The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.
On “Uh Uh,” the fifth song from Young Dolph’s first posthumous album, Paper Route Frank, he asserts, “You will never meet another real one like me.” Truer words, unfortunately, were never spoken.
Not to get all melodramatic, but the spooky prescience on display in that boastful bar stings all the more when contrasted with the wealth of material Dolph’s perhaps final testament offers. He wasn’t really a rapper who was obsessed with death — rather, he seems obsessed with life. For many, if not most trap rappers, the specter of death seems to haunt every bar, whether it’s a vaunted flex or hushed confession of wrongdoing. They keep all those choppers around for a reason.
It never really seemed like that with Dolph. Sure, he’d casually toss off the obligatory threats and warnings to opps or ruminate on the passing of loved ones. But throughout his catalog, he was always more concerned with living in the moment, taking it all in, and planning for the future. Practically the only time he mentions his own death here is on “Always,” and even then, he’s more concerned with the guestlist at his funeral and being casket clean than he is with the “how” and “why” he departed. It’s a gut check, nonetheless.
I’ve written before about how tricky the prospect of completing rappers’ posthumous albums can get, and I’m not interested in rehashing those arguments here. But Paper Route Frank represents perhaps the best-case scenario for such an endeavor. This sounds like Dolph, like something he’d make, from the beat choices down to the sequencing and the relatively sparse features list — which consists mainly of Paper Route Empire signees like Big Moochie Grape, Key Glock, and Big Snupe Bandz, and fellow trap elder statesmen 2 Chainz and Gucci Mane.
https://youtu.be/9YdgldMKGGU
It’s easy to observe a thread of maudlin in albums finished after an artist’s death — especially sudden, violent ones like Dolph’s. Perhaps, because of Dolph’s relentlessly motivational persona, he just never recorded all that much melancholy material, or maybe the friends and family involved in this album’s creation just knew he wouldn’t have wanted such a project to get bogged down with introspection and paranoia. Still, it’s hard not to get choked up when he tag-teams with Key Glock for perhaps the last time on “That’s How” or passes the torch to his other PRE proteges on “Infatuated With Drugs.”
It’s the album closer, “Get Away,” that throws into sharpest contrast everything that Dolph really was as a rapper though. He declares that he’s “sick of rappin’,” but we all know that within months of announcing his retirement, he was right back in the studio, perhaps recording this very song. It’s when he juxtaposes being “sick of countin’ millions” with his aspiration to trade those “Ms” in for “Bs” that it becomes clear that all this moody reflection is just lyrical exercise. He’s not ready to stop just yet. He’s just ready to elevate his game and step up to a higher plateau of success.
The worst thing about closing Paper Route Frank on these contemplations is knowing he had all the tools and time in the world to see his ambition through — right up until he didn’t. The next level was right around the corner. Despite half a decade in the rap business — an eternity to many — he still had further to go. If he was stuck in a rut, it was only until the next flash of inspiration struck, energizing him for the next go-around.
Paper Route Frank is out now on Paper Route Empire.
While some of hip-hop’s biggest names made big comebacks in 2022 – and many wound up on Uproxx’s Best Albums of 2022 list – there were a few notable names promising new albums that didn’t quite manage to put anything out before the new year, leaving us with a host of anticipated hip-hop albums for 2023.
After long hiatuses, TDE artists like Kendrick Lamar, Ab-Soul, and SZA all dropped their new albums this year, receiving a warm response from fans and critics alike (Kendrick is on our Best Albums list; Soul and SZA just missed the cutoff). Drake dropped two albums – one very dance oriented and one with 21 Savage – while Megan Thee Stallion addressed her rocky 2021 with a solid second effort.
However, there were a few A-listers whose names were not included in the rolls for the year-end roundups, including Cardi B, Nicki Minaj, and Travis Scott. While we’ll get into the various reasons for their absences below, it’s worth noting that the release schedule was already jam-packed, and having 2023 pretty much wide open can only help them lock down the time and attention their profiles deserve. There are a few rising stars on that list too, including Baby Keem, Doja Cat, and Saweetie. Here are the most anticipated hip-hop albums of 2023.
ASAP Rocky – Don’t Be Dumb
It’s been a minute since we last heard from ASAP Rocky with 2018’s Testing. Since then, he’s become a father, he’s been a hilarious meme, he’s expanding his acting credits, and he’s even starred in a video game. After dropping the new single “Sh*ttin Me” and teasing more Metro Boomin contributions, he finally announced that the album was done with just a few weeks left to go in the year. With a lot to talk about (cough, cough, Sweden) and what sounds like a lot more focused musical direction with Metro’s involvement, Don’t Be Dumb could very well return the Harlem rapper to the top of the charts and reveal new facets of his personality.
The most mysterious of the bunch, Keem’s the only one who hasn’t outright announced an album. That hasn’t stopped Keem fans from sniffing out any and every available clue that he could be working on one. And given his and cousin Kendrick’s tendency to surface suddenly and without warning, that could be all the reason to be on the lookout for a follow-up to The Melodic Bluesometime in the next 12 months.
Cardi B
Cardi was one of the artists that fans most looked forward to hearing from in 2022, but aside from some inflammatory singles, it wasn’t to be. She did give us “Hot Sh*t” with Kanye West and Lil Durk, which was well-received, but given Kanye’s issues and an inability to promote the song the way she wanted, Cardi moved on from the single fairly quickly. She had better luck with GloRilla’s “Tomorrow 2,” which offered an instant classic Cardi verse, but she later admitted that she’s been feeling a lot of anxiety and pressure from the potential reception of her long-awaited follow-up to Invasion Of Privacy. She did say she wants to get that album out in the new year, though.
Doechii
After an impressive breakout in 2022, TDE’s latest signee still remains a refreshing question mark for the new year. Her EP, She/Her/Black Bitch, showed some promising signs that she’s got a clear direction and isn’t afraid of taking creative risks. And the response to singles like “Persuasive” and “Crazy” indicates that fans may wind up being a bit more receptive to her left-field mashups of hip-hop and house than they were ten years ago when “212” was dominating playlists and sync licensing placements. If nothing else, she’s got the TDE machine on her side, which means that when she does drop, she’ll have the full support of her label, something not every artist gets to enjoy.
Doja Cat
im not doing a german rave culture album you guys i was pranking the outlet that interviewed me about it
After an absolutely explosive 2021 thanks to Planet Her and its seemingly endless string of fan-favorite hit records, anticipation was high for Doja to follow up her debut. Doja herself was more than happy to feed into that feeling from fans, teasing permutations of the project that included a 9th Wonder-produced rap LP, an R&B album, and even a euro-house edition. However, she was unable to do much recording after having throat surgery, which forced her to pull out of The Weeknd’s After Hours stadium tour and confined her to home for recovery. The content she did share – namely, a lot of selfies of her new bald look – has ironically generated even greater fervor for new music, since she’s clearly feeling newly freed and more creative than ever.
Rap’s undisputed rookie of the year exploded in popularity thanks to her summer smash “F.N.F. (Let’s Go),” but unlike plenty of other viral favorites, she was able to maintain her momentum with follow-ups like “Tomorrow 2” and the … Anyways, Life’s Great EP. Now, more than anything, fans want to see whether her natural charisma can carry a full-length project. She’s got more than enough viral moments over the past year to keep her name red-hot (and comfortingly uncontroversial) and with one of her hometown’s biggest stars giving his backing, it’ll be interesting to see where she ends up next.
Ice Spice
If GloRilla took the crown for the year’s biggest breakout, it’s only because Ice Spice didn’t manage to get her project out under the wire. Like Glo, she saw much of her impact come from the TikTok popularity of a single song: “Munch,” which launched seemingly a million memes and almost got the Cardi B treatment as well. It also drove attention to prior Ice Spice videos like “Name Of Love” and “No Clarity.” The resulting hunger for more of the Spice life led to a follow-up, “Bikini Bottom,” and the New York rapper being put on the fast track to stardom, with Rolling Loud appearances and homage tracks from other artists galore.
J. Cole – The Fall-Off
While Cole has seemingly returned to his self-imposed hibernation from the rap game following a few stints of professional basketball, I don’t think for a second he’s forgotten about his commitment to deliver the magnum opus promised a few years ago at the end of KOD. He’s even said The Off-Seasonwas more of a warm-up (if only he hadn’t already used that name) or practice session, sharpening his tools before attempting to sum up his incredible, decade-long career.
Nicki Minaj
Nicki Minaj maintained a chokehold on the hip-hop discourse this year by sheer force of will (and the efforts of her ever-dedicated fanbase), and with a few strategically-placed singles and guest appearances. In the first half of 2022, she joined forces with rising star Coi Leray on “Blick Blick” (seemingly an extension of her 2021 strategy of teaming up with Doja Cat and finally ending her self-imposed moratorium on collabs with up-and-coming female rappers). Then, she dropped “Super Freaky Girl,” harkening back to her “Anaconda” era to garner her first-ever solo No. 1. She even dropped a remix with a whole peck of rap girlies, extending her influence and driving curiosity to see what other new avenues remain to this venerated veteran.
As a track runner in high school, Saweetie probably knows all about having to recover from false starts. Although anticipation for the project may have waned after so many delays, it doesn’t look like Saweetie has given up on herself yet – and that’s the true test, in many ways. In any event, I’m sure there are still plenty of folks who want to hear just what exactly she has had in store after nearly three years of teases. If the new single “Icy Girl, Icy World” is any indication, she could be back on her Sample Saweetie kick, which could mean a return to prominence is just one starter pistol away.
Just about the only rapper whose album we know anything about this year is Travis Scott, who has been quietly biding his time in the wake of the Astroworld Festival disaster last summer. He actually began the rollout for Utopia during Coachella, putting up massive billboards on the way to and from Indio extolling the upcoming project. However, he kicked his promotional efforts into high gear more recently, joining Pharrell on “Down In Atlanta” and making multiple appearances on Metro Boomin’s Heroes & Villains album and SZA’s SOS. While he hasn’t overtly dropped anything from Utopia yet, it looks like he’s building himself back up and testing the waters to make sure it gets just as warm a reception as its predecessor.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Given that it’s the end of the year — traditionally, a time for looking back on the year in review and looking forward to the possibilities of the blank calendar ahead — it’s kind of fitting that Top Dawg Entertainment released Ab-Soul’s reflective Herbert now rather than somewhere in the furor of attention swirling around Kendrick Lamar and SZA’s comeback albums. This is because of the content of Herbert, yes, but it’s also because of Soul’s seeming place in the unofficial hierarchy of TDE’s fluctuating roster of artists.
With Mr. Morale & The Big Steppers concluding K. Dot’s commitment to the label and SOS potentially constituting SZA’s swan song (although the jury remains out in that regard; she seems to change her mind every other week and could be announcing five more EPs by the time you read this), TDE finds itself in an interesting place. For all purposes, it looks very much like the most commercially successful acts on the label are pretty much done. Schoolboy Q, who’s always kind of hovered in their periphery, last released an album, Crash Talk, in 2019, which could potentially have also completed his own obligation to Top Dawg, if Kendrick’s five-album deal structure is any guideline.
Jay Rock, who may as well be the label’s vanguard artist, hasn’t been heard from since 2018, although he typically takes long breaks between albums too. That means that for the first time, TDE is probably facing a new year with the prospect of no releases from its first and second-wave rappers and singers. It also means that 2023 might be totally clear for Top Dawg to truly move into its next wave of artists, many of whom seem poised to bridge the gap between the backpack rap-influenced releases of the label’s past and the more sonically malleable styles of contemporary hip-hop — which makes Herbert the perfect project to close that chapter of Top Dawg’s history.
Of all the first-wave TDE artists, Soul has probably been the hardest sell to the mainstream hip-hop fan. Influenced as much by underground mainstays like Canibus and Ras Kass as he was by Tupac, his bars have always been the densest, the most metaphorical, and the most abstract of the Black Hippy collective. While Jay Rock and Q reeled off morbid street stories and Kendrick offered intellectual observations on LA gang culture from the perspective of the hood-adjacent everyman, Ab-Soul was that stoner roommate everyone remembers from university who was really into metaphysical philosophy.
He was also — and I say this lovingly, as a fellow former denizen of the rap battle forums he frequented in the early days of the internet — a rap nerd beyond the like of his Black Hippy brethren. He was the one who deeply cared about the mechanical intricacies of rhyme work, the sort of blog commenter who probably threw the term “multi” into at least a few of his online missives. It showed in not just the music he made, but in the reception to it, as well. On his first two projects, Longterm Mentality and Control System, these tendencies made him seem quirky and idiosyncratic on These Days… and Do What Thou Wilt., though, he sounded out-of-touch and borderline delusional.
So it’s a relief to hear him shake loose some of the muck that bogged down those projects, endeavoring to discuss more earthbound subjects on Herbert — even when those topics get dark. On the title track, he addresses addiction, depression, losing his father, and even his ongoing ordeal with Steven-Johnson Syndrome, which affects his vision. On the motivational “Do Better,” he wrestles with survivor’s remorse while detailing his own efforts to follow the title’s advice. And in the lead-up to the album’s release, he was forthcoming about his recent suicide attempt, in which he jumped from a freeway overpass seeking a permanent solution to dark thoughts tormenting him through the recent pandemic.
Likewise, it’s satisfying, if not always delightful, to see that those rap nerd tendencies haven’t left him. Depending on your tolerance for rap dad jokes, some of the bars on the album can read like the most tortured puns to propagate their poet’s punchline prowess, or they can wow you with their wordplay wizardry. Here’s a test to find out which side you’ll land on. If that last alliteration-laden sentence made you groan a little (okay, I’ll stop now), approach with caution, and be ready to skip “The Wild Side” and “Art Of Seduction.” But even so, don’t miss the DJ Premier-produced album closer “Gotta Rap,” a defiant, triumphant celebration of Soul’s survivorship and pride in his pen.
Now, Top Dawg Entertainment must look to the future. Although 2018 signee Reason and 2020 recruit Ray Vaughn are both equally adept at twisting a double entendre to suit their purposes, they’re both grounded in the same sort of murky narratives as Jay Rock and Schoolboy Q. Meanwhile, Doechii has distinguished herself as the possible breakout star for phase two of the TDE experiment, garnering rave reviews for her viral singles “Crazy” and “Persuasive.” But whereas the first-generation TDE stars relied on their gritty stance and muddy, boom-bap-inspired production, it’s fitting that Herbert closes with a beat by the preeminent pioneer of backpack rap’s musical backbones.
Top Dawg, like hip-hop as a whole, has to evolve. The past year or so has shown us that the genre moves too fast and has become too omnivorous to cling to its origins, however important it is to acknowledge and remember them. So it’s good that we’ve learned as much as we possibly could about TDE’s flagship artists through their revelatory return projects (even going back to Isaiah Rashad’s 2021 album, The House Is Burning). The time has come to get to know the next generation, with their glittering dance beats, triumphant trap anthems, and a slew of new stories to tell.
Herbert is out now via Top Dawg Entertainment. Listen to it here.
Every year, Mariah Carey decides when it’s time for holiday music season to begin. It’s kinda true, but hey, no matter what the Billboard Hot 100 chart tells us, it’s not all about Mariah Carey at Christmastime (right?) There is in fact other new holiday music from artists who have never had children with Nick Cannon (shocking!) and many of them you’ll actually want to listen to. So check out our picks for the best new holiday music from the 2022 season below (And we promise, there’s only one Wham! cover in the mix)
The Linda Lindas – “Groovy Xmas”
Is there anything these kids can’t do? Teenage punks The Linda Lindas were inspired by holiday songs from some of their classic punk faves like Alice Bag, Redd Kross, and Shonen Knife, and “Groovy Xmas” definitely doesn’t take itself seriously. They hop around generational yuletide pop culture references from The Grinch Who Stole Christmas and It’s Christmastime Again, Charlie Brown, to PSL’s and yes, even Mariah Carey for a song that does its best to assure that the holidays are fun. (They even played it on Kimmel!)
Phoebe Bridgers – “So Much Wine”
Another year and another wonderful holiday cover to benefit a nonprofit by Phoebe Bridgers. This time, Bridgers takes on “So Much Wine” by alt-country duo The Handsome Family and is donating proceeds to the Los Angeles LGBT Center. It’s a sad song about having a loved one with a drinking problem, and trying your best to talk some sense into them around holiday time. A gentle acoustic guitar nestles up to a violin, and if that whistling sounds familiar, it’s because Andrew Bird joins Bridgers on this one.
David Byrne – “Fat Man’s Comin’”
After more than 50 years in the business, this is somehow the former Talking Heads leader’s first-ever holiday song. The horns sound like the opening to a sinister holiday villain flick. And Byrne said he had a different type of…err…villain, in mind for this one. “I wouldn’t call it a Christmas song, as the visitation of Santa (formerly known as St. Nicholas, who mainly did punishing) seems to have evolved to be a more secular consumer moment than a religious or spiritual affair.” Funny enough, Byrne actually wrote this song around the time when he was working with St. Vincent on Love This Giant, but thought it wasn’t right for that project (even though horns feel very much of that era.) The song is also a benefit for Byrne’s mental health-focused non-profit publication, Reasons To Be Cheerful.
Kurt Vile – “Must Be Santa”
It’s a Vile family Christmas! Kurt Vile was joined by his two young daughters for this cover of Bob Dylan’s cover (you following along?) of “Must Be Santa.” Gone is Dylan’s punk party accordion and in its place is a balmy, upbeat synth with the wee Viles joining pops on the hook.
Tkay Maidza – “Nights In December”
On “Nights In December,” the Zimbabwe-born, Aussie electro rapper shoots to recreate the feeling of wintertime in New York City (see: beautiful, but cold as heck!) The best part about this one is how it doesn’t really sound much like your typical holiday song, as much as an uptempo love song about capturing a year-end moment. She does it well.
Los Bitchos – “Los Chrismos”
The London instrumental foursome’s new internationally-inspired holiday tune is a blend of South American cumbia with Turkish psych and wavy Dick Dale-style guitars. And while it’s a largely lyricless tune (besides a “Christmas time! Sexy times!” chant), it feels decidedly of the holiday period; like what Santa might be playing in his sleigh as he races to deliver presents around the world.
Kadhja Bonet – “California Holiday”
Part of the new California Holiday EP of mostly covers that Bonet calls “a modern take on the typical magical Christmas story,” the title track represents the elegant singer’s first original holiday tune. This represents a milestone for her, as Bonet’s never been much of a fan of the holidays until recently. But with its warm strings, retro soul drums, and choral backing vocals, “California Holiday” shows that she’s very much on the other side of the Ebenezer Scrooge transformation.
Future Islands – “Last Christmas”
We promised you a Wham! cover and now you’ve got it. And look, there are once again a lot of covers of “Last Christmas” this year, but it’s Future Islands’ spin that does it best this time around. Maybe it’s because they don’t try to mess with George Michael timeless formula too much? Because it truly sounds like the soundtrack to an ’80s teen holiday movie. But perhaps it’s because Samuel T. Herring is one of the most engaging singers on the planet. And it’s not just an homage to the classic, it’s one that’s very much in the shape of the original.
Sam Smith – “Night Before Christmas”
Sam Smith can do no wrong. The LGBTQ+ icon just melted hearts with their subtle-but-powerful lyric tweak to “Stay With Me” at a Respect For Marriage Act celebratory performance on the wintery White House lawn. Now on this original holiday tune, Smith sings over a lush guitar and peaceful organ about a romantic evening in a fireplace-warmed living room. “Night Before Christmas” is also a part of Smith’s ongoing The Holly And The Ivy holiday compilation series, so we can expect more gems like this for years to come.
Remi Wolf – “Winter Wonderland”
Remi Wolf actually put out two holiday singles this year. But since we’ve already filled our quota of covers of Wham!’s “Last Christmas,” it’s her take on “Winter Wonderland” that we’ll highlight here. Wolf is clearly having a grand ol’ time on this classic, letting her vocal punctuations fly in elated space as she turns your speakers into a very cool holiday cabaret.
Emily King – “This Year”
If there were a theme to King’s new year-end tune, it’d be “treat yo-self!” The indie pop singer says that she, “…Wrote ‘This Year’ last New Year’s Eve after realizing I’d spent most of my time vying for the attention of someone who couldn’t love me back.” It celebrates getting comfortable with yourself and unapologetically thinking about your psyche first and foremost. It has a killer bridge as King sings, “This year gonna hit my stride, I’m livin in my best life, this year.”
The first song of Grohl & Kurstin’s yearly “The Hanukkah Sessions” for 2022 sees them being led by Apatow in a cover of Blood, Sweat & Tears’ 1968 flower child jam, “Spinning Wheel.” This was a live performance that took place at a full-on The Hanukkah Sessions event in Los Angeles earlier this month that’ll yield collabs with Beck, Pink, Karen O, and others for each of Hanukkah’s eight nights. Apatow was a gregarious vocalist, coming across like the beloved Krusty the Klown kicking off a holiday special. It’s a swell way to once again begin the delightful annual series.
Greeensleeves – “This Could Be Christmas (Slow)”
Back for its second year, Slow Xmas is a holiday comp produced by Blank Check with Griffin and David podcast producer Ben Hosley, where the prompt for the compilation had one demand: “Gotta be slow.” The artists take a range of interpretations on those directions: From Electric Santa’s krampus-slowcore “We Three Slow Kings,” or a very slowed-down Christmas tale by 99% Invisible podcast host Roman Mars, “A Slow Visit From St. Nicholas.” But it’s Greeensleeves’ “This Could Be Christmas” that drives slowly without feeling altered. A buzzing synth and heartbeat-like thump make the song feel like snuggling on a couch with a mulled wine in hand after a big meal.
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.
Whenever British rapper Little Simz felt like dropping the follow-up to her critical and commercial breakthrough, Sometimes I Might Be Introvert, she would have had the world’s attention with every pre-album single and Instagram snippet teasing new music. Instead, she went the surprise release route, sneaking up on the music world with the thrilling NO THANK YOU, which sounds vital and fresh on the heels of Simz’s big breakthrough – a real-time reflection of an artist coming to terms with just how popular they are.
Sometimes I Might Be Introvert, which took home the Mercury Prize on October 18, introduced the wider rap world to the MC born Simbiatu Ajikawo in 1994. That the album exists at all is a bit of a miracle in Simz’s mind. During her acceptance speech, she said, “There was times in the studio I didn’t know if I was gonna finish this record, I was going through all the emotions.” Alongside producer Inflo – celebrated for his work in Sault, among other efforts – Simz pushed that record over the finish line and into the arms of an adoring audience obsessed with her vulnerable, honest examinations of life in the spotlight, and the unending quest to line up ones desires with a life of authenticity. On NO THANK YOU, it’s unclear if she’s squared the image of who she wants to be with the one she presents on record, but she’s more comfortable than ever expressing her discomfort and joys – the highs, lows, and crushing mids of life in the public eye.
A lot of what you need to know about NO THANK YOU goes down in the mesmerizing, down-tempo leaning minimalist headbanger of an opener, “Angel.” Inflo once again handles production, crafting crisp drums and hollowed-out synths that do their best to stay out of Simz’s way. She raps, “I can see how an artist can get tainted, frustrated / They don’t care if your mental is on the brink of somethin’ dark / As long as you’re cuttin’ somebody’s payslip / And sendin’ their kids to private school in a spaceship.” On a purely technical level, Simz is at her sharpest on the project. The quick internal rhyme of “tainted” and “frustrated” emphasizes the claustrophobia she feels as fans, label heads, and everyone in between pesters her to keep churning out music. She then expands the bar outwards, cleverly juxtaposing her career with those that profit off her. It’s worth remembering that it was only earlier this year that Simz postponed a North American tour because it didn’t make sense financially.
But what makes Simz one of the most exciting and daring artists in the rap game is that empathy is one of the chief motivating factors in her songwriting. Take the way she talks about label bosses on “Angel” and juxtapose it with her thoughts on “Broken.” Over a looped melodic sample and hi-hats that hint at chaos but never introduce it, Simz raps, “There’s a reason why the doves will never fly with the crows / Chapters eventually close, your friends will turn into foes / Everybody’s so obsessed with the CEO / She probably got the most troubles that she’ll never disclose.” Simz’ ability to not only show differing perspectives but imbue them with equal urgency is a talent that makes her stand apart from virtually anyone else in the game.
On both Sometimes I Might Be Introvert and NO THANK YOU, Little Simz surfs between joy and pain, trauma and triumph, isolation and community. On the former, she posited these feelings we perceive as negative as a bad thing to qualify. On NO THANK YOU, she owns each moment she encounters, finding positivity when she can, and refusing to apologize when she’s left needing more.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
On her debut album, CTRL, SZA established herself as a household name by way of spellbinding melodies and relatable words. The then 20-something R&B songstress shared poignant accounts of body dysmorphia, heartbreak, loneliness, and growing older. Now, in her early 30s, the old soul we’ve come to know and love reels over a beautiful-yet-cruel existence, accepting the painful wisdom that comes with age. While SZA remains on a spiritual transformation, her new album, SOS serves as a reminder that insecurities, like the ones she sang about on CTRL will persist, no matter how far along you are on your journey. At 23 tracks, it’s not as cohesive as its predecessor, but SOS still is a vital chapter in the SZA universe.
The looseness of SOS allows the album to breathe a little more freely. It opens on its title track, on which SZA addresses plastic surgery rumors (“That ass so fat, it look natural, it’s not”), disavows trifling men (“Punk ass tried to replace me, but the stakes is too high”), and announces that she’s back, and presumably better than ever (“This ain’t no warnin’ shot, case all you hoes forgot.”) While the intro seems to establish the narrative that SZA is now a healed woman, it leads into a collection of stories which see her both regress and grow, and regress and grow again.
On SOS, SZA presents us with a unique and rather polarizing set of coping mechanisms, from tapping into feelings of codependency, fantasizing about killing her ex, and sleeping with other men, for the sole purpose of forgetting one specific man. Her journey manifests by way of expressing herself through her signature brand of R&B with a rap flow, as well as by way of showing her rap chops, spitting rhymes about blocking “your favorite rapper” and going ghost on “your favorite athlete,” as she struggles to move on.
Old habits die hard as SZA experiences the stages of grief, in no particular order. She hasn’t been linked to a significant other since CTRL, however, the overall narrative of the album seems to center around her dealing with a breakup. SZA demonstrates a raw sense of self-awareness, as she accepts blame for the relationship’s demise, but also finds herself in denial that the relationship is over, expressing desperation and longing to mend things.
Songs like “Conceited” and “Far” offer fans a glimmer of hope, as SZA appears to find solace in her own company, despite having just poured her heart out over her ex in the previous tracks. But she also quickly becomes aware of the danger of being alone with her thoughts for too long. On one of the album’s more vulnerable tracks, “Special,” she puts a laundry list of insecurities on display on what feels like a modern-age update of Radiohead’s “Creep.”
The previously released tracks, including “Shirt,” “I Hate U,” and “Good Days,” have already been known and loved by fans for almost two years. While they may feel weirdly-placed on the album, they are still vital parts to the overall narrative of grief and emotional recovery.
Despite having been released two years ago, “Good Days” makes for a solid penultimate track, expressing a hopeful outlook for the future the amid emotional turmoil she just sang of for the past hour. “All the while / I await my armored fate with a smile / I still wanna try / I still believe in good days,” SZA sings on the chorus of the therapeutic self-help anthem.
This pattern of seemingly letting go, only to tap back into feelings of insecurity continues throughout the entirety of the album, but by the end, the listener is introduced to a more affirmed, principled SZA.
SOS is SZA’s riskiest work to date. Dropping an album with 23 tracks in the age of streaming is always daunting, but SZA is never one to shy away from any emotion. Sure, the tracklist could use a slight trim, and while the album’s narrative is less structured than that of CTRL, the order of tracklist and each song’s individual message are reflective of a non-linear healing journey everyone must embark at some point in their lives.
SOS begs the question, has SZA healed since inviting us into the rocky, uncertain world of CTRL? But perhaps a better question to ask oneself may be, is anyone ever really fully healed from their traumas? It’s a painful reminder that our shortcomings and our insecurities will always make themselves known. But it also shows listeners that a now older and wiser SZA will always emerge strong through heartbreak and fear.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
Metro Boomin’sHeroes & Villains arrives two years after he secured his second No. 1 album beside longtime collaborator 21 Savage with Savage Mode II. The sequel effort itself arrived four years after 2016’s Savage Mode, a body of work that helped launch 21 Savage into the mainstream spotlight (with the assistance of features alongside Drake and others). With Heroes & Villains, Metro ventures further into the darkest corners of the world. His debut album Not All Heroes Wear Capes dabbled in slight mischief more than it did deviance and malice. It was playful enough thanks to lighter moments like “Only You” with J Balvin and Wizkid as well as “Borrowed Love” with Swae Lee and Wizkid. Savage Mode II embraced the above-the-law mindset and all the mischief, but with a lot of flexing and braggadocious bars courtesy of 21 Savage’s trademark punchlines and infinite Rolodex of threats and warnings. Heroes & Villains welcomes thunder and gloom as it glorifies a world where bad not only occurs, but thrives.
On Heroes & Villains, Metro Boomin is merely trying to weather the storm – that’s at least one way to look at it. The storm in question could be the one 21 Savage and Young Nudy detail on “Umbrella.” A soul sample introduces the song before 21 and Nudy terrorize the grimacing beat. 21 threatens to make the “choppa sing like it’s Adele” while Nudy furthers the agenda by adding, “Switch on the b*tch, finna whoop me a n**** / Think I was his mama when I get done.” The thing about Heroes & Villains is you don’t necessarily know who’s the hero and who’s the villain. As Future raps about turning “into a superhero” on “Superhero,” he returns later in the album to say he “can’t save no hoe” with Don Toliver on “I Can’t Save You (Interlude).” As Metro Boomin the hero and Metro the villain shake hands on the album’s artwork, Heroes & Villains notes that we can be both in the same person. The world certainly needs saving, but from who exactly?
Aside from the album’s thunderous sonic and heroic themes, Heroes & Villains on the surface is another display of Metro’s fine and wide-ranging work. He shines as a conductor that soundtracks 21 Savage’s determined mission for retaliation on “Walk Em Down” as well as The Weeknd’s airy plead to go uninformed about possible infidelity on “Creepin.’” In totality, the flashy “Feel The Fiyaaah” with ASAP Rocky and the late Takeoff exemplifies the album’s brightest moments, while the gloom of Travis Scott and Young Thug’s “Trance” foreshadows the danger that lurks between the drums and hi-hats of Heroes & Villains.
A decade ago, Metro Boomin was a mere upstart in the hip-hop world. Now he’s a greatly respected producer who’s earned the respect of the industry thanks contribution to the career of superstars like Future, Travis Scott, and Young Thug. The beautiful thing about Metro’s rise alongside these artists, and others like 21 Savage, Gunna, and Migos, is that they continued to stay in touch and collaborate regardless of their fame. As Metro helped to soundtrack the stories of the aforementioned rappers, these same artists returned to help the chart-topping producer complete his stories. It started with Not All Heroes Wear Capes and continues with Heroes & Villains. It’s up to you to determine who the heroes and villains are, but one thing’s for sure, they sure know how to work together when needed.
Heroes & Villains is out now via Boominati Worldwide/Republic Worldwide. You can stream it here.
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