Majid Jordan is an alternative R&B duo from Toronto, Ontario, Canada consisting of singer Majid Al Maskati & producer Jordan Ullman. Forming in 2011, it wasn’t until a couple years later when 40 signed them to OVO Sound & was featured on their mentor Drake’s hit single “Hold On, We’re Going Home”. Their 2nd EP A Place Like This stands to date as the best project in their catalog, as none of their 3 full-length LPs have been able to reach that caliber generally receiving moderate feedback. However, my curiosity got the best of me & I had to give Good People a shot.
“Tears in Your Eyes” is a smooth soul opener expressing how much he deeply needs this woman in his life whereas “Waiting for You” featuring OVO’s newest recording artist Naomi Sharon mixes alternative R&B with sophisti-pop & some smooth soul undertones as she & Majid both sing about hanging on to love. “Eyes Closed” is really the only song on here I don’t like sounding like Majid’s impersonating Michael Jackson over another smooth soul instrumental just before “Hands Tied” dabbles with new wave & synthpop a bit having an epiphany now that he & his significant other have found each other.
Meanwhile, “Slip” takes a more spacious route to the beat from Jordan as Majid comes clean with this woman to not leave him in doubt leading into the 7-minute “Violet” singing over atmospheric production about growing when their hearts are open. “The Message” goes for a stripped-back approach telling her that all he can offer her belongs to her while the breezy guitar ballad “Cyanide” confesses to this woman that he takes his shy away. The fittingly peaceful closer “Sunset” reminds that being here today & gone tomorrow truly with him it is a tough pill to swallow.
It’s seriously already been a decade since these guys made themselves at home with OVO & as someone who’s been listening to them since that Drizzy single they were featured on, this is the most I’ve enjoyed a whole album from them thus far & it’s the best thing they’ve done since A Place Like This. Jordan Ullman expands beyond the duo’s alternative R&B sound in favor of smooth soul, sophisti-pop, neo soul, new wave & synthpop as Majid Al Maskati assures everyone that solid individuals will be there for you whenever you find it.
Naomi Sharon is a 28 year old singer/songwriter from Rotterdam, Zuid-Holland, Netherlands who started out in 2018 with her debut single “Breeze”. She would go on to release 4 more singles until Toronto superstar Drake made her the newest signee to OVO Sound this past summer. So after building up some hype for this full-length debut LP over here in the form of a couple singles, we’re getting a proper introduction to her a couple weeks after For All the Dogs became the best thing Drizzy has done since 2015.
“Definition of Love” is a great opener drawing from sophisti-pop, alternative R&B, afrobeats & UK bass singing that her partner is exactly that whereas “If This Is Love” works in a smooth soul instrumental singing about this man’s beauty becoming strange to her. “Another Life” fuses alternative R&B with ambient house, ambient pop, downtempo & afro house confessing that her heart is aching even though she promised herself that she wouldn’t break it leading into the acoustic “Myrrh” passionately sings about an anciеnt love filling the room.
40’s production on maybe my favorite track here “Celestial” is absolutely dreamy with Naomi on top of it telling the person that she’s no longer seeing that she actually still adores him just before the moody, afro house infused “Time & Trust” advises that the 2 things don’t mix. “Push” featuring Omah Lay is an afrobeats duet with both singers tackling themes of intimacy, but then “Holding in Place” has a bit of a wavy chilled out EDM influence to the beat singing about times like this not lasting forever & doing the best she can to keep the most important person in her life with her.
“Extacy” discusses losing empathy & parts of her are already starting to move on over a luscious instrumental while the cavernously produced “Lucid Dreamer” explains that there’s no luxury worth living. “Regardless” assures this guy that she’ll stick around even if she’s brokenhearted accompanied by some acoustics & after the “If This Is Love” outro, the bonus track “Hills” truly ends Naomi’s debut album with a tropical vibe singing about having a dude loving love that wasn’t for them.
Starting the deluxe run officially, “Nothing Sweeter” balances between contemporary R&B & neo-soul with a hint of singer/songwriter explaining that nothing else hits different for her than the first kiss from the love of her live while “Goodbyes (Myrrh)” experiments with deep house & garage house with the help of DJ Snake for a reimagined successor to “Myrrh” & one that I find myself enjoying significantly compared to the original version of it.
OVO as a label generally tends to be mid in what they have to offer alternative R&B alongside trap & pop rap, but I can definitely see why Drake signed Naomi Sharon to begin & am interested in hearing her blossom artistically going forward. She incorporates elements of afrobeats, downtempo, sophisti-pop & afro house into the PBR&B sound that October’s Very Own specializes in with an additionally clear Sade influence.
This is the 3rd full-length album from Los Angeles, California recording artist Doja Cat. Blowing up in 2018 off her viral novelty single “MOOO!”, was followed up the next year with her debut mixtape Hot Pink which was decent as a whole despite the fact that “Say So”solidified that she wasn’t going away anytime soon. Planet Her showed some improvement compared to her previous works by delivering a pop rap/R&B concept album based around a self-originated world. However, my expectations for Scarlet were higher considering that it was confirmed to be a full-blown hip hop effort.
”Paint the Town Red” stars off the LP by pulling from snap & chipmunk soul saying what she said whereas Demons” is an underwhelming no melody trap metal/horrorcore hybrid d.a. got that dopehelped put together laced asking if bitches are shook now that her pockets are on swole. “Wet Vagina” takes a roudier approach hilariously declaring herself to be the queen of drip, but then “F.T.G. (Fuck the Girls)” comes through with a trunk-knocking instrumental from Beat Butcha charismatically giving a middle finger to the hoes hating.
Meanwhile, “Ouchies” is a 2-minute riot starter laced by London on da Track & Sean Momberger with her popping it all off referencing WWE Hall of Famer Mike Tyson just before “‘97” takes lavish route thanks to Jay Versace talking about how it looks like she genuinely doesn’t give a shit whatsoever. “Gun” moves the album forward with a cloud trap joint clarifying that she does in fact know how to use a firearm leading into the atmospheric “Go Off” flaunts the new materialism such as ice that she had recently acquired.
“Shutcho” ends the first half of the LP with a dreamier instrumental calling out those who be running their mouths nonstop while “Agora Hills” blends these hi-hats & icy synths getting on the more romantic side of things conceptually. “Can’t Wait” goes into luscious boom bap turf eager to being next to that special man in his life while “Often” gives off a funky neo-soul tone talking about this guy must do the bullshit he pulls on her quite frequently. Moving on from there, “Love Life” spaciously makes it clear that she loves when her life’s like this while “Skull & Bones” goes for a ghostly feeling sonically talking about the only thing she folds under is pressure.
“Attention” fuses jazzy boom bap with trip hop & neo-soul courtesy of Rogét Chahayed embracing herself as she disses the people who’ve disliked & hated her for her change in appearance in the public eye while ”Balut” pulls from g-funk a little bit too comparing it to takin’ candy from a baby. The “WYM” freestyle that rounds out the new best full-length album in Doja Cat’s discography finds her kicking it off the top for a couple minutes over an orchestral loop & hi-hats.
DJ Camper’s soulful beat on “Acknowledge Me” is a good way to get the deluxe rolling hating herself when you get under her skin while “Disrespectful” talks about a hustler who ain’t getting funds over piano chords, kicks & snares. “URRRGE!!!!!!!!!!” featuring A$AP Rocky draws inspiration from the Memphis scene fighting the urge to keep gettin’ rich while the playful trap cut “OkLoser” addresses a chick who left the team. “MASC” featuring Teezo Touchdown talks about being too grown for bullshit backed by a rich trap instrumental while the pop rap/trap crossover “Piss” produced by CashMoneyAP likens her diamonds to urine & “Headhigh” mellowly ends the bonus track run talking losing faith in humanity.
Doja Cat has proven before that she could rap her ass off so when it was announced that Scarlet was going to be predominantly built around that style, I knew it had to be better than Planet Her & sure enough: it is. She delivers some of her most passionate performances to date, the production is refined compared to the last LP & I like how she ditched to features to hold down the fort all by herself.
This is the 3rd full-length album from Atlanta, Georgia recording artist Glokk40Spaz. Emerging off the Don’t Get Took Off mixtape trilogy & the debut EP Spaz&B, he would also go on to drop his very first LP 2 Glokks followed by the sophomore effort Baby Whoa with both of them receiving quite a bit of acclaim. But now in light of the EBG Records founder signing to Columbia Records, I was anticipating to hear what hear how his major label debut Took the Biggest Risk would play out.
“Enough Ammo” opens the LP with synthesizers & hi-hats advising to take precaution when you step in his trap house whereas “Forgot My Manners” works in a piano-trap instrumental some bells talking about growing up on some Adam “Pacman” Jones shit gangbanging in his city. “3rd World” embraces the plugg sound flexing that he be high as Hell just before “Different Goals” works in some hi-hats & low at synthesizers pointing out the difference in goals between him & everyone else.
Meanwhile, “Fuck Sum” has these organ-like synth melodies promising to look in the eyes of his enemies as they die referencing WWE Hall of Famer Mike Tyson leading into “Whatchu Sayin’?” making it clear that he can meet up & have a shootout with any opposition whatsoever. The trap beat from SenseiATL on “Facecard” gives me an UFO inspired feeling showing off big chopsticks that’ll make motherfuckers doing backflips, but the “Blame Us” brings back the synthesizers once more talking about potentially being coupled with a bitch that has mob ties.
“I Got an Army” layers an aggressively passionate delivery over a plugg beat acknowledging that he’s got a militant force in full effect ready to go to war for him while “Tailor Made” hooks up these wavy synth melodies & hi-hats talking about having the mind of a psychotic. “Levels 2” detours into pluggnb territory courtesy of Dylvinci delivering a sequel to one of the best cuts off the Spaz&B EP that is until “Backdoor” mixes some synthesizers & hi-hats talking about busting through the back entrance all for the bag.
Lastly, “All Black” featuring BabySolid recaptures the chemistry that made their collab tape GONE M.A.D for a dark plugg cut on their vampire shit while “8 Mile” has a more straight-up plugg groove daring these pussies to drop a diss on his squad. “Yung Killa Camp” shoots for a chilled out atmosphere taking 2 minutes out of his time to rep EBG while the pluggy “Get Wicked” looks to see what’s mobbin’ when he pops out. “Take a Risk” ties up his major label debut being more talking about risk taking over keys & hi-hats needing all the bread up front.
The deluxe has 9 bonus tracks & I’ll go over them right now. “Ace of Spades” starts with a distorted trap instrumental flipping everyone while the “Enough Ammo” remix featuring Young Nudy is actually superior to the original. “Glokk’$ on Me” goes head-on rage talking about having sticks on him while “See You Again” returns to the plugg sound making it clear that he ain’t even have to reload the Glock in his pocket.
“Open Cases” hops over ominous, sinister synth pads & lead melodies, skittering hi-hats & fast percussion & snare rolls detailing the gangsta lifestyle while the grisly “Good 2 Go” calls out those actin’ all hard when they really soft as shit. “How 2 Drive” talks about risking his life in East Atlanta over a booming beat while the trippy “Codeine Dreamz” featuring OsamaSon says it all. “4 Walls on an Island” ends the deluxe by rapping over the prison cell phone mixed with this cloudy instrumental.
The final installment of the Don’t Get Took Off trilogy solidified GL4Spaz as one of my 2 favorite artists in the evil plugg scene next to Smokingskul & the risks that he took on this album here will only elevate him to the next level. He continues to deliver lyrics from a gangster’s perspective whilst sonically refining the trap sounds & subgenres that he made waves off of
It’s finally arrived: The 4th full-length album from Houston, Texas rapper, singer/songwriter, producer & entrepreneur Travis Scott. Not only was it confirmed by DJ Premier recently that La Flame’s father actually taught Preem how to play drum & bass, but Trav himself up as 1/2 of The Graduate$ until the duo disbanded after he signed a joint deal with T.I. to Grand Hustle Records as a recording artist & with one of my top 10 music producers of all-time Kanye West as a G.O.O.D. Music in-house producer. His debut mixtape Owl Pharaoh that came out my sophomore year had a blatantly heavy KiD CuDi influence which isn’t bad because it was even said that CuDi was Travis’ biggest musical influence & they’ve since formed a superduo called The Scotts. The sophomore tape Days Before Rodeo was where he started coming into his own artistically & the Epic Records distributed full-length debut Rodeo has rightfully become one of the most important trap albums of all-time. Birds in the Trap Sing McKnight followed the next fall to more moderate reception even though the highs like “sweet sweet” & “goosebumps” are very high, but ASTROWORLD came out only a few days after a death in the family & it helped me get through it as Travis would expand on the psychedelic trap sounds of his groundbreaking debut album. This would subsequently be his last body of work to be released under Grand Hustle, as he would go on to form his own Epic imprint Cactus Jack Records. But after years of singles & a crowd crush at the 3rd annual ASTROWORLD Fest that some people still blame him for even though the same security who worked there were the same ones who worked when Dave Chappelle got jumped on stage last year, the H-Town trap trailblazer is taking us to UTOPIA.
“HYAENA” is a self-produced boom bap opener flipping “Maggot Brain” by Funkadelic talking about shit being out of control as it is calling the situation we’re in currently to neither be a good one nor unblessed whereas “THANK GOD” gives his thanks to the man upstairs for still being here today & the only 12 he supports being the greatest QB of all-time or 7-time Super Bowl champion Tom Brady over a drumless instrumental with co-production from Ye, BoogzDaBeast, WondaGurl, FNZ & Allen Ritter. “MODERN JAM” featuring Teezo Touchdown speaks on the way the world is now as Guy-Manuel de Homem-Christo & Mike Dean sonically draw inspiration from Yeezus a bit that is until “MY EYES” has a dynamically dreamier vibe courtesy of Wheezy & Justin Vernon confessing that his eyes remain closed.
30 Roc & Dez Wright hook up a melodic vocal loop & hi-hats for “GOD’S COUNTRY” talking about how it ain’t up to you no more just before “SIRENS” energetically talks about being too determined & needing refurbishing. “MELTDOWN” featuring Drake is essentially a spiritual successor to “Sicko Mode” with all the instrumental switch-ups from Boi-1da, BNYX of Working on Dying, Tay Keith & Vinylz respectively getting on tea time with my only complaint being Drake’s redundantly corny diss to one of my idols Pharrell. We all know the story of Adidon, but he didn’t have to throw Skateboard under the bus. The secondary WrestleMania XLI official theme song “FE!N” featuring Playboi Carti though makes up for it by going into a synth-heavy realm talking about drug use & Carti’s vocal utilizations throughout are unbelievable.
“DELRESTO (ECHOES)” featuring Beyoncé sounds like it could’ve been on B’s comeback effort Renaissance from last summer as they jump on top of a house beat from Hit-Boy clarifying the only thing they escape for is the echoes themselves, but then “I KNOW?” talks about a girl that really ain’t even his type backed by a nocturnal trap instrumental. “TOPIA TWINS” featuring Rob49 & 21 Savage blends some organs & hi-hats referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion & $7 Productions co-founder The Rock showing off 2 twin bitches hoppin’ off a jetski even though Rob’s contribution doesn’t hold up to La Flame’s or 21’s, but “CIRCUS MAXIMUS” named after his debut film talks about having his final moment on top of synths & heavy drums.
Cactus Slatt gets together for the trippy, 6-minute “SKITZO” once again dabbling with multiple beat-switches pointing out how the bitches they bagged do that there on top of Travis rightfully choosing Kanye over Biden any day while the “PARASAIL” interlude gives off a slower edge promising to eternally fight for everything he loves. “Lost Forever” featuring Westside Gunn was something I was highly anticipating sampling both “f.o.r.e.v.e.r.” by James Blake & “Don’t Be Safe” by Check Senrick thanks to another top 10 producer of mine The Alchemist so Trav can discuss being lost in Utopia on top of West dropping the raw gangsta shit we’ve come to love him for later on.
“LOOOVE” by The Scotts goes into more robotic territory understanding that they’re loved asking if that’s how anyone else is feeling while “K-Pop” featuring Bad Bunny fresh off his WrestleMania XXXIX guest Spanish commentator appearance & The Weeknd is basically a male version of “Bang Bang” by Jessie J, which I actually understand why he chose it as a single even though I’ll most likely never listen to that song again. Really the only skip here. The cloudy penultimate track “TELEKINESIS” featuring Future & SZA finds the trio talking about seeing ahead into what’s to come, but “‘TIL FURTHER NOTICE” featuring James Blake & 21 Savage wraps up Utopia by saying x-rated love is the best kinda love accompanied by a synth-trap hybrid from Metro Boomin’.
ASTROWORLD quickly became my 2nd favorite Trav album for how it expanded on the psychedelics that made his full-length debut amongst the most groundbreaking trap projects to come out within the last decade & it makes me happy to see how much it’s aged well, but UTOPIA easily stands at the #3 spot. It’s refreshing to hear him behind the boards again with him wearing the Ye influences HEAVY as he shows us all experiences where utopian things can exist & you can enjoy yourself & have a good time.
Smiley is a 25 year old rapper from Toronto, Ontario, Canada starting out as a member of the Garden Gang. He would go on to drop his debut mixtape Buy or Bye in the spring of 2018, which was followed up with 2 EPs & even a couple more tapes before local superstar Drake signed him to OVO Sound a little over 2 years ago already. As for his OVO debut Buy or Bye 2, it didn’t really do all that much in catching my interest or standing out enough to the point where I’d go back to it. But ahead of his 26th birthday next Thursday, I went into Smiley’s 3rd EP albeit 2nd body of work under the 6 God’s wing hoping he would surpass my expectations a little.
“Moderation” is an airy trap opener with Smiley talking about motivating a hoe after taking ecstasy whereas “Benzi Boys” works in some piano melodies & hi-hats as Tay Keith cooking up quite possibly the best instrumental on the whole entire EP preferring Mercedes-Benz over Honda, which rightfully so in my opinion. “Fast Route” goes full-blown drill talking about waking up in the morning to count hundreds just before “Nicky 9 Door” takes a syrupy trap approach details beating it up nice because fuck the plug.
Meanwhile, “How Far” gives off a more triumphant vibe talking about going from his Garden Gang days to being a protege of one of the biggest superstars in the world is profound although it’s way too short. Also, the LeBron James reference during the hook doesn’t do much for me either personally as dope as he is on the court. “Eternals” on the other hand has a hazier trap approach promising tondo it just like his mentor did with eyes green like Jaylen despite the fact that a good chunk of the OVO roster doesn’t really stand out.
The song “You Went Ghost” shifts into cloudy trap territory basically calling out someone that basically did him dirty as fuck while the penultimate track “Cut Her Off” brings in some hi-hats & a vocal sample drowning heavily in reverb talking about having to severe ties with a bitch because he feels like he’s at the point now where he’s better off without her in his life. “Long Nights” is a more stripped back choice of a closer laced by Cubeatz as he makes it known to his new bitch who wants to celebrate that he ain’t in the mood to do so right now.
I’m not trying to hate on OVO because I do appreciate Popcaan for already being a dancehall veteran on top of enjoying PARTYNEXTDOOR’s early stuff, Majid Jordan’s 2nd EP albeit OVO debut A Place Like This & lastly dvsn’s debut album Sept. 5th respectively. And outside a few flashes in the pan, Smiley further proves himself as the weakest link on the label. The production’s ok, but his voice isn’t all that commanding accompanied by songwriting that I’d consider mediocre at best & the lows are cringeworthy.
This is the highly anticipated sophomore effort from St. Louis, Missouri singer/songwriter SZA. Emerging about a decade ago in the alternative R&B scene off the strength of her first 2 EPs SEE·SZA·RUN & S, she would eventually sign to Top Dawg Entertainment in the summer of 2013 & has since made herself home with the west coast label by putting out her 3rd EP Z alongside the RCA Records distributed full-length debut CTRL. But with the 5 year anniversary of the latter passing by over the summer, she’s returning in the form of S.O.S.
The title track opens things off with a stripped back instrumental from Jay Versace sampling “Until I Found The Lord (My Soul Couldn’t Rest)” by Gabriel Hardman expressing her desire to take what’s rightfully her’s whereas “Kill Bill” has a more spacious quality to it thanks to Carter Lang singing about how mature she is. “Seek & Destroy” however has a moodier vibe calling out someone who pushed her to her capacity, but then “Low” goes into trap territory talking about keeping shit on the DL.
Meanwhile on “Love Language”, we have SZA on top of an aquatic beat asking for transparency leading into “Blind” diving into more drumless turf confessing that she can’t see the things she needs & the love she seeks. “Used” returns to a more atmospheric quality courtesy of DJ Dahi singing about feeling like it’s over & something callin’ to get closer just before the seductive” Snooze” produced by Babyface & Leon Thomas III lets her lover know just how important he is to her.
“Notice Me” returns to a more trap-based sound explaining that she doesn’t need to be this dude’s lover while “Gone Girl” admits that she needs more space & security over a piano instrumental with some finger-snaps featuring co-production from Emile & Jeff Bhasker. “Smoking on My Ex Pack” goes full-blown chipmunk soul rapping about an ex of hers for 83 seconds while “Ghost in the Machine” ponders if one could distract her from all the disaster over a rich yet minimal beat.
Continuing from there with “F2F”, the guitars throughout were unexpected yet welcoming as SZA admits that she hates herself enough for the 2 of them while “Nobody Gets Me” keeps the acoustics around courtesy of benny blanco singing about being misunderstood by everyone except the person that she’s currently with. “Conceited” is a tropical trap banger acknowledging how introverted she’s always been while “Special” works in some more finger-snapping & an airy backdrop feeling like she’s a loser when I personally feel like she’s far from it considering I’ve been a fan of her music since high school.
“Too Late” has a more cloudy yet peppy tone to the instrumental as the lyrics address 2 lovers that’re dangerous for each other while “Far” talks about being unable to trust anyone & done getting fucked over with some synths & hi-hats laced together by Beat Butcha. “Shirt” comes through with an alternative R&B/trap hybrid admitting that she likes feeling lost while the Travis Scott-assisted “Open Arms” comes with a guitar-driven sequel to “Love Galore” talking about devotion.
The song “I Hate U” has some downchill/vaporwave undertones to it expressing her disscontempt for an ex in her life while the penultimate track “Good Days” is a remarkable neo-soul cut pulling from neo-psychedelia & chamber folk singing about focusing on the positives in her life. “Forgiveless” however is a boom bap closer starting off with a sample of “The Stomp” by the late Ol’ Dirty Bastard of the almighty Wu-Tang Clan & SZA calling out those disrespecting her behind her back.
Between this as well as Kendrick’s latest album Mr. Morale & the Big Steppers alongside Ab-Soul’s comeback effort Herbert dropping next weekend, 2022 has been the best year that TDE has had in quite some time. The production is more contemporary, yet her songwriting is as strong as before & her performances come off as genuinely passionate. Whether she actually quits making music or not because she’s been teasing it forever now or we get a new body of work from her at some point, anyone who loves the alternative R&B trailblazer as much as I do would consider this a welcoming return.
BROCKHAMPTON was a hip hop “boy band” that originated in San Marcos, Texas in 2010 via the “KanyeToTheForum under the original name AliveSinceForever. But when things started to look good for them after they released the SATURATION trilogy to universal acclaim in 2017, one of their founding members Ameer Vann was kicked out midway through the following year due to sexual misconduct resulting in the boys’ next 2 albums following iridescence & GINGER were both released to moderate reception. ROADRUNNER: NEW LIGHT, NEW MACHINE however became their best post-Ameer album a year & a half ago at this point but after announcing their disbandment following their Coachella performances this past April & only a day after their de facto leader Kevin Abstract dropped his new solo effort The Family, the boys are getting back together one last time for their 7th & final album.
“F.M.G. (Fuck My Gang)” is an aggressive trap opener produced by Kiko Merley & JOBA with Dom McLennon & Matt Champion accompanying Kevin to quit being humble whereas “Animal” finds Jabari Manwa, Kevin & Matt talking about turning into beasts over a cloudy Romil Hemnani instrumental. “Listerine” though returns to trap territory as Dom & Jabari addressing a bitch that’s tripping ’cause it’s less on them prior to the playful sounding “New Shoes” with Kevin, Dom, Matt & Merlyn Wood assuring everyone that the group is still on good terms with one another even though they’re disbanding & Matt wanting a house in 大阪 or the home prefecture of former 3-time WWE women’s world champion 3-time WWE Women’s Tag Team Champion 明日華.
However on “Keep It Southern”, we have Kevin & Merlyn over a trap beat with some synths paying tribute to their Texas roots just before “Man on the Moon” dives into more melancholic territory with a cool dance break at the end for Kevin & Matt to talk about wanting to make out with their lover on the actual moon itself & the hook is probably the catchiest on the album. “Better Things” is pretty much a moody Kevin Abstract solo cut with Matt on the hook & an outro from JOBA to speak on the next chapter of their lives just before “Crucify Me” works in some live drums & pianos for Kevin & Matt express their desire to rewind & pretend that they knew what they were in for with a crazy instrumental outro pulling from jazz music.
The song “Duct Tape” has a more booming quality to the instrumental as Jabari, Matt & Kevin admitting that they don’t have anything to talk about anymore as a unit while the penultimate track “Always Something” shoots for a more melodic approach as Dom, JOBA & Kevin sing about letting motherfuckers in something they should know. But then, “GOODBYE” serves as a bittersweet EDM-influenced coda with JOBA & Matt talking about not the “best time of our lives” for granted.
I’ll never forget seeing the SATURATION artwork everywhere when that album was first released when I was 20 & it prompting me to check out their music because it was good enough to make me to stick around for the whole ride, to which I’m happy I did because this was great swan song from them. I like how they fuse elements of trap, alternative R&B, cloud rap & even neo-psychedelia with their west coast pop rap style as everyone braces themselves for the next chapter. And before I end this review, I just wanna thank BROCKHAMPTON for all the dope music they’ve given us in the last 5 years & I wish them all nothing but the best going forward.
This is the 4th full-length album from Corpus Christi rapper, singer/songwriter, producer & director Kevin Abstract. who made his debut in 2014 with MTV1987. He followed it up 2 years later with the fantastic American Boyfriend: A Suburban Love Story & then the following year, he rose to stardom as the de facto leader of BROCKHAMPTON. But with their 7th & final album T.M. (The Mountain) coming tomorrow, Kevin’s re-emerging on his own with The Family marketed as a group project only to fulfill their RCA Records contract.
“Take It Back” is a chipmunk soul opener with Kevin admitting that he had to wash the blue paint off to set himself free & promising the next chapter to be everything whereas “RZA” works in another pitched-vocal sample from bearface talks about having to be more like The Abbot himself after speaking to his mother the other day trying to give him advice. “Gold Teeth” looks back on the early days of the boy band over a crooning loop kin to “They Don’t Care About Us” by Michael Jackson just before “Big Pussy” has more of a jazzy boom bap flare to it asking to stop harassing him because the show’s over.
Meanwhile on “All That”, we have Kevin admitting that the boys’ success came with problems of becoming rich with an amazing interpolation of the theme song from the titular Nickelodeon show that I grew up watching leading into “(Back from the) Road” reflecting on the Love Your Parents tour over a jangly instrumental. “Basement” has a more experimental quality to the production acknowledges his love for the fans despite that they’d kill him if they could, but then “Southside” tells those to stop actin’ like they know him over a sample-based trap beat.
“Good Time” has a more drumless approach to it speaking on the days when the boys played their final shows in London while the syrupy sample throughout “37th” is a cool ode to their Texas roots talking about ending up on the titular street if he could fly through a Cali night. “Boyband” weaves a gospel loop into the fold à la Kanye West’s last finished full-length DONDAacknowledging that they’ve always been outside of the lines while “Any Way You Want Me” asking what if he could change for us because we have him everything over a guitar.
Moving on to the title track, where Kevin jumps on top of a peppy beat with no drums talking about those not knowing shit about him while “Prayer” is a more melodic cut with some bare synths asking God not to make him grow up because he doesn’t want to move on from this amazing chapter in his life. The song “My American Life” goes in depth of how far he’s come in the last 7 years over some acoustics while the penultimate track “The Ending”samples “Let Me Be the One” by Willie Hutch asking if this is the way we all visioned the demise. “Brockhampton” though is a symphonic closer to the album with Kevin bidding farewell to the best boy band since 1 Direction.
It’s pretty much a Kevin Abstract solo effort labeled as a BROCKHAMPTON album & I’m assuming that’s the case because of contractual reasons, but I happen to think The Family is the best thing Kevin has done since American Boyfriend only 6 years back by now. He comes from the heart as he reflects one last time on the journey he & the boys have been on together with the production pulling from chipmunk soul, drumless, jazz rap & gospel. Considering that, I think TM will be a remarkably bittersweet swan song when it drops tomorrow.
This is a brand new collaborative album between Toronto, Ontario, Canada rapper, singer/songwriter, actor & businessman Drake along with London, England, United Kingdom born albeit Atlanta, Georgia 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, FNZ & 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 comparing their partners to WWE Hall of Famer as well as 4-time WWE Women’s Champion & former WWE Women’s Tag Team Champion Lita, 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 Wright of 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 & his brother Oogie Mane of Working on Dying & 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.
Legends Will Never Die 