Album Reviews

Victoria Monét “Jaguar II” Album Review

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After a series of delays, Jaguar II, Victoria Monet’s follow-up to 2020’s Jaguar EP is here. The 11-track project is labeled as her “debut album,” enjoying greater publicity and marketing than its predecessor. Released in 2020, Jaguar brought Monét’s shimmery party staples to the bedroom in the midst of a worldwide lockdown. On Jaguar II, however, the songwriter encourages listeners to venture out into the world. Compromised of sharper hooks and sexier lyrics, Monet offers a more shapely, rounded sound.

With each project, Monét continues to garner greater support from dedicated listeners and newcomers, expanding her tight-knit fandom. Jaguar II is simultaneously her most hedonistic and authoritative release to date. Acts like Earth, Wind & Fire, and Kaytranada help push the envelope of her sultry, dance sound — introducing a more confident Monét to the world. Themes of success, sexuality, love, and motherhood are littered all around Jaguar II. In addition to these, a variety of genres proudly call Jaguar II home. 

Monét’s debut album is an ode to golden-age disco, as well as R&B. In a remarkable feat, the album transports listeners through a number of decades musically. The maturity in her vocals is also a highlight. Victoria Monet needn’t sing circles around her contemporaries. Her voice’s fullness emits a self-discovery and assurance that compliments every facet of her music. 

Read More: Victoria Monét Chats With Zane Lowe About “Party Girls” & “Jaguar Pt. II”: 6 Takeaways

Jaguar II Singles

The Lucky Daye-assisted “Smoke” was the first track sent out into the airwaves. It offered just a glimpse of the golden shimmer that would remain constant all through the project. Monét and Daye comfortably croon about their affinity for the bliss of marijuana. Both singers produce the same laid-back charm that floated on 2018’s “Little More Time.” With five years gone since their initial collaboration, there’s a distinct maturity in both their tones, owing to their respective evolution as artists.  

While Jaguar II borrows elements from a plethora of genres, every track circles back to R&B. On “Party Girls” ft. Jamaica’s Buju Banton, Monét drifts over a dancehall and reggaeton beat. The singer’s rapport with club-ready bangers is brilliantly showcased on this track. However, “Party Girls” glows brighter than most because of its timelessness. The song’s nostalgic sound is reminiscent of the rise of the dancehall scene of the 1970s. Furthermore, its modern, sleek production allows for a futuristic twist that keeps it fresh, despite its vintage components.

The third single off Jaguar II is “On My Mama,” the braggadocious Southern banger, is sure to light up any cookout. Monét interpolates Chalie Boy’s classic, “I Look Good,” laced with her signature brassy inclusions. The music video for “On My Mama” is a love letter to the South. It also has all the markings of a 2000s Video of the Year contender. Sean Bankhead’s choreography is a remarkable highlight, with Monét and her dancers in their most swagged out so far. Cameos from Monét’s mom, “Mama Monét,” her daughter Hazel, and Chalie Boy greatly elevate the visuals. Furthermore, the video pays homage to the likes of Ciara and Black culture as a whole.

Read More: Victoria Monét’s Top 5 Songs

Victoria Monét At Her Finest

Victoria Monét is the most determined she’s ever been on Jaguar II. She takes a handle on the narrative of her sexuality on the female empowerment track, “Cadillac (A Pimp’s Anthem).” Songs like “How Does It Make You Feel” breeze through waltz-y ballroom instrumentals and coruscating melodies. The Kaytranada-backed “Alright” is sure to keep the club’s speakers thumping all night, with fierce epicureanism at its core. Even the young Hazel is heard cooing on “Hollywood.” Also featuring Earth, Wind & Fire, the soft, illustrious track is centered around fame. The album’s closer, “Good Bye” is a twinkling, jazzy number. Here, Monét is backed by lush, comforting instrumentals, for a heavenly bow-out. The soulful exit is another perfect example of her growth as a musician. Monét blends antique 80s soul music, with the swing blues and jazz of the 30s and 40s.

Monét amps up the sensuality on Jaguar II, but not at the expense of the songwriting. After all, her first foray into the industry was behind the scenes as a songwriter. Even though she may sometimes use either cutesy or raunchy one-liners to drive home her point, her pen game is never lazy. Jaguar II is a testament to the singer affirming her musical self-discovery. At 11 tracks long, the album is tight, precise, and bold. Romantic ballads sit side by side with dark, canal lyricism, stamping Monét’s security within R&B, pop, and disco music.

Read More: Victoria Monet Announces “Jaguar II” Album & Tour Dates

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Quavo “Rocket Power” Album Review

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Quavo’s Rocket Power is a tribute to his deceased nephew, fellow rapper, and Migos member Takeoff. Just prior to Takeoff’s murder, the duo released their joint album Only Built For Infinity Links in October 2022. Rocket Power was long anticipated, named in tribute to Takeoff’s “Rocket” nickname. Yet, this project isn’t the only way Quavo has paid homage to his late relative.

He performed “Without You,” a tribute song for Takeoff, at the 2023 GRAMMYs. Later, Quavo and Offset also performed a tribute to Takeoff at the 2023 BET Awards. Further, Rocket Power also has posthumous appearances by the late rapper. Many of the songs on the album find Quavo telling stories of his past with Takeoff and reflecting on his current mental state. He showcases the variety in his flows and production choices throughout. The authenticity of his bars referencing Takeoff are the central focus, but he still finds time to have a little fun, too.

Quavo Brings Emotion To The Album

Rocket Power finds Quavo delving into heartfelt verses about Takeoff. The opener, “Fueled Up,” continues the theme and has a soundbite from Takeoff that plays three times. This could be interpreted as a reference to the three members of Migos. Tracks like “Mama Told Me” have Quavo recalling advice from his mother, and “Mama!” was one of Takeoff’s most recognizable adlibs. The song is an energetic contrast to another equally sentimental song on the album, “Hold Me.” This one also finds Quavo using the emotional sample to echo his emotions as he name-drops several people over a minimal piano-based track. “Not Done Yet” and “Rocket Power” appear back to back on the tracklist and bring the project to a fitting close. The former is a motivational song over a victorious melody as Quavo promises to continue his achievements.

Quavo Brings Energy To The Album

Outside of the emotional moments, Quavo also mixes things up on Rocket Power. The most surprising track is “Galaxy,” which sounds like the dance-inspired music from Drake’s Honestly, Nevermind. Producer Alex Lusting has credits all over that album and worked on Quavo’s song, too.

On “Disciples” and “11.11,” Quavo croons and raps over the eerie trap instrumentals he has built his career around. His vocal inflections and switch-ups take full advantage of the autotune as the drums keep the bounce of the tracks at a high level. Meanwhile, “Focused,” which features Young Thug, is rhythmic as a space-like melody pairs well with Quavo’s echoed vocals. The hook-centric “Wall to Wall” is the type of track listeners expect from Quavo. Yet, he weaves some light-hearted homage to Takeoff into this one.

Quavo Gifted Fans With Two Verses From Takeoff

Quavo has two features on Rocket Power from Takeoff himself. The first one is on “Patty Cake,” where the duo displays the same chemistry they had on their collaboration album. Over blaring trumpets, the duo energetically flows with ease. While they do not trade bars, Takeoff has a small comedic contribution during Quavo’s verse. With production coming from DJ Durel, this one is a collaboration celebrated by all their longtime supporters.

Meanwhile, “Back Where It Begins” opts for a more low-tempo approach. Future, who also features on the track, brings his signature auto-tuned singing to a fittingly relaxing melody over trap drums. Takeoff’s verse has a bar that excellently summarizes the mindset of camaraderie he’s had his whole career: “I feel like if I win, then we all win.”

Quavo’s Tribute Was Done Well

quavo takeoff rocket power
PARIS, FRANCE – JANUARY 16: Takeoff and Quavo of Migos are seen outside Rick Owens during Paris Fashion Week – Menswear F/W 2020-2021 on January 16, 2020 in Paris, France. (Photo by Christian Vierig/Getty Images)

Quavo used Rocket Power to pay homage to his nephew, and the sentiment was definitely felt. By balancing emotional and sentimental tracks with upbeat ones, he gave listeners various songs for different occasions. Listeners will be reminded of the energy the duo brought to their last album and their storied history as a part of Migos. The vulnerable songs showcase Quavo’s skill as a songwriter and range as an artist.

Minimal features also allowed Quavo to remain the project’s focus most of the time. This album shows the elevation of Quavo’s career and offers listeners a glimpse of where he can go next musically. However, no matter what he does, Takeoff will remain in his heart and mind as he continues to bring pride to the musical legacy they started together.

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Bia “Really Her” EP Review

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BIA is thriving in the current landscape of hip hop, where many women are dominating the space. She has carved out her own lane and is now incredibly successful. Hailing from Medford, Massachusetts, BIA started her career on the reality TV series Sisterhood of Hip Hop before signing to Pharrell’s label. Her first prominent feature on a song was alongside her label boss and J Balvin for the hit single “Safari” back in 2016. BIA has since increased her visibility, collaborating with her contemporaries and legends alike. She has worked with Russ for the Platinum-selling “Best on Earth” and reached mainstream success with “Whole Lotta Money” featuring Nicki Minaj on the remix. As she continues to ascend to greater heights in her career, BIA is capitalizing on her momentum with her latest EP, Really Her. 

Further, BIA has established her sound in recent years. Her most successful songs utilize her signature nonchalant flow over a simple 808 pattern. Really Her sees BIA showcasing her versatility in a new way, utilizing a unique delivery over various beats and tempos. 

She Showcases Her Versatility

Over some bass-heavy production, BIA starts the project strong on “Big Business,” rapping about leveling up in her career. Setting the tone, the project gets even better. BIA sounds tough yet composed on “Millions” and is playful on “Don’t Tell.” These songs fit within her sonic wheelhouse, but she keeps things more traditional on “Four Seasons.” In that song, she spits over a simple loop with a straightforward delivery. Arguably her best lyrical performance on the EP, BIA flexes her lyrical muscles, spitting clever bars like, “Athletes in my DM, wish they baby mama see ’em / That’s the type of money I pay in per diem.” BIA’s voice is more commanding on “Four Seasons” than on other songs. She displays a range that encompasses club-ready bangers and skillful tracks without hooks. 

BIA’s voice and flow complement a variety of tempos on Really Her, but she makes an awkward attempt at a dancehall record on “Oh No.” Unfortunately, her flow just does not mesh well with that tempo, which is surprising considering how good she has sounded over similar beats before. The attempt is commendable but ultimately falls flat. There is also the song “I’m That B*tch,” which boldly flips Missy Elliott’s “She’s a B*tch.” With the help of Timbaland, BIA puts a drill spin on the ‘90s classic, floating over the production. She may sound good, but the song does not do its sample justice. Still, the homage to Missy Elliott’s song assisted by its original producer is respectable.

BIA Polishes Her Skills

BIA found her voice on 2020’s For Certain, which she has since continued to develop on her latest releases and guest features. Her rap style may be simplistic, but she shows she can hold her own with the best on “London” with J. Cole. Easily the best song on the EP, the previously-released single sees BIA at her best. She delivers tough bars with her signature flow while also being playful with the ad-libs. The knocking instrumental is menacing but not too overpowering, allowing BIA to step her game up. Weaving in references to London, she flexes, “Chrome Hearts socks in sandals / Mans outside in Crocs in shambles.” 

What really encourages her to bring her best bars to the song is J. Cole’s jaw-dropping verse, which dazzles with clever punchlines and impressive rhyme schemes. He sticks to the concept, crafting witty bars with British slang. He raps, “Yummy, they got no more bread, they’re crummy.” Cole also seamlessly transitions into a British accent, twisting words ever so slightly so that it creates a double entendre. While J. Cole steals the show, his style contrasts significantly with BIA’s, making a well-balanced song. “London” is a prime example of how BIA polished her skills on Really Her. 

Conclusion

Really Her is some of BIA’s most exciting material yet. Her latest EP is a step in the right direction compared to her previous works. This collection of songs may not be the most inventive, but the tracklist is varied, and she shines over the beats. Songs like “Millions,” “For Seasons,” and “London” include some of the best rapping from BIA yet. Overall, Really Her is an admirable effort from one of the most exciting stars to rise from Massachusetts. The EP’s short run-time adds replay value, with most songs barely exceeding the two-minute mark. BIA hones in on her style while trying others. She showcases her versatility and develops her skills, exciting listeners as she readies her proper debut album.

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Killer Mike “Michael” Review

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The last decade has been busy for Killer Mike. From headlining festivals to campaigning for political and social change, the Atlanta rapper is a tireless man of industry. Of course, not every moment of this period has been sunny. In 2017 Killer Mike lost his mother, Denise, who was a huge influence on him in every aspect of his life. On his sixth studio album, Michael, Killer Mike reflects on the highs and lows of his life in what is his most personal album to date.

It’s been eleven years since Killer Mike has graced listeners with a solo project. Musically speaking, the last decade for Mike has been heavily focused on Run the Jewels with rapper/producer El-P. While some of the tracks feature the fierce lyrical cadence Killer Mike wields in RTJ, the majority of Michael is a sonic departure. Michael plays like a personal journal. It’s a mishmash of self-reflection, trash-talking, and social commentary.

Read More: Killer Mike Wins Emmy For “Love & Respect”

Never Tread Lightly

With its raw lyrical content and gospel production, Michael is something of a hood sermon that exemplifies Killer Mike’s best musical instincts. However, it also features some of his less-than-stellar tendencies.  At times, Michael feels unfocused. Some of the tracks tend to wander away on idiosyncratic sonic detours that might leave some listeners feeling stranded. While these moments are few and far between, they are speedbumps for what is overall a smooth and satisfying ride.

In the opening track, “Down by Law” Killer Mike drops his thesis for the entire album. The track reflects on the current state of being a Black man in the United States. It’s a sobering look at how minuscule change only shifts social perspective, but never addresses systemic issues. Mike has never been one to mince words or stand on ceremony. He’s a raw nerve that scraps any notion of rap ephemera. There are songs on this album that will certainly endure.

Read More: Killer Mike Reveals He Chose Rap Over Being A Pilot

Killer Mike’s Words to Live By

The lyrics Mike spits hold a universal truth. They come from personal experience and never shy away from the dark subject matter. This might be the most prevalent on the track “Something For Junkies.” The song humanizes those who struggle with substance abuse disorder while warning the hazards of habitual drug use. Mike’s pragmatic view on the subject comes from his own history with family members falling down the holes of addiction.

The following track, “Motherless” delves into Mike’s loss of maternal figures in his life. The song is the second blow of a one-two emotional punch in the back half of Michael. Lyrically speaking, “Something for Junkies” and “Motherless” are the strongest tracks on the album.

Read More: Killer Mike Admits He Spent $500k Of His Own Money To Make New Album, “Michael”

Soulful Songs For A Wounded Heart

Legendary producer No I.D. handles the lion’s share of crafting the sonic landscape on Michael. Each track is gorgeously crafted in layers of gospel, soul, funk, and classic speaker-busting hip-hop. Tracks like “Two Days” play like musical gumbo, shifting sonically mid-track from a guitar-driven, high hat-riding beat to a full-blown gospel symphony. While some of these sudden shifts might be jarring to some listeners, they mostly provide a sonic variety that flows naturally throughout Michael’s 14 tracks.

In fact, most of the speedbumps Michael are its in-track interstitials. Some songs, even great ones, contain opening monologues or closing sonic explorations that don’t always make for a cohesive listening experience. At best, they act as unique transitions. At worst, they offer sonic dissonance that will have some hitting the “next song” button.

Read More: Killer Mike’s Business Ventures Outside Of Music

Never Alone

Regardless of some of its themes of isolation and loneliness, Killer Mike is anything but on Michael. He has a cavalcade of high-profile guests populating the tracks, including Future, Young Thug, and CeeLo Green. Some of the more notable guest spots come from longtime collaborators.

The track “Scientists & Engineers” features a rare appearance from the elusive rapper/multi-instrumentalist Outkast member, Andre 3000. Over twenty years ago, Killer Mike made his debut on Outkast’s Stankonia. Now, Andre showing up on Michael feels like a homecoming of sorts, a celebration of two kids from Atlanta continuously making great music. The other half Run the Jewels, El-P also makes an appearance on the track “Don’t Let the Devil.” With its soulful hook and boom-bap beat, it’s something of a departure from RTJ’s output, but it feels right at home on Michael.

Overall, Michael is a standout release in Killer Mike’s already impressive oeuvre. While the album can sometimes feel a bit bloated, its high points overshadow its gluttonous tendencies. Michael is an album about growth and living a storied life. Its lyrics are raw, honest, and often beautiful. Killer Mike continues to be a force of change and enlightenment in hip-hop, and Michael is a soulful example as to why that is.

Read More: Killer Mike Details How Dave Chappelle Encouraged Him To Run For Governor

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Janelle Monáe “The Age of Pleasure” Review

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Janelle Monae has always been an artist who embraces change and evolution. Each album in their catalog stands outs as its own singular vision. Whether exploring the sonic landscape of Afrofuturism or reflecting on the trappings of celebrity life, Monáe crafts unique projects with each album release. Janelle Monae’s fourth studio album, The Age of Pleasure is no different in this regard.

It’s been five years since the release of Janelle Monae’s Dirty Computer, an album that balked at the idea of playing by the rules of pop music conventions. On their much-anticipated follow-up, Monáe takes listeners on an immersive and sensual journey across an ever-changing soundscape. The Age of Pleasure effortlessly pushes the boundaries of the genre from track to track. The result is another interesting sonic experiment from one of music’s most exciting artists.

From the opening song, “Float,” it becomes evident that The Age of Pleasure is an album that defies conventional expectations. Monáe splices genres effortlessly, borrowing from reggaeton, hip-hop, and dancehall to craft a wholly original sound. The album’s intoxicating blend of power and hedonistic haze weaves through intricate melodies and captivating beats across its 32-minute runtime. While not every track hits its mark with Monáe’s signature precision, The Age of Pleasure still resonates as a great summer album.

Bringing Sexy Back (As If It Ever Left)

Janelle Monae at the 2022 Met Gala.
NEW YORK, NEW YORK – MAY 02: (Exclusive Coverage) Janelle Monáe attends The 2022 Met Gala Celebrating “In America: An Anthology of Fashion” at The Metropolitan Museum of Art on May 02, 2022 in New York City. (Photo by Cindy Ord/MG22/Getty Images for The Met Museum/Vogue )

The album’s lyrics dive headfirst into themes of love, lust, and sensual experiences. Monáe’s songwriting shines as they effortlessly explore personal reflections on how the world sees them as an “object of desire.” On the track “Haute,” Monáe directly comments on their appeal as an androgynous icon, comparing themselves to David Bowie. In fact, there isn’t a track on The Age of Pleasure that doesn’t revel in Monáe’s sexual liberty. After all, this is by far their horniest album to date.

Most tracks lean into this sentiment. Standout songs like “Champagne Shit” and “Water Slide” are sexy party anthems without a care in the world. Monáe’s voice glides over the tracks with playful sensuality and wry humor. The hedonistic content of the album never feels self-destructive or crass. The Age of Pleasure’s songs celebrates sexual liberation and intimate moments of fleeting love connections with joyous candor.

The Party Never Ends (Even When It Should)

In an interview with Apple Music 1’s Zane Lowe, Monáe commented on the songwriting process, saying: “We’re going to write three songs. If the songs can’t work at the party, they’re not going on the album.” This method of putting the album together is reflected in almost every track. Despite its party tone, the album is more of an experience to be savored than just easy weekend listening. The album never gives listeners any hard and fast shifts in tone or style. It’s exceedingly consistent, almost to its detriment.

Over the course of its 14 tracks, The Age of Pleasure sometimes feels like one big song. There are a few interstitials that bleed in and out of tracks, making it difficult to tell where some songs begin or end. While this doesn’t necessarily hinder the enjoyment of the album, it can make certain stretches of it feel a tad bloated. This is to be expected from an album with so many self-indulgent themes.

A New Sound From An Old Soul

Janelle Monae at the 2022 Vanity Fair Oscar Party.
BEVERLY HILLS, CALIFORNIA – MARCH 27: Janelle Monáe attends the 2022 Vanity Fair Oscar Party hosted by Radhika Jones at Wallis Annenberg Center for the Performing Arts on March 27, 2022 in Beverly Hills, California. (Photo by Axelle/Bauer-Griffin/FilmMagic)

The Age of Pleasure is a departure from Monáe’s previous body of work in terms of production and tone. Long gone are the psychedelic Afrofuturistic aesthetics of The ArchAndroid and the sing-along pop anthems of Dirty Computer. With incredible production from Nate “Rocket” Wonder (from funk duo Cotton) and DJ Nana Kwabena, The Age of Pleasure gives us more of a seductive sound than the rest of Monáe’s output. While previous albums transported listeners to futuristic worlds, Age of Pleasure takes them under the sun and in between the sheets.

Each song is meticulously crafted to elevate Monáe’s soulful voice. At times, the music almost has an almost isolating quality. Without vocals, tracks like “Paid In Pleasure” and “A Dry Red” elicit the feeling of being stranded and drunk on a beach by yourself. Monáe’s vocals and lyrics, however, refute any sense of loneliness and remind listeners that this is a party, and everyone’s invited.

Ultimately, Age of Pleasure is another stellar album that further galvanizes Janelle Monae’s status as a music icon. With its genre-splicing sound, sharp and sexy lyrics, and incredible production, the album rarely stumbles. Monáe’s ability to create a cohesive sonic soundscape with disparate elements is nigh unparalleled. They are truly one of the most innovative and exciting artists of our time. Age of Pleasure is a triumph that was well worth the wait. It’s an album to let wash over you like a vodka waterfall.

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Moneybagg Yo “Hard To Love” Review

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In 2021, a year removed from the onset of the pandemic, Moneybagg Yo made his presence felt across radios in America with the release of A Gangsta’s Pain. While not his major label debut, it was surely a breakout moment after nearly a decade of grinding out mixtapes and EPs. He went from a fixture on WorldStarHipHop to a Grammy nomination – a testament to the sacrifices and labor that he put into his craft.

However, the release of Hard To Love, his latest mixtape, feels understated in his delivery. Despite a lengthy rollout that included the release of a handful of singles, his latest body of work doesn’t necessarily carry the same momentum as his last studio album. A Gangsta’s Pain, as he explained to HotNewHipHop in his first-ever cover story, was built on the dichotomy of his sound – half gangsta, half pain. The trunk-rattling anthems and soulful pain-riddled bars made up a 22-song tracklist that boasted an impressive array of features – Future, Lil Durk, Pharrell Williams, and more.

Hard To Love, in a sense, expounds on this further, albeit with a deeper focus on his pain. Whether it’s stretching his vocal range on songs like “No Show,” an opulent tale of heartbreak, or grappling with love and loyalty on “Going Thru It,” Bagg peels back the layers to his character for one of his most personal projects to date. It’s an interesting revelation for the casual listener. Bagg’s maintained quite a favorable persona in the past few years, largely because he’s kept a diamond-encrusted smile throughout the hardship. But, Hard To Love digs beneath the surface and allows fans into his otherwise shielded world. 

Read More: All About Memphis Hitmaker Moneybagg Yo

Addressing The Criticism & Coping With Tragedy

“They Say,” the album opener, comprehensively captures the pressure Bagg faces. He bites back at those who doubted him with a keen sense of self-awareness. Despite establishing himself as a singular voice for the new generation of Memphis rap, he acknowledges the criticism that’s come with his success, like the fact that his biggest hits ride off of buzz phrases or that street politics often receive unwarranted social media commentary. “He only makes music if it’s a social media trend/ He ain’t did shit to them n****s who don’ killed his friend,” he raps. 

Moneybagg Yo finds himself grappling with the perils of fame and the pressures that artists face to continue producing music at a rapid pace. But more importantly, the return of the Heartless mixtape series indicates that there’s far more healing that needs to be done in his life. From his girlfriend Ari Fletcher suffering a miscarriage and their relationship turmoil to the tragic death of the mother of his children, Moneybagg Yo details the series of events in the last two years and using drugs, specifically lean, as a coping mechanism.

“More Sick,” the album’s closer, brings Bagg to address the headlines over the past few years over melancholic guitar strings. However, he doesn’t necessarily succumb to the pain but rather provides a sense of resilience and hope in the face of adversity. On “Hurt Man,” Moneybagg Yo’s on the defense as he reminisces over the death of his artist Big Nuskie, rapping, “I’m sippin’ syrup raw/ They tryna blame me for his death, talkin’ ’bout it’s my fault.” Still, there’s hope in his voice as he details his love for his niece, although he admits that his trust issues push him to put on a facade.

Read More: Zach Randolph & Marcus “Head” Howell Speak On Moneybagg Yo’s Rise

Moneybagg Yo Will Have The Summer On Lock

moneybagg yo hard to love review
ATLANTA, GEORGIA – JULY 16: Rapper Moneybagg Yo performs onstage during 2022 Hot 107.9 Birthday Bash at Center Parc Credit Union Stadium at Georgia State University on July 16, 2022 in Atlanta, Georgia. (Photo by Paras Griffin/Getty Images)

However, the project doesn’t solely rely on Bagg’s emotional baggage to produce some of the best moments. In the months leading up to the release of Hard To Love, Bagg unveiled a handful of hit-or-miss singles. “On Wat U On” faced criticism for replicating the back-and-forth of Kendrick Lamar and Taylour Paige on “We Cry Together.” However, a more accurate comparison would be Project Pat’s “Chickenhead” ft. Gangsta Boo. Some references to the traditional Memphis’ sounds are a bit more straightforward, such as “Where Ya Bih @” which employs a Three 6 Mafia-like flare. “F My BM” is a riveting yet hilarious outing when put into the context of the social media flare-up between himself and Poison Ivy over his newly opened restaurant. 

Hard To Love isn’t necessarily an AOTY contender, nor does it stand as a highlight in the Heartless series. However, Bagg proves he’s an effortless hitmaker with a wheelhouse of resources. Whether enlisting the talents of superstars like Future or Lil Durk to splash color on his tracklist or utilizing the homegrown talents of YTB FATT or GloRilla, Bagg’s latest project will undoubtedly ring off for the remainder of the summer. As he continues plotting his official follow-up to A Gangsta’s Pain, Hard To Love, if anything, is a solid precursor that indicates that his next project will be a level-up. 

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Keke Palmer’s “Big Boss” Visual Album Review

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Visual albums have always been an engaging yet fleeting creative outlet in album release space. However, the unique format has seen plenty of success in the past. Frank Ocean’s Endless counterpart engaged the audience in the setting of a grim black-and-white basement. Climbing up stairs that go nowhere, Ocean uses the setting to parallel a younger version of himself. Of course, the project would be overshadowed by the grandiosity and streaming success of Blonde. We also had the more public Beyonce’s Lemonade, a cinematically vivid masterpiece that vulnerably shattered her hard exterior. While the visual format has succeeded in music, it remains a rarity. Now, we have Keke Palmer’s Big Boss.

The latest to embark on a visual-music counterpart project, the Illinois-born and raised artist is looking to spotlight the music industry’s shortcomings. Of course, her career far transcends the musical space. From her electric performance on Jordan Peele’s Nope to becoming the Glamour cover star, Palmer has reached a unique level of stardom as she approaches her 30s. It’s a career that has been in the works since Palmer was an infant, with her parents briefly working in the acting space before settling into more stable careers. She even auditioned for a stage production for The Lion King at age 9.

Big Boss Chronicles Keke Palmer’s Personal Growth

After a multi-decade-long career in the acting space, Palmer is making her directorial debut with Big Boss. The project focuses on her navigation of a male-dominated industry, as well as a transition into a new phase of her life. She told HuffPost, “I didn’t budge on any aspect of putting this together. I really was fully sound and clear in my mind and what I wanted for this, and I followed through in a way that I never did before. I think it’s easy to just get sidetracked and just give up. And this time, I didn’t do that.” The project potentially signifies a more focused space into the sonic space for Palmer, whose musical ventures have primarily been side gigs as she’s put most of her energy into a burgeoning acting career. After releasing So Uncool in 2007, she wouldn’t release another album for over a decade.

However, Palmer’s talent in the music space has always been apparent. Her high-pitched vocal falsettos fill up any room she’s in, commanding a unique presence amongst the field of female artists. At five years, she was the hot topic of shows in her local church choir. Expanding on the narrative meaning of Big Boss, she stated, “A lot of that stuff happened when I was like 19, 20, 21, 22. This is a collection of experiences that happened over the course of that time period of my life.” As she puts it on the booming production of “Standards,” “This time, when I put me first, I will not regret it.” Facing uncomfortable narratives in the entertainment industry throughout her teenage years, she’s breaking free of that toxic treatment with Big Boss, which sonically mirrors groovy summer R&B tracks.

She Attacks The Controlling Music Industry

As for the visual counterpart of Big Boss, Keke Palmer chronicles her life through various interactions. Whether it’s with people in the music industry or an intimate conversation with her mother, the focus is on growth. Regarding the music label industry, she muses, “With the music, it seems even worse. They try to snatch your f***ing soul out.” This sets the stage for the 40-minute experience, which sees Palmer overcome being surrounded by masculine toxicity. There’s a suffocating pressure to fit into the people around her, which has Palmer escaping into solitude to catch her breath. A heart-to-heart with her mother would see Palmer break free from the expectations of those around her by the film’s end.

Big Boss solidifies Keke Palmer as more than a talented actor or musician. The visual album proves that as she approaches three decades into her decorated life, she’s looking to move into an influential activist role by opening up conversations surrounding the treatment of artists by music record labels. Along with Virgo Tendencies, Pt. 1 and Virgo Tendencies, Pt. 2, Big Boss is Palmer’s third project in as many years. That consistency hints at an upcoming decade that could see her more focused on album-making rather than moviemaking. However, this trend remains to be seen. If Palmer has proven anything, it’s that she can do it all. Big Boss will also give Keke Palmer more opportunities to work on the production or directing side of film in the future. It’s certainly been a huge 2023 for Keke Palmer. Outside of Big Boss, she also recently celebrated her first Mother’s Day.

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Lil Durk “Almost Healed” Review

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Lil Durk is no longer a newcomer to the hip-hop scene. In the last decade, Durk’s rose from the underground buzz of Chicago’s drill scene into one of the biggest names in music. However, in the past few years, he’s clocked in a collaborative project with Lil Baby and an iconic feature on Drake’s “Laugh Now Cry Later” that led to his massive commercial success. He went from a high-school dropout with numerous run-ins with the law to decked-out Rolls Royces and multiple real estate properties. But despite the evolution in his life, his latest album sees him stray away from stories surrounding his lavish lifestyle. Instead, the hard reality of fatherhood and sustainability in the hip-hop industry is setting in. 7220 touched on these topics, with Durk’s crooning bars becoming the highlight of the album. However, Almost Healed does so in an even more revealing manner.

The album title gives it all away for Lil Durk’s Almost Healed. Returning a little over a year after his 2022 album 7220, the narrative focuses on the Chicago MC’s personal development, touching on how his aspirations to become a better man as a father and an artist. Ahead of the project, he released hit lead single “All My Life” with Dreamville’s J Cole. The two muse on the state of the hip-hop industry. Durk states, “I done sat with mayor and politicians, I’m tryna change the image.” Cole vehemently spits, “If you ain’t never posted a rapper when he was alive / You can’t post about him after he gets hit.” The in-depth political and street-induced themes of “All My Life” continues throughout Almost Heated.

Lil Durk Focuses On Personal Growth

Lil Durk recently eclipsed the 30-year-old mark. Therefore, he’s beginning to reflect on the trials and mistakes of his formative years. Many of his close friends who he grew up with in Chicago are still struggling to make it out, relying on crime or unemployment benefits to make ends meet. In addition, children are exposed to a world of drug addiction far before they’re able to mature. With Lil Durk throwing an ugly spotlight onto these topics, he’s looking to bring greater awareness to the struggles in Chicago. However, Almost Healed isn’t the first time Lil Durk has opted to rap about reality rather than grandiosity. It’s why the certified rap star has self-proclaimed himself as “The Voice.”

Durk takes the listener through his healing process by inscribing how he’s processing the losses of his brother DThang and close friend, King Von. With each passing within a matter of months of each other, Durk has been through a lot since the outset of the 2020s. Alicia Keys sets the stage on album opener, “Therapy Session.” The vocal icon states, “How you feel about the rap beef on top of all of the chaos? / Despite all this, you continue to be a warrior, a leader in the rap industry / And the voice in your community.”

Almost Healed also recruits artists such as 21 Savage, Kodak Black, and more. In a sense, it’s symbolic of Durk’s conscious approach to the company he keeps, whether in his personal life or in the music industry. On “Never Again,” he struggles with the notion of giving back against the melodic piano chords. Durk passionately repeats, “Think I’ma help ’em, won’t help ’em again.”

Almost Healed Has Its Highs And Lows

Almost Healed is Lil Durk’s most vulnerable project to date. However, the project falters due to its bloated track listing and sonic inconsistencies. The country-trap formula of the Morgan Wallen-aided “Stand By Me” is blatantly looking to recreate the magic of 7220’s “Broadway Girls.” It’s understandable, considering the track eclipsed 200 million streams on Spotify alone. In addition, the album’s 21-song track list makes for a tedious listen. The middle portion of Almost Healed drags both sonically and narratively. Durk’s verses begin implying personal regression rather than the healing process that the album titles suggest. This becomes most apparent on tracks such as “Before Fajr” and “War Bout It,” which contradict the more positive revelations on songs such as “All My Life.”

Even if the overall record isn’t Lil Durk’s most consistent work, tracks such as the Future-aided “Never Imagined’ make it more than worth a listen. Future’s flow is captivating, with the two demonstrating seamless chemistry throughout the track. With a sentimental beat and a melodic flow from Durk, the production complements his vocal pallet skillfully. Almost Healed sees the 30-year-old rebrand himself into a more thoughtful MC. While the singing attempts don’t always land, the nearly hour-long effort compacts the highs and lows of where Lil Durk is at both musically and personally.

NBA YoungBoy “Richest Opp” Album Review

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NBA YoungBoy continues to solidify himself as the most consistent MC in hip-hop with his third project of 2023, Richest Opp. It’s his second project within the past month. He’s now up to an astounding 69 songs this calendar year. The Louisiana native has been on a tear, partly attributed to YoungBoy being under house arrest. Existing in his own peaceful and lavish world in the mountains of Utah, he’s taken the extended time to hone his craft as a rapper.

He’s becoming just as well-known for his insane consistency as his skill on the mic. At 23 years old, he’s put out far more music than seasoned veteran MCs have throughout an entire hip-hop career. However, YNBA’s output directly reflects the internet culture that runs the rap world. New tracks are constantly being teased over Instagram live streams. As hip-hop grows, fans’ attention spans are becoming shorter and shorter by the year. The stark reality for many artists is that constant output is the way to relevancy.

“Richest Opp” Is NBA YoungBoy’s Third Project This Year

If anyone can get away with this constant output without over-saturating their brand, it’s NBA YoungBoy. His aggressive and flamboyant punchlines combined with the high-pitched melodies give him one of the most distinguishable voices in hip-hop. He can dart from rapid flows to melodic vocal harmonies on a dime. As a result, lackluster beats can be compromised with his commanding presence over a track.

In fact, he isn’t completely sacrificing quality for quantity on Richest Opp. The overarching tone coming from YoungBoy is anger. Cast out by the industry, he’s faced plenty of criticism surrounding his numerous children, criminal background, and controversial headlines. Feeling as if all knives are pointed at him, Richest Opp sees him laser-focused on his pen game. It’s to a point where the record’s lyrical content becomes disturbing. YoungBoy’s imagery surrounding violence sometimes comes off as realistic rather than symbolic. However, this is coming from someone who’s genuinely lived that life. NBA YoungBoy grew up in the impoverished streets of New Orleans, getting a first-row seat to violence and drug use.

NBA YoungBoy Calls Out The Music Industry

Take “F**k The Industry Pt.2,” where he calls out artists such as Drake, Jay Prince, Lil Durk, and Lil Yachty. Referencing Drake and Durk, he states, “Talked to Drake ‘cross FaceTime, he wasn’t feelin’ me / Told me that he f*ck with Durk, damn, that sh*t gettin’ to me / Told me that he like the sh*t I’m doin’, but can’t do sh*t with me.” Accusing past collaborators of doing whatever they can to prevent him from being successful, this “me against the world” mentality remains prevalent throughout the entire record. Sirens race through the background while menacing piano chords work their way into the mix of much of Richest Opp. Other standouts such as “Free Meechy,” “Slider,” and “Hurt My Heart” follow this dark theme. There are a slew of genuinely great choruses from YoungBoy throughout the record.

Richest Opp begins to falter when it strays away from the core emotion of the record. The more understated, toned-down tracks such as “Just Flow” and “I Got That S**t” leave room for the wallpaper production to become increasingly obvious. As a whole, Richest Opp leaves the listener wishing that NBA YoungBoy was in a room of producers looking to take more sonic risks. The more YoungBoy’s ominous voice takes over the record, the better. For the record’s redundant flaws, fans will likely leave with a handful of personal favorites to keep them satisfied until the next project inevitably rolls around.

“Richest Opp” Has Sparked Internet Beef

While Richest Opp is likely the best we’ve heard from NBA YoungBoy in 2023, it leaves the audience wondering, what’s next? The headline-making MC can only rap over same-y beats for so long before the hip-hop world moves on to the next prevailing trend. However, the world hasn’t moved on yet. Selling a project of 58k units in week one, Richest Opp is set to debut in the Top 5. In fact, the project sets him up for a historic milestone. With the new project, he joins Future and Drake on the list of the highest-selling rappers ever.

For those who’ve ditched his wild world over the past year, it’s worth returning to with Richest Opp. It’s his most emotionally charged project in a long while. It’s already generated an argument between him and Soulja Boy over social media. Soulja Boy accused NBA YoungBoy of releasing the album on the same day to ride off of his hype. NBA YoungBoy responded with hostility, sparking a beef over social media. However, the beef was nothing more than fun competition between the two vibrant MCs. On the Bootleg Kev Podcast, Soulja Boy confirmed that he’d be open to collaborating with NBA YoungBoy. Still, it looks as if his tension with Lil Durk rages on.

Navy Blue “Ways Of Knowing” Review

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Sage Elsesser (better known as Navy Blue) curated an introspective sound that is a far echo from his days skateboarding for Converse. The LA-born MC became a household name in the indie rap scene with the critically acclaimed Navy’s Reprise. However, Elsesser’s wide-ranged creative influences go well beyond rap. He’s dabbled in the spheres of modeling, fashion, and acting. It’s a heck of a resume for a 26-year-old. Discussing his creative interests on the Internet People Live show with Zack Fox, he stated, “Everything I do all feels the same to me. It all serves the same purpose in my life.”

This wide portfolio enabled him to collaborate with an array of influential artists — Earl Sweatshirt, billy woods, The Alchemist, and even Frank Ocean. However, he prefers not to capitalize on this rich social circle from a musical perspective. Opting to keep his thematic ideas to himself, Navy Blue is inherently a self-starter rather than one that relies on the people around him. Ways of Knowing is Navy Blue’s first major-label release under Def Jam Recordings, a project that speaks volumes to Elsesser’s poetic talent.

Navy Blue’s move to Brooklyn at the age of 12 had an evident influence on his sound. Even though he grew up in Los Angeles, his music leans closer to his East Coast contemporaries such as MIKE or billy woods. Ways of Knowing is his most personal project to date: an in-depth analysis of how his relationship with his parents shaped his adulthood. He’s acutely aware of the influence a child’s home life has on their outlook as they grow older. Navy Blue’s relationship with his family is portrayed as multi-faceted. However, Ways of Knowing is ultimately an ode of gratitude to his parents.

Ways of Knowing Is Intentionally Uplifting

Over the past few years, much of the narrative in rap left audiences feeling defeated. Kendrick Lamar’s Mr. Morale and the Big Steppers tackles transgenderism, child molestation, and Black trauma and compacts it into a double-disc listen. Earl Sweatshirt’s Sick! confronts the struggles of post-pandemic life. Throughout Ways of Knowing, Navy Blue seems fed up with this continuous dark cloud hovering over the genre these days. He stated, “I don’t really want to be remembered as this stoic guy who’s perpetually reflecting on his trauma and Black plight, you know? I want to make something that makes people smile out of joy, rather than smile in grief.” Of course, the sobering themes explored in hip-hop are merely a reflection of reality. However, Navy Blue is looking to leave his audience with a sense of hope.

Ways of Knowing is an indie summer album that one could listen to on a hammock for hours. The record is rooted in R&B, more so than any of his previous projects. Navy Blue rides sample-heavy beats which blend the worlds of soul and jazz. Def Jam may have hoped he beefed up this record with mainstream features and an accessible sound. However, Ways of Knowing is anything but that. Navy Blue brings in experimental indie-soul artists such as Budgie and Liv.e to execute his vision.

An Ode To His Family

From the subdued piano keys on “The Medium” to the smooth sampling on “Phases,” Budgie’s production never fails to impress. No track sounds the same, making Ways of Knowing thoroughly unpredictable and engaging. While his direct family is the primary source of narrative on the project, Navy Blue also talks about his past relationships with women. On “The One,” he ruminates on the end of his longest-lasting relationship. He states, “Always here for you / I’ll always love you just like that light that’s always there for you.” His approach to addressing previous partners is one of appreciation and love, rather than spite. The perspective is a unique and refreshing one in the grand scheme of hip-hop’s usual bravado.

Navy Blue’s portrayal of pain is multi-faceted throughout Ways of Knowing. Whether it be depression or heartbreak, he reflects on these experiences as valuable life lessons. He states, “Depression had me down and out, had to grab it by the tusks.” However, the pain is still there, as he states in “Embers.” “I miss my Mama, Grandma, and Pa so much / I see em’ in my dreams every single night.” A sonic blend of soul and jazz, the production itself is an ode to those who came before him. His most intimate record to date, Navy Blue’s Ways of Knowing is an early contender for rap album of the year.