This is the 19th EP from Louisiana rapper/producer Autumn!. Making a name himself in the plugg scene, he got his start by dropping 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records right following the Not Much Left EP. He made his major label debut last spring with his sophomore album Antagonist!, following it up with ##B4GC2 & Golden Child 2. But with the final chapter of the trilogy on the horizon, of course twinuzis had to prelude it with ##B4GC3.
“Baby Fewch!” is an atmospheric trap opener to the EP with Autumn! talking about getting this shit too easy whereas the song “Colors!” takes a more vibrant route detailing his mob boss & not stressing over fuck boys. The penultimate track “Recollections of Fame!” embraces the pluggnb sound we all came to know & love him for as he clarifies that all his brothers roll with him prior to “The Remorse!” ending things on a somber note recalling a phone call that he received in New York & trying hard to find some sort of closure.
As we await for Golden Child 3 which is said to be a self-produced full-length album unlike the past installments of the series being EPs, this’ll sure be enough to hold us off until then. It’s pretty much a mix of his pluggnb roots & some new sounds that he successfully decided to try out. At this rate, the final entry of this series that introduced me to dude’s music is sure to be something special.
Autumn! is a 24 year old rapper, singer/songwriter & producer from Lafayette, Louisiana who made he got his start by dropping 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records following Not Much Left this past fall. He just put out his sophomore album albeit major label debut Antagonist! few months back to positive reception & returned to his plugg roots a month ago with ##B4GC2, but is steadily grinding by putting out his 18th EP.
The intro sets it off with a glistening instrumental talking about being up now whereas “Inside My Head!” takes a more atmospheric route refusing to let the industry take his soul. “Can We Talk!” goes pluggnb responding to everyone who said he fell off prior to “Golden Child!” confessing about lying that he’s fine when he’s really not over a tranquil instrumental. The song “Jay n Bey!” works in a guitar comparing his love for his partner to that of The Carters while the penultimate track “Should Know Me Better!” spaciously talks about needing to relax after moving too fast & that he’ll always be here in the scene. “Myself!” though is a fun send-off to the EP telling this hoe not to deny that she’s like the rest.
As a sequel to one of the best projects in Autumn!’s ever-growing discography, it certainly lived up to my expectations. Much like the prequel & the predecessor, the actual follow-up itself picks up where things left off with it’s well-crafted pluggnb production that helped blow him up & the subject matter all comes from a unique perspective that he continues to bring to the table. He & Weiland are definitely holding it down for Victor Victor right now.
This is the surprise 17th EP from Louisiana rapper/producer Autumn!. Making a name himself in the plugg scene, he got his start by dropping 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Recordsright after his last EP Not Much Left last fall. He just put out his sophomore album albeit major label debut Antagonist! few months back to positive reception & now surprise-dropping ##B4GC2 ahead of Golden Child 2.
“My Collection!” is a spacious opener talking about letting Keisha think that he’s the one that needs her while the self-produced “I’m Doin’ Fine!” takes a pluggier route assuring everyone that it’s all good on his end. The penultimate track “Know You Hear Me!” has a more psychedelic edge to it delivering a message to the higher power & “Wait Yeah!” closes out the EP with a fun trap banger confessing that he doesn’t know who he’d be without the power of music.
Golden Child is still a favorite of mine throughout Autumn!’s catalog due to how personal he got on there & this prelude has me anticipating the sequel highly. The production is a lot more plugg-influenced than Antagonist! was & the introspection that made the first Golden Child so special happens to carry it’s way over here.
Autumn! is a 23 year old rapper/producer from Lafayette, Louisiana who’s made a name himself in the plugg scene by dropping 15 EPs & a full-length debut on SoundCloud since 2018. But in light of him signing to Victor Victor Worldwide & Republic Records following the release of his previous EP Not Much Longer last summer, he’s now returning with his long-awaited sophomore album & major label debut after teasing it for so long.
The self-produced title track opens up the album with some rage beats throwing shots at KanKan, SeptembersRich & Yeat whereas “STFU!” works in some Atari-like synths & some heavy bass talking about not wanting to hear shit unless it’s about the money. “STFU! 2” picks up right where it’s predecessor left off calling out those who backstabbed him, but then “I’m Him!” takes a ghostly route asking “Why these n****s keep playing like I ain’t him?”.
Meanwhile on “Everything!”, we have Autumn! returning to hypertrap territory declaring himself as a boss just before “Bentley Bentayga!” has a more futuristic flare to it talking about the rich lifestyle. “Bentley Bentayga! 2” is a bombastic follow-up to it’s predecessor asking how many bitches can fit in the titular car leading into the rage-sounding “Etiquette!” admits not knowing shit about protocol.
“Jumpin’!” goes into cloudier yet poppy territory thanks to Internet Money Records’ very own Rio Leyva reflecting on being destined for this music shit while “We Adapted!” returns to a more pluggier sound talking about feeling like a bastard & a pastor. The song “Free Bugga! 3” is the 3rd tribute that Autumn! has made for his uncle Bugga in prison that’s just has touching as the predecessors while the penultimate track “Talk’s Cheap!” keeps the plugg vibes going talking about moving smarter. “1 Way!” eventually closes out the album with a contemporary R&B ballad addressing an ex.
Coming from someone who got put onto him last summer, I think this is a very impressive major label debut for Autumn! & some of the best work that he’s put out so far. The production is diverse in sound ranging from hypertrap to plugg & I admire that he didn’t go crazy for features to demonstrate his vocal/songwriting talents.
Weiland is a 21 year old recording artist from Tampa, Florida who came up in 2016 off his debut EP Insomnia. He would follow it up with his first 2 mixtapes Packrunner & Grimey Life but at the beginning of this current decade, Weiland wound up signing Victor Victor Worldwide & they backed his eponymous full-length debut that same fall. But for his sophomore effort over here, he’s decided to experiment with some new sounds & it immediately drew me in.
“Slipping Into the Void” opens up the album with a synthpop banger produced by Mike Dean asking why he’s still alive whereas “Can’t Save Her” tells the story of a hoe pretty much over some new wave production. “Broken Ego” works in some fast drumming with some synthesizers talking about suffering from such leading into “Dangerous Woman”, which has more of a Tame Impala influence to it describing the devil in designer clothes.
Meanwhile on “All the Same”, we have Weiland wishing for a change over some synthwave production just before “Still Chasing After Happiness” goes into coldwave territory asking his ex if she still thinks about him. “Better Place” keeps the synthpop going showing a side of him that’s never been shown before, but then “Hard Time” goes full-blown post-punk confessing that he’s been dealing with a breakup poorly. That being said, it is very catchy & you can hear the pain in his voice.
“Blaming Myself” fuses neo-psychedelia & hypnagogic pop together confessing his emotional dependence on a toxic relationship while the song “Wanted More” talks about the falling out of a relationship over some more synthwave beats. The penultimate track “Mellotron” perfectly lives up to it’s name with it’s colorful production expressing his love for the instrument of the same name & “Farewell” ends the album with 1-last coldwave cut detailing his drug abuse.
Given that his earlier work is deeply rooted into the trap/plugg sound, this wasn’t what I was expecting going into it. That being said, I’m blown away with what I heard & I’ll even go as far to say it’s Dawn FM on Steroids. No disrespect to Abel at all because I thought it was a great follow-up to After Hours, but Mike Dean was the perfect person to help Weiland go into that synthpop territory given the progressive electronic style of his 3 latest solo efforts only to go above & beyond in nearly every aspect.
Nigo is a 51 year old fashion designer, DJ, producer & entrepreneur from Maebashi, Japan who famously created one of my favorite clothing lines of all-time: A Bathing Ape. He’s also been involved with the hip hop industry as well, being the DJ for the Teriyaki Boyz ever since their inception. But finally, Nigo has seen fit to host his very own full-length album with the help of Steven Victor’s very own Republic Records imprint Victor Victor Worldwide.
“Lost & Found” by WANG$AP starts things off with A$AP Rocky on top of a “3 Kings” sample talking about wanting his credit prior to switching up into a sample of “Like a Boss” by Slim Thug for Tyler, The Creator to spit some braggadocio whereas “Arya” by Rocky works in a piano-heavy instrumental shouting out the Game of Thrones character of the same name. “Punch Bowl” by Clipse sees the duo reflecting on their past on top of an atmospheric Neptunes instrumental leading into “Functional Addict” by Gunna & Pharrell taking a funkier route getting sexual.
Meanwhile on “Want It Bad”, we have KiD CuDi on top of an electropop beat talking about how his work is never done just before “Morë Tonight” goes into hip house territory for a fun Teriyaki Boyz reunion. “Paper Plates” by A$AP Ferg continues to flex over a riveting beat, but then “Hear Me Clearly” by Pusha T follows it up with a boom bap banger produced by Kanye West telling everyone who fears him to admit it.
The song “Remember” by Pop Smoke has a dope sample of “Sound of a Woman” by Kiesza to go at anyone who opposes him while the penultimate track “Heavy” by Lil Uzi Vert takes influence from UK Drill talking about repping Moncler hard. “Come On, Let’s Go” by Tyler, The Creator ends the album by telling a bitch the time she’s wasting is on him with the beat giving off heavy summer vibes.
In comparison to a lot of producer/DJ curated albums these days, I came away from I Know Nigo loving a good portion of what I heard on it & hopefully this is only the beginning for the icon. The guests are all well picked out & I love the diversity of the production ranging from boom bap to hip house & even UK Drill.
This is the sophomore album from New York rapper, singer & songwriter Pop Smoke. Emerging in the summer of 2019 off his debut EP Meet the Woo, things were looking like the Brooklyn drill pioneer was just about to take off until he was tragically murdered in a home invasion less than 2 weeks after Meet the Woo 2 dropped last February. Pop’s full-length debut Shoot for the Stars, Aim for the Moon was later completed by the hands of his idol 50 Cent & just celebrated it’s 1-year anniversary at the beginning of the month. As for the actual music on that album: I personally was indifferent towards it because as much as I adore 50’s output both solo & with G-Unit from 2002-2006, he made it sound a lot more commercial than it really needed to be. So to see he had no involvement with Faith gave me hope that I’d like it more than Shoot for the Stars, Aim for the Moon.
After the “Good News” intro, the first song “More Time” is an endearing piano ballad produced by 808Melo about how that’s all he needs whereas “Tell the Vision” with Pusha T finds the duo boasting their success on top of a guitar & some hi-hats. I also dig how Push acknowledges Call Me If You Get Lost as the 2021 AOTY so far as well as teasing his upcoming album & calling someone who I refuse to acknowledge on my platform a clown without sounding like beating a dead horse. He & Rick Ross get murderous on the soulful “Manslaughter” leading into the acoustic materialism anthem “‘Bout a Million” with 21 Savage & 42 Dugg.
Meanwhile on “Brush ‘Em”, we have Rah Swish tagging along over a chilling sample to spit that gangsta shit just before the triumphant “Top Shotta” featuring Pusha T & TRAVI along with The Neptunes behind the boards. Bizzar Banks comes into the picture to talk about being sleazes on the cinematically produced “30” while the spacious “Beat the Speaker” grimly talks about Pop being the man. “Coupe” has a nocturnal instrumental whilst returning to the gangsta rap themes just before he & Takeoff talk about having a lot of guns for the cavernous “What’s Crackin’?”. The choir vocals on the Lil Tjay/Swae Lee assisted “Genius” are chilling as the trio are proclaiming themselves as such while he & Future talking about 100 bitches that’s ready to fuck.
After the pointless “Woo Baby” interlude, the actual “Woo Baby” song itself is an attempt at a radio hit saying he & Chris Brown like their yummy yellow whatever the fuck that’s supposed to mean while the moody Dua Lipa duet “Demeanor” finds the 2 talking about his shawty. “Spoiled” even though it’s 2 minutes long is what “Woo Baby” should’ve been while the song “8-Ball” with KiD CuDi serves as a guitar ballad produced by Swizz Beatz about robbin’ ‘cause they never had nothing. The penultimate track “Back Door” with Kodak Black & Quavo sees the trio lavishly looking back on what their mothers had told them growing up & the closer “Merci Beaucoup” beautiful tells listeners that he ain’t got shit to prove to nobody.
Now I like this a bit more than the previous Pop Smoke album, but just by a very small margin. Some of the features either hit or miss & I really appreciate how it doesn’t try as hard to appeal to a nonexistent radio market like Shoot for the Stars, Aim for the Moon did.