genre: sadboy is an Ohio duo consisting of rapper, singer/songwriter, musician & actor MGK alongside rapper & singer/songwriter Trippie Redd. Both of whom have already crossed paths with one another quite a few times over the years on tracks like “all I know”, “Red Sky”, “Pill Breaker” & “Candy”. So obviously looking back on their history of working with one another as well as the simple fact that they’re both from the same neck of the woods, one shouldn’t be too surprised by them forming genre: sadboy & putting out a debut EP.
“lost boys” unceremoniously begins with this emo-folk cut talking about how it’s just another one of those nights again whereas “beauty” takes the somber trap route sampling “Let Go” by Frou Frou dropping corny bars like “Ship across the sand like The Mandalorian”. “time travel” immerses everyone into their worlds showing a back-&-forth chemistry over a spaciously drumless beat while “struggles” goes head-on rock again whining that they’re not happy to be here.
Moving forward, “suddenly” brings that trap flare back trying to be edgy by saying that’s everyone’s alive except for them while the cloudy yet tedious “half dead” moans about being all alone. “hiding in the hills” discusses running from themselves with Satan as Ronny J mixes rock & trap just before the dreary trap cut “no more” talks about giving 0 at this point. J.I.D’s feature on the rap rock “who do I call?” is the best verse of the entire EP asking where do they go from here & the stripped-back “summer’s gone” finishes self-titled by telling y’all to let them dry & rot.
It was pretty much a guarantee that genre: sadboy was gonna come out with one of the absolute worst EPs of the year & they sure did not disappoint considering the standard that was already set by the couplet of singles we’ve gotten in over a week. The poppy trap & rock production is ok considering that both members of the duo have ventured out in those particular sounds previously, it’s just that Trippie’s performances are significantly better than the 2 & they just aren’t enough for me to keep coming back to the EP.
Tierra Whack is a 28 year old rapper & singer/songwriter from Philadelphia, Pennsylvania who broke in 2018 off the strength of her debut mixtape Whack World after signing to Interscope Records. She has since dropped a handful of singles along with a trilogy of EPs & even landing some very impressive feature placements, the most notable being “T.D. (Tokyo Drift)” off Lil Yachty’s 5th tape Lil Boat 3. So it only makes sense that she struck while the iron’s hot for her full-length debut studio album over a month after former 2-time AJPW三冠ヘビー級チャンピオン, 4-time AJPW世界タッグチャンピオン, MLW World Tag Team Champion, NWA World’s Heavyweight Champion, NWA World Tag Team Champion, 2-time IWGPヘビー級チャンピオン, 7-time IWGPタッグチャンピオン 2-time NEVER無差別級6人タッグチャンピオン, GHCヘビー級チャンピオン & GHCタッグチャンピオン 小島 聡 became a record 2-time MLW World Heavyweight Champion at SuperFight IV.
“Mood Swings” is a calming opener to the LP talking about trying new things due to Tierra mother being tired of how her mother is sick of her constant changes in mood whereas “Ms. Behave” takes the hip house route instrumentally basically refusing to act right referencing the Discovery Global-owned Discovery Channel’s annual weeklong programming block Shark Week. “Chanel Pit” fuses trap & pop rap talking about being the shit that you smell excelling more than Microsoft prior to the atmospheric “Numb” talking about being at the final stage of the numbness she’s felt since her youth.
On the other hand, “Burning Brains” gives off a subdued vibe to the beat although the biggest complaint I have with this track is that it feels underwritten that is until “Accessible” brings a sadder atmosphere to the table cutting ties with a romantic interest due to their accessibility. “Imaginary Friends” tropically talks about her friend Tony for almost 3 minutes just before the instrumental on “X” brings some industrial undertones advising to find someone better or else she will.
“Moovies” hops over synthesizers to ask her man to take her on adventures leading into the vulnerable “Difficult” talking about feeling stressed & deprived throwing a hint of optimism towards the end by saying you can’t let it get you down since we all have issues. “Shower Song” dabbles with synth-funk likening the shower to the stage, but then “Invitation” peppily talks about her style being so rare that it’s hard for her to describe.
The song “Snake Eyes” addresses everyone who views her as a threat over a piano-laced trap instrumental referencing WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley while the aptly nocturnal penultimate track “2 Night” talks about not paying the light bill this month in the midst of possibly dying that evening. “27 Club” fuses bedroom pop & alt-pop to link the concept of suicide to the titular term used for celebrities who’ve passed at 27.
Really if anything, Worldwide Whackserves as another reminder that T-Dizzle’s one of the most creative women in hip hop today & you get a glimpse of her at her most vulnerable in the process. The production teeters between pop rap & alternative R&B with additional elements of trap & alt-pop as she tackles themes of abandonment, depression, suicidal thoughts, uncertainty, lust & loneliness.
THis is tHe 6tH full-lengtH LP from SoutH Los Angeles emcee ScHoolboy Q. Emerging at tHe beginning of tHe decade as 1/4 of Black Hippy, He released His first 2 albums Setbacks and Habits & Contradictions independently until making His major label debut witH Oxymoron turning 10 last month. THis would be followed up witH Blank Face LP a couple years later & CrasH Talk, tHe latter of wHicH is regarded as Q’s weakest & most commercial body of work. So after nearly 5 years, Blue Lips had to be tHe most excited I’ve been for a Top Dawg Entertainment project in recent memory after Kendrick Lamar’s final album witH tHe label Mr. Morale & tHe Big Steppers.
“Funny Guy” is a feel-good intro produced by Tae Beast of tHe TDE in-House production team Digi+PHonics encouraging to bring tHe dope, Hoes & money bag to tHe spot wHereas “Pop” featuring Rico Nasty dabbles witH rap rock a little courtesy of Beat ButcHa talking about tHe gang activities tHey’ve gotten tHemselves into. “THank god 4 me” tries to keep tHe peace instead of piecing bitcHes over Horns & Hi-Hats witH a cloudy switcH-up just before tHe drumless “Blueslides” profoundly pays tribute to Mac Miller.
Cardo’s production on “Yeern 101” Has some experimentally lowend undertones tHrougHout energetically running it off top leading into tHe minimalist “Love Birds” talking about mistreating tHe one He loves tHe most. “Movie” featuring Az CHike turns tHe bass up to 11 referring to tHemselves as badass kids mucH like Bruce Lee, but tHen “Cooties” fuses kicks & snares witH acoustics celebrating better living.
“oHio” featuring Freddie Gibbs ends tHe first Half of tHe album witH a dynamic 3-parter sHutting sHit down wHile “Foux” featuring Ab-Soul is tHe long-awaited 4tH installment of tHe “Druggys wit Hoes” series witH a psycHedelic flare to tHe beat. “First” gives off a cloudier vibe addressing a woman tHat Q was fuckin’ witH first wHile tHe DJ KHalil-laced “Nunu” promises to God tHat you’ll continue to Hear new music from Him instead of waiting 5 years again.
MeanwHile, “Back n Love” featuring Devyn Malik dives into nocturnal trap territory talking about falling in love witH tHis sHit again becoming tHe voice of 20,000 kids like WWE Hall of Famers D-Generation X wHile my favorite on the LP “Lost Times” Has tHat signature AlcHemist sound putting a finger in tHe air for tHe times He can’t get back. “Germany ‘86” Has a groovier tone instrumentally reminding tHat pain is a part of man wHile “Time Killers” futuristically talking about being a lone star.
“Pig Feet” cops down over a spacious trap beat mentioning tHe finisHing move of 10-time WWE world cHampion, 2-time WWE Intercontinental CHampion, 5-time WWE Tag Team CHampion, United Football League (UFL) co-owner, TKO Group Holdings board of directors member, $7 Productions co-founder & tHe final boss of professional wrestling THe Rock while “Smile” cHarismatically finisHes tHe album witH a 1-minute cut about swerving His old bitcH.
Q’s my 2nd favorite Black Hippy member beHind Kendrick but now tHat tHe latter departed TDE couple years ago to focus on pgLang, He Has to be my new favorite artist on tHe current roster & Blue Lips lived up to my expectations redeeming Himself from CrasH Talk last time we Heard from him. THe production mostly Handled by Tae Beast is less commercial tHan it was on tHat previous LP before tHe COVID-19 pandemic sHut tHe world down tHe following spring & Q also sounds more inspired.
Bas is a 36 year old Sudanese-American rapper & songwriter born in Paris, France & raised in Queens, New York who emerged in 2011 by putting out his debut mixtape Quarter Water Raised Me. The 2013 sequel Quarter Water Raised Me 2 would catch the attention of J. Cole, who shortly after helped Bas become the 2nd act after Omen other than Cole himself to sign to his Interscope Recordsimprint Dreamville Records. He would introduce himself more to the Dreamville fans the next spring on the moderately received full-length debut Last Winter & the sophomore effort Too High to Riot couple years later won them over, as it’s still the most critically acclaimed body of work in Bas’ discography to date. His previous LP Milky Way in 2018 was also treated to mild reception as were the couple of EPs that he’s given us since then Spilled Milk & [BUMP] Pick Me Up, but the highlights on those last few projects had me holding out hope that Bas would reach the heights that Too High to Riot did once again.
“Light of My Soul” starts the LP with a drumless loop from Boi-1da sampling “We’ve Got a Way Out Love” by The Originals confessing that he has a problem makin’ other people’s problems his own whereas “Black Jedi” likens himself to Mace Windu shifting gears with it’s trap instrumental. “Choppas” talks about going round like the helicopter working in a cloudy backdrop & hi-hats just before “Home Alone” featuring J. Cole produced by T-Minus & Cubeatz serves as a vibrant dedication to the people that switched up on them, the women they miss, the ones they I love, the ones that stayed & the seeds that we growin’ although Bas feels like he’s been featured on his own track.
Meanwhile, “Risk” takes a smoother approach sonically detailing a relationship with a woman in which he took a risk with because she was almost too perfect at first until distancing herself from him leading into “Decent” featuring Amaarae talking about being 100% the same as they were when they started over a spacious trap beat. “Ho Chi Minh” gives a look at Bas’ emotional & mental state as well as his experience with substance abuse over a solemn instrumental, but then “179 Deli” featuring AJ Tracey dabbles with the UK drill sound a bit telling y’all to stay with them for the ride.
Cole returns on “Passport Bros.” for a mediocre pop rap/dancehall fusion with some afrobeats undertones & I say it’s mediocre because my biggest problem with it personally is that both of Bas’ verses feel underwritten although I’ll still take it over “Testify” featuring Sha Sha since it continues to expand on that dancehall vibe singing that they’re gonna “fuck each other right”. The atmospheric “U-Turn” featuring A$AP Ferg & Blxckie breaks down a woman who had them running back with Ferg having the better of the 2 guest performances prior to the final J. Cole appearance on the album “Papers Cuts” groovily asking if you dumb.
“Diamonds” looks to take a leap as artist have to continually explore & give more of themselves to feed the insatiable appetite of the audience on top of some summery acoustic passages while “Yao Ming” boasts that he got racks as tall as the iconic Houston Rockets player of the same name over soulful background vocals. The song “Dr. O’blivion” is more stripped-back thanks to Cole himself explaining that “she don’t want none of the madness you come with” while the penultimate track “Khartoum” is a powerful ballad about the ongoing war in Sudan featuring Adekunle Gold on the hook. “Wait on Me” ends the LP on a melodic note singing that he loves the moments you spending with him.
I remember upsetting a couple Dreamville fans after the Milky Way review because I still believe it’s the most commercial body of work I’ve heard from Bas, but We Only Talk About Real Shit When We’re Fucked Up happens to be the most I’ve enjoyed a project from the guy in about 7 & a half year. Those pop rap/trap elements from that previous album make their way over here once more except this time, he’s mixing them with some new sounds that he’s trying out like dancehall or afrobeats.
Ken Carson is a 23 year old recording artist from Atlanta, Georgia breaking out in the SoundCloud scene & becoming a protege of local trailblazer Playboi Carti as one of the first artists to sign to the latter’s newly founded Opium Records. He would go on to drop a total of 5 EPs prior to his full-length debut Project X couple summers back & coming off the mature sophomore effort X over a year ago already which Anthony Fantano infamously gave a 0. However to commemorate Friday the 13th being in October this year, Ken’s unleashing his 3rd full-length LP.
“green room” is a rage-inducing highlight produced by F1LTHY of Working on Dying to start everything off calling out half of these motherfuckers out here that ain’t never seen shit whereas “jennifer’s body” talking about his bitch being a hottie interpolating “Good Riddance” by Green Day over some hi-hats & fuzzy synths. “fighting my demons” keeps it rolling with a hypertrap, cloudy 2-parter from Outtatown smokin’ on kush & looking to triumph mentally, but then “singapore” featuring Destroy Lonely keeps the rage beats in tact flexing in the titular country.
Meanwhile, “lose it” goes for a bombastic approach instrumentally confesses that he feels like he’s going to snap at any moment leading into “hardcore” talking about going gore on top of this set of booming sub-bass & hi-hats. “Me n My Kup” gives off a psychedelically vibrant atmosphere making it known he’s the only one up in here with his cup by his side just before the shrilling trap banger “it’s over” talks about his pants falling because of carrying too many racks on him.
Lone returns alongside Lil Uzi Vert for “Like This” jumping over a futuristic instrumental with some hi-hats showing y’all how lit it can get while “succubus” goes for a distorted sound courtesy of a returning F1LTHY behind the boards talking about a bitch he knows that’s going straight to Hell without a doubt in his mind. “Paranoid” featuring Destroy Lonely wipes “singapore” from F1LTHY’s rage beat to discuss the paranoia that both of them face while the glitchy “pots” talks about curving someone’s girl until he saw the way she twerk.
“overtime” continues to scathingly diss those who be frontin’ that they killed people or having swag when they never did over some rattling hi-hats while “vampire hour” takes a cloudier approach sonically dedicating this one to all the vamps that’ve been in the building. “nightcore” perfectly lives up to it’s starting off with a nocturnal trap beat clarifying they ain’t shooting shit like Julius Randle, but the 2nd half has a cavernous tone to the instrumental talking about the way she move.
If you couldn’t already tell by the title of “rockstar lifestyle”, we have Ken giving everyone a look into how he’s living these days promising to never sell his soul whatsoever over a rubbery trap beat prior to the pop rap/rage hybrid “i need u” serving to be a good choice for a single & a closer exhibiting his unrequited love for his girl on top of continuing to brag about his lifestyle for the last time.
“loading” starts the deluxe run on some plugg shit to talk about the only thing he fears of is having his heart broken while “more chaos” keeps the icy synths & hi-hats in tact continuing the chaos. “toxic” has more of a hypertrap approach to talk about an evil bitch while the rage-inducing “leather jacket” likens himself to a biker. “mewtwo” jumps over synthesizers & hi-hats comparing his girl to the titular Pokémon while “s.s. (sydney sweeney)” energetically pays tribute to the titular actress. The glitching “overseas” serves as the final bonus track talking about beatin’ muhfuckas like Creed.
I’ve maintained that Lone is the most versatile Opium signing out of the 3 acts that Carti’s taken under his wing, but A Great Chaos happens to be an improvement over X as solid as that previous album was compared to his debut for it’s maturity. The production expands on the signature hypertrap sound that he’s made himself known for & another favorite thing about it for me is the simple fact that it’s significantly more darker than the previous LP was.
Grip is a 34 year old MC from Atlanta, Georgia emerging in 2017 off his debut mixtape Porch. His full-length debut Snubnose received significant attention as 2 subsequent EPs Halo & Proboscidea lead to Detroit veteran Eminem signing Grip to his very own Interscope Records imprint Shady Recordsa couple summers ago. His sophomore effort I Died For This?! the following month was an impressive major label debut showing his potential, but his sophomore tape 5 & a Fuck You last fall took a more rawer approach that I liked. So when it was announced that Grip was dropping a sequel ahead of his upcoming tour, I had to check it out for myself.
The intro is a piano trap opener talking about shit still being the same with him whereas “Fetch” almost gives off a dirty south edge instrumentally getting on the more intimate side of things lyrically. “Numbers” works in some hi-hats & fabulous soul sample talking about putting exactly that on the board & rubbing in his success to the faces of those who doubted him just before “SS” takes a more organ-trap route keeping the heat tucked on him everywhere he goes.
“Bare” has more preachier sound this time as Grip himself airing out a person he knew since middle school knowing something was gonna change between them leading into “Keys” is a synthesizer/hi-hat fusion talking about making a scene. “Time” has a moodier aesthetic to the beat continuing to display a more romantic side of him, but then “Hyperbole” shakes it up with a grim trap banger talking about it being him vs. himself.
The song “Angels” goes into boom bap turf giving his flowers to the special people in his life who’re no longer here to see how far he’s made it while the penultimate track “Still” mixed these auto-tuned vocals with kicks & snares talking about remaining to yet reach his prime even though his skills aren’t up for debate. “You” wraps up the tape in the form of an emotional boom bap closer produced by both Tae Beast & Chris Keys telling his younger self to go as far as he can.
Although Snubnose was a promising introduction to Grip’s discography for me personally, I feel like some people are still sleeping on him which sucks for them because because Still 5 & a Fuck Youfurther proves that he’s continuing to outdo himself musically ever since the Shady/Interscope deal. He expands on the mindset that was brought onto that previous 5 & a Fuck You tape without any features this time around balancing the boom bap/trap sounds yet again.
DaBaby is a 31 year old rapper from Charlotte, North Carolina blowing up almost 2 years ago off his viral single “Suge”. He has since built up the discography of 4 full-lengths, 13 mixtapes, a couple EPs & a collaborative project with NBA YoungBoy. Last time we heard from him was back in September when he dropped off a horrific sequel to his debut Baby on Baby, but is now enlisting G.O.O.D. Music in-house producer Charlie Heat to return in the form of a 3-track EP.
“Shake Sum’n” is a Philly club opener with DaBaby encouraging all the bad bitches to show him exactly what they’re working with while the penultimate track “Ghetto Girls >>>>” samples “Project Bitch” by the Cash Money Millionaires so he can talk about his preference in woman that be ratchet as fuck. “Sellin’ Crack” however comes through with a bouncy closer to end the EP saying he makes music like he slanging dope & Offset goes on to murder him on his own shit with his guest verse.
Baby on Baby 2 wound up being the worst hip hop album of last year & unsurprisingly, Call da Fireman as a 3-piece 6 minute EP really isn’t any better. There’s nothing wrong with Charlie Heat’s production on here at all & I’ll even argue that it’s more stronger than any beat we heard on DaBaby’s previous album, but I just feel like he’s continuing to paint himself into a corner with the same fucking flows & vapid subject matter.
Destroy Lonely is a 21 year old recording artist from Atlanta, Georgia who happens to be the son of former Disturbing tha Peace Records signee I-20. He’s released a total of 11 EPs since originally breaking out through SoundCloud in 2019 prior to Playboi Carti signing Lone to his Interscope Records imprint Opium Records to surprise drop the last tape No Stylist in light of a tour that he co-headlined with fellow label-mate Ken Carson last summer. However, he’s returning nearly 9 months later to drop a full-length debut & one that I hope would make the haters shut up considering that he’s already proven himself to be the most versatile Opium signing to date.
“how u feel?” opens the album with some guitars & hi-hats saying he feels fine other than needing a few more dollar signs whereas the title track follows it up with a cloudy emo rap ballad produced by longtime collaborator Clayco about being a fashion demon. “fly shit” returns to a more trap metal sound so he can flex a bit, but then “which one” shreds some chunkier riffs on top of some hi-hats thanks to Cade trying to figure out who loves him.
Continuing from there with “raver”, we have Lone over more trap metal production so he can go brazy leading into “came in wit” has a bit of a rage vibe to Y3rip’s beat talking about looking like he jumped out the ocean with all of his diamonds. “by the pound” has a more playful sound to it provided by TM88 even though he delivers one of the weaker performances on the album badly impersonating Future just before “all the time” confesses that he feels like he’s lost his mind & the instrumental here gives me an aquatic feeling for whatever reason.
“biggest problem” has a more spacious trap approach to it that Cxdy provides bragging that he’s riding around with some fly shit while “chris paul” talks about ballin’ out over a booming trap beat. “superstar” returns to atmospheric territory watchin’ the bodies fall from the swag he’s droppin’ while “new new” weaves some synthesizers into the fold talking about being the freshest whenever you compare him to everyone else in the trap scene right now.
Meanwhile, “right now” concludes the first leg of the album taking it returning to trap metal turf telling his girl he’ll get her whatever the fuck it is that she desires & “which way” starts the 2nd half with a ghostly trap beat admitting that he doesn’t have a clear as to which specific what that he’s going. “wagwan” blends some skittering hi-hats & a futuristic backdrop asking what’s up prior to “moment of silence” sampling “Your Skull’s Red” by Team Sleep talking about going harder than everyone else while “brazy girls” is a trap rock hybrid about his women.
“goin’ up” dives into more psychedelic waters tackling his continuously rising popularity that is until “passenger” shifts gears with it’s twinkling trap production talking about switching up his swag & smokin’ on Metro Boomin’ every single day. “promo” gives me a bit of a ghostly feeling as far as the beat goes so Destroy can be able to update his swag while “worth it” makes sure every second counts over a trap instrumental with a blobby bass-line
BryceUnknwn, Zodiac & y2tnb keep it rolling on the ultramodern “redlight” keeping an FN under his seat for all the fuckboys while “make sum work” brings back the guitars & hi-hats going berserk. The song “safety” flips Team Sleep yet again except it’s “Blvd. Nights” this time spending more on his protection & well-being while the penultimate track “your eyes” gets more cavernous courtesy of ReidMD from Vanguard Music Group & Internet Money Records talking about seeing himself when looking into the eyes of his raver. “money & sex” with Ken Carson though ends the album with a hypertrap jam talking about the 2 things they love.
“too damn rich” starts the deluxe by rubbing his newfound wealth in people’s faces flipping “Lucid” by slenderbodies while “spillin’” cautioning that this shit can go many ways over a trap beat giving off retro video game feels. “check the fleet” has this grungy guitar riff & hi-hats only focusing on money while “back sippin’” brings in heavier guitar work relapsing on lean referencing the greatest WWE superstar ever; Hall of Famer, 7-time world champion, 7-time tag team champion & WWE Hardcore Champion The Undertaker. “catch a kill” is a well-structured 2 parter going brazy about his top floor status & “that’s my” concludes the run of bonus tracks with a nocturnal dedication to his ride or die.
A lot of people are probably gonna complain about the 90 minute runtime straight out the gate & I’m well aware that not everyone ends up pulling off that feat, but I think Lone has enough versatility to make it stick the landing & that’s exactly the point he has proven yet again. He continues to expand his sound by dabbling a bit more with dream pop & neo-psychedelia than he’s done in the past & his performances on a good amount of these cuts are pretty fun.
Pi’erre Bourne is a 29 year old producer, rapper, songwriter & engineer from South Carolina who became one of the most in demand beatsmiths in hip hop today off amongst the biggest songs in Playboi Carti’s entire catalog “Magnolia”. He’s also made a name for himself on the mic by dropping 10 mixtapes as well as a couple EPs & 3 full-lengths albums, with the latest being Good Movie over last summer to mixed reception. However, Pi’erre’s looking to switch things up with his 3rd EP over here by officially releasing his biggest, most popular unreleased songs that were stashed in the vault.
“IG” sets the tone for what’s to come with it’s synthesizers & hi-hats as well as the lyrics addressing running into social media models at an Odell party whereas “Love Reeks” has a more playfully nocturnal vibe to it talking about how the grass is much greener after cutting hoes off. “Chicken & Waffles” for a TLoP4 leftover might be my favorite on the EP with it’s cloudy, bassy instrumental & the braggadocio throughout prior to “George Lopez” pulling together some synth-strings talking about feeling like Biggie with the more problems that arise when having more paper.
The final leg of the EP starts off with the cloudy “NY in June” telling his lover to simply follow him while the song “Tabloid” talks about a bitch that’s all up in him kin to the titular newspaper with a compact page size smaller than broadsheet accompanied by a psychedelic trap beat. The penultimate track is [a sequel] to “Honeyberry” with an instrumental that gives me 8-bit video game vibes discussing an ancient love & the wavy “Lessons” ends the EP talking about fucking bad hoes for practice.
I know some people like to dismiss Pi’erre as an MC as distinct of a producer he is but as someone who’s been following him for the past 6 years, Grails is easily the best EP he’s ever put out for a collection of previously unreleased leaks in contrast to the mediocrity of Good Movie & will keep everyone satisfied until Made in Paris drops. His improved songwriting is more catchier as opposed to the excessive horny subject matter throughout the previous album that gets annoying rather quickly & his production game remains unmatched.
Rae Sremmurd are a trap duo from Atlanta, Georgia consisting of real life brothers Swae Lee & Slim Jxmmi. However, many forget that they came up as a quartet in 2009 alongside Bobo Swae & Lil Pantz under the name Dem Outta St8 Boyz & dropped their only mixtape 3 Stooges with Lil Pantz would departing the group prior due to legal issues & Bobo following suit after to focus on his studies in Florida. P-Nazty would go on to introduce Swae & Jxmmi to revered trap producer Mike WiLL Made-It, who took the Brown brothers under his wing by making them the first act to sign to his Interscope Records imprint Ear Drummer Records rechristened as the names they’re known by today. After beginning to turn heads with hits like “No Type” & “Throw $um Mo” featuring Young Thug, it was enough for Rae Sremmurd to properly introduce themselves on the full-length debut SremmLife a month after the final single & the sophomore effort SremmLife 2 the following summer finding them to artistically expand more. Especially considering that “Black Beatles” featuring Gucci Mane is unquestionably the duo’s biggest hit to date. Their previous album however SR3MMLIFE in the spring of 2018 had a pretty strong start as it contains some of their best songs like “T’d Up” or even “CLOSE” featuring Travis Scott, but each of the Brown brothers’ respective solo debuts that were attached to it Swaecation & Jxmtro were both underwhelming at best which is a shame because I really was intrigued by the whole Speakerboxxx / The Love Below concept/homage except it’s 3 discs instead of simply 2 & the first one actually has new music from the titular duo. But after 5 long years, Swae & Jxm are returning with their 4th full-length outing.
“Origami (Hotties)” is a synth-trap opener produced by none other than Mike WiLL Made-it as the Brown brothers asking if you can see the others that’re surrounding them & to fold the paper whereas “Royal Flush” works in some horns & hi-hats courtesy of Chopsquad DJ as Thugger tags along so the trio can talk about dropping cash on land along with making grandmaster plans that’re complex. “Mississippi Slide” has a more shimmery approach sonically thanks to Zaytoven so Rae Sremmurd can pay homage to the titular state leading into the piano/trap “Not So Bad (Lean’s Gone Cold)” interpolating “Thank You” by Dido on the hook talking about the racks stacking up too tall.
On the other hand, “Tanisha (Pump That)” feels like a Slim Jxmmi solo cut featuring Swae on the hook despite the electro undertones throughout the instrumental & the lyrics describing how no one can do it the way she does just before the Murda Beatz co-produced “Bend Ya Knees” brings back the keys & hi-hats so they can ask their lovers to forgive them for their rich tendencies. Future joins Rae Sremmurd for the cloudy “Activate” talking about not being normal anymore, but then “Flaunt It / Cheap” delivers a well sequenced 2-parter encouraging the the party girls to get if started & nearly spending a dozen.
“Sexy” is an irresistibly catchy pop trap jam that 30 Roc helped Mike lace describing how physically attractive they both are while “YMCA” weaves some synth horns & hi-hats talking about how the conduct will quickly become disorderly now that they in the place. “Something I’m Not” has more acoustic groove to it as Rae Sremmurd gets more introspective on the lyrical front while Sonny Digital gives the song “Torpedo” a more atmospheric vibe so the duo can take off the the cash. The penultimate track “Diamonds Dancing” reminds everyone they’re here to stay over a trap beat from DJ Sremm with a reversed loop & “ADHD Anthem (Too Many Emotions)” sends off the album with some rage beats from Ronny J & Dynox of Internet Money Records talking about being misunderstood.
Considering the 5-year gap between this & Rae Sremmurd’s last album, I was intrigued to hear where both these guys would take it with the comeback effort & I think fans will find Sremm 4 Life to be more salvageable than SR3MM was. I admire how the approach & content are both a little different than before, Mike WiLL & company bring some consistent trap production to the table, Swae & Jxmmi both sound more focused than they did on their respective solo debuts that were attached to the predecessor & they didn’t go overboard with the features.
Legends Will Never Die 