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50 Cent Shares His Thoughts On Eminem’s Album “The Death Of Slim Shady”

July 16, 2024 by newhiphopnews

So far, Eminem’s new album, The Death of Slim Shady (Coup De Grâce), is shaping up to another successful release. The hard numbers and projections prove that, as the project is already over 100 million streams on Spotify in just two days and it looks to move over 300,000 copies in its first week. In relation to the latter, if that turns out to be true, it will be the biggest debut for any rap tape this year. Fan reactions for the most part have been pretty favorable too, with many labeling it the best Eminem album in the last decade or so.

Listeners are also just appreciating the fact that he is continuing to make music at this stage in his career. “The album is really but these kids don’t appreciate how lucky we all are that he’s still making music”, one IG user writes. Another even goes as far as to predict that Shady’s lyrics will be analyzed in school. “One day people will be studying Em in schools like they do Shakespeare.” These replies can be found underneath 50 Cent’s post in which he shares his feelings on Eminem’s new album.

50 Cent Leaves Glowing Review Of Eminem’s New Album

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A post shared by 50 Cent (@50cent)

Obviously, these two are extremely tight and have been working together since the early 2000s. So, his review is going to biased but, at least it is not far off from the general consensus. “Yo @eminem s*** is crazy it takes me a while to understand the details of this one. @bransoncognac @lecheminduroi”. While it would have been cool for this dynamic duo to have collaborated on this project in some shape or form, it is great to see that they continue to support each other. We supposedly have a deluxe version on the way, so fingers crossed until then.

What are your thoughts on 50 Cent’s review of Eminem’s album, The Death of Slim Shady? Do you share similar feelings to the Detroit MC’s close pal, why or why not? What songs have you been gravitating toward the most so far? Who had the best feature on the record? We would like to hear what you have to say, so leave your thoughts in the comments. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Eminem and 50 Cent. Finally, stay with us for everything else going on in the music world.

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Sexyy Red “In Sexyy We Trust” Review

May 29, 2024 by newhiphopnews

Sexyy Red’s incredible musical journey, from the underground to the spotlight, has been nothing short of captivating. From “Pound Town” to “SkeeYee,” she has been heavy on rotation in the past year. Her new mixtape, In Sexyy We Trust, is a bold, provocative, and unapologetic project. It’s another club-ready project, picking up from 2023’s Hood Hottest Princess. This time, however, she attempts to raise the stakes.

Released on May 24, 2024, Sexyy Red’s latest project is a 14-track invitation into a hedonistic, energetic world, where playful vulgarity meets rhythmic beats. She explores themes of self-empowerment, sexuality, and independence, creating a mixtape that celebrates femininity, freedom of expression, and breaking societal norms. Sexxy has always been known for her explicit lyrics, and the mixtape showcases a fusion of sexuality, confidence, and humorous storytelling. In summary, it’s pretty much what you would expect from her.

Production And Collaborations

The beats on In Sexyy We Trust definitely push a few boundaries. Tay Keith and Drumatized, the executive producers, create a sonic experience that oscillates between trap and Memphis rap. Tay Keith, in particular, would praise Sexyy Red’s authenticity in his April 2024 interview with Billboard. He spoke about how much their genuine sibling-like relationship fuels the creative process for their collabs, saying, “She is just raw. It’s just authentic.” This is best exemplified in “Sport,” a track that stands out with its minimalist production, allowing Sexyy Red’s vocals to shine. These beats are the mixtape’s backbone, even when they venture into uncharted territory.

In Sexyy We Trust is chock full of features. Sexyy Redd’s collaborations with artists like VonOff1700, Drake, and Lil Baby add depth and diversity to the album. Moreover, they amplify the album’s musicality and appeal including Southern influences, like Project Pat, Juicy J, and Gucci Mane. But this doesn’t always work out as planned.

Drake’s appearance on “U My Everything” raises eyebrows. His verse is a complete antithesis to Sexxy Red’s mild attempts. To top it off, the abrupt switch from the captivating beat to his “BBL Drizzy” portion disrupts the song’s cohesion. In this one instance, Sexyy Red’s allure as an upcoming solo act has no need for a superstar featured hit bait. Nonetheless, they have evidently accepted their roles as Hip Hop’s latest pairing.

Sexyy Red Is At Her Most Lethal

The mixtape starts with three distinct songs. There’s “Tim Talking,” a bold energetic intro, which leads into “She’s Back,” a track that vibrates with inexplicable intensity, and “Boss Me Up,” where Tay Keith’s piano melodies amp up Sexyy Redd’s assertive verses. Sexuality is a prominent theme throughout the album, with tracks like “Lick Me” and “Boss Me Up” embracing provocative and explicit language. These songs also challenge traditional gender roles and stereotypes, portraying a sense of sexual liberation and agency.

A standout from the entire EP is “Outside,” which features a melodic fusion of vibraphones and hi-hats, courtesy of Mike WiLL Made-It. A boundary-pushing track, “Outside,” distinguishes itself with its innovative vocal edits. These are undoubtedly reminiscent of M.I.A’s dynamic style. The song is further enhanced by unexpected vocal interjections that surprisingly yet brilliantly set the stage for an electrifying beat drop. This sensual narrative also continues with “Sport,” a defiant anthem that precedes the swagger-filled “TTG (Go).”

It’s Not Always Easy To Trust Sexyy

Normally, Sexyy Red’s unique inflections usually set her apart. However, on this mixtape, they occasionally falter. Her disjointed delivery in certain tracks disrupts the flow altogether. While this could be a stylistic choice, it doesn’t always stick to the landing. For example, In Sexyy We Trust seems to suffer from repetition sickness. Some tracks blend into one another, leaving listeners yearning for more variety. The mixtape sometimes feels half-baked, like a rushed creation. With more time and focus, Sexyy Red could have elevated it beyond its current sporadic state. However, capitalizing on her increasing popularity is a notable accomplishment, especially since the EP undoubtedly has its high moments.

An Undeniable, Infectious Energy

When it’s all said and done, In Sexxy We Trust is inarguably a bold and unapologetic album that pushes boundaries, challenges norms, and celebrates individuality. The album’s overarching themes of confidence, sexuality, and resilience make it a standout piece in the contemporary rap scene. This in turn solidifies Sexyy Red as a rising gem in the music industry. Nobody can deny the infectious nature of her work, which will find its way to the depths of most clubs in the country. Her brash delivery and boastful lyrics echo the crunk era, evoking memories of sweaty club nights and bass-heavy speakers.

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G Perico “G Slim’s Revenge” Review

April 20, 2024 by newhiphopnews

South Central Los Angeles rapper G Perico has been feeding the streets with multiple underrated projects in the last decade. After landing some significant feature placements with the likes of Nipsey Hussle, Royce da 5’9″, and J. Cole’s Dreamville, G Perico has continued to increase his base of listeners. His latest project, G Slim’s Revenge, sees the Roc Nation signee dropping some of his toughest gems yet, with numerous highlights across the project. G Slim’s Revenge runs 10 tracks over 22 minutes, with absolutely no skips. Without any further preamble, let’s dissect G Perico’s latest full-length effort, and review the material therein.

The Album Opens With Some Heat

The intro track to G Slim’s Revenge is “Any Means,” an ultra-hard lyric-packed opener that perfectly sets the tone for the project. The lyrics explore G Perico’s neighborhood, reference iconic rap refrains, and describe the state of the Black American experience by invoking such significant figures as Martin Luther King, Malcolm X, and Barack Obama. G Perico’s trademark blend of high-pitched vocal twang glides perfectly over the rough and rugged West Coast instrumental, even if he does, at times, sound like he’s doing an impression of Nipsey Hussle.

“Troll Patrol” continues this trend, with a swinging instrumental that allows G Perico to flow like a hot knife through butter. His cadence on this track is completely infectious, and may cause you to swerve side to side across a few lanes of traffic if you bump this record in your whip. Perico seems to have really found his groove on this album, as the flows and vocal melodies he presents are as smooth and effortless as they’ve ever sounded.

“How Will” Is A Microcosm Of The Whole Album

G Perico opens the third track “How Will” with a brief spoken intro, stating, “I ain’t gon’ lie man, I just wanna talk sh** on this beat right now.” Not only is that exactly what he delivers on the rest of the track, this statement could serve as the tagline for the entire project. G Slim’s Revenge may not have much of a high concept or a strong thematic through-line, but G Perico’s ability to completely turn out a beat with smooth, gang-heavy raps is all but unparalleled. The pitched-up R&B samples that break up his verses on “How Will” offer a melodic angle to the track. Perico leaps from topic to topic, offering his take on shallow women, his opps, the police, and the impoverished state of his home neighborhood.

Subsequent tracks on G Slim’s Revenge hone in on these topics singularly, with tracks like “She Sexy” offering a look into a particular woman who caught his eye. On the track, G Perico fixates on a woman with independent wealth, excellent taste in clothes and fragrances, and a bossed-up attitude that keeps her in her business. “Luxury” continues as a pop your sh** anthem, full of references to designer brands, expensive cars, and first-class flights. Wallie The Sensei appears as a vocal guest on the latter, with a laid-back melodic hook that perfectly clashes with G’s high-pitched twang.

The Album Closes Out As Strong As It Began

While G Slim’s Revenge does only run 10 tracks, it is still impressive just how consistent the project is overall. G Perico never hits a lull or a dip in the tracklist and continues to close out the back half of the record as powerfully as the front half. “Throw It Up” offers the best guest verse, with Tiny Doo offering brash, raspy vocal textures that clash perfectly with G Perico’s higher-pitched rhymes.

“Identification” is undoubtedly the climax of the record featuring G Perico’s strongest writing abilities on the entire album. The track centers on snitches, and every single bar could be its own tattoo. The songwriting on this track is exceptional, with every word carefully chosen to further the record’s “stop snitching” message. G Slim’s Revenge closes out with “Outtie,” a brief outro that ruminates on the themes of the album and teases further projects and developments to come in the near future.

While this may not necessarily be a 10/10 album, G Perico has proven on G Slim’s Revenge that he is in rare form, and simply does not miss. The record is bound to be criminally slept on, as Perico currently touts just over half a million monthly Spotify listeners at this time. Still, the record genuinely deserves to be celebrated, and arguably has a place in the top 10 rap records of 2024 so far.

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Rowdy Rebel & Fetty Luciano “Splash Brothers 2” Review

April 19, 2024 by newhiphopnews

Rowdy Rebel and Fetty Luciano are two Brooklyn MCs from the GS9 imprint. Their latest collaboration, Splash Brothers 2, just released on April 19, following the first Splash Brothers release from 2023. On Splash Brothers 2, Rowdy Rebel and Fetty Luciano flex their street ties and luxury lifestyles over drill beats for 11 tracks which span 25 minutes of run-time. Let’s dive into the body of Splash Brothers 2, and review the material therein.

The Project Begins With A Rocky Start

Splash Brothers 2 opens with the track “2024.” This song has a loud, abrasive vibe showcasing Rowdy Rebel and Fetty Luciano’s drill influences, though the mixing on this record leaves a lot to be desired. Rowdy sounds like Bizarre from D12 drowning in reverb, while a vocal feature from Lil Tjay comes and goes in the blink of an eye. This track doesn’t effectively set the tone for some of the highlights to come and could have easily ended up on the cutting room floor.

“Pistons” is another song that does very little to establish Rowdy Rebel and Fetty Luciano’s stage presence, as JB completely steals the show with his guest verse. Sonically, the instrumental sounds so similar to Ice Spice’s “Deli” that you could make a sound argument that Spice deserves a writing credit. Later in the tracklist, “Can’t Talk Hot” features a nearly identical instrumental as well, without the powerful guest vocals of JB. As a result, “Can’t Talk Hot” sounds like a poorly conceived B-side of “Pistons,” which already sounds like a B-side of “Deli.” While Splash Brothers 2 does go on to reach some major highlights, opening with this one-two combo of mediocre songs was certainly a bad move from Rowdy and Fetty.

Some Of The Featured Artists Really Shine

As stated, JB has the most compelling verse on “Pistons” by a country mile. This is not an isolated incident on Splash Brothers 2 as Rowdy Rebel and Fetty Luciano are outshined by their guests numerous times. The track “Shake” is one of many examples of this phenomenon, with Rowdy and Fetty both completely drowning their vocals in autotune effects that make them sound like they just discovered the technology for the first time. The vocal mixing completely drowns out Rowdy to the point of near incoherence while Fetty’s interpolation of “I Don’t Want To Wait” by Paula Cole sounds embarrassing and unintentionally hilarious. D Sturdy completely sweeps them both on the back end of this track, with one of the hardest guest features on the album.

Things aren’t all bad for Rowdy Rebel and Fetty Luciano. The pair hold their own against some other banging features elsewhere on the record. “Pissing Me Off” sees Fivio Foreign stealing the show, though both of the main Splash Brothers artists manage to keep up with some of their best lyrical showings on the album. “Pissing Me Off” is track 3 on Splash Brothers 2, but really sounds like it would have made a better opener.

Then there are tracks like “Spin First” and “My Block,” which see guest vocalists Curly and Chubbs blending in perfectly with Rowdy Rebel and Fetty Luciano respectively. The former is a thumping club shaker that sounds like it could soundtrack a fight scene in a bodega in an episode of Mr. & Mrs Smith, while the latter sees Rowdy and Fetty trading bars back and forth with Chubbs, who compares and contrasts the street life of Chicago with the streets of Brooklyn.

The Album Has Some High Highs

“My Block” is probably the best cut on Splash Brothers 2, but it’s not the only highlight. “Twin Story Pt2” shows Rowdy Rebel and Fetty Luciano rapping with no assistance, and illustrates their chemistry better than any other song on the project. The track is a direct sequel to track 6 off the first Splash Brothers album from last year and gets straight to the point as to why these two teamed to make an album together in the first place. Subsequent tracks such as “Pop Out (Yeah Yeah)” and “Good Night” also bring the heat, with the former serving as a street anthem loaded with references to smoking opps and luxury whips. “Good Night” brings some sonic diversity to the production which is severely lacking on most of the album, and showcases some versatile flows from Fetty Luciano especially.

At the end of the day, Splash Brothers 2 is more of the same from this crew. If you’re a fan of Rowdy Rebel and Fetty Luciano’s previous work, you’ll likely find 3 or 4 new tracks here to add to your playlist. If you’re a die-hard hater of the GS9 crew, this album will definitely not do much to change your mind. Overall, the team has created a solid project, albeit with a few duds thrown into the mix.

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Lil Skies “Out Ur Body Music” Review

April 8, 2024 by newhiphopnews

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

The Mixtape Seriously Lacks Sonic Diversity

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

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

The Singles Didn’t Do Skies Any Favors

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

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

Conclusion

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

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ScHoolboy Q Reacts To Anthony Fantano’s Review Of His New Album

March 5, 2024 by newhiphopnews

Earlier this month, ScHoolboy Q released his new album Blue Lips. The project was his first since 2019’s CrasH Talk and kicked off what’s expected to be a major year for his label Top Dawg Entertainment. The album has an impressive roster of features including Rico Nasty, Devin Malik, Lance Skiiiwalker, Az Chike, Freddie Gibbs, Ab-Soul, Jozzy, and Childish Major all appear on the album. The album has received pretty strong reviews from fans and even a few key endorsements from critics.

One of those critics is the self-proclaimed internet’s busiest music nerd, Anthony Fantano. He posted a review of the record to his YouTube channel where he delivered mostly positive feedback for the album. He shouted out songs like “Blueslides” and “Pop” as being among his favorites on the record and gave the entire album a 7 out of 10. But after someone on Twitter brought the review to ScHoolboy Q’s attention, he had some thoughts. “I don’t tHink anytHings perfect but 9/10 would’ve been correct” he said in a tweet response. Check out his post and various fan reactions to it below.

ScHoolboy Q Thinks “Blue Lips” Is A 9/10

That wasn’t the only commentary ScHoolboy Q shared recently on his own discography. He took to Twitter earlier this week to share his own definitive ranking of his discography. Even that left some fans pretty shocked, specifically when he called his most acclaimed album Oxymoron his 4th best full-length work. Unsurprisingly, Blue Lips topped the list just ahead of his 2016 album Blank Face LP.

Additionally, he revealed that he spent the entire 5 years between Blue Lips and CrasH Talk working on a follow-up. He revealed to fans that the album went through a years-long process before finally arriving at the finished product. What do you think of Anthony Fantano’s rating of Blue Lips? Do you agree with ScHoolboy Q that the album should be a 9/10? Let us know in the comment section below.

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What Happened At Tyler, the Creator’s Estate Sale Show: The Best Part of Leaving Is Coming Home

April 27, 2023 by newhiphopnews

Image via Getty/Tyler at Wireless Festival 2022