Earl Sweatshirt – “Some Rap Songs” review

Earl Sweatshirt is a 24 year old MC & producer from Los Angeles, California who began his career in 2008 under the name Sly Tendencies. He posted a handful of tracks for a mixtape called Kitchen Cutlery on MySpace, but the tape would never be released to this day. Then he formed a rap trio with 2 of his friends called The Backpackerz & planned to release a mixtape together titled World Playground, but they disbanded sometime in 2009. Shortly after, he joined Odd Future & appeared on their 2nd & final mixtape Radical that May. 10 months later, he put out his only mixtape to date Earl with OF’s de facto leader Tyler, The Creator producing a bulk of it. The tape received a lot of buzz, but Earl’s mother would send him to a therapeutic retreat school for at-risk boys in Samoa sometime after until February of 2012. He was then granted his own Columbia Records imprint Tan Cressida Records & released his debut album Doris in 2013 to critical acclaim for his clever rhyme schemes & the gritty production from those such as The Neptunes & even the RZA. He then formed the duo Hog Slaughta Boyz with OF affiliate Na’kel at the beginning of 2015 & released his sophomore album I Don’t Like Shit, I Don’t Go Outside a couple months after. Many of which consider to be better than Doris for it’s darker aesthetic. He’s been laying low since then but with the deaths of his father Keorapetse Kgositsile as well as his his uncle Hugh Masekela & his friend Mac Miller earlier this year, he’s putting out his highly anticipated 3rd album.

The album begins with “Shattered Dreams”, where Earl discusses his comeback over a soul sample. The next track “Red Water” serves as a short yet equally gratifying sequel to Solace while the song “Cold Summers” uses some clever gun imagery over a mellow instrumental. The track “Nowhere2Go” talks about depression over a glitchy abstract instrumental while the song “December 24” gets intellectually conscious over a Denmark Vessey instrumental with a prominently gloomy piano sample. The track “Ontheway!” talks about his mood swinging over a smooth guitar sample while “The Mint” with Navy Blue sees the 2 talking about fighting their demons over an amazing piano loop.

“The Bends” touches down on his success over a soul sample & some strings while the song “Loosie” seems to talk about a backstabber over a slow yet funky beat. The track “Azucar” talks about how he’s been coping with his depression over a blissful instrumental from Navy Blue while the song “Eclipse” is about him missing his shine. The track “Veins” talks about keeping faith over an AMAZING Curtis Mayfield sample & after the heartwarming “Playing Possum” interlude from Earl’s parents, the penultimate track “Peanut” discusses the deaths of Keorapetse & Hugh over a settle yet dark beat. The album ends with “Riot!”, which is an instrumental cut heavily sampling the Hugh Masekela song with the same name.

This has been one of my most anticipated albums of 2018 & at the end, Earl has just given what I believe to be the best album I’ve heard all year. I’m a little disappointed that it’s only 25 minutes long, but the Madvillainy influenced production is super creative & Earl continues to prove himself as the 2nd best lyricist of the decade (#1 of course being Kendrick Lamar) by cleverly detailing the darkest year of his life.

Score: 4.5/5

Lil Peep – “Come Over When You’re Sober 2” review

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Lil Peep was a 21 year old rapper & singer from Long Island, New York who blew up in late 2016 with the release of his 4th mixtape Hellboy & then following it with his debut album Come Over When You’re Sober last summer. Both projects were too melodramatic for my tastes, but I could see why it connected with a couple of my friends. But unfortunately, Lil Peep passed away last year just 2 weeks after his 21st birthday of an accidental fentanyl–xanax overdose right before a show in Tucson, Arizona. The rights of his unreleased music were then given to Columbia Records, who are now delivering the long-awaited follow-up to Come Over When You’re Sober a week after what would’ve been Peep’s 22nd birthday & a week before the 1 year anniversary of his untimely death.

The album kicks off with “Broken Smile (My All)”, where Peep vents about his hopes of getting back with this girl over a dark trap beat from his in-house producer smokeasac. The next track “Runaway” talks about getting away from fake people over a cloudy trap beat instrumental while the song “Sex with My Ex” truly lives up to it’s title with the instrumental containing a prominent guitar along with a heavy bass-line & rattling hi-hats. It’s ok. The track “Cry Alone” is a surprisingly solid alt rock ballad about loneliness & while the song “Leanin'” has a pretty acoustic instrumental with a cloudy backing, it’s legitimately upsetting to hear Lil Peep recalling a time where he survived what eventually killed him.

The track “16 Lines” is a drab explanation about how cocaine made him feel better over a murky instrumental with some down-tune guitar strumming while the song “Life is Beautiful” is probably his best song yet. It’s a completely unexpected positivity anthem & the hypnotic instrumental enhances the feeling of it. The track “Hate Me” has a nice bass guitar with some faint skittering hi-hats in background, but the take on his girl going off on him while he’s on the road is too melodramatic. The song “I.D.G.A.F. (I Don’t Give A Fuck)” continues the theme of the previous joint by talking about how he’s not gonna answer her calls, but it’s just boring & the instrumental doesn’t help either. The penultimate track “White Girl” is a chilling ballad about this girl who wants him back now that he’s famous over a trap beat with some sinister guitar licking & then the closer “Fingers” foresees his own death over a trap/alt rock fusion. As for the 2 bonus tracks: “Falling Down” with XXXTENTACION seems like a cash grab for the label since both Peep & X are no longer with us while the original version of that same song with iLoveMakonnen is just plain awkward.

This was honestly better than I had anticipated, but it’s still decent. I do hear an improvement on Lil Peep’s vocals, but only half of the melodrama of his last 2 projects are still present through his lyrics. The production’s just as decent as the last album too with the few incorporations of rock elements on here being the most creative move, but there are some points where the beats tend to be too overproduced. The fans will definitely love this more than me but if this is the last we’ll ever hear from the kid, then it’s a real shame we never got to hear him fully evolve as an artist because the potential of that is clearly shown on here a lot more. May he Rest In Peace.

Score: 3/5

Swizz Beatz – “POISON” review

Swizz Beatz is a legendary 40 year old producer, DJ & “rapper” (that is if you wanna call him one) who blew up in 1998 as the in-house producer for Ruff Ryders Entertainment. He later started his now defunct Full Surface Records in 2001 & dropped a decent compilation called G.H.E.T.T.O. Stories the following year. It wouldn’t until 2007 that he would try to officially go solo with 1 Man Band Man, a solidly produced album that was unfortunately weighed down by the lack of features & of course Swizz’ horrendous rapping on every song. He has since spent the last decade teasing a sophomore album that never came to fruition up until now with J. Cole as a co-executive producer, interestingly enough.

After a spoken word intro, the first song “P.O.M.S. (Pistol On My Side)” by Lil Wayne kicks things off fantastically as Weezy gets in your face over some militant drums along with a set of eerie piano chords provided by Swizz’ ever so stunning wife Alicia Keys. The track “Come Again” by Giggs awkwardly talks about how crazy he is over a chaotic beat while the song “Something Dirty (Pic Got Us) sees Jadakiss & Styles P trading bars back & forth with each other like old tomes over an araabMUZIK instrumental with some triumphant horns. The track “Preach” by Jim Jones vividly goes into the mind of a drug dealer over a minimalist instrumental while the song “Echo” by Nas is recalls growing up in Queens over a soul sample from DJ Scratch.

The track “Cold Blooded” by Pusha T is an eerie tale about growing up in the hood that plays out fantastically & while the song “25 Soldiers” by Young Thug is honestly very gritty & adrenaline inducing from the araabMUZIK production down to Thugger’s flow. The penultimate track “Stunt” by 2 Chainz is of course a braggadocious anthem over a trap beat from Bink! with an alluring vocal sample & the closer “SWIZZMONTANA” is French Montana bragging about his wealth better than I thought he would over an instrumental that screams classic Swizz.

For a 10 year wait, this was totally worth it. I wish Swizz Beatz & J. Cole added a few more tracks & I really don’t get why the ones Swizz didn’t produce at all were included but other than that, I love how he took a huge step back from “rapping” & focused more on production. The guest MCs mostly do their thing as well with the instrumentals suiting them fantastically.

Score: 3.5/5

T.I. – “DIME TRAP” review

T.I. is a 38 year old rapper from Atlanta, Georgia who started out as the founding member of P$C in 1997. He then went solo in 2001 with his debut album I’m Serious, but it didn’t do well commercially & he was dropped from Arista Records as a result. He then formed his own label Grand Hustle Records & dropped his sophomore album Trap Muzik in 2003, which had a huge hand in popularizing the titular hip hop subgenre. He then continued the success of that album with Urban Legend & King, but then his next album T.I. vs. T.I.P. would be a disappointing longwinded mixed bag with a pretty great concept. He redeemed himself with Paper Trail in 2008, but dropped another mixed bag with No Mercy in 2010. Both of which came out during back to back prison sentences. He then returned to the scene at the end of 2012 with the flawed yet solid Trouble Man: Heavy is the Head in 2012 as well as the Pharrell executive produced Paperwork in 2014. He then took a more political tone at 2016 with his double EP Us or Else: Letter to the System but now, he’s returning with his highly anticipated 10th full-length album.

Things kick off with “Seasons”, where TIP talks about his desire to succeed over an organ. The next track “Laugh at ‘Em” is a middle finger to his haters over a triumphant Just Blaze beat while the song “Big Ol’ Drip” vividly talks about the drug dealing lifestyle over a trap beat with some nice horns in the mix. The track “Wraith” with Yo Gotti sees the 2 getting braggadocious over a gloomy Scott Storch instrumental while the song “The Weekend” with Young Thug talks about partying over a boom bappy Swizz Beatz instrumental with a prominently twangy guitar.

The track “The Amazing Mr. Fuck Up” endearingly addresses his current relationship with his wife Tiny over a laidback boom bap beat with Victoria Monet providing some background vocals while the song “At Least I Know” continues the theme of the previous joint with a moody beat. The track “What Can I Say?” reflects on how he got to where he is today over a druggy trap beat while the song “Jefe” with Meek Mill sees the 2 charismatically calling themselves bosses over a Latin-infused trap beat from Bangladesh. The track “More & More” with Jeezy sees the 2 talking about making money over a gritty trap beat with an organ while the song “Pray for Me” does talk about backstabbers, the YFN Lucci verse at the start is probably the weakest feature on the entire album.

The track “Looking Back” sees TIP getting retrospective on his life over a somber David Banner instrumental while the song “Light Day” is a message to those who wanna live the life that T.I. lived in the past with what could very well be the best flow on the entire album. The penultimate track “You” talks about judgmental people over an instrumental with a somber atmosphere to it & the closer “Be There” is all about being by someone’s side when feeling down over an eerie instrumental with a guitar that kicks in later.

For the 4 year wait, this was well worth it. The production’s on point, Dave Chappelle’s narrations are intelligent & T.I. gets a lot off his chest lyrically. If you wanna hear a trap legend sounding more mature than ever, then give this a listen.

Score: 4/5

BROCKHAMPTON – “iridescence” review

BROCKHAMPTON is a hip hop “boyband” that originated in San Marcos, Texas in 2015. They dropped a flawed yet decent mixtape in 2016 called ALL-AMERICAN TRASH but in 2017, they completely reinvented themselves by dropping 3 near-perfectly creative albums with the SATURATION trilogy. However, things this year looked bleak for them in part of Ameer Vann (who was featured on the cover of all 3 SATURATION albums) was kicked out in May due to sexual misconduct. They then dropped 3 solid singles over the summer but now, they’re finally returning with their 4th full-length album.

Things start off with “NEW ORLEANS”, where they talk about how they’re calling their own shots over a gritty beat. The next track “THUG LIFE” sees the boyband’s de facto leader Kevin Abstract linking up with his older brother Dom McLennon alongside bearface to talk about depression over a beautiful piano instrumental while the song “BERLIN” sees Dom getting with Matt Champion & JOBA to talk shit over an abrasive beat. The “SOMETHING ABOUT HIM” interlude is an endearing tribute to Kevin’s husband Jaden Walker with a smooth instrumental from Romil Hemnani & Q3, but it sounds unfinished.

The track “WHERE THE CASH AT” sees Merlyn Wood & Matt Champion talks about their new rich life over a bouncy beat while the song “WEIGHT” is a heartfelt look into the boyband’s inner demons over some strings, but then it constantly switches from drum & bass with a piano to just simply punchy drums. The track “DISTRICT” is a club banger over a video gamey beat & after the “LOOPHOLE” interlude, we go into the song “TAPE”. Here, the boyband talks about their insecurities over a gloomy beat with skittering drums. The track “J’OUVERT” talks about success over a chaotic beat & while everyone’s performance on here was great, JOBA’s angry verse stood out to me the most.

The song “HONEY” gets braggadocious over an electro-funk beat while the track “VIVID” talks about how they’re making money now over an eerie electronic beat. The song “SAN MARCOS” is a guitar ballad about wanting more out of life while the penultimate track “TONYA” talks about unstable stardom over a prominent piano. The short switch up during Kevin’s verse & JOBA’s bridge was just ok, though. The album then finishes with “FABRIC”, where the boyband talks about still being depressed despite their newfound success & I absolutely love how the beat constantly switches throughout.

Being one of my most anticipated albums of the year, this did not disappoint. BROCKHAMPTON continues to be the most unique group in today’s hip hop landscape as their sound on here is refreshingly different than that of the SATURATION trilogy & I’ve also noticed that the chemistry between every member has improved.

Score: 4/5

Russ – “ZOO” review

Russ is a 25 year old rapper, producer & singer/songwriter from Secaucus, New Jersey. He’s released a total of 11 mixtapes on SoundCloud from 2011 up to 2014, eventually landing a contract with Columbia Records in 2016. He made his full-length debut last year with There’s Really a Wolf & within the past 16 months since that release, he has become one of hip hop’s most polarizing figures in recent memory. Primarily because of being a “fake activist” against drugs & then there’s an unignorable interview resurfaced from 2016 where he literally said “we need to blame producers for all the wack music today”. All of that aside, I‘ve decided to give this sophomore album of his a fair chance.

Things actually start off with “The Flute Song”, where Russ talks about doing whatever he wants when he wants over a flute-tinged trap beat from Scott Storch. It’s actually not bad at all, but I really just don’t understand why an immensely talented keyboardist & producer like Scott has been collaborating with Russ so much lately. The next track “Outlaw” compares himself to just that over a soulful boom bap beat from Russ himself (who of course produces the rest of the album solely) while the song “Kill Them All” is essentially a temper tantrum in response to the backlash he has received with a generically gritty trap beat & a WWE reference.

“Missing You” is a painful breakup anthem with an acoustic trap beat while the song “Voicemail” is basically him begging this girl to get back to him over an acoustic boom bap beat. The track “Parkstone Drive” is about never giving up over a laidback instrumental while the song “Begging You” is basically Russ telling himself to staying strong over a somber yet punchy beat. The hook is hilarious bad, too.

The track “Serious” is a simp anthem with a moody instrumental while the song “Keep My Wits” egotistically talks about his success over a nondescript beat. The track “Our Time” talks about a long distance relationship over some plinky keys & hard hitting drums while the song “From a Distance” tells this woman to look for someone who has more free time over something Drake would’ve sung over on VIEWS.

“Last Forever” is about longevity over some rich keys & faint hi-hats, but the only things that give it credit are the verses from Snoop Dogg & Rick Ross. The song “Keep It Pushin’” is a sappy description of a teenage relationship with a moody beat & the closer “Fuck That” is another temper tantrum over a beat that generically sounds like something Dr. Dre would’ve produced in the early 2000s.

This is slightly better than anything he’s done before, but that’s not saying much. The production is basic & when Russ isn’t telling melodramatic relationship stories, he’s either being self-centered or lashing out in a fit of bitter rage.

Score: 1/5

Travis Scott – “AstroWorld” review

Almost 2 years after his underappreciated sophomore album Birds in the Trap Sing McKnight & with the solid debut album from Huncho Jack at the tail-end of last year, Houston trap mastermind Travis Scott is finally delivering his long-awaited 3rd full-length album.

Things start off with “STARGAZING”, where Travis recalls a drug trip over a Sonny Digital instrumental that starts off atmospheric, but then switches into an eerie trap instrumental. The next song “CAROUSEL” talks about how fly he is over a gritty Hit-Boy instrumental & the Frank Ocean hook is very pretty. The track “SICKO MODE” with Drake sees the 2 talking shit & I like how the Rogét Chahayed, Hit-Boy, Cubeatz, Tay Keith & Mike Dean instrumental constantly switches up while maintaining a dark sound. The song “R.I.P. SCREW” is an atmospheric tribute to the legendary Screwed Up Click leader DJ Screw while the track “STOP TRYING TO BE GOD” advises the listener to stay true to yourself over a cloudy trap beat & the James Blake/KiD CuDi hook is phenomenal. I also love the Stevie Wonder harmonica that pops up occasionally.

The song “NO BYSTANDERS” is a club banger with a psychedelic trap beat & the Waka Flocka sample for the hook is amazing. The track “SKELETONS” is a slow love ballad with a mellow Tame Impala instrumental along with some harmonious background vocals from Pharrell & The Weeknd. The song “WAKE UP” is a tribute to both Kylie Jenner & Bella Hadid over a Ging instrumental with rattling hi-hats & some unexpected acoustic guitar passages. I also love the cloudy instrumental outro during the last 40 seconds. The track “5% TINT” gets braggadocious over some bass & ominous keyboards while the perfectly “NC-17” with 21 Savage gets raunchy over a trap beat from Boi-1da with some prominent chimes. The track “ASTROTHUNDER” vents about needing distance over a spacey beat from Travis himself with co-production from John Mayer, Thundercat & Ging and while the song “YOSEMITE” does about the lavish things in life over a nice acoustic trap beat & the Gunna hook is pretty, but the very short ΠΔV verse at the end is totally redundant.

The track “CAN’T SAY” has an amazing Trae tha Truth sample in the WondaGurl instrumental, but I feel like Don Toliver takes up most of it & his nasal tone does absolutely nothing for me. The song “WHO? WHAT!” feels like an leftover from Huncho Jack, Jack Huncho down to the disappointingly generic instrumental from Cardo, but the song “BUTTERFLY EFFECT” makes up for it as he talks about the famous life over a druggy Murda Beatz instrumental. The penultimate track “HOUSTONFORNICATION” is a tribute to Travis’ hometown of Houston over a murky trap beat & then “COFFEE BEAN” finishes it off with fireworks as Travis reflects on his career up until this point over an unexpected boom bap beat from 1985. The prominently twangy guitar throughout is a nice touch, but the heavy guitar & the string sections that pop up during the last minute are just beautiful.

I’ve been waiting 3 years for this & overall, it’s on the same caliber as Rodeo. The production returns to the experimental sound that was displayed on that album & I love how Travis is rapping a lot more than ever on here. There are a couple lackluster moments but outside of that, it’s just another example of why Travis is the greatest trap rapper of this generation.

Score: 4.5/5

Future – “BEAST MODE 2” review

Aside from the soundtrack for the recent Superfly remake as well as dominating the recent DJ Esco album KOLORBLIND & a ton of features (most notably: his God awful bridge on “King’s Dead” off the Black Panther soundtrack), Atlanta, Georgia trap superstar Future hasn’t dropped a project in over a year. He spent 2017 dropping 2 albums back to back, the bloated self-titled album & the more pop/R&B inspired HNDRXX. Now, he is coming out of the blue with his 13th mixtape & it is a sequel to one of his most critically acclaimed tapes Beast Mode. Of course, Zaytoven is returning on the boards for it as well.

The opener “WIFI LIT” talks about being on “rich nigga shit” over an instrumental with a nice woodwind sample & it’s no “Mask Off”, but it is a solid way to start off the tape. The next track “CUDDLE MY WRIST” vents about having a monkey on his back over a laidback beat while the song “RACKS BLUE” of course about wealth over a trap beat with some gorgeous piano keys. The track “31 DAYS” talks about sex, but nothing about it sets the mood for me at all. It literally sounds like a bad leftover from HNDRXX.

The song “RED LIGHT” talks about going from sleeping on the floor at night to making millions over some somber piano chords & rubbery bass while the track “DOH DOH” with Young Scooter sees the 2 talking about counting up money over an eerie beat. “WHEN I THINK ABOUT IT” is a freestyle to “WEAK” by Larry League that is a lot better than the original song while the penultimate track “SOME MORE” is a mediocre ripoff of “Mo Reala”, which appeared on Zaytoven’s latest album Trap HoliZay. The tape finishes with “HATE THE REAL ME”, where he gets high & reminisces about the good times he had with Ciara over a cloudy beat.

I was a little concerned about this given the “King’s Dead” feature, but it went beyond my expectations. It’s not perfect at all, but I do believe’s this is just as fun as the first Beast Mode from Zaytoven’s production to Future’s delivery

Score: 3.5/5

A$AP Rocky – “TESTING” review

While he’s been dropping a project every 2 years since 2011, A$AP Mob member A$AP Rocky had a noticeably quiet 2017. However, he’s been trolling the public eye with his 3rd full-length album up until this point with some awful “dummy” singles & alas here we are.

The album starts off with “Distorted Records”, where Rocky brags about his place in the current hip hop landscape over a glitchy yet bass heavy instrumental. The “A$AP Forever” remix sees Rocky paying homage to the Mob while KiD CuDi’s verse talks about overcoming his depression over some symphonic strings with thunderous drums while the next song “Tony Tone” is a humble brag over a psychedelic guitar that FNZ hooked up while the track “Fukk Sleep” with FKA twigs sees the 2 talking about going from being poor to being successful over a murky electronic beat while the track “Praise the Lord (Da Shine)” with Skepta vividly talks about criminal activity over a bouncy woodwind beat.

The song “Calldrop” does have a beautiful acoustic guitar, I just wish it was structured better. Also, I found the Kodak Black feature to be pretty redundant. The song “Buck Shots” gets confrontational over a synth-heavy trap beat & while I do like the Playboi Carti’s verse as much as Rocky’s, the Smooky MarGielaa verse doesn’t really do much for me. while the track “Gunz N Butta” talks about wealth over a cloudy trap beat with a prominent chopped & screwed sample of “Ridin’ Clean” by Juicy J throughout. The song “Brotha Man” with Frank Ocean sees the 2 talking about fighting for something over a beautiful instrumental with prominent keyboards & occasional strings while the song “OG Beeper” reflects on his drug dealing past over a dinky yet bouncy beat.

The song “Kid$ Turned Out Fine” tells the world just that over an laidback electric guitar & hi-hats while the track “Hun43rd” talks about hustling over a cloudy synthesizers. The song “Changes” talks about an ex over an acoustic guitar that gets more layered as it progresses. There’s also a point where it switches up into something more atmospheric for about a minute & it’s not too bad either. The penultimate track “Black Tux, White Collar” talks about shining through it all over a cloudy trap beat from none other than Clams Casino & then the album finishes off with “Purity”, where he & Frank Ocean talk about finding a peace of mind over an acoustic guitar.

Like most people, I was pretty worried about this album based on a vast majority of the singles Rocky dropped leading up to this but at the end of the day, I think he came through. It’s definitely more experimental than his past efforts & yet, it’s just as equally fun as his last 2 albums

Score: 3.5/5

Tinashe – “Joyride” review

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It’s been 3 years of waiting & 2 years since preluding it with Nightride in 2016 but now, Tinashe is finally delivering her highly anticipated sophomore album. After a 1-minute intro, we go into the first song with the title track. It’s pretty much about kickin’ it with an ex over a thumping electronic instrumental from Hit-Boy. The song “No Drama” with Offset sees the 2 talking about how they don’t want any bs over an electro-trap beat while “He Don’t Want It” is pretty self-explanatory with a moody instrumental with some punchy drums.

The track “Ooh La La” is about a guy loving her so good that she’ll be singing all night over an acoustic guitar/trap beat with a surprisingly nice “Dilemma” sample in the background while the song “Me So Bad” is basically about how attractive Tinashe is over a tropical beat & while I did enjoy the Ty$ verse, I found French Montana’s to be redundant. After the “Ain’t Good for Ya” interlude, we go into the song “Stuck with Me”. It’s both Tinashe & Little Dragon singing about having this guy with him for the weekend, but the instrumental is just ok.

Then after the “Go Easy on Me” interlude, we go into the song “Salt”. It’s basically about a guy who had sex with her at a hotel & left her shortly after over an atmospheric instrumental. The track “Faded Love” is about Tinashe wanting a guy to come home with her to have sex over an electro-club instrumental & the Future verse at the back-end is just ok. The song “No Contest” is about Tinashe wanting only her in her man’s lane over a smooth electro instrumental & then the closer “Fire & Flames” is about wanting to stay the night with this guy over a bare piano that sounds pretty.

As a whole, I was as satisfied as I’d hoped to be. I wish it was a tad bit longer, but her vocals sound as beautiful as ever & the album as a whole sounds a lot more focused than Nightride was

Score: 3.5/5