Album Reviews Archives - Page 8 of 11

Hit-Boy & The Alchemist “THEODORE & ANDRE” Review

February 5, 2024 by newhiphopnews

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.

Hit-Boy & The Alchemist Blend 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.

Don’t Sleep On Their Lyricism

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.

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Benny The Butcher “Everybody Can’t Go” Review

February 1, 2024 by newhiphopnews

It was only a few years ago when it seemed as if Benny The Butcher was the third man to the duo of Westside and Conway. As the Hall N Nash collaborators became the frontline of Griselda, Benny was right behind them, studying and plotting for his time in the limelight. Following WWCD, West carved out the next generation of Griselda while Conway launched Drumwork and Benny began building the B$F empire. However, after making such pronounced strides independently, Benny’s major label debut, Everybody Can’t Go, feels like a natural progression into the big leagues.

Everybody Can’t Go vividly represents the culmination of work that led to this milestone in his career, from incarceration to rap stardom and the hardships and near-fatal experiences in between. Although most rappers could fall flat on a major label debut, finding themselves navigating the murky waters of radio play, streaming services, and social media frenzies, Benny The Butcher harnesses his strengths and delivers a fierce entry in his catalog that attempts to live up to the legacy of the label’s flagship artists.

Hit-Boy & The Alchemist Come Through With The Assist

Before it even landed a release date, Everybody Can’t Go looked like an Album Of The Year contender on paper. With Hit-Boy and The Alchemist behind the boards, Benny formulated a recipe for success alongside two renowned producers with whom he’s built a strong rapport. Hit-Boy previously locked in with Benny on Burden Of Proof while The Alchemist played a significant role on Tana Talk 4. But on Everybody Can’t Go, Hit-Boy and The Alchemist work in tandem to effectively bring out a concise body of work that encapsulates the divide in Benny’s aura: the bleak mafioso stories that have become a foundation to his rags-to-riches tale and the stunning accomplishments that have gained the faith of OGs like Jay-Z and Snoop Dogg to carry the torch. Whereas The Alchemist allows Benny to bask in vivid flashbacks of childhood trauma, the Buffalo-born rapper sounds victorious as ever on Hit-Boy’s beats.

The Alchemist Soundtracks Hardened Buffalo Tales

It’s as evident on “Jermaine’s Graduation,” the intro track produced by The Alchemist. The icy piano-laden production dishes a rush of nostalgia as Benny delves into the perennial cycle of addiction from a firsthand account. “… Teary-eyed and gullible/ I lived with a mother who struggled through/ Addiction, I know every side to drug abuse,” he raps with gruff delivery. In many ways, it’s the foreword to a hustler’s memoir, where personal anecdotes often serve to unpack the degrees of separation between the addicts and corner boys and the plugs and bosses. These revelations are a launching pad for some of his most compelling storytelling, as well as braggadocious sh*t talking.

It’s The Alchemist’s production that often catalyzes Benny’s emotionally potent moments on the album. “TMVTL” is another highlight with stellar production from The Alchemist. The famed producer concocts his signature hazy and hypnotic soundscape for the first two stories; the first finds Benny divulging prison stories involving a woman named Jasmine Dickens who smuggles contraband for an inmate; the second, a fatal falling out between two brothers over a woman. The third verse strikes a more personal note as Benny alludes to the infamous Wal-Mart shooting in Houston and evokes a gruesome image of the retribution inflicted on the perpetrator over a sinister beat switch.

However, these grim moments are few and far between. The Alchemist’s production often welcomes cameos from Griselda’s mainstays, such as “Griselda Express” which reunites Westside Gunn and Conway, along with a verse from Rick Hyde. Then, Armani Caesar, the First Lady Of Griselda, brings a fun and sexy offering on “Buffalo Kitchen Club.”

Hit-Boy’s Golden Touch

As Benny explained, Everybody Can’t Go describes the reality that not everything is for everyone; the rarity of bypassing the inevitable outcome of the streets and eventually, maneuvering away from it. Or, on a more surface level, the ability to achieve success without compromise. On that note, Hit-Boy has undoubtedly helped shape Benny’s trajectory since they first linked up. On Everybody Can’t Go, Hit-Boy helps highlight the career highs of the past few years. Songs like “Big Dog,” despite its relatively lazy hook, further establish the rapport between Benny and Lil Wayne, whose Dedication mixtape served as inspiration for the B$F Gangsta Grillz mixtape. Then, on songs like “Bron” and “One Foot In” with Stove God Cooks, Benny puffs his chest, asserting his dominance in the game. Benny persistently reminds spectators that consistency and longevity are the major keys to success.

Contrasting The Alchemist’s muddy, ethereal beats, Hit-Boy ensures a level of crispness that came across on the aforementioned singles, “Bron” and “One Foot In,” which serve as a testament to Benny’s evolution. On songs like “Back Again,” Benny The Butcher collides with Snoop Dogg for an ode to gangsta rap’s 2000s reign under Dr. Dre’s dominance. Meanwhile, Jadakiss and Babyface Ray bring a distinct East Coast flare to “Pillow Talk & Slander,” which finds the three artists confronting the heightened sense of paranoia that comes with status and how loyalty and trust become an anomaly.

A Hustler’s Manual

Everybody Can’t Go ultimately opens up a new chapter in Benny’s career from a perspective he was never able to tap into until now. A few years ago, labels might not have looked at an artist like Benny The Butcher as a viable signing and that frustration alone has seemingly put a fire in his belly. “Got the labels calling you/ They fly you out to talk to you, low balling you/ And kinda still doubt if they could market you,” Benny states in “How To Rap.” Though appearing towards the latter half of the album, it serves as a thesis statement to his album.

The album exposes the many battle wounds Benny accumulated, the downfalls, doubts, and obstacles that he faced in his climb to the top. It’s a story that parallels the great Mafia tales, though its ending is an anomaly compared to those that end in death and whose sacrifices become obsolete outside of those who find inspiration in these tales. Benny negated a tragic ending, leaving the streets and applying the same principles from hustling to establish himself as a heavyweight in hip-hop.

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Kid Cudi “INSANO” Album Review

January 19, 2024 by newhiphopnews

Man on the Moon III: The Chosen (2020) was a great full-circle moment for Kid Cudi. He emulated Travis Scott (for whom he is a massive influence) and came through with psych-trap bangers, plus a versatile and emotionally powerful set of Cudder-style cuts. Unfortunately, on the Cleveland native’s ninth solo studio album and final Republic Records offering, INSANO, this experiment repeats itself with less exciting results, more filler, and an overall missing vision that usually ties his projects together seamlessly.

While he framed this album as a dedication to his OG fanbase, this sounds like more catering to the contemporary popular sounds in hip-hop that he helped innovate. However, this is no empty desert: Mr. Rager still delivers a handful of tracks worthy of his celebrated discography. But perhaps INSANO‘s biggest flaw is how it’s a pick-and-choose experience rather than a fulfilling front-to-back package.

What Makes INSANO Work?

If you’re a big fan of Kid Cudi’s hypnotic, dreamy, often cavernous, and entrancing style, or that of the artists he influences, then there’s a great chance you’ll like INSANO. “OFTEN, I HAVE THESE DREAMS,” “ELECTROWAVEBABY” (which got a Ye “co-sign”), “BLUE SKY,” and certain choruses, flows, and themes on other tracks are classic Cudi all the way. These are among the cuts that cohesively mesh his influences of hip-hop, pop, indie, and electronic, and this breaks up the track flow in the most engaging ways. “FRESHIE” also provides excellent flows and a structurally distinct song in comparison to the others, whereas “TORTURED” and “FUNKY WIZARD SMOKE” provide a strong focus on despondence and perseverance, respectively.

At first glance, or listening to any track out of context, there are always signs and displays of what makes Kid Cudi so great. Clean, crisp, but impactful production, engaging melodies across songs, carefree lyricism, emotional honesty and range, and an overall healing factor. On that last point, this is probably the 39-year-old’s most joyful album. INSANO starts with more bangers and slowly morphs into more mellow fare, but there’s a catch. By the time we finally leave the psych-trap lane in the tracklist, we’ve heard two or three of these records too many.

Where Did Kid Cudi Miss The Mark?

Kid Cudi INSANO Review Hip Hop News — Kid Cudi attends the premiere of “The Book of Clarence” on January 05, 2024 in Los Angeles, California. (Axelle/Bauer-Griffin/FilmMagic/Getty Images)

While INSANO represents the WZRD artist’s talents across the board, listening from top to bottom can be repetitive, vapid, and messy. He’s always had jumbled and choppy flows, but these instrumentals require a strong melodic and structural focus that these performances never capture. “KEEP BOUNCING,” “A TALE OF A KNIGHT,” and “CUD LIFE” are examples of tracks that come and go with minimal impact. In addition, with few instances of memorable wordplay or phrasing, detailed narratives, or strong hooks, there’s little to latch onto emotionally and lyrically beyond the basic descriptions we’ve heard so much in Kid Cudi’s catalog. There are only so many times we can hear about blunts, baddies, fast cars, and being better than all the haters he claims not to care about.

Even the professional-grade production is too limited in terms of psych-trap aesthetics and structure. Beats like “MOST AIN’T DENNIS” and “FRESHIE” are amazing, but they’re sonically not that different from the mostly passable and largely static pack of instrumentals here. Many of these songs needed more fleshing out and development to materialize fully, and to distinguish themselves from others. Meanwhile, the features range from very good to average, and most of them are too short to stun. A$AP Rocky shines on “WOW,” Kid Cudi goes back and forth with Travis Scott and Young Thug on “GET OFF ME” and “RAGER BOYZ” respectively, and Lil Wayne provides a brief but fun set of bars on “SEVEN.” Lil Yachty’s vibrato does its thing on “TOO DAMN HIGH,” Pharrell’s okay on “AT THE PARTY,” and the XXXTENTACION sample is well-treated. Alas, they don’t astonish.

What’s Next For Mr. Rager?

Overall, INSANO feels like Kid Cudi just having fun for an hour, but without the focus and intent to translate that experience compellingly. With a deluxe on the way and his career in limbo thanks to possible retirement (though he’s by no means slowing down beyond music), it’s hard to tell where he’ll go next. Still, there is one reason why this album should be celebrated that has nothing to do with its quality. Scott Mescudi’s been through a lot: the loss of a father, mental health struggles, addiction, and the constant criticism, doubt, attacks, and misunderstanding perceptions that have plagued him throughout his career.

For this album, we can’t say we don’t see where the haters are coming from. Yet despite his overbearing references to them, it feels like he is happier and healthier than ever, allowing himself to bask in this blessing and triumph while still speaking on his demons. As such, INSANO may not reach the standards Kid Cudi set for himself, but it does represent personal growth and peace that no project’s acclaim could amount to. So while this attempt was neither great nor terrible, we’ll always be excited for whatever he does next, whether as the artist we grew to love or as the influential, multi-disciplinary creative he always knew he’d become.

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Nicki Minaj “Pink Friday 2” Review

December 12, 2023 by newhiphopnews

Since the turn of the decade, we’ve constantly faced reminders that seminal bodies of work that arrived post-2010 have withstood the test of time. Pink Friday, released on the same day as Kanye West’s magnum opus, My Beautiful Dark Twisted Fantasy, left an ineffaceable mark on pop culture. That day, we witnessed Ye rise from the ashes of the still-infamous VMAs incident. But for Nicki Minaj, it was a day when she shook up a male-dominated genre with a distinct claim for her spot. Pink Friday created the template for the women who came after Nicki. Over a decade later, the effects are clear as day. At a time when women are simultaneously moving the needle and dictating what’s hot, it’s impossible to ignore the doors that Nicki Minaj broke down with her debut album.

Mixtape Nicki Returns

Pink Friday 2 arrives 13 years later, coinciding with her 42nd birthday, and appropriately so. Her latest studio album, which was initially due out in November, celebrates her place in history as we close out the Hip-Hop 50 celebrations. Pink Friday became a forceful and vibrant introduction to an integral figure in hip-hop’s fabric. Its sequel feels like a culmination of 10+ years of dominance in the rap game with responses to calls for “mixtape Nicki” and bolder advances towards melodies that can sometimes fall flat. Best exemplified in the first few songs alone, the Billie Eilish-sampling “Are You Gone Already” finds Nicki exploring her airy vocals with introspection on motherhood and the loss of her father.

But after such a loaded and emotionally-heavy glance into Nicki’s psyche since Papa Bear’s birth, she delivers a glorious spree of bars over hard-hitting production. “Beep Beep” and “FTCU” bring Nicki Minaj’s lyrical mastery to the forefront over production from Murda Beatz and ATL Jacob, respectively. The former feels more in line with one-off singles like “Chun-Li” which oozes New York swagger over electrifying production. The latter, however,

“Big Difference,” too, finds Nicki making it clear that while she’s here to play for keeps, not to play nice. “When bitches be rappin’, I’m laughin’, it sound like you tryin’ to me/ I’m who you dyin’ to be/ Will somebody cop all these groupies a ticket? ‘Cause I’m who they dyin’ to meet,” she raps, imposing a standard that she expects her “sons” to uphold, especially if they’re gunning for her throne.

A Star-Studded Line-Up Of Collaborations

With a tracklist of 22 songs, Nicki fortunately doesn’t need to rely on guest features to prop it up. However, the guests appearing on the project help elevate the album and add a breath of excitement. Take “Let Me Calm Down,” for example. After linking up with Young Money alum Drake on “First Person Shooter” and “Evil Ways,” it would’ve felt only appropriate that J Cole similarly went bar-for-bar with Nicki. However, that competitive spirit manifests in other forms. As the two trade bars reflect on loyalty and family, Nicki perfectly sets up Cole for an impressive performance that remains one of the best verses on the album.

Unfortunately, the same can’t necessarily be said for her mentor Lil Wayne, who ends his rather impressive 2023 feature run with a throwaway verse on “RNB.” Nicki’s latest signee Tate Kobang holds down the hook on the song but part of it feels like it could’ve been a reference track for Chris Brown.

However, Drake lends his talents for easily one of the most infectious records on the project, “Needle.” Although their previous collabs, whether “Moment 4 Life” or “Seeing Green,” allowed the two to flex their lyrical prowess while similarly tracing their influences back to Lil Wayne, “Needle” leans deeper into the Caribbean and African influences that are dominating mainstream sounds. No doubt, both Drake and Nicki Minaj have played critical roles in popularizing these genres for Western audiences in their careers. However, Drake brings some serious Views vibes with an infectious earworm of a hook that sounds like it came from PartyNextDoor’s hard drive. For Nicki, it’s a record that further traces her history in Caribbean music, similar to “Forward From Trini” ft. Skeng and Skillibeng.

Pink Friday 2 Is A Breath Of Fresh Air In Her Catalog

While there are plenty of highlights across the album, Pink Friday 2’s biggest weakness is the reliance on all-too-familiar samples that fail to do justice to the original. Songs like “Pink Friday Girls” feel like it’s a contrived effort for TikTok virality and inescapable radio play through Cyndi Lauper’s “Girls Just Want To Have Fun.”

However, there are other moments where she effectively flips popular records into something of her own. “Barbie Dangerous” pulls directly from Biggie and Bone Thugs-N-Harmony’s iconic “Notorious Thugs,” down to the double-time flows that would make Biggie and Bone Thugs proud. Then, there’s “Everybody” ft Lil Uzi Vert, an inarguable hit record. Transforming Junior Senior’s “Move Your Feet” into a Jersey drill banger, Nicki and Lil Uzi Vert continue to find new soundscapes for their chemistry to flourish. While Nicki’s attempts to fortify relationships with the younger generation of artists, “Everybody” showcases her and Uzi’s synchronicity to a tee.

At first glance, Pink Friday 2 can be easily written off as another cash grab: an expansive 22-song tracklist that utilizes already famous songs to recreate the success of “Super Freaky Girl,” which in itself already felt like an attempt to mimic the impact of “Anaconda” in the TikTok era. However, there’s less tension in trying to guard her throne and more comfort in the beauties of motherhood and family on Pink Friday 2. Ultimately, it’s not like Nicki’s necessarily changed in the 13 years since her debut album, but the maturity is a breath of fresh air in her catalog.

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Drake “Scary Hours 3” Review

November 23, 2023 by newhiphopnews

The stakes are higher when vengeance is on the mind. Such is the case with Drake’s Scary Hours 3, an expansion of his latest studio album For All The Dogs. The Canadian rapper found himself at a crossroads in his career where his pop sensibilities have outshined his technical prowess as an MC. That’s not to say that Drake can’t rap but if For All The Dogs measured his lyrical aptitude, there weren’t nearly enough bars to base it on. The album, as a whole, was an intersection between Drake grappling with his own fame (in more ways than one) while adapting and embracing the new generation of rappers in what feels like a torch-bearing ceremony.

Scary Hours 3, however, (officially dubbed For All The Dogs Scary Hours Edition), is yet another attempt to feed his rabid fanbase who have undoubtedly been eating good since 2018. More significantly, Drake returns with a chip on his shoulder a month after the release of For All The Dogs, one that has seemingly been weighing on him for nearly five years yet triggered by Joe Budden’s unapologetic criticism. In many ways, Budden was only echoing the public’s creed toward the influx of music. The reception of For All The Dogs wasn’t all the way favorable upon its release but like everything else in Drake’s discography, it has a certain charm that’s bound to grow on you over time.

An Unmatched Ear For Production

The most refreshing aspect of Scary Hours 3 surrounds the production choices. Although 40 doesn’t have a single credit production-wise across the six songs, Drake enlists a solid group of collaborators to craft the sounds of the For All The Dogs reissue. Lil Yachty, who has emerged as Drake’s right-hand man in the last year, contributes to the ovrkast.-produced songs, “Red Button” and “The Shoe Fits,” a song where Drake finally pushes back against those aiming for the return of “the Old Drake.” Conductor Williams marks his second collab with the Boy on “Stories About My Brother,” while The Alchemist dives into a warped realm of cynicism on “Wick Man.” Then, FNZ, Vinylz, Boi-1da, and Fierce helped form the final two tracks on the short EP.

Scary Hours 3: The Get Back

With a classy and soulful Griselda-esque touch, Scary Hours 3 showcases Drake’s lyrical dexterity in ways that have been sorely lacking in his catalog in the past few years. Drake basks in the ethereal beauty of The Alchemist’s production of “Wick Man” through a rugged and honest approach. “Wick Man” feels like this stream of consciousness where Drake confronts the ideas of retribution and grief in the same breath, paralleling his own existence to John Wick.

In the same vein, “The Shoe Fits” presents his skepticism towards the world, both in his 10+ year career and his love life, as he divulges why the return of the “Old Drake” is impossible. That cold-heartedness that transformed a project like If You’re Reading This into one of the most cherished bodies of work in his catalog doesn’t necessarily carry the same weight on Scary Hours 3. In fact, it could come off as uninspired at times. Maybe, it’s because his decision to openly respond to his naysayers (Joe Budden) was almost immediate. Or it could be the fact that he’s continuing to throw potshots at Pusha T and Kanye when the public’s interest in their feud has died down.

The Immediate Highlight: “Evil Ways”

The collection of records that make up Scary Hours 3 isn’t necessarily supposed to cater to his casual fans who are interested in earworms for hooks. Instead, it aims to make a case for why he’s a GOAT contender of his generation on artistic merit, rather than numbers. It’s evident in “Evil Ways” ft. J Cole, where he goes bar-for-bar with someone of his caliber. It’s another instance of J Cole’s shining as a featured artist, continuing his impeccable run in the past few years. Their chemistry remains fluid, and the 3-syllable rhyme pattern shines across the soulful vocal sample. However, on Drake’s part, it still feels like there’s a lack of vivacity that previously captured his brilliance with the pen.

The Verdict?

Overall, Scary Hours 3 isn’t necessarily the second wind that Drake thought it would be. The release of six additional songs largely caters to the back-packer audiences who’ve hoped that one day, Drake would actually return to bars rather than hit records. In a two-plus-year run that found Drake exploring new sonic turf, whether through Lil Yachty’s influence or the sounds of house music on Honestly, Nevermind, these six songs were intended to be a return to form.

Unfortunately, as an MC, Drake sounds stagnant, and his golden touch doesn’t seem to be as effective as it once was, neither in penning quotable bars that penetrate pop culture nor in delivering anything that feels groundbreaking. “You Broke My Heart” exemplifies this adequately. It has all the markings of a Drake anthem, partially due to the fact that its chord progressions feel eerily similar to “Laugh Now Cry Later.” Drake’s delivery is forceful and commanding. Even the minor addition of Smiley’s ad-libs elevates the song as a whole. But by the time you reach the bridge, it feels like Drake’s recycling ideas that we’ve already heard from him. Ultimately, this largely captures the entirety of Scary Hours 3: it fulfills its purpose yet fails to execute the standard that Drake set for himself.

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Andre 3000 “New Blue Sun” Review

November 23, 2023 by newhiphopnews

On “?,” an underrated gem from Outkast’s Stankonia, Andre 3000 blazes through a relentless verse pondering on what makes humans do horrible things, either to others or themselves. Through the sounds of poured-out bottles towards the end, he seems to hint at his conclusion: alcohol. Excluding the Atlanta native’s latter half of Speakerboxxx/The Love Below, this is one of the very few songs to feature him without his partner Big Boi. On the rapper and flautist’s new album New Blue Sun, he’s asking a different question through a 90-minute ambient, new age, spiritual jazz album: What’s the next phase of his career? Instead of asking the world, Andre Benjamin asks himself and finds the answer from within. The result is a raw, imperfect, gorgeous, and deeply emotional statement of self-discovery.

One thing about New Blue Sun that anyone should be able to appreciate, regardless of their experience with new age, is the sonic craft behind it. Carlos Niño, who acts as producer, percussionist, and Andre 3000’s right-hand man in this album’s creation, brought a surprising aesthetic to the table. The production is heavy and dense despite the woodwinds leading us elsewhere. Bass elements are dark and cavernous and can add real evil to otherwise breezy soundscapes. Often, sharp static feedback, white noise, and hisses during the recording process give this record an earthy, grounded, and very raw feel. It all works together very seamlessly- and so do all the players, given the improvisational nature of these compositions which the production puts at center stage.

New Blue Sun‘s Production

In addition, the clicks of Andre 3000’s digital flute and other unwanted sounds as folks play their instruments occupy significant space in the mix. It adds to this feeling that you’re right there in the room with them — or rather, the mystical meadow and fantasy land that the music and the album’s title point to. The track “Ghandi, Dalai Lama, Your Lord & Savior J.C. / Bundy, Jeffrey Dahmer, And John Wayne Gacy” highlights Diego Gaeta’s gorgeous piano, while the closer “Dreams Once Buried Beneath the Dungeon Floor Slowly Sprout into Undying Gardens” is the most overt instance of ethereal guitar worship from Nate Mercereau’s playing.

That’s another thing: the production is so enveloping and dense that you can barely tell whether what you’re hearing is a guitar, flute, synth, or someone’s faint voice. Their intent to vary each song structurally when compared to the next is key to this album’s appeal. For example, for every improvisational linear and jazz-like moment, like the head melody and pondering movement of the opening track, “I swear, I Really Wanted To Make A ‘Rap’ Album But This Is Literally The Way The Wind Blew Me This Time,” there’s a song of pure ambient and meditative worship, like the next song “The Slang Word P(*)ssy Rolls Off The Tongue With Far Better Ease Than The Proper Word Vagina . Do You Agree?”

What Makes New Blue Sun Unique? What Hinders It?

Andre 3000 New Blue Sun Album Review Hip Hop News — (Marcus Ingram/WireImage/Getty Images)

This, plus its aforementioned density, sets New Blue Sun slightly apart from its influences. The tribal, primal, rhythmically patient, and tense hunter mind-state presented on “That Night In Hawaii When I Turned Into A Panther And Started Making These Low Register Purring Tones That I Couldn’t Control … Sh¥t Was Wild” is among this album’s most unique moments. But it’s difficult to identify those when talking about Andre 3000’s album holistically. Each track is a microcosm of the whole experience. Still, this versatility means that some moments will lean heavily enough into an ambient and meditative state that feels uneventful and disengaging. “Ninety Three ’Til Infinity and Beyoncé,” whose four-minute length feels like thirty seconds in the grand scheme of New Blue Sun, still makes an impact. The longer cuts, though, fall victim to their length and static stasis on occasion.

Also, the playing on New Blue Sun isn’t perfect, which is where it falters when compared to influences like Alice Coltrane, Laraaji, and others. In fact, it’s almost an ironic reality. Andre 3000’s flute, which he sometimes plays out of key and too meanderingly, might be the weakest aspect of this album’s composition and musicality. Even though space, meditation, and patience are key tenants of ambient music and spiritual jazz, sometimes this album stretches itself out a bit too thin with its adherence to that vibe. But don’t get it twisted: it’s still very expressive, serene, cohesive, and immersive. It just doesn’t hold up to other improvisational standards. Then again, Andre doesn’t know chords, notes, and music theory like that, which is totally fine.

What Did Andre 3000 Achieve Here?

For what it is, it stands as a great intro to this sound for casual music fans, not the next best thing in it. But what does it matter what a hip-hop writer says about an album that is so explicitly not hip-hop? Well, I’m going to invoke blasphemy and recall Drake’s Honestly Nevermind as a comparison point. The most important thing that album did, regardless of quality, was welcome an audience who might not have known how much they could like house music. So, Andre 3000’s New Blue Sun knows exactly what it’s doing. It ends up being a fitting tribute to these sounds from Steve Roach, Yoshio Ojima, Yusef Lateef, and more, rather than a distilled novelty.

All throughout New Blue Sun, there’s tension, and then release, which these inspirations are true masters at. Subtle key changes, futuristic effects, and melodic variations of each other’s structures do provide some respite for listeners looking for the fine details. As a background listen, it feels unrestrained and tender enough to focus on the bigger picture, so you can check Andre 3000’s album out either way. Just be cognizant of what you’re in for and take it at face value.

Conclusion

Even with little words, Andre 3000 still says a lot. New Blue Sun is deliberately peaceful, often somber, and sometimes chaotic with incredible swells on tracks like “BuyPoloDisorder’s Daughter Wears A 3000 Shirt Embroidered.” Emotionally, the album covers everything under the sun with the same sense of passionate wonder. Take “Ants To You, Gods To Who ?,” for example, with its cold, dreamy atmosphere accentuated by a unique flute tone and melodic direction. It also represents the “She Lives In My Lap” artist’s own role amid all this. This isn’t really a solo album — in fact, none of his work truly is. But his skill and sensibilities shine through on everything he touches, and 3 Stacks is incredibly grateful for all the avenues that championed his artistic freedom, of which this is the latest.

New Blue Sun‘s closer’s title references the Dungeon Family, the first space in which the flautist felt fully free to express himself in his career. Back then, that mode of self-discovery was through rap, which he pondered intensely as he wrote verses. If Andre’s a rap architect, then this is him as a gardener, planting seeds and experiencing how they grow. Those can’t blossom without the company he chose, and that synergy is palpable on this album. In that humility and inspiration, he crafted one of the greatest artistic legacies of all time, in which New Blue Sun is a pivotal piece. There’s nothing more emblematic of Andre 3000, or compelling to him as a human, than the constant search for an answer. He found it, is finding it, and will always seek the way the wind blows him next time.

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Offset “Set It Off”: First Impression

October 13, 2023 by newhiphopnews

Offset has been on quite the run with the rollout of his sophomore solo album, SET IT OFF. In 2022, he delivered a number of stand-out features before unleashing singles like “CODE” and “54321.” However, the singles he released throughout the last few months have strongly indicated that he’s ready to be back in the spotlight.

The album’s lead single “JEALOUSY” features his rap star wife, Cardi B showcasing their chemistry and their creative range, taking inspiration from Baby Boy for the official music video, along with a cameo from Taraji P. Henson. Then, he unveiled “FAN,” an homage to the King Of Pop, Michael Jackson. SET IT OFF marks Offset’s first solo album since Father Of 4 in 2019, and much has happened in his life since. The tragic death of Takeoff undoubtedly took a toll on Offset. Unfortunately, the late Migos member doesn’t have a feature on the project. Still, at 21 tracks, it seems Offset had a lot to share and his fans were eager to hear it all.

Offset Offers Variety

Offset’s SET IT OFF album banks off of his versatility, offering various moods and unique vocal techniques. For the most part, his attempts to stretch his vocal capabilities outside of his comfort zone are successful. However, it’s clear that he’s daring to try something different with each try.

The biggest strength of the project is that it offers variety without actually compromising Offset’s signature style. Even with the production, the use of easily recognizable samples is tasteful. There’s a solid mix of records that jump from Offset’s inevitable flexing to more intimate and emotional joints. The latter, while minimal, are still some of the strongest moments on the album.

Offset Provides Several Vocal Deliveries

Offset’s ad-libs and flow have been his greatest strength since Migos blew up. On SET IT OFF, he expands beyond these signature techniques, although the results vary. On “HOP OUT THE VAN,” his high-pitch delivery contrasts the deep looped vocal sample and together, it sounds uncharacteristically odd. With verses that don’t offer anything noteworthy, this one could have been left off.

Meanwhile, on “I’M ON” and “DISSOLVE” his auto-tuned croons pair well with the atmospheric melodies as he dives into some emotional vulnerabilities. He trades in these vulnerabilities for intimacies on “PRINCESS CUT” which features Chlöe. She slightly modifies the hook of the song to sing from her perspective which creatively reinforces the intimate atmosphere it has.

Offset Brings The Hype

Naturally, Offset’s album has some bangers that highlight his inimitable ad-libbed flows. However, it’s the production that allows him to find these pockets that truly stand out. “BIG DAWG” and “SKYAMI” share space-like melodies that showcase Offset’s delivery well. The latter features fellow Atlanta rapper Mango Foo. “DOPE BOY” which features Young Nudy, continues this formula alongside an infectious hook.

The Metro Boomin-produced “NIGHT VISION” rides the border between hype and low-key through its dreamy soundscape. Throughout these offerings, Offset fleshes out a universe with each song, switching his energy and pairing them with their respective instrumentals.

The Emotional Depth

Perhaps, the most anticipated aspect of this project surrounds Offset’s state of mind. Between issues surrounding his marriage, welcoming his fifth child, and the death of Takeoff, Offset promised to provide insight into his personal life on SET IT OFF. On the album intro, “On The River,” he declares, “I’m telling the truth, I became the one when I got out the group,” with equal parts pride and honesty. It’s a grand statement to make, especially when many felt he was at fault during the Migos break-up.

On “SAY MY GRACE” with Travis Scott he wonders: “Why I lose my brother to bullets? / Why I lose my grandma to cancer? / Why mе, God? I need answers.” It all comes together during the penultimate track “UPSIDE DOWN.” Offset gives a glimpse of his mental state over some minimal production and background vocals that enhance his lyrics. A contrast to the rest of the project, “UPSIDE DOWN” largely feels like a stream-of-consciousness. It’s a necessary moment on the project that leads to the closer, “HEALTHY,” where Offset balances his vulnerabilities and his braggadocio tendencies expertly.

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Drake “For All The Dogs” Review

October 11, 2023 by newhiphopnews

Drake has undergone a few transformations throughout his career but since 2018, it’s largely just been different hairstyles. Albums like Certified Lover Boy didn’t necessarily offer anything new from Drake, despite the amount of anticipation. What we didn’t expect from him, though, was that he’d be working like a racehorse in the subsequent years. He made a hard left turn on Honestly, Nevermind in a career defined by pop-adjacent hip-hop & R&B records. Meanwhile, Her Loss provided a new pocket that he mildly explored through snippets and efforts like Dark Lane Demo Tapes.

From Certified Lover Boy To For All The Dogs

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Eight months after the release of Her Loss, Drake released his very first poetry book titled Titles Ruin Everything, where he announced For All The Dogs. “They say they miss the old Drake, girl don’t tempt me. For all the dogs,” he declared. His poetry book seemingly continued the thematic statement he established on Certified Lover Boy, which he described as “a combination of toxic masculinity and acceptance of truth which is inevitably heartbreaking.” It’s a 180 from Drake’s early career when he often earned reverence among feminist audiences for trying to speak to their emotions rather than commodify their bodies. But, in the same year that Future leaned into his toxic ways on I NEVER LIKED YOU, Drake seemingly took note. For Future, it was embracing a character that the Internet made him out to be, but for Drake, it stems from emptiness.

Across For All The Dogs, Drake basks in the money, the fame, and the glory as he always does, but his ability to speak candidly about relationships has evidently dissipated. He’s not falling in or out of love but rather trying to fill a void in his life that money or respect can’t necessarily buy him. Relationships and former love that once brought him a sense of purpose have been reduced to Birkin bag handouts and sugar daddy tendencies, which, in all fairness, he and Future established on “I’M ON ONE.”

The Same Ol’ Drake

That said, For All The Dogs feels like a moment in Drake’s career where he’s at a crossroads. His own fame has compromised the things that he once strived for in his personal life, and he’s evidently grappling with this reality. And at some points, it almost sounds like desperation. “Drew A Picasso” brings Drake’s stream-of-conscious writing to a moody midnight-esque soundscape intended for deep thoughts and late-night drives as he reflects on a woman who doesn’t necessarily value the social status and wealth that Drake could provide. It all comes together when he croons, “I can’t picture you with him/ That’s just so embarrassin’, I want to die.” It’s a close callback to the old Drake, the underdog whose glow-up inspired a generation of men to try and stunt on the women who once wrote them off in high school.

The problem is that it feels as though Drake hasn’t moved on, which is especially true on songs like “Fear Of Heights.” Contrastingly, “Fear Of Heights” comes through with the rugged and aggressive tone that has made Drake’s rap records feel riveting as of late. However, the perceived shots at Rihanna and ASAP Rocky feel too petty for a man who admittedly “had badder b*tches than you.” To make matters worse, he seemingly continues to address Pusha T five years after the masses declared the former G.O.O.D Music president the winner of their lyrical bout.

Bridging The Generational Gap

The moments where Drake seems to be looking ahead largely rely on the excellent list of collaborators he brought on board. It’s no secret that SZA stands as the current reigning queen of R&B. While “Slime You Out” failed to achieve the cultural impact that you’d expect from a song with both artists, they make up for it on the Sexyy Red-assisted “Rich Baby Daddy.” It’s Drake’s latest take on the resurgence of regional club music, laced with a diaphanous vocal sample, fierce synths, and an infectious hook, courtesy of the “Pound Town” hitmaker. Even still, the song devolves into heartbreak with Drake bellyaching over missed connections.

Then, there are artists like Yeat, who’ve become paramount figures of the new generation of rap, thanks to his warbling vocals and high-octane production. Yeat’s influence on Drake isn’t new, especially considering BNYX’s general rapport with Drake. And while BNYX’s hand on “Search & Rescue” transformed the song into a hit, it’s clear that Drake’s verbose bars can’t hang with Yeat’s vibes. Still, “IDGAF” remains one of the most exciting records on the tracklist.

For All The Dogs Highlights

Still, even with refreshing voices like Teezo Touchdown, Lil Yachty, or Chief Keef on the tracklist, there aren’t many rappers who seem to inspire Drake’s pen. “8 AM In Charlotte” felt misleading in its release ahead of the album. When “Slime You Out” failed to maintain a Top 10 spot on the Hot 100, “8 AM” felt like Drake was about to give us bars on For All The Dogs. Unfortunately, much like the majority of Drake’s catalog since 2015, it feels like he isn’t genuinely interested in standing among the game’s top lyricists but rather reminding people that he can rap every once in a while.

Still, J. Cole evidently put a battery in Drake’s back on “First Person Shooter.” With an all-star roster of producers attached to the song – Vinylz, Boi-1da, Tay Keith, FnZ, Oz, and Coleman – Drake and J Cole emerge over triumphant production with boastful bars and the braggadocious rights that they once worked towards when collaborating on songs like “In The Morning” or “Jodeci Freestyle.” It’s a celebratory anthem that feels as monumental as the weight of the names they carry.

A Generational Talent At A Crossroad

Drake’s biggest issue of his career is that he’s too versatile. Noah “40” Shebib once explained that his musical counterpart has a wide demographic he tries to cater to on each album. Perhaps that’s the biggest issue with Drake’s catalog these past few years. He’s been throwing paint at a wall through bloated tracklists, knowing that at least something will stick without trying to establish definitive bodies of work in his catalog.

Besides Honestly, Nevermind, Drake hasn’t committed to one sound that he could expound on further. Ultimately, that’s the biggest downfall of For All The Dogs. He doesn’t differentiate between welcoming the next generation of stars as an OG or trying to stand next to them as peers. There are moments that emphasize why the “Old Drake” resonates with his audience. Still, even so, he’s at an intersection in his career that fails to distinguish how For All The Dogs is any different than his previous bodies of work, nor does it look beyond the instant gratification of Billboard records and social media chatter. With his pending hiatus, For All The Dogs should close out a long-winded chapter in his career—one that turned him into a generational star who can be mentioned in the same breath as Michael Jackson, if only for the accolades and chart success.

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Jorja Smith “Falling Or Flying” Album Review

October 6, 2023 by newhiphopnews

Jorja Smith’s 2018 debut album, Lost & Found, was a culmination of both uncertainty and self-discovery. A series of experiences, it consisted of songs that she wrote from the ages of 16 to 20. It was a promising display of talent where Smith realized her full potential. Five years removed from Lost & Found, Smith has found herself as she has continued to deliver the honest and heartfelt soul that she is known for. She reinforced her greatest musical strengths on her 2021 EP, Be Right Back, which bridged the gap between her debut and her latest work. This time between albums has clearly allowed Jorja Smith to develop her skill set for Falling or Flying, her second album and boldest release yet.

Artistic Growth

Since Lost & Found, Jorja Smith has experimented with various musical styles, including jazz, dancehall, amapiano, and beyond. On Falling or Flying, she continues to flourish while discovering new musical territory. Smith floats over the lively dance instrumental on “Little Things,” a standout single that lends fun energy to an emotional album. There is also “GO GO GO,” a pop-rock anthem that displays her limitless versatility. Compared to the many somber moments on the album’s tracklist, it is one of the most dynamic songs. However, it is still an emotional track about letting go of someone unwilling to commit.

The song “Backwards” displays Jorja Smith’s growth in its lyrics and instrumentation. She sings about growing out of a relationship and learning from those experiences over UK drill-inspired percussion. On the track, Smith emulates her 2022 collaboration with FKA twigs and Unknown T. No matter how foreign or familiar the musical style may be, she sounds comfortable throughout the album’s varied tracklist. While Lost & Found was a solo journey, Falling or Flying includes features from J Hus and Lila Iké. “Feelings” with Hus reaffirms the chemistry the two displayed earlier this year on “Nice Body.” On “Greatest Gift,” Smith and Iké’s smooth voices complement each other as they both show their gratitude toward a love interest. The album’s two features are welcome bonuses, but Jorja Smith is the star of the show.

Reestablishing Smith’s Signature Sound

Jorja Smith has perfected both her unique sound and the ability to grasp her deepest emotions in her songwriting. Falling or Flying is a natural evolution of her artistic growth as she expands her repertoire and builds on her own sound. On her second album, she sounds more sure of herself than ever before. The opening song, “Try Me,” sees Jorja Smith at her most confident as she daringly faces an opinionated world over a pounding rhythm. It is this confidence that permeates the rest of the album, allowing Smith to challenge herself musically and be vulnerable in her songwriting. While she tries her hand at different musical styles, she reestablishes her signature sound of bluesy and soulful R&B music. Songs like “She Feels” and “Lately” are heartfelt songs with downbeat bass lines that accentuate the vulnerable lyrical content.

Jorja Smith Soars On Her Second Album

Falling or Flying consists of some of the best songwriting of Jorja Smith’s career so far. The title track says it all as she sings about the desire for her love interest to not hold back in their relationship. She artfully contrasts “night and day” and “love and lust” to exemplify their connection. Arguably the best lyric on the entire album, and one that sums it up quite perfectly, is when she sings, “I could be fallin’ or flyin’, I wouldn’t know the difference.”

The song “Broken is the Man” is also some of Smith’s best writing to date. In the verses, she sings about finding the man she wants to be with, as well as who she should be with. The chorus continues this concept more specifically. Jorja sings about a man who told her she was broken and a man who put her down, eventually coming to a moment of self-actualization that she was “never broken, ‘cause broken is the man.”

The emotional ballads on Falling or Flying are sprinkled throughout the tracklist, where Jorja Smith tries her hand at new styles and genres. Its best moments are the most unpredictable, as well as the most vulnerable. The slowest songs toward the end of the album do drag the flow of the sequence, but each song is well-composed. Overall, Falling or Flying is some of Jorja Smith’s best work yet. At 16 tracks, she satisfies listeners with a skillful blend of pain, joy, and comfort.

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K. Michelle “I’m The Problem” Album Review

September 26, 2023 by newhiphopnews

K Michelle’s presence has been undeniable in the R&B scene for the past decade, delivering six albums that showcase her unique vocals, raw emotions, and unfiltered authenticity. In her final R&B album, I’m The Problem, she explores love, pain, and self-discovery through 19 soulful songs.

The album begins with a spoken word piece titled, “Intro: Lots of Nothing, Pt.1,” which sets the tone for the rest of the album. K Michelle declares that she is the problem in her relationships, hence the album’s title, and that she is ready to face her demons and partake in the healing process from past wounds. She then takes listeners on a musical journey that spans different genres, and moods.

I’m The Problem Highlights

With the diversity present in I’m The Problem, we could touch on each track and explore the depths of artistry displayed, but instead, we will touch on some highlights. One of the tracks, “Blame Yourself,” is a fiery anthem that calls out the “Scooch” singer‘s ex-lover for his betrayal. She belts with conviction and sass over a hard-hitting beat, delivering lyrics like, “You can’t blame me for your problems / You can’t blame me for your karma / You can’t blame me for your drama / You can only blame yourself.” The song was released as the third single from the album, along with a cinematic video that features K. Michelle as a femme fatale.

Another highlight from the album is the song “This Man,” which is a heartbreaking ballad showcasing K. Michelle’s vast vocal range and authentic vulnerability. The lyricist sings about a man who left her for another woman and how she still struggles to move on. She pours her emotions over a simple piano accompaniment, making the song feel intimate and personal. She sings, “This man / He broke me down / He took my crown / He made me feel like I was nothing / This man / He made me cry / He made me lie / He made me wish I never loved him.

K. Michelle Pays Homage To Home

Another favorite on the album is its closer, “Tennessee,” a country-inspired track that is a complete contrast to the rest of the album, making it so unique. The song is a tribute to her roots and family, as she grew up in Memphis, Tennessee. K. Michelle sings about finding her peace and inner happiness in her home state, singing, “Tennessee / You’re the only place I wanna be / You’re the only place that feels like home to me / Tennessee / You’re the only place that makes me smile / You’re the only place that’s worth the while.”

In I’m The Problem, K. Michelle is saying farewell to her R&B career and going out with a bang. The diversity and cohesiveness of the album showcase her growth as both an artist and a woman. The album fully reflects her personality, her struggles, and her triumphs. She proves that she is not afraid to be herself, even if that means being the problem sometimes.

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