully produced by British musician Jakwob. It gives us an exciting glimpse into the next phase of her artistic evolution.
Little Simz and Jakwob are frequent collaborators. He notably produced “Rollin’ Stone” from Sometimes I Might Be Introvert. However, this is their very first time locking in for an entire project. From Grey Area to No Thank You, Simz and Inflo built their own unique sound chemistry, but Drop 7 sees Jakwob pushing her out of her comfort zone. Little Simz explores completely new musical territory on this EP. Over the course of seven tracks, she covers a range of genres.
The first two songs blend hip hop with Brazilian funk. This sound may be new for her, but it is unsurprising considering she once rapped about being “in São Paulo eating palm hearts.” “Mood Swings” is a minimal yet energetic opening track that is dynamic in how it transitions between a calm hook and hard-hitting verses. The song seamlessly flows into “Fever,” another danceable Brazilian funk track. From there, we get hip hop bangers like the fast-paced “Torch” and the bouncy “Power.” There is also “I Ain’t Feelin’ It,” which has a wavy trap instrumental. Songs like the house fusion, “SOS” and the Jersey Club-inspired “Far Away” also test the limits of Little Simz’s sound. She traverses each of these musical styles with ease, freeing herself of artistic boundaries.
With Jakwob’s multifaceted production skills, Drop 7 proves to be a short yet adventurous listen. His beats recall the aesthetic of Little Simz’s earlier work but with a more diverse soundscape. The experimental production is part of what makes this EP such an enjoyable change of pace. Still, Little Simz is always the star of her own show. Much like on Drop 6, she tries new flows and cadences.
Simz sounds more playful than ever on songs like “Fever,” where she raps in Portuguese and gives another nod to São Paulo. She proclaims herself as “International Simbi.” There is also “Torch” where she tries different voices. She playfully asks listeners if they “wanna see some more” before telling them “don’t be afraid of the bounce” as soon as the beat drops. The aptly-titled “Mood Swings” shifts between soft-spoken lyrics over muted percussion and demanding bars over explosive drums.
Simz also flexes her success and realness on “I Ain’t Feelin’ It.” On this track, she references her Top Boy character as she says, “shell, shell, shell when they see me / Shelley’s nail bar only exists on the TV.” No matter how she raps, Little Simz is always commanding in her delivery, demanding the attention of the listener. She even reaches beyond rapping as she sings on the closing track, “Far Away.”
Overall, Drop 7 comes and goes as a 15-minute listen, but its seven songs leave a lasting impression of the potential next steps in Little Simz’s creative progression. It is a quality reminder of how the Drop series has helped foster this growth. Drop 7 is ultimately satisfying as a short EP that builds anticipation for her next full-length album. The latest installment in the series hopefully signifies what is next to come from the UK wordsmith.
TiaCorine’s highly anticipated major label debut EP, Almost There, is her first project under Interscope Records. After a forceful breakthrough, the colorful rapper evolves far beyond her previous projects. Infusing equal parts brightness and toughness in her new material, Almost There is a step in the right direction. However, as ironic as it may seem, the title fully encapsulates the rapper’s evolution. She’s finding her footing but still has a ways to go.
Upon diving into this release, listeners might notice a shift in dynamics compared to I Can’t Wait. Nonetheless, both projects greatly indicate her exploratory tendencies. On Almost There, TiaCorine transports you to a nightclub, the streets, the bedroom, and most importantly, the innermost parts of her mind. Altogether, the EP, much like her previous work, encompasses various styles and infectious flows. While this may put off some listeners who prefer artists with a trademark sound, it attracts another group of listeners: the curious and adventurous sort. Almost There is vastly different from anything TiaCorine has put out before. The XXL Freshman alum is more confident, consciously attempting to hone in on a more focused sonic landscape.
The album kicks off with an electrifying start on “Yung Joc,” a collaboration with fellow XXL Freshman alum, Luh Tyler. On the bold track, TiaCorine is brash, effortlessly intertwining her cutthroat flow with Tyler’s distinct drawl. Despite the seemingly simple beat, a hazy, hypnotic backdrop seals the deal, making it a worthwhile choice for a single. Overall, TiaCorine strikes a balance between speed and vocal lethargy, which becomes a recurring theme on Almost There.
“Blick,” featuring Key Glock, maintains the album’s momentum with its hard-hitting beat. As a trap virtuoso, TiaCorine is comfortable, but not to the point of complacency. Her stylistic delivery might give room for Glock’s abilities, though she retains her artistic identity. In the same vein, she bounces back and forth between her dark and bright delivery, keeping a laser-focus on her words.
“Bonnet” is an infectious banger that instantly captivates the mind. With a frantic beat, and TiaCorine’s playful delivery, the track leaves a lasting impression on its audience and is easily a standout on AlmostThere. Subsequent tracks like “Give No F*ck” and “Shamone” do not match up to the rapper’s capabilities, however. Nonetheless, they exude the raw, unapologetic energy fans of TiaCorine have come to expect in bursts.
The EP’s third track, “Olive,” is another noteworthy moment on Almost There. Specifically, it features a stellar beat crafted by the skilled hands of BNYX. Moreover, Zelooperz lends the most infectious hook, injecting a dose of vivacity into the EP. While both TiaCorine and Zelooperz deliver exceptional verses, it’s hard to ignore the latter’s magnetic presence. Interestingly, while TiaCorine matches the flows of her contemporaries on the first two tracks, Zeeloperz successfully steals the spotlight on “Olive.”
Nonetheless, TiaCorine shines, and the track should be a prime contender for Almost There’s next single. “Olive” boasts such an infectious energy, and offering a visual narrative could further elevate the track’s impact. TiaCorine’s voice is deep, yet satiny and breathy smooth, which is yet another layer of artistry that she has mastered. Almost There, although lacking in a bulk of vocal moments, has just enough to earn TiaCorine a new wave of trap fans.
TiaCorine Sets The Scene For The Almost There Tour.
It also just happens that this EP is coming in the wake of TiaCorine’s Almost There tour announcement. Therefore, it’s easier to speculate that this project is more of a tour teaser, than a pointer to her new artistic trajectory. This introspection also raises intriguing questions about the evolution of TiaCorine’s sound and the potential direction she may be headed in.
Almost There is a compelling snapshot of TiaCorine’s current artistic state. Backed by a major label, and with an advanced production, the music is proof of her capabilities. However, as aforementioned, TiaCorine is still on a journey, and Almost There, although a worthy project, is just a teaser. Deep in the nooks of her music, there’s a much stronger rapper. Hopefully, we’ll get a greater taste of that soon.
Last year, Hit-Boy and The Alchemist teamed up for “Slipping Into Darkness,” a song that saw the two rhyming over the other’s production. Both California producers sounded comfortable, highlighting their underrated skills as lyricists. Since the turn of the decade, Hit-Boy and The Alchemist reached new levels in their careers by releasing prolific full-length collaborations at a high volume. Hit-Boy has worked closely with Nas, Big Sean, Dom Kennedy, The Game, and his father, Big Hit. The Alchemist teamed up with Boldy James, Freddie Gibbs, Armand Hammer, Curren$y, Roc Marciano, and Earl Sweatshirt for stellar collaborations.
Most recently, Hit-Boy and The Alchemist teamed up to produce the entirety of Benny The Butcher’s latest album, Everybody Can’t Go. Known for being skilled beat-makers and collaborators, their lyrical skills should not go unnoticed. Hit-Boy and The Alchemist’s latest 3-song EP, Theodore & Andre, makes sure of that. Their bars are at the center of attention while blending their production styles.
On Theodore & Andre, Hit-Boy and The Alchemist expand their chemistry as they rhyme over each other’s production together. This time, there’s a clear-cut intention to create memorable records that build off of a combined sound rather than flexing their lyrical muscle. Hit-Boy’s contemporary soul blends seamlessly with The Alchemist’s vintage loops. The EP’s opening track, “Morrissey” is quintessential Alchemist with its cinematic sample chop and downbeat boom bap. Next, Hit-Boy showcases the versatility of his production, handling the beats on the EP’s other two songs.
“The Main Event” starts as an upbeat trap banger. Hit-Boy raps before transitioning into a traditional drum break over which Alchemist rhymes. The two rapped over distinct beats on “Slipping Into Darkness,” but here, they rhyme over one melody that varies in percussion. The beat switch gives them each their own moment to shine whereas they shine together on the closing track. The Hit-Boy-produced beat on “Don’t Be Gone” is reminiscent of something one might hear on the King’s Disease trilogy. In this song, Hit-Boy and Alchemist rap over a beat that fits both of their styles perfectly. It spotlights not just their synergy as producers, but their lyrical chemistry as well.
While they are certainly skilled producers, both Hit-Boy and The Alchemist have shown that they’re equally stellar MCs. Theodore & Andre shows that the two excel at both skill sets and traverse between them quite easily. Hit-Boy’s flow is smooth while Alchemist’s is choppy, which is fitting for their respective styles of production. They find their own pockets, no matter the production similar to how they can cater a particular sound to an artist they’re producing for.
The way Alchemist starts rapping on “Morrissey” makes one wish that he would spit over his beats more often. His bars are sparse as he emphasizes the end of each line. Hit-Boy then comes in at the end with a short yet smoothly executed verse. Throughout Theodore & Andre, both of them flex their lifestyles in their rhymes. The Alchemist raps about outdoing his competitors, making references to his studio and touring life with plenty of food metaphors. Hit-Boy embraces his success, attributing it to his work ethic and divine timing. Their collaborative chemistry really comes together on “Don’t Be Gone,” where they trade celebratory bars over a soulful saxophone loop.
Overall, Theodore & Andre is a lean 3-track EP that displays the chemistry between two artists at the top of their game as rappers and producers. As such a short listen, it is enjoyable for what it is—a quick victory lap. It may not contain their best material ever, but it is something new and exciting for Hit-Boy and The Alchemist. Hopefully, this EP is just the beginning of a fruitful partnership.
