Ab-Soul – “Herbert” review

Ab-Soul is a 35 year old MC & singer/songwriter from Carson, California who came up as 1/2 of the duo Area 51 alongside Snake Hollywood. The pair would be short lived however, as Soulo would go on to sign to Top Dawg Entertainment & has remained under Top Dawg’s wing since. Dude’s first 2 mixtapes Longterm & Longterm 2: Lifestyles of the Broke & Almost Famous would begin to turn heads & I can’t forget about his first 2 full-lengths Longterm Mentality & Control System going on to become the Black Lip Bastard’s most acclaimed efforts to date, but These Days… & Do What Thou Wilt. were both released to mediocre reception from many including myself. That being said though, I was definitely looking forward to Soulo’s 6th album here as TDE comes fresh off SZA‘s long awaited sophomore effort S.O.S. last Friday & of course Kendrick’s final offering with the label Mr. Morale & the Big Steppers over the spring.

“Message in a Bottle” is a 2-part boom bap opener with Soulo talking about being close to the edge whereas “No Report Card” takes a peppier Route promising not to stop. “Hollandaise” starts off going into trap turf with some cloudy/pluggy undertones talking about being locked in with no fucks given prior to a jazzy switch-up during the final verse, but then Joey Bada$$ tags along for the “Moonshooter” remix weaving a chipmunk soul sample & some dusty drums to get more conscious lyrically.

However on “F.O.M.F. (Fuck Out My Face)”, we have the Black Lip Bastard over a horn-inflicted trap instrumental advising the bitch-made to back up from him leading into Punch coming into the picture for the soulful boom bap cut “Goodman” talking about being righteous & good men turning tyrant. “Do Better” samples “Green Twins” by Nick Hakim dropping some more uplifting lyricism just before the Fre$h-assisted “Gang’Nem” embraces a cloudier sound getting on a whole lotta gang shit.

“The Wild Side” returns to the boom bap with some piano chords woven in speaking on turning their lifestyles into their careers while “Art of Seduction” is of course a decently moody love ballad. “Bucket” hooks up a vocal loop talking about controlling this system & not to worry about a damn thing while “Go Off” with Big Sean & Russ has a wavy trap groove with the trio giving off big sick energy. The verse from the latter at the middle is kinda cringey especially with the line about not teaching a girl how to arch since she’s from St. Louis, but Sean comes out swinging with a crazy Stone Cold Steve Austin reference once he starts spitting near the end.

Moving on from there with “Fallacy”, it’s only right for Soulo to declare that the real is back over some airy boom bap production from Hit-Boy while the title track brings a sample-based trap beat into the fold talking about how he’ll never be understood. “Church on the Move” is a gospel/trap hybrid keeping the faith while the piano-heavy “It Be Like That” admits his fuck-ups with a melodic outro. The penultimate track “Positive Vibes Only” speaks for itself with a triumphant beat & “Gotta Rap” finishes the album with the God of Boom Bap himself DJ Premier behind the boards to flex Ab’s lyrical abilities.

As someone who adored this guy’s first 2 full-lengths during my adolescence, I’ll admit that I had some doubts going into Herbert considering how underwhelming his last 2 have been. However, there’s no denying that this is the best he’s sounded since Control System. Given the title, I admire how he decided to get more personal be detailing his upbringings accompanied by some versatile production pulling from boom bap to trap & even gospel music.

Score: 4/5

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SZA – “S.O.S.” review

This is the highly anticipated sophomore effort from St. Louis 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 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.

Score: 4/5

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Doechii – “she / her / black bitch” review

Doechii is a 23 year old MC from Tampa, Florida who broke out in the spring of 2019 off her debut EP Coven Music Session. Then following her next 2 EPs Oh the Places You’ll Go & Braless, she went on to sign to Top Dawg Entertainment/Capitol Records this past March & earned a spot in this yearly XXL Freshman Class earlier this summer given that her latest singles have shown some impressive artistic evolution. So considering that & having one of the best verses during this year’s Freshman Cypher, I was very intrigued to her hear her 4th EP over here.

“Swamp Bitches” is a dark trap opener featuring Rico Nasty with the pair attacking their opposition whereas “Bitch I’m Nice” takes a Miami Bass route talking about being the biggest threat to your spouse. The song “Bitches Be” works in a guitar advising her lover to take it slow while the penultimate track “This Bitch Matters” goes into boom bap territory confessing that depression made her realize she had something to prove. “Persuasive” with SZA ends the EP contemporary R&B/pop rap fusion with some deep house undertones asking how it feels to be yourself.

If you’re still sleeping on Doechii, then I think now’s the time for you to wake up because this EP has me very intrigued for her full-length debut that is when or if TDE & Capitol put it out at some point down the road. The amount of versatility that she shows throughout is impressive & her performances have so much character to them.

Score: 3.5/5

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Kendrick Lamar – “Mr. Morale & the Big Steppers” review

It’s really here: The 5th full-length album from Compton emcee, songwriter & actor Kendrick Lamar. Coming up in ‘04 off his debut mixtape Y.H.N.I.C. (Youngest Head N***a in Charge): Hub City Threat (Minor of the Year), he would go on to follow-up with 2 more tapes as well as an eponymous debut EP before breaking out in the fall of 2010 off his 4th mixtape O(verly) D(edicated) & then Section.80 that next summer. Then came him signing to Dr. Dre’s very own Interscope Records imprint Aftermath Entertainment, where Kendrick has made himself home since then. Especially given that good kid, m.A.A.d city & To Pimp a Butterfly have quickly become some of the most beloved hip hop albums ever made in their own rights for good reason whether it be gkmc coming off as a hood movie on wax or TPaB delivering relevant social commentary on top of jazzy, funky production. Kendrick’s last album DAMN. however was definitely his most commercial one yet & I don’t listen to it as much as his other work, but it’s still a great listen nonetheless with it’s phenomenal duality concept. But only 3 months after performing the Super Bowl halftime show, Kendrick has finally returned in the form of the double disc Mr. Morale & the Big Steppers to fulfill his Top Dawg Entertainment contract.

“United in Grief” opens up the album a piano & drum instrumental from oklama himself surprisingly alongside Sounwave amongst a few others talking about mourning differently whereas “N95” works in some synth-horns & hi-hats provided by Boi-1da & Baby Keem to declare that “You’re back outside, but they still lied”, obviously referring to the COVID-19 pandemic. I also loved when he says “You entertain the mediocre, need to stop it. You entertainin’ old friends when they toxic” during the outro. “Worldwide Steppers” takes a more tenser route with co-production from Tae Beast sampling “Breakthrough” by The Funkees talking about how “we’s them killers”, but then the DJ Dahi co-produced “Die Hard” shoots for a more catchier vibe down to the hook shared by both Blxst & especially Amanda Reifer flipping “Remember the Rain” by Kadjha Bonet encouraging listeners to not let your past keep me you from your best.

Meanwhile on “Father Time”, we have Kendrick over some solemn boom bap production sampling “You’re Not There” by Hoskins ‘Ncrowd detailing the relationship that he had with his pops with a killer hook from Sampha & the “Rich” interlude is basically Kodak Black detailing what he learned in the business over some bare pianos. “Rich Spirit” turns things into more spacious territory with some finger-snaps, snares & hi-hats talking about staying strong mentally, but then “We Cry Together” is pretty much Kendrick & Taylour Paige (should’ve been Rico Nasty but it is what it is) re-enacting a legitimate argument that K-Dot had with his fiancée Whitney Alford over an Uncle Al beat flipping “June” by Florence + the Machine. It’s tense, but feels reminiscent to “Kim” off of Eminem’s iconic 2000 masterpiece The Marshall Mathers LP.

Ghostface Killah & Summer Walker tag along for the smooth love ballad “Purple Hearts” to the complete the 1st disc even though I can’t stand the “yeah baby” at the end of the hook & the 1 line on Summer’s verse co-written by fellow Compton representative/Shady Records signee Westside Boogie about eating ass had me rollin’ while “Count Me Out” opens up the 2nd disc by mixing trap influences with some catchy vocal melodies taking aim at his detractors. “Crown” is a vulnerable piano ballad admitting that he can’t please everybody while “Silent Hill” easily has the worst hook on the album, although I appreciate Kendrick & Kodak riding a nocturnal trap beat talking about pushing snakes off them.

Following that, the “Savior” interlude is in the same vein as “Rich” from the string/piano instrumental to Baby Keem recalling some memories that he had growing up while the actual “Savior” song itself has an irresistibly catchy groove to the beat from Cardo asking if one is really happy for him as well as admitting that he started questioning Kyrie after catching the rona. “Auntie Diaries” starts off with a moodier aesthetic before getting triumphant at the end with Kung Fu Kenny discussing his uncle & one of his cousins being transgender while the song “Mr. Morale” opens up about the heavy shit that’s been on his mind as of late over a Pharrell instrumental with a peppy, futuristic tone to it. The penultimate track “Mother I Sober” is definitely the saddest on the album with it’s bare pianos along with former Portishead frontwoman Beth Gibbons on the hook & K-Dot reflecting on witnessing his mom being sexually assaulted when he was 5 years old as “Mirror” finishes the album by apologizing for choosing himself over anyone else over a colorful beat with an empowering hook.

5 long years later & Kendrick is parting TDE with what I consider to be hip hop’s best double album since Big K.R.I.T. dropped 4eva’s a Mighty Long Time only 6 months after DAMN. came out. Hell, I find Mr. Morale & the Big Steppers to be superior to it’s predecessor because I really admire that he decided to come back after all this time to reflect on his life past & present over production mixing together it’s more trappy, poppier cuts with the politically charged jazz rap from the greatest hip hop album of the 2010s even down to the latter’s experimental, neo-soul undertones.

Score: 4.5/5

Isaiah Rashad – “The House’s Burning” review

Isaiah Rashad is a 30 year old rapper from Chattanooga, Tennessee emerging in 2013 by signing to Top Dawg Entertainment & dropping his 2nd EP cilvia demo to universal acclaim the following year. Then came the full-length debut The Sun’s Tirade in 2016, which received as much praise. But after 4 years in the making, TDE is finally letting Zaywop put out a follow-up with the help of Warner Records.

“Darkseid” starts things out with a melancholic ballad about how toddlers got Purple Hearts whereas “From the Garden” with Lil Uzi Vert is an energetic trap banger about them comin’ out bustin’. “RIP Young” beautifully samples “Cheese & Dope” by Project Pat addressing his fame & although I love the vibe of “Lay Wit Ya” (especially the “Ridin’ n’ tha Chevy” sample), the Duke Deuce verse is fucking garbage.

Meanwhile on “Claymore”, we have Zaywop & Smino coming together for a tropical tune asking their lovers if they runnin’ or exercisin’ just before “Headshots (4r da Locals)” serving as an equally excellent sequel to “4r da Squaw”. He & Amindi jump on top of a boom bap instrumental on “All Herb” saying they all hurtin’ leading into the luscious “Hey Mista”, which is a nice lil off-the-top freestyle.

Jay Rock & Jay Worthy come into the picture to talk about smokin’ on the fumes yesterday with the slick banger “True Story” whereas “Wat U Sed” with Iamdoechii is an atmospheric tribute to “Bunny Hop”. Zay details someone who says he ain’t got nothing to lose on the psychedelic “Don’t Shoot” while YGTUT-assisted “Chad” calls out “cats foldin’ like huns” & I really dig the guitar playing behind the snares.

“9-3” works in some keyboards & hi-hats to get a bit repetitive in terms of the lyricism, but then SZA & 6LACK come in for the Kenny Beats-produced slowjam “Score” without sounding forced or corny as fuck. The title track is a pillowy look at Zaywop’s struggles with addiction & the closer “HB2U” goes into a jazzier direction saying he did this all for his baby.

I didn’t think this day would ever come, but it goes without saying that The House is Burning is the best project that we’ve seen come out of the TDE camp since CTRL. It serves as a fantastic tribute to the dirty south in terms of the overall sound to the blatant references throughout the lyrics. I really hope we don’t have to wait another 5 years for this dude to drop.

Score: 4/5

Reason – “New Beginnings” review

This is the official full-length debut from California emcee Reason, whom I first caught wind of a couple years ago when he signed to Top Dawg Entertainment & reissued his 4th mixtape There You Have It. The project was cool, but I feel like he could grow as time went on because we all know TDE‘s lineup of artists are mostly all-stars. But with a slew of singles throughout the year, Reason is ready to make New Beginnings.

The opener “Something More” talks about his deepest desires in a significant other over a cavernous instrumental whereas the next song “Stories I Forgot” talks about not missing over a flute-tinged beat. The track “Pop Shit” with ScHoolboy Q finds the 2 talking about riding with their hoods over an instrumental with a murky atmosphere to it while the song “Show Stop” flexes over a druggy trap beat from !llmind.

The track “Favorite N***a” talks about money not changing him over a weary instrumental while the song “I Can Make It” with Rapsody sees the 2 getting romantic over a moody boom bap beat from S1. The track “Fall” talks about the difficulties of being an artist over some keys & occasional drums thumping away while the song “Slow Down” talks about needing to appreciate ones’ process over a boom bap beat with an alluring sample hanging in the background.

The song “Flick It Up” with Ab-Soul finds the 2 bragging over a spacious instrumental while the track “Sauce” with Vince Staples sees the 2 talking about being bosses over a trap beat with some somber keyboard melodies. The song “Extinct” with Isaiah Rashad & JID finds the trio talking about a “doorbell dumb” vixen over a calming boom bap instrumental while the track “Westside” is another romantic cut like “I Can Make It”, but the vibe on this one is kinda eh. The penultimate song “Gossip” claps back at those who be saying “fuck him” & then the closer “Windows Cry” addresses the elephant in the room over a melancholic Wu10 beat.

Reason could very well be the underdog of TDE & this album only goes to show it in my opinion, because there are some notable improvements in comparison to his previous mixtapes. The pen-game has stepped this time around, a good majority of the features are on point & it’s a bit more well-produced as well.

Score: 3.5/5

ScHoolboy Q – “CrasH Talk” review

ScHoolboy Q is a 32 year old rapper from SoutH Los Angeles, California wHo came up at tHe beginning of tHe decade as 1/4 of Black Hippy. He released His first 2 albums Setbacks and Habits & Contradictions independently, but it wouldn’t be until 2014 tHat He would make His major label debut witH Oxymoron. THis would be followed up witH Blank Face LP a couple years later, wHicH I personally consider to be Q’s best work yet. However, 3 years Have passed & He’s now returning witH His 5tH full-lengtH album.

THe opener “Gang Gang” details His drug dealing past over an eerie trap beat from DJ Fu wHile tHe next song “Tales” takes a look back at Q’s criminal past over a somber DJ DaHi & Jake One instrumental. THe track “CHopstix” is a painfully boring “club banger” if you wanna call it tHat & even tHougH I do enjoy tHe gritty lyricism on “Numb Numb Juice”, it sounds unfinisHed & tHe beat is dime a dozen. THe track “Drunk” is a moody alcohol antHem wHile tHe song “Lies” witH YG takes a jab at tHe people wHo’ve said false tHings about tHem over an atmospheric beat from Sounwave. THe track “5200” gets murderous over a vibrant beat tHat doesn’t quite matcH tHe lyricism wHile tHe song “Black Folk” is a jab at an unnamed fraud over a cloudy beat.

THe track “Floating” witH 21 Savage talks about being on drugs over a murky beat wHile tHe song “Dangerous” describes the famous lifestyle over a psychedelic instumental. THe track “Die wit ‘Em” gets murderous over a monstrous Cardo beat wHile tHe song “CrasH” talks about going on over a Boi-1da instrumental tHat cHops & screws PRHyme’s “Boom”. THe penultimate track “Water” witH Lil Baby is an awkward brag despite tHe godly feeling in Cardo’s production & tHen tHe album finisHes witH “Attention”, wHere Q talks about praise & passion over a decent boom bap beat.

I don’t know what else to say, this is EXACTLY what I expected. It’s a lot more commercial which isn’t necessarily a bad thing, but it sounds just as forced as Jay Rock’s last album Redemption was.

Score: 2.5/5

Reason – “There You Have It” review

Reason is a rapper from De Amo, California who I first caught wind of on the Black Panther soundtrack. He just signed to Top Dawg Entertainment last month & now, he’s releasing his full-length debut.

After the “Rufus Collection” skit, we go into the title track. Here, Reason talks about coming from the streets over a moody soulful instrumental. The track “Kurupt” talks about seizing the moment over an uplifting beat with punchy drums while the song “Fuck wit Me” gets braggadocious over a gloomy beat. The track “Bottom” talks about coming from nothing, but the Xian Bell feature is obnoxious. The song “Drive Slow / Taste Like Heaven” talks about the advice from his grandfather over a boom bap beat, but then it transitions into a something more jazzier.

The track “Thirst” is a club banger with some quirky synths while the song “Colored Dreams: Killers, Pt. 2” recalls a murder case he caught over a boom bap beat with some beautiful piano chords. The track “Better Dayz” is a solid cut taken from his 2016 mixtape The Free Album while the song “Situations” talks about a failing relationship over a moody beat. The penultimate track “State We In” talks about his newfound fame & the closer “Summer Up” returns to the braggadocious tip over a bass-heavy beat.

Overall, this was a solid debut. The production is much better than Jay Rock’s latest album Redemption & Reason sounds very passionate whenever he’s on the mic. If you wanna hear one of the hottest labels right now showcasing an up-&-coming star, give this a listen.

Score: 3.5/5

Jay Rock – “Redemption” review

With Top Dawg Entertainment’s ongoing Championship Tour wrapping up this weekend, it’s only right for Black Hippy member Jay Rock to deliver his highly anticipated 3rd full-length album.

The album begins with “The Bloodiest,” where he reflects about growing up in Watts an eerie beat from Boi-1da, Allen Ritter & Jake One. The next track “For What It’s Worth” talks about murdering someone as well as having sex with this woman even though he knows that she ain’t right over a smooth beat from Sounwave while the song “Knock It Off” is a warning to everyone who’s trying to be him over a laidback trap beat. However, the flow doesn’t really do anything for me on this one. The track “ES Tales” talks about going back to the projects over a sinister beat while the song “Rotation 112th” grittily talks about gang life & the trap beat on here suits it pretty while. The track “Tap Out” is of course a sex tune with a generic beat & a decent Jeremih hook while the song “OSOM” with J. Cole & SiR tells the listeners that they’re living life like he’s runnin’ out of time over a gloomy trap beat.

The track “King’s Dead” originally appeared in the Black Panther soundtrack earlier this year & I’m actually upset they kept Future’s verse on there & removed Kendrick Lamar’s. On the other hand: the song “Troopers” brags about his crew, but the Cardo production sounds vaguely similar to his instrumental on “THat Part” off of ScHoolboy Q’s last album Blank Face LP. The track “Broke+-“ is of course about money over a somber instrumental while the song “Wow” makes up for “King’s Dead” by flawlessly displaying the chemistry between Jay & Kendrick over a bouncy woodwind-infused trap beat from Hit-Boy. The title track lyrically reminds me of “Start from Scratch” by The Game over a beautiful piano instrumental & the SZA hook is very pretty. The closer “WIN” has a triumphant trap beat & I do like the delivery, but it sounds half-written & the hook is very tedious. Also as much as I love Kendrick, his constant adlibs on this joint are too much.

I already knew going into this that it was pretty much gonna be Jay Rock’s DAMN. & while it’s not bad, it could’ve been much better. He sounds a lot more energetic on here than he was on his last 2 albums & the content is mostly on par as well, but a lot of these trappy instrumentals are hit or miss with me to be quite honest.

Score: 3/5

Various Artists – “Black Panther: The Album” review

With the Black Panther coming out a week from today, Top Dawg Entertainment is giving us the soundtrack alongside Aftermath Entertainment & Interscope Records. The opener “Black Panther” by Kendrick Lamar (who curated the whole soundtrack) talks about being a king over a gloomy piano instrumental. However, there’s one point where it gets abrasive. The song “All the Stars” is a spacey love duet with Kendrick & SZA that’s just ok. The track “X” by ScHoolboy Q, 2 Chainz & Saudi gets celebratory over a decent trap beat while the song “The Ways” by Khalid & Swae Lee is a duet about this attractive woman over a moody trap beat. The track “Opps” by Kendrick, Vince Staples & Yugen Blakrok gets into the mind of criminals over a hip house beat while the song “I Am” by Jorja Smith gets insightful about change & how we aren’t meant to be free over a funk rock beat.

The track “Parademic!” by SOB x RBE is an eerie gangsta rap tune while the song “Bloody Waters” by Ab-Soul vividly talks from the point of view from an organized criminal over a kick-back beat. The track “King’s Dead” starts off with a eerie beat & while Jay Rock’s flow is absolutely deadly, but the Future bridge is so hilariously bad. However, they make up for it during the 2nd half when the beat switches into something more hard hitting & Kendrick comes in with an angry verse filled with references to the film’s antagonist Erik Killmonger.

After the “Redemption Interlude”, we then go into the actual song “Redemption” by Zacari & Babes Wudomo. Here, they get sexual albeit in an underwritten & generic fashion. The following song “Seasons Change” by Mozzy, Sjava & Reason talks about escape the ghetto over a somber yet reggae-infused instrumental. The penultimate track “Big Shot” by Kendrick & Travi$ Scott talks about the celebrity lifestyle & the flute sample that Cardo uses on here is absolutely beautiful. Also, I love how Kendrick reuses the first couple lines from his “New Freezer” verse for the hook. The soundtrack then finishes off with “Pray for Me, where The Weeknd & Kendrick talk about heroes burden over an electropop beat.

While I wouldn’t call this a future classic by any means, this is still a solid soundtrack album. It’s not too overproduced like many soundtrack albums nowadays, it’s well written & most of the performers do their thing

Score: 3.5/5