Drake & 21 Savage – “Her Loss” review

This is a brand new collaborative album between Canadian rapper, singer/songwriter, actor & businessman Drake along with London born albeit Atlanta raised rapper, songwriter & producer 21 Savage. One is an pop rap icon starting out as an actor before becoming a Lil Wayne protege in the late-2000s & the other beginning to turn heads in the Atlanta trap scene after landing a spot in the iconic 2016 XXL Freshman Class. Their paths have crossed a handful of times within the last 5 years with bangers like “Mr. Right Now” & even “Knife Talk”. Last we heard from them was when Drizzy dropped the mediocre house album Honestly, Nevermind this past summer in the form of the standout closer “Jimmy Cooks” & are now joining forces to drop Her Loss.

“Rich Flex” kicks off the album with some braggadocio on top of an instrumental from Tay Keith, BoogzDaBeast & Vinylz with some hi-hats & angelic vocals during 21’s verse prior to the sample switching into some keys for Drake’s whereas “Major Distribution” embraces the piano trap sound even further talking about going stupid. “On BS” has a cloudier vibe to it, but then “BackOutsideBoyz” comes through with the first of 4 Drake solo cuts on the album & my personal favorite talking about the 6 God coming back over a synth-trap beat produced by Rio Leyva alongside Taz Taylor & Dez Wrightof Internet Money Records.

Meanwhile on “Privileged Rappers”, we have Drizzy & 21 expressing their desire to fuck bitches in banks accompanied by a cloudy trap instrumental from 40 & Earl on the Beat leading into “Spin ‘Bout U” flipping an R&B joint talking about coming out of their bodies for their significant other. “Hours in Silence” has a more moodier sound to it seeking to turn their bitches up just before the syrupy “Treacherous Twins” laced with the help of Boi-1da paying tribute to their soulmates & the line about 21 not showing an ID at the club because they know he’s 21 is incredibly witty.

“Circo Loco” obnoxiously samples the Daft Punk jam “1 More Time” to get boastful with Drizzy even confessing that he did the Free Larry Hoover concert with Kanye West last winter solely for J. Prince’s sake only for Travis Scott to come into the picture for the pillowy “Pussy & Millions” encouraging to bring on the cons of having more money. “Broke Boys” is well-structured 2-parter featuring co-production from Wheezy taunting all the bum ass motherfuckers out there while the 2nd Drizzy solo joint “Middle of the Ocean” dives into boom bap turf talking about how he’s been a player.

As for “Jumbotron Shit Poppin’”: I really like the beat that F1LTHY & Cubeatz whip up along with the subject matter asking if anyone really want smoke with Drake, but the fact that he called himself “a real vamp” like he thinks he’s Playboi Carti when he’s actually a decade older than me during his verse is fucking embarrassing. The song “More M’s” has to be my favorite on the album from the dark Metro Boomin’ production to the lyrics talking about making more paper than taking Ls while “3AM on Glenwood” is the only 21 Savage solo track on Her Loss for some reason although it doesn’t disappoint with it’s wavy instrumental & bars like the Steph Curry/Stephon Marbury one or the one where he hollers at the hobbit to help get his brother out of jail. “I Guess It’s Fuck Me” though ends it all with a Drake solo cut on top of a bare piano calling out a woman who left him abruptly.

It’s definitely not on the same caliber as Without Warning or even What a Time to Be Alive, but both these guys managed to give us a decent collab effort here & one that’s slightly better Honestly, Nevermind. Their chemistry is certainly strong enough to carry a whole project, but the production throughout is just very mild & Drake has more presence throughout than 21 does.

Score: 3/5

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KiD CuDi – “Entergalactic” review

This is the 8th full-length album from Cleveland rapper, singer, songwriter, producer & actor KiD CuDi. Blowing up in 2008 off his debut mixtape A KiD Named CuDi as well as his songwriting credits on his former mentor Kanye West’s 4th album 808s & Heartbreak, his profile from there would increasingly grow off his groundbreaking debut & sophomore albums Man on the Moon: The End of the Day & Man on the Moon II: The Legend of Mr. Rager. But following the self-produced & overlooked Indicud, CuDi would leave G.O.O.D. Music amicably to form his own Republic Records imprint Wicked Awesome Records. Satellite Flight: The Journey to Mother Moon though was mediocre at best & who could forget when CuDi attempted to go alt-rock on the critically panned Speedin’ Bullet 2 Heaven? Luckily he would redeem himself on his next effort Passion, Pain & Demon Slayin’ in 2016 along with the self-titled album from him & Ye as the duo KIDS SEE GHOSTS couple summers later & even Man on the Moon III: The Chosen the day after my 24th birthday despite it’s blatantly heavy Travis Scott influence. At the beginning of 2022 though, Kanye announced that CuDi wouldn’t be on the unfinished DONDA 2 due to the latter’s friendship with Skete because he was dating Ye’s hobbit ex-wife at the time & ultimately resulted in a falling out between the mentor/protege duo that always brought the best out of one another. Even this past summer when he stormed off stage at Rolling Loud because ignorant hecklers were throwing shit at him while performing & now Mike Dean announcing on Twitter that CuDi booted him off the inaugural Moon Man’s Landing festival that just went down earlier this month due to his longstanding ties as Kanye’s engineer. But with the success of Moon Man’s Landing & now Entergalactic premiering on Netflix today, CuDi’s also giving us a soundtrack to coincide with it.

After the “Entergalactic Theme” intro, the first song “New Mode” kicks off the album with a wavy instrumental from WZRD telling the world that he’s at the next level in his life whereas “Do What I Want” was a great choice for a lead single with it’s poppy trap instrumental from Take a Daytrip & CuDi talking about doing his fucking thing. “Angelic” takes a more melodic approach with it’s dreamy production & heavy auto-tuned vocals asking where this woman in his life came from, but then “Ignite the Love” goes full blown acoustic with the help of Skrillex to sing about thanking God for finding her.

Meanwhile on “In Love”, we have CuDi pulling from electropop á la 808s & Heartbreak expanding on the themes of love just before Ty$ tags along for the neo-psychedelic alternative R&B duet “Willing to Trust” featuring co-production from E*vax singing about how this is the day that he’s been waiting for. 2 Chainz comes into the picture for the boastful trap banger “Can’t Believe It” that Plain Pat whipped up with WZRD talking about how they be coastin’, but then “Livin’ My Truth” is a groovy hip hop banger admitting that it’s all he knows.

“Maybe So” has a theatrically downtrodden tone to it from the beat to CuDi’s dejecting confessions of missing his significant other while “Can’t Shake Her” is a Man on the Moon: The End of Day throwback sonically detailing the dreams he’s having about her. “She’s Looking for Me” somberly asks if she can save the night in time while the song “My Drug” melodically tells her to take his heart over some atmospheric yet symphonic instrumentation.

The penultimate track “Somewhere to Fly” with Don Toliver finds the 2 telling their lovers to follow them if they ever want to go overseas by their sides from their catchy performances to the aquatic vibes of the beat from WondaGurl until the bonus cut “Burrow” ends the album with CuDi & Don reuniting over Steve Aoki’s signature electro house style of production talking about how getting stronger & faster feels like. If the last 2 joints here are teasers towards a potential collab effort from both these guys, then I wouldn’t be opposed to it.

As wrong as I think Ye is for making the announcement that CuDi wasn’t gonna be on DONDA 2 considering that he talked to Ye about it weeks prior & making a joke out it the Rolling Loud incident, I’d also say CuDi acted incredibly childish by kicking Mike Dean off the Moon Man’s Landing lineup over his ties as his former mentor’s longtime engineer resulting in the album leaking a little bit ago with fart sounds & people speculating Mike was involved with it. That being said, I’m still a fan of all 3 of them at the end of the day & this is a solid soundtrack to his Netflix special. As far as sound goes, he throws it back to the early days of his career & the cohesive concept of it is pretty well told.

Score: 3.5/5

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ΠΔV – “Demons Protected by Angels” review

ΠΔV is 32 year old rapper, singer, songwriter & producer from Toronto, Canada who came to my attention in 2016 after signing to The Weeknd’s very own Republic Records imprint X♥O Records & his verse/production on “beibs in the trap” off of Travis Scott’s sophomore effort Birds in the Trap Sing McKnight. Even though the first brown boy to get it poppin’ has dropped a total of 3 full-lengths along with a 5 mixtapes & an EP since, I think that it’s been made pretty clear that I personally haven’t been the biggest fan of ΠΔV’s music up to this point. Primarily because of his robotic delivery, insipid lyrics & generic production choices (especially on Reckless & Bad Habits). However I did find the Wheezy-produced Emergency Tsunami to be ΠΔV’s best work to date, albeit not by much. I also think he’s always been a pretty solid producer so when I found out he was gonna return behind the boards for his 4th album over here, it definitely had me intrigued.

“Count on Me” is a psychedelic opener produced by Mike Dean talking about self-trust whereas “Baby” takes a more symphonic route thanks to Boi-1da telling his girl to relax & play her part. Lil Uzi Vert tags along for “Dead Shot” comparing themselves to that of the DC Comics villain of the same name over an uninteresting Pro Logic instrumental, but then Lil Baby & Travis Scott come into the picture for synth-trap hybrid “Never Sleep”laced by Tay Keith talking about building their respective legacies.

Continuing from there with “Last of the Mohicans”, we have ΠΔV over a cloudy beat asking God to protect him & asking why he took Lil Keed this past spring prior to the Future-assisted “1 Time” coming through with an intoxicating Wheezy instrumental talking about smashing bitches. BenjiCold brings a rage vibe to “Demons in My Cup” resolving his problems with lean just before “Playa” with Gunna has a more meditative flare to it boasting.

“Weirdo” shoots for a more woozier aesthetic talking about your favorite rapper winking at him whenever he speaks while “My Dawg” with Lil Durk has an aquatic vibe to the beat discussing loyalty. “Don’t Compare” dives into more heady turf talking about giving his girl the real him while “Interstellar” with Uzi weaves some wailing synths into the fold saying everything they do invasive.

Meanwhile on “Loaded”, ΠΔV jumps over a rich trap beat bragging that all of his pocket have exploded while RealestK gives us the weakest feature on the album on “Lost Me” despite the piano instrumental & themes of betraying one’s trust. “Reset” with Bryson Tiller is of course a decent trap/R&B fusion expressing their desires to start their relationships from scratch while “Mismatch” with the current King of Detroit himself Babyface Ray finds the 2 over dense Wheezy production asking not to be judged for their past.

The song “Wrong Decisions” was another solid choice for a single with it’s cloudy instrumental & it’s subject matter detailing the cons of fame while the penultimate track “Destiny” keeps the spacious beats coming talking about being who he was meant to become. “Ball in Peace” however is maybe the best closing track of a ΠΔV project yet, as it serves as a heart-wrenching tribute to his homie jayxxclusive3 that passed away earlier this year.

Although I’m a little disappointed that it’s not primarily self-produced like he originally said it was gonna be because ΠΔV’s always been a great producer in my eyes, Demons Protected by Angels is a surprisingly decent listen & quite possibly his most consistent body of work thus far. The songwriting is getting better, he sounds less robotic & more human than he did on a lot of his earlier work, the production’s more detailed & almost every feature comes correct also. Fingers-crossed that he’ll continue to improve from here.

Score: 2.5/5

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Autumn! – “Golden Child 2” review

Autumn! is a 24 year old rapper, singer/songwriter & producer from Lafayette, Louisiana who made he got his start by dropping 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records following Not Much Left this past fall. He just put out his sophomore album albeit major label debut Antagonist! few months back to positive reception & returned to his plugg roots a month ago with ##B4GC2, but is steadily grinding by putting out his 18th EP.

The intro sets it off with a glistening instrumental talking about being up now whereas “Inside My Head!” takes a more atmospheric route refusing to let the industry take his soul. “Can We Talk!” goes pluggnb responding to everyone who said he fell off prior to “Golden Child!” confessing about lying that he’s fine when he’s really not over a tranquil instrumental. The song “Jay n Bey!” works in a guitar comparing his love for his partner to that of The Carters while the penultimate track “Should Know Me Better!” spaciously talks about needing to relax after moving too fast & that he’ll always be here in the scene. “Myself!” though is a fun send-off to the EP telling this hoe not to deny that she’s like the rest.

As a sequel to one of the best projects in Autumn!’s ever-growing discography, it certainly lived up to my expectations. Much like the prequel & the predecessor, the actual follow-up itself picks up where things left off with it’s well-crafted pluggnb production that helped blow him up & the subject matter all comes from a unique perspective that he continues to bring to the table. He & Weiland are definitely holding it down for Victor Victor right now.

Score: 3.5/5

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Autumn! – “##B4GC2” review

This is the surprise 17th EP from Louisiana rapper/producer Autumn!. Making a name himself in the plugg scene, he got his start by dropping 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Recordsright after his last EP Not Much Left last fall. He just put out his sophomore album albeit major label debut Antagonist! few months back to positive reception & now surprise-dropping ##B4GC2 ahead of Golden Child 2.

“My Collection!” is a spacious opener talking about letting Keisha think that he’s the one that needs her while the self-produced “I’m Doin’ Fine!” takes a pluggier route assuring everyone that it’s all good on his end. The penultimate track “Know You Hear Me!” has a more psychedelic edge to it delivering a message to the higher power & “Wait Yeah!” closes out the EP with a fun trap banger confessing that he doesn’t know who he’d be without the power of music.

Golden Child is still a favorite of mine throughout Autumn!’s catalog due to how personal he got on there & this prelude has me anticipating the sequel highly. The production is a lot more plugg-influenced than Antagonist! was & the introspection that made the first Golden Child so special happens to carry it’s way over here.

Score: 4/5

Drake – “Honestly, Nevermind” review

Drake is a 35 year old rapper, singer, songwriter, actor, producer & entrepreneur from Toronto, Canada who skyrocketed to fame in 2009 off his 3rd mixtape So Far Gone. The success of this groundbreaking project resulted in a contract with both Young Money Entertainment/Cash Money Records & they helped put out the man’s full-length debut Thank Me Later the next summer. His sophomore effort Take Care the year after would be even better & I enjoyed Nothing Was the Same too but after If You’re Reading This It’s Too Late & then What a Time to Be Alive with Future (both of which came out in 2015), that’s when the quality in Drake’s music really began to take a nosedive. VIEWS was a terrible foray into dancehall, More Life was mediocre despite being stylistically eclectic, his YM/CM swan song Scorpion was a disappointingly failed attempt at making a double disc album showcasing his hip hop/R&B sides of his music respectively, Care Package is decent collection of 17 loosies from 2010-2016 that we’ve all heard before, Dark Lane Demo Tapes tried to experiment with new sounds only to miss the landing & Certified Lover Boy just felt like the same old shit we’ve heard from him before. However to celebrate his new SiriusXM radio show, Drizzy is surprise-dropping his 7th album.

After the intro, “Falling Back” opens up the album by going full-blown afrobeats with Drake singing about giving his all into a relationship whereas “Texts Go Green” is a more mellower cut produced by the album’s executive producer Black Coffee as he details him moving on from an ex. “Currents” pulls from Jersey club music with a distracting squeaking sound throughout talking about how he feels like he’s tumbling & doing a shitty Abel impression on the hook, but then “A Keeper” asks his old muse why he’d have her stick around over an airy instrumental.

Meanwhile on “Calling My Name”, we have Drizzy returning to dance-pop turf thanks to Carnage asking why it’s hard for him to give this bitch up just before “Sticky” comes through as the best track off the album with the lyrics about knowing tough situations can be & how the drums just hit you in the chest. “Massive” embraces a housier sound singing to his lover about finding them again, but then “Flight’s Booked” incorporates some synths to singing for his chick not to make him wait.

“Overdrive” has a funky ass groove to it with a fresh guitar solo at the end that I both really like admitting that his heart’s racing while “Down Hill” tells his bitch that they’re done & the 40 instrumental has an intriguingly wavy flare of the beat as well as the finger-snaps. The song “Tie That Blinds” throws a nylon guitar in with some prominent drums confessing that he never wants to see his lover leave while the penultimate track “Liability” slathers his vocals in chopped & screwed effects singing about changing for this woman with the hi-hats being mixed louder than the synths. “Jimmy Cooks” with 21 Savage ends the album with a fun 2-parter produced by Vinylz, Tay Keith & Cubeatz describing them throwing a party for their Day 1s.

I’ve noticed the reception for this has been very polarizing but for it to be a homage to the late Off-White founder Virgil Abloh, I’m honestly on the fence with it. I respect that Drake put his signature pop rap sound in the back-burner in comparison to Certified Lover Boy not elevating it any further so he can mix house & alternative R&B with afrobeats, but the results are extremely hit or miss.

Score: 2.5/5

Post Malone – “12kt Toothache” review

Post Malone is a 26 year old rapper, singer, songwriter & producer from Grapevine, Texas who rose to stardom in 2015 with the single “White Iverson”. This resulted in him signing to Republic Records, where’s made himself home ever since by dropping a total 3 full-lengths & a mixtape in that span of time. Now even though I’ve never really been the biggest fan of Posty’s work, there’s no denying that he has a decent amount of tracks that I genuinely enjoy like “Congratulations” as well as “rockstar” & who could forget “Sunflower”? Hell I even liked his sophomore effort beerbongs & bentleys, which I maintain is the crown jewel of his discography. It’s been almost 3 years since we last heard from him in the form of Hollywood’s Bleeding, which didn’t resonate to me because I felt like he was just riding the emo rap coattails. That being said, I didn’t know what to expect from this 4th album of his given how long it’s been since he’s put out music.

“Reputation” is a passionate piano ballad produced by longtime collaborator Louis Bell to open up the album with Posty advising the world to save themselves whereas “Cooped Up” with Roddy Ricch has somewhat of a hyphy flare to it & the way they both go on about pullin’ up to a party is just so boring. “Lemon Tree” takes a more acoustic route singing that he’s shit out of luck, but then “Wrapped Around Your Finger” goes full blown dance-pop to whine & cry about missing his ex.

Meanwhile on “I Like You (A Happier Song)”, we have Doja Cat accompanying Post for a moody trap banger with a playful attitude to it leading into the Gunna-assisted counterpart “I Cannot Be (A Sadder Song)” asking what they want them to be over a cloudy instrumental. “Insane” obnoxiously describes a bitch that went from classy to nasty over a cavernous beat just before “Love/Hate Letter to Alcohol” comes through as my favorite off the album, as Posty wears his heart on his sleeve about alcoholism & the production is intense.

The Kid Laroi comes into the picture for “Wasting Angels”, which unfortunately wastes a synth-heavy beat for them to spit some unlikeable bars about how crazy their lives are while “Euthanasia” has a more skeletal approach in terms of sound singing that it’s not gonna hurt when he passes. “When I’m Alone” fuses these synths & punky drums only to spill more breakup melodrama while the song “Waiting For a Miracle” is yet another piano ballad about how he stays fucked up. The penultimate track “1 Right Now” is a laughable “Blinding Lights” ripoff which is a shame since The Weeknd carries it & the closer “New Recording 12, Jan 3, 2020” ends the album with an unfinished acoustic demo.

For this to be Posty’s comeback after 3 long years, I can say that I walked away from 12kt Toothache enjoying it even less than Hollywood’s Bleeding. Primarily because it seems like there’s little to no risks being taken as far as the overall sound goes & he sounds mostly uninspired throughout a good portion of the 43 minute run.

Score: 1.5/5

Autumn! – “Antagonist!” review

Autumn! is a 23 year old rapper/producer from Lafayette, Louisiana who’s made a name himself in the plugg scene by dropping 15 EPs & a full-length debut on SoundCloud since 2018. But in light of him signing to Victor Victor Worldwide & Republic Records following the release of his previous EP Not Much Longer last summer, he’s now returning with his long-awaited sophomore album & major label debut after teasing it for so long.

The self-produced title track opens up the album with some rage beats throwing shots at KanKan, SeptembersRich & Yeat whereas “STFU!” works in some Atari-like synths & some heavy bass talking about not wanting to hear shit unless it’s about the money. “STFU! 2” picks up right where it’s predecessor left off calling out those who backstabbed him, but then “I’m Him!” takes a ghostly route asking “Why these n****s keep playing like I ain’t him?”.

Meanwhile on “Everything!”, we have Autumn! returning to hypertrap territory declaring himself as a boss just before “Bentley Bentayga!” has a more futuristic flare to it talking about the rich lifestyle. “Bentley Bentayga! 2” is a bombastic follow-up to it’s predecessor asking how many bitches can fit in the titular car leading into the rage-sounding “Etiquette!” admits not knowing shit about protocol.

“Jumpin’!” goes into cloudier yet poppy territory thanks to Internet Money Records’ very own Rio Leyva reflecting on being destined for this music shit while “We Adapted!” returns to a more pluggier sound talking about feeling like a bastard & a pastor. The song “Free Bugga! 3” is the 3rd tribute that Autumn! has made for his uncle Bugga in prison that’s just has touching as the predecessors while the penultimate track “Talk’s Cheap!” keeps the plugg vibes going talking about moving smarter. “1 Way!” eventually closes out the album with a contemporary R&B ballad addressing an ex.

Coming from someone who got put onto him last summer, I think this is a very impressive major label debut for Autumn! & some of the best work that he’s put out so far. The production is diverse in sound ranging from hypertrap to plugg & I admire that he didn’t go crazy for features to demonstrate his vocal/songwriting talents.

Score: 3.5/5

SosMula – “2 High 2 Die” review

This is the 2nd solo album from Manhattan’s very own SosMula. Coming up as 1/3 of the trio City Morgue alongside fellow emcee ZillaKami & producer Thraxx, they’ve released 2 full-length albums & an EP together up before branching out on their own for a little bit. Sos was the first to step up to the plate last summer by dropping 13 Songs 2 Die 2, which was a bit of a disappointment in my opinion due to the features & production. ZillaKami followed it up a month later with HIS solo debut Dogboy & the duo reunited to drop Bottom of the Barrel the month after that, both of those I found much more tolerable. Nonetheless, I still went into 2 High 2 Die with an open mind as I’m still very much a fan of City Morgue’s work.

“PARTY ON MY BLOCK” opens the album up with a hypertrap banger talking about partying of course whereas “GIMMIE DAT” keeps the rage beats going thanks to F1LTHY talking about getting slumped as fuck. “HEAD TAP” follows it up with an obnoxious hook going further down the hypertrap rabbit hole spitting gang imagery just before “GET OUT” picks the energy back up with an off-the-wall bone breaker.

Meanwhile on “RICH BOI”, we have Mula over a heavy bass-line to flex his wealth leading into the manic “PULL UP” talking about how he already told us he was a star. “SNAP” returns to rage turf asking where his bands at, but then “BIG GUCCI” has a glitchier aesthetic to it talking about catching a body much like Gucci Mane.

“BIG NARCO” incorporates some crazy synth melodies providing an anthem for the heavy users while “WE SO UP!” energetically boasts his success. “SIERRA LEONE” throws some organs in the mix getting his murder bag while “MOLLY WATER” awkwardly describes getting his head knocked off by a bitch despite the futuristic production.

Following that, “PRESS A BUTTON” with Lil Tracy has to be the biggest mess of a song on the entire album talking about a hoe named Trish while “S.T.I.C.K.” follows it up with an unhinged ode to being strapped. “MAKK BALLA” has a more a rubbery tone to it talking about calling the shots while “MIX N MATCH” fuses some haunting piano melodies saying he can’t shop outside cause he’s too rich.

“YAZUKA 2000” goes into more ghostly turf talking about his body being different while the song “BODY PARTS” is a distorted horrorcore gorefest. The penultimate track “BITE DOWN” talks about getting fucked up off that syrup over a rattling instrumental & “CUTTIN’ SHIT” ends the album with 1 final ode to his shooters.

Now in comparison to Sos’ last album, [i]2 High 2 Die[/i] is definitely more tolerable. I once again appreciate him trying to stray away from the trap metal sound that City Morgue is known for, except this time he got rid of all the redundant features & it’ll be interesting to see him continuing to dabble into hypertrap alongside Kami at some point because it suits him fine here.

Score: 3.5/5

Coi Leray – “Trendsetter” review

Coi Leray is a 24 year old rapper & singer/songwriter from Hackensack, New Jersey who started making musical a decade back inspired by father Benzino. Even though I found her debut mixtape Everythingcoz along with her first 2 EPs EC2 & Now or Never to be mediocre, I was curious about her full-length debut over here given that I genuinely liked a couple of the singles she dropped within the last year.

“Hollywood Dreams” is a drumless yet euphoric opener talking about doing this music shit for her whereas “Blick Blick” comes through with a pop rap cut with God awful performances from Coi & Nicki Minaj stealing the show. I would much rather listen to that than “Aye Yai Yai” with Yung Bleuthough because it’s a cringey, buttery sex ballad. “Mountains” with Fivio Foreign & Young M.A.comes through with some triumphant lyricism over a somewhat psychedelic instrumental just before G Herbo tags along for the futuristic “Thief in the Night” to play Coi’s “sneaky link”.

Meanwhile on “Overthinking”, we have H.E.R. coming into the picture over an acoustic trap beat to help Coi talk about men not listening while “Clingy” almost has a West Coast groove to it with NAV awkwardly playing Coi’s counterpart much like “Thief in the Night”. That being said, “Heartbreak Kid” works in some fresh guitar riffs getting flirtatious & “TWINNEM” almost made my worst singles of 2021 list because it’s pretty much a ripoff of “Best Friend” by Saweetie & Doja Cat. “No More Parties” with Lil Durk on the other hand impressed me with it’s piano instrumental and the topic of going on to do better things.

After the “Be Me” interlude, “Lonely Fans” has a warm feeling with the production as Coi spits off the dome for a minute & a half while “Heart in a Coffin” is a dreary breakup anthem. “Paranoid” with Polo G finds the 2 delivering a twangy trap banger addressing themes of loyalty, mistrust & fame while “Box & Papers” aggressively talks about how “what’s forgiven is never forgotten”.

“Mission Impossible” with Lil Tecca sees the pair talking about their success with Chief Keefcooking up what’s easily the best beat on the album while the song “Too Far” is a touching dedication to her homie Atkins who’s locked up. The song “Mustard’s Interlude” with A Boogie wit da Hoodie has yet another acoustic trap flare to it with them trading the mic with one another very impressively while the penultimate track “Anxiety” is a rubbery display of how 2021 was for her. “BIG PURR (PRRDD)” with Pooh Shiesty ends the album with an ass kicking drill cut.

Yeah, it’s safe to say that Trendsetter is yet another run of the mill pop rap album with slightly more misses than hits. Coi is most certainly talented & most of the features came correct, but the album just feels all over the place as a whole & a lot of the production choices are very questionable in my opinion.

Score: 2/5