Shenseea – “Alpha” review

Shenseea is a 25 year old singer/songwriter & DJ from Kingston, Jamaica who’s dropped a handful of singles since 2015 like the Vybz Kartel-assisted “Loodi” or “Run Run”. She then signed to Interscope Records prior to the pandemic, but got her biggest push yet after appearing on the “Ok Ok” remix off Kanye West’s final Def Jam album DONDA this past summer. So given that, it was only a matter of time until she’d strike while the iron’s hot & drop a full-length debut.

“Target” with Tyga starts off the album with a decent ballad accompanied by a blissful atmosphere talking about doing right by one another whereas “Can’t Anymore” is a much more peppier follow-up wanting to get nasty. “Deserve It” goes into a more dancehall direction fantasizing over the perfect guy leading into 21 Savage tagging along for “R U That?”, which is a fresh fusion of contemporary R&B & trap outlining what kind of relationships they want.

Meanwhile on “Lick”, we have Megan Thee Stallion coming into the picture for a more refined version of “W.A.P. (Wet Ass Pussy)” down to the Murda Beatz instrumental just before the Offset-assisted “Bouncy” reveals itself to be a playful ass-shaking anthem. “Henkel Glue” returns to dancehall turf as Shenseea goes back & forth with Bernie Man talking about how this isn’t any kind of regular love, but then “Lying If I Call It Love” is a reggae-tinged slow jam detailing not being in love with her partner (played by Sean Paul) even though the sex is great.

“Hangover” comes through with an airy trap ballad advising how much it’s gonna hurt when she breaks up with her man while “Body Count” spaciously advises her new lover not to worry about such. “Egocentric” melodically advises how much your ego can damage you fighting for money like 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena while “Shen Ex Anthem” pretty much speaks for itself over a pillowy beat. The penultimate track “Sun Comes Up” reveals itself to be an empowering anthem about rising up & to end the album, Tyga returns for the endearing “Blessed” addressing their gratitude for where they are today.

For a commercial debut, I think Alpha further cements Shenseea as the most exciting new face in the dancehall scene. She still stays true to her roots, but I also think it’s fun the way she tries to incorporate elements of hip hop & pop into her music.

Score: 3.5/5

EARTHGANG – “Ghetto Gods” review

This is the 4th full-length album from Atlanta, Georgia duo EARTHGANG. Consisting of Olu & WowGr8, the pair started out a little over a decade ago dropping 3 mixtapes along with 2 albums & an EP independently before J. Cole signed them to his Interscope Records imprint Dreamville Records in 2017. This resulted in a trilogy of EPs leading up to their major label debut Mirrorland, which revealed themselves to be one of the best artists that the label has to offer. They went on to give their Spillage Village collective some shine by dropping their 4th album Spilligion on Dreamville the next year but now, they’re back in effect with the long-awaited Ghetto Gods.

After the “GLOW” intro, the title track opens the album with the duo talking about how anyone who thinks they can fuck with them are crazy on top of a symphonic trap instrumental whereas the Future-assisted “BILLI” is pretty much their own “Life is Good” down to the way it’s structured except this is way more exciting. [J.I.D] & J. Cole tag along for the funky “WATERBOYZ” talking about getting this money & fucking the fame leading into the “HEY BOO” interlude.

Meanwhile on “AMEN”, we have EARTHGANG coming through with a decent R&B flavored slow jam just before “ALL EYES ON ME” takes a cloudier route with the help of JetsonMade talking about wanting their homies free. “LIE TO ME” follows it up with some intoxicating synth melodies asking to be true but then after the “JEANS” interlude, the duo bring Baby Tate into the picture for “BLACK PEARLS” trying to brag about their women getting new bodies & falling flat on their faces.

After the “NEEZY’S WALK” interlude, the lead single “American Horror Story” returns to funk turf expressing their desire to be free while “POWER” comes off as an passionate pro-black anthem. After the “ZAZA” skit, the song “SMOKE SUM” goes into boom bap territory to talk about blazing some trees while the penultimate track “STRONG FRIENDS” is a fiery ode to being mentally healthy. “RUN TOO” ends the album with a spacey banger talking about what a life it’s been for them.

It took them a little over 2 years to finally give Ghetto Gods to us & at the end of the day, I like it a little bit more than Mirrorland. Few songs I could’ve done without, but the whole concept of finding God in you is very well thought out & their production game is continuing to progressively improve.

Score: 4/5

Yeat – “2 Alivë” review

Year is a 21 year old rapper from Portland, Oregon who out in 2018 off his debut EP Deep Blue $trips. This was followed up with 2 mixtapes & 3 more EPs, but he began dominating the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a full-length debut) or cosigns from the likes of Drake & Earl Sweatshirt. But now with “U Could Tëll” appearing on one of latest Euphoria episodes & signing to Geffen Records, we’re finally being treated to Yeat’s long-awaited sophomore album.

“Poppin’” sets off the whole thing off on a cloudy note courtesy of BenjiCold boasting whereas “Outsidë” with Young Thug finds the 2 detailing the many benefits that come alongside their position as artists referencing 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair over an upbeat Supah Mario instrumental. “Rëal 6” takes a more atmospheric yet bass-heavy route with a clever homage to Nipsey Hu$$le in the hook, but then Trgc makes “Nvr again” sound something out of a retro video game as far as production goes & talking about his drug addiction.

Meanwhile on “Luh gëek”, we have Yeat over some prominent bass getting in his shit-talking bag leading into the Gunna assisted “Rackz got 2 më” talking about money consuming them over some somber bells. “Doublë” has a more futuristic feel to it detailing being “geeked out his mind” just before “On tha timë” talks about being the big dog & the instrumental reminds me a lot of Super Mario.

“Jus better” reincorporates some bells into an electronic backdrop speaking down on his competition while “Jump” reveals itself to be a vigorous moshpit anthem. “Dnt lië” follows it up by talking about going up on the list over a quirky instrumental whereas “Rollin’” shoots for a more chilled out vibe to flex.

Continuing from there, “Taliban” comes in with a more playful sound saying he’s always a geek while “Narcoticz” brings in Yung Kayo for a synth-laced drug theme. “Call më” follows that up with a decent love ballad & “Kan’t dië” picks brings back the synthesizers to brag.

Ken Carson tags along for the triumphant “Gëek high” talking about pulling up with the team while the song “Luh m” with ‎SeptembersRich is a cool little sequel to “Insidë out”. The penultimate track “Smooktobër” finds Yeat talking about fucking up the game over a spooky beat from F1LTHY of Working on Dying & “Still countin’” ends with the album with a hedonistic trap banger that Internet Money Records in-house producer Synthetic laced detailing the rich life.

“Big tonka” with Lil Uzi Vert starts the deluxe run with a euphoric, bell-heavy ode to Lamborghinis teasing a potential collaborative tape if that actually happens while “Kant rëlax” follows it up with a hypertrap banger about how ready he is. “No commënt” takes a more vibrant direction dissing Autumn! in the hook leading into Uzi returning for the futuristic yet uncanny “3G” talking about being the only ones outer space.

Meanwhile on “Nëw turban”, we have Yeat returning to hypertrap territory reincorporating some bells to spit some braggadocio just before “Hatër” claps back at those who don’t like him over a rubbery instrumental. The song “Way back” comes through with a more anthemic ballad talking about getting the cash while the penultimate track “Luv monëy” with Lancey Foux speaks for itself accompanied by a bass-heavy beat. “Dub” finishes the EP with an electrifying instrumental talking about his wins.

To see how far this dude has come within the last year has been incredible to watch because 2 Alivë has to be his best full-length yet in my eyes. It’s not as cloudy or pluggy as his early work, but he still displays a unique take on modern trap even on a major label.

Score: 4/5

2 Chainz – “Dope Don’t Sell Itself” review

2 Chainz is a 44 year old rapper from Atlanta, Georgia who came up as 1/2 of the duo Playaz Circle. They eventually signed to Disturbing tha Peace Records & Def Jam Recordings in the 2000s releasing only 2 albums. He eventually ventured off into a solo career, with the biggest standouts being Pretty Girls 👍 TRΛP MUSIC & Rap or Go to the League. Last we heard from him was a little over a year ago with So Help Me God! but after dropping 2 singles last month, Tity Boi is returning in the form of his 6th full-length outing.

“Bet It Back” starts off the whole album with a rubbery bass-line & a sputtering sample talking about working hard to be well made whereas “Pop Music” with Moneybagg Yo & BeatKing comes off as a boring strip club anthem. “Kingpen Ghostwriter” picks things back up as Lil Baby tags along over a symphonic Buddah Bless instrumental talking about money coming in a hurry leading into “Outstanding”, which has a high spirited Hit-Boy beat & lyrics paying tribute to his lifestyle.

Meanwhile on “Neighbors Know My Name”, we have 2 Chainz bastardizing the classic D4L joint “Laffy Taffy” for 2 minutes just before 42 Dugg comes into the picture for “$1M Worth of Game” to talk about how shit can’t change them accompanied by a mediocre Lil Ju instrumental. “Free B.G.” takes a more wavier route with the help of Mannie Fresh obviously calling for the former Hot Boy$ member of the same name to come home, but then “10 Bracelets” has a more feel good tone to it as he & YoungBoy Never Broke Again get materialistic.

“Lost Kings” with Lil Durk has some woozy synthesizers throughout pondering how they’re supposed to breathe if all people do is kill & fight while the song “Caymans” with Swae Lee goes into a more stripped back direction talking about taking care of you & yours if you got something that people wanna see or be a part of. The penultimate track “Vlad TV” with Major Myjah, Stove God Cook$ & Symba finds the trio over a funky ass beat calling out the interview platform for being the feds & “If You Want Me To” just seems like an awkward send-off to the album trying to get seductive.

Coming from someone who’s enjoyed his last 3 albums, I feel like Dope Don’t Sell Itself is slightly above average in comparison & could’ve been a tad bit better. 2 Chainz’ lyricism is absolutely not the problem at all because he’s the been the best he’s ever sounded throughout the past 5 years. The main problems I have with this album are the production & the features being hit or miss.

Score: 3/5

Cozz – “Fortunate” review

Cozz is a 27 year old rapper from Los Angeles, California who caught the attention of J. Cole in 2013 with the single “Dreams” & eventually signed to the North Carolina veteran’s Interscope Records imprint Dreamville Records. His full-length debut Cozz & Effect would come out the next year, which was followed up with the debut mixtape Nothin’ Personal as well as the sophomore album Effected & the 2nd mixtape Aftermath of My Dreams. But after dropping a couple singles throughout these last couple months, Cozz is finishing off Dreamville’s year with his debut EP.

The title track is a cool guitar/trap ballad about being blessed that he’s still alive whereas the gospel vibes of “Higher Power” fits really well given the subject matter of belonging to God. “Juice Bars” has one of the weaker instrumentals on the EP trying to rip off D4L’s “Laffy Taffy” even though the boastful lyricism is ok, but then “So Am I” has a more nocturnal sound talking about he & his boys being witit.

I really dig the boom bap production on the song “Addicted” even though I don’t care for the thirsty lyricism while the penultimate track “Control Problems” with YG weaves in an uneventful trap beat despite the lyrics about letting God handling their issues. That being said: I think “Cry” is a powerful closer looking back on his parents domestically abusing each other & the cops coming to their house.

Now this is far from being one of the best EPs I’ve heard all year or anything like that, but a good majority of Fortunate is pretty solid. Cozz is really starting to elevate on the mic & the production game is starting to improve as well. Very curious to hear where he’ll go with his next album.

Score: 3.5/5

Big Sean – “What You Expect?” review

This is the debut EP from Detroit rapper & singer/songwriter Big Sean. Coming up as a protege of Chicago icon Kanye West & signing to his Def Jam Recordings imprint G.O.O.D. Music, he generated some buzz in the late 2000s by dropping the Finally Famous mixtape trilogy, but it wouldn’t be until 2011 when his profile significantly increased when Sean dropped a 4th installment as his full-length debut. This was followed up the next year with the highly acclaimed Detroit mixtape & then a sophomore album the year after that entitled Hall of Fame. However, his next 2 full-lengths Dark Sky Paradise & I Decided. were both mediocre in comparison to all those past efforts. Now the last time Big Sean dropped a project was in late 2017 with Double or Nothing which had INCREDIBLE production from Metro Boomin’ top to bottom, but Sean himself was SEVERELY lacking. He just fulfilled his G.O.O.D. contract last fall by dropping the surprisingly mature Detroit II & is re-enlisting Hit-Boy for What You Expect?, except he’s actually producing the whole thing rather than overseeing it.

“Chaos” is a shrilling yet triumphant opener co-produced by Rogét Chahayed about catching them Ws whereas “Into It” follows it up with an airy backdrop & some fast-paced snares boasting. “The One” appropriately samples the SWV joint “You’re the One” admitting he doesn’t know what it’s like for girls to not want him while the song “Loyal to a Fault” with Bryson Tiller & Lil Durk vibrantly speaks on betrayal. The penultimate track “Offense” with Babyface Ray & 42 Dugg finds the trio on their Detroit trap shit talking about being on top, but then “What a Life” ends the EP by picking up where the previous joint left off sonically & recapping on his life up to this point.

If you enjoy Detroit II like I did, then you’re gonna love What You Expect? just as much if not even more because dude is continuing to impress me more & more as of late. Sean’s songwriting is continuing to level up at an unbelievable rate & Hit-Boy’s production suits him like it did Nas on his last 2 albums.

Score: 3.5/5

Lute – “Gold Mouf” review

Lute is a 32 year old rapper from Charlotte, North Carolina who came up almost a decade ago as a member of the short-lived Forever FC as well as his debut mixtape West1996 a little bit after their disbandment. This would catch the attention of local legend J. Cole & he would sign Lute to his Interscope Records imprint Dreamville Records the very day the label dropped their 2nd showcase compilation Revenge of the Dreamers II in December of 2015. Fast forward to his full-length debut a couple years later being a respectable sequel to his breakout tape but now, he’s enlisting Rapper Big Pooh to oversee this sophomore album of his.

“100” is a dreamy boom bap opener about keeping it real whereas “G.E.D. (Gettin’ Every Dolla)” has a bit of a lush trap instrumental speaking on making the money. “Myself” addresses being extroverted with a meditative Trox beat, but then “Be Okay” has a bit of an R&B-flare optimistically looks forward to the future in the midst of dark times.

Meanwhile on “Eye to Eye”, we have Cozz tagging along for a piano ballad about how real recognizes real just before “Changes” vibrantly details that he’ll never switch up like a lot of other cats did. “Ghetto Love” is a decent romance cut that I can do without whereas “Amen” with fucking Little Brother gets on the boom bap tip takes another whack at it doing a much better job with it’s spiritual references.

SABA comes into the picture for “Birdsong” to talk about living how they want over an alluring vocal sample leading into the dusty, boastful “Flossin’” featuring Shady Records’ very own Westside Boogie & produced by Marco Polo. The song “Life” vulnerably details how he handled the hurdles 2020 threw at us while the penultimate track “Overnight” is a guitar ballad reminder that Rome wasn’t build in a day. “Crashing” serves as a cloudy finisher saying he’s been stuck in his ways & been in control of his own faith.

For anyone who enjoyed the West1996 duology, I think you’re gonna like Gold Mouf just as much if not even more. Big Pooh brings in a gang load of fresh faces behind the boards to demonstrate their talents, the features are well-picked & Lute’s at his most honest lyrically.

Score: 3.5/5

Yeat – “Up 2 Më” review

This is the full-length debut from Portland rapper Yeat. Breaking out in 2018 off his debut EP Deep Blue Strips, he would go on to follow it up the next year with his debut mixtape I’m So Me. Then after dropping We Us & Hold On, it’s safe to say that 2021 is his biggest year yet. Especially given the success of Alivë & 4L. But now with a month since putting out Trëndi & earning a co-sign from Drake, he’s continuing the hustle with Up 2 Më.

“C’mon” is a cloudy opener about killing pussy whereas “Morning mudd” works in some synthesizers from Bugz Ronin to say he had to get up & chase a bag. “Got rich” goes for a more rage-inducing vibe thanks to none other than F1LTHY of Working on Dying with Yeat bragging about his newfound wealth just before “Lët ya know” has a more futuristic sound telling us this might be his last song.

Meanwhile on “Stayëd tha same”, we have Yeat jumping on top of some snares & bells from BNYX to talk about never switching up despite his recent success leading into “Gët Busy” having a bit of a retro video game feel in the beat with boastful lyrics. “Rokstar” boisterously details his new lifestyle, but then SeptembersRich tags along for the rubbery “Trëndy way” talking about how they do shit.

“Swërved It” has some incredible organ harmonies talking about calling out those fronting on him while “Ya Ya” produced by Internet Money Records in-house producers Rio Leyva & Synthetic mixes a bass-line higher than the synths answering “yes” to all these questions people been asking him. “U could “tëll” grimly proclaims his top dog status whereas “Factz” brings in a flute saying he didn’t get this shit for free. “ Bak on ‘ëm” takes a murkier direction speaking on being in a rich climate, but then the instrumental “Hëy” brings to table sounds more robotic & Yeat taking about punching these bitches off the Earth.

“Turban” has a more chaotic sound continuing to detail where he is now leading into the unhinged “Twizzy Rich” proclaiming it’s all on him. The wobbly instrumental on “Told ya” is dope with Yeat saying he just caught the vibe, but then the rubbery synth banger “Monëy so big” that Trgc cooks up talking about his wealth increasing within the last few months due to his newfound popularity.

“Dëserve it” brings back the bells to speak on needing it all while the song “K’ant changë” is a rowdier cut continuing the theme of not letting fame get to him. The penultimate track “Callin’ më” serves as a response to the labels & old friends/bitches contacting him again now that he’s famous & then “Lying 4 fun” is a skeletal closer telling us he’s livin’ life just how he dreamed of it.

Even though I’d have to say 4L & Trëndi are his finest bodies of work to date, I think Up 2 Më continues to build up to Yeat’s hype. I could’ve done without like 5-6 joints & some of them could’ve been more fleshed out, but his unique personality is still shining as bright as it ever did.

Score: 3.5/5

Grip – “I Died For This!?” review

Grip is a 32 year old MC from Atlanta, Georgia who came up in 2017 off his debut mixtape Porch. This was followed up a couple years later with the full-length debut Snubnose but after dropping 2 EPs in 2020 & signing to Eminem’s very own Interscope Records imprint Shady Records earlier this summer, he’s ready to make his major label debut by putting out his sophomore album to a wider audience.

After the “Enter Stage Right” intro, the first song “And the Eulogy Read!?” kicks things off with a boom bap banger recapping his career up to this point whereas “Hands Up!” serves as a spacey shot at the system. The title track takes a turn into trap territory saying he waited his whole life for this certain moment just before “Momma Told Me!” is a ghostly look back on his mother advising him to get that paper.

Meanwhile on “Placebo”, we have Grip & Royce da 5’9” jumping on top of a trap instrumental that later switches into boom bap turf to compare this song to a substance or treatment that has no therapeutic value leading into him proclaiming he’s larger than life for the chaotic “Gutter!”. Things take a much more melodic turn for “JDDTTINT!?” saying he doesn’t want to die, but then “A Soldier’s Story” has a psychedelic feel saying what he writes is like a zeitgeist for life’s highs & lows.

Eminem of course tags along for the bassy, organ-laced “Walkthrough!” saying they can’t save the world whereas “The Lox!” with Tate228 starts off with a nocturnal boom bap instrumental before switching up into a trap beat saying he wants a check. “Enem3” with Big Rube had a more settler tone telling their old friends to meet them at the middle just before “ConMan” is a piano ballad saying he has a date with destiny.

“Glenwood” serves as a synth-laced freestyle about the titular city in Georgia while the song “At What Cost!?” somberly opens up about depression. The penultimate track “Patterns?” harmoniously apologies for letting his partner down & finally, “Pennies / Exit Stage Left!?” ends the album apocalyptically asks if you’re not entertained.

Even though I still prefer Snubnose, that’s not to say I Died For This!? isn’t a bad entry point for anyone new to him. He manages to stay true to himself rather than selling out now that he’s on a major label & still manages to do a fine job at carrying the hunger from his previous efforts onto this.

Score: 3.5/5

Vince Staples – Self-Titled review

This is eponymous 3rd full-length album from Compton, California rapper, singer/songwriter & actor Vince Staples. Coming up as a close affiliate of the now defunct Odd Future crew, he would go on to release 4 mixtapes before signing a joint deal with Blacksmith Records & even No I.D.’s very own Def Jam Recordings imprint ARTium Recordings. My personal favorite of which being Stolen Youth, which was entirely produced by the late Mac Miller. His first major label outing Hell Can Wait was a dope little EP preluding the full-length debut Summertime ‘06, which became one of the best double disc albums of the previous decade. Vince later detailed the pitfalls that came with his success on the next EP Prima Donna, but the dude’s last album Big Fish Theory was unquestionably his most experimental work yet. But ever since linking up with Kenny Beats at the tail-end of 2018 for the radio show-themed EP FM!, we’ve heard very little from Vince. So given the 3 year gap & him jumping ship from Def Jam to Motown Records, to say I was excited for him to finally make a comeback is an understatement.

“Are You With That?” kicks things off with a wonky trap instrumental from Kenny Beats (who produced the whole album start to finish) & Vince saying all he wanted was to be a thug growing up whereas “Laws of Averages” is much more slower in terms of production with lyrics about how “I don’t trust no bitch with my government”. Vince jumps on top of a slowed down sample on “Sundown Town” to talk about running wild before taking things into a murky trap direction for “The Shining”.

Meanwhile on “Taking Trips”, we go into more psychedelic territory for Vince to bug out over leading into an interlude entitled “The Apple & The Tree”. He later expresses homesickness with the R&B flavored “Take Me Home” while the penultimate song “Lil Fade” serves as a symphonic ode to all his homies in the pen. After the “Lakewood Mall” interlude, the closer “MHM” works in some synths & rubbery bass to spit that gangsta shit.

For the 3-year wait, I think this self-titled joint was well worth it. Wish it was longer than 22 minutes, but Vince takes through events in his life that he’s never put out there before & he sounds a lot better with Kenny Beats than he did on FM!. Looking forward to hear what route he takes for Ramona Park Broke My Heart.

Score: 4/5