Tag: 21 savage

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QUICKSPINS: 21 Savage — american dream

Cover art courtesy of Apple Music.

21 Savage’s newest project follows his path to fame, with more intense tracks alongside chill beats.

american dream by 21 Savage starts and ends with his mother’s voice. The first monologue features his mother, Heather Carmillia Joseph, as she talks about her hopes and desires for her son. The album concludes with her acknowledging his success. The American dream, if such a thing exists, is his, and he constantly expresses surprise at how he has survived his life thus far, such as in the final song off the album, “dark days.”

Shéyaa Bin Abraham-Joseph, known as 21 Savage, is a British-American rapper based in Atlanta, Georgia. His stage name refers to a shooting on his 21st birthday that took his friend Johnny’s life. His most recent album american dream marks his first solo effort since i am > i was in 2018, and first release since the Metro Boomin-assisted SAVAGE MODE II in 2020. It runs just under 50 minutes long with 15 tracks, featuring collaborations with Doja Cat, Young Thug, Metro Boomin and Travis Scott, among others. 

The album has a liberal structure, using two monologues as a framing device. It leaves breathing room for the songs to speak for themselves while tying into the general themes of the album which include loss,  loyalty, violence and love, all of which Savage has been exploring throughout his career. Tracks like “redrum” highlight his recurring use of violent imagery, which dates back to his earliest projects like The Slaughter Tape (2015). His lyrics pull heavily from his own life. In the song “letter to my brudda” he outlines his loyalty to Young Thug and empathizes with his plight. It is an expression of love and friendship that recalls “letter 2 my momma” off the album i am > i was. 

The tracks on this album come together to create a complex picture of his life and thoughts at the time of recording, like with his previous releases. 21 Savage explores loss not only through death but also through incarceration. He condemns other rappers for snitching and talks about the injustice of the system that stripped his loved ones from his life—including Johnny. Abraham-Joseph carries this loss with him not only through his stage name, but also through an emotional current, almost as if to say “this is for you.” His success and career are all in memory of Johnny. 

There is a lot of variety in the sound on american dream, achieved through sampling and catchy soul and R&B beats. There are darker instrumentals, such as on “redrum.” Yet, he samples Mary J. Blige’s “I Don’t Want to Do Anything” on “should’ve wore a bonnet,” which has a chill, ballad vibe. 21 Savage’s talent is obvious from his lyricism to his composition. He uses metaphors and wordplay to elevate his lyrics.

The end of american dream is hopeful. 21 Savage talks about how he never thought he’d make it, and encourages his listeners to keep going. Heather Carmillia Joseph wishes her son even greater success now that he has this foundation of fame. She hopes for more for him, as every mother does.

Score: 7/10

Trial Track: dangerous

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Music Quickspins

QUICKSPINS: Drake and 21 Savage – Her Loss

 Despite being a collaborative album, this most certainly did not feel like one

After only five months since his more house-oriented project Honestly, Nevermind, Drake is back for more with Her Loss. On this new one, Drizzy is teaming up with Atlanta rapper 21 Savage for their new collaborative effort. 

After seeing massive success with previous cooperations in the past, such as “Knife Talk,” and Jimmy Cooks,” both becoming some of Drake’s biggest hits of the 2020s, it was only natural for the two MCs to unite for a whole album as they are now used to creating fireworks together.

To classify Her Loss as a joint effort between Drake and 21 Savage would feel like a crime, as it feels very much more like a Drake album featuring his sidekick 21 Savage than an equal partnership between the two. In fact, Drake accounts for 66 per cent of all words said on the record, while 21 Savage raps 26 per cent of them. The other 8 per cent is from guest appearances, such as Travis Scott on the excellent “Pussy & Millions.” Drake also has four songs alone on the album compared to 21 Savage, who only has one.

Despite not being labelled properly, this is definitely an improvement on Drake’s last two records. He sounds way more cutthroat than he usually does and even though 21 Savage isn’t on the album as much as I would have wanted, he’s still helping Drake bring out his more aggressive side with the help of some more ominous trap beat selection. Drake even goes in with some reckless disses, calling out Megan Thee Stallion, Soulja Boy, and Serena Williams’ husband, Alexis Ohanian.

Her Loss contains a lot of fun moments, and you can definitely feel their chemistry. Songs such as the opener “Rich Flex” with its various beat switches, the ruthless “On BS,” and “Broke Boys” with its phenomenal second half are all infectious yet very hard-hitting. 

Regardless, it does have some misses, like the way-too-long “Hours In Silence,” the uneventful “Spin Bout U,” and the forgettable “Jumbotron Shit Poppin.” Oh, and don’t get me started on “Circo Loco,” which is another instance of an older hit being sampled to gain more traction. This time, it’s “One More Time” by Daft Punk that is victim of this awful trend.

Drake also has a couple of corny one-liners, like on the closer “I Guess It’s Fuck Me,” where he says “If bein’ real was a crime, I’d be doin’ life,” like come on man. But honestly, he might be one of the only artists that can get away with saying things like that. He makes up for it with “Middle of the Ocean,” which is another classic laid-back Drake cut that sees him get in his bag over a beautiful instrumental.

Yes it’s not perfect, and yes it’s a shame that 21 Savage isn’t on the album as much, but overall, Her Loss is one of the more fun Drake records to have come out in a hot minute.

Trial track: Middle of the Ocean

7/10

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Music Quickspins

QUICKSPINS: 21 Savage & Metro Boomin: Savage Mode II

The Atlanta rapper and St. Louis super-producer team up once again and deliver a more-than-worthy successor to 2016’s Savage Mode.

In hip hop, the sequel album has historically been hit-or-miss. Much like in film, the sequel has a lot of pressure to live up to the legacy and quality of the original, and for every triumphant follow-up, there’s been a disappointing letdown. With Savage Mode II, 21 Savage and Metro Boomin set out to be bigger and better the second time around — and bring Morgan Freeman along for the ride.

When the rapper/producer pair teamed up for the original Savage Mode in 2016, Metro was on a sensational run and 21 was one of the exciting new faces in hip hop. The project’s eerie, ominous trap sound, paired with 21’s monotone delivery and haunting tales of street life were a match made in heaven, even with the hellish soundscape. It was massively successful, launching 21 into a new realm of stardom and further cementing Metro as one of the genre’s best producers.

With so much to live up to, it would’ve been entirely understandable for the duo to succumb to the pressures of making a sequel and fall short. Fortunately, that’s not the case, as this is a rare occurrence in which the sequel completely trumps its predecessor.

With Savage Mode II, the pair have delivered a follow-up that improves on nearly every aspect of the original, while understanding exactly what made the first so special. A lot of Metro’s production mostly maintains the dark, brooding tone of the original, though there are several moments here that   showcase his range as a producer. The biggest difference on this one is that the quality of the instrumentals has improved tenfold and they’re extremely dynamic and cinematic. His work here feels less like he’s producing an album and more like he’s scoring a film.

Another aspect of this album that gives it that movie-like feeling is the narration that appears throughout, courtesy of Morgan Freeman. From his opening monologue to his final words on the closing track “Said N Done,” Freeman has moments peppered throughout the project in which he delivers words of wisdom to the listener. He immediately sets the tone for the album and his appearances throughout perfectly emphasize the album’s lyrics and themes.

The instrumentals and narration do a fantastic job of setting the framework for 21 to succeed, and he does not let that foundation go to waste. This may very well be the best he has ever sounded in his career. Lyrically, he’s sharper than ever and while he’s still quite monotone, his flows and delivery have drastically improved and have given his lyrics more punch.

The diversity that Metro Boomin brings to this album’s soundscape also pushes 21 to be more adventurous, both in terms of style and content. With some more introspective moments, a couple of relationship tracks, the lavish “Rich N**** Shit” and the seemingly N.W.A.-inspired “Steppin on N****s,” he seems comfortable on almost any instrumental Metro throws his way.

Savage Mode II is a blockbuster sequel that shines in its cinematic approach thanks to incredible instrumentals, a much more refined 21 Savage and guest narration from Morgan Freeman himself. It’s a testament to the improvement that 21 and Metro have shown over the years, honing their respective crafts since their first collaborative effort. Ultimately, this sequel will stand as a benchmark in both of their catalogues.

 

Rating: 9/10

Trial Track: “Many Men”

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Music

The top 10 songs of 2017

The Concordian music staff reflects on the year’s best offerings

Last year was marked by triumph, defeat and outpours of optimism, and artists across the globe relayed this the best way they know how—through song. Here are the best tracks of 2017.

  1. “Love Galore” – SZA (ft. Travis Scott)

After spending half a year in our collective psyche, SZA’s sultry collaboration with Travis Scott secured a tight spot in the canon of timeless breakup songs. In the span of three minutes, the duo swap bitter kiss-offs and dissect past relationships while maintaining remarkably complex emotional maturity.

 

 

  1. “Magnolia” – Playboi Carti

Named after the infamous housing project in New Orleans, “Magnolia” is a stunning crystallization of Playboi Carti’s best assets—his natural ebb and flow on the mic and his critical sense of next-generation sounds.

 

 

  1. “The Bus Song” – Jay Som

“The Bus Song” not only introduces Jay Som’s excellent Everybody Works, it’s also a staggering reflection on love, friendship and the gratifying solace of trudging from desolate street to crowded bus stop, only to repeat the cycle on a daily basis.

 

 

  1. “DNA.” – Kendrick Lamar

“DNA” is a hip-hop masterpiece. Kendrick Lamar takes aim at a culture of misrepresentation and the long-standing effects that have perpetuated such divides. With mesmerizing production coming from Mike WiLL Made-It, “DNA.” is a disarming reminder that Lamar has plenty left to contribute to the zeitgeist, and then some.

 

  1. “The Story of O.J.” – Jay-Z

With a Nina Simone sample as its main hook, “The Story of O.J.” tackles traditions of racial discrimination and the diaspora of African culture in America, past and present, all delivered with some of Jay-Z’s sharpest writing in years.

 

 

  1. “123” – Girlpool

Girlpool’s sound hovers in its own innocuous space, where high school fantasies and dreamlike imagery act as a guiding beacon. On “123,” the duo peer through the looking glass with a sense of hyper-curiosity that reminds you of how powerless you really feel in this world we call home.

 

 

  1. “LMK” – Kelela

Kelela’s “LMK” is a nocturnal blow-burner that asserts the singer’s dominance as one of R&B’s most interesting forces. The singer pairs lavish R&B with pop accessibility and complements it with a backdrop of earth-rumbling bass, ornate synths and unwavering confidence.

 

 

  1. “tonite” – LCD Soundsystem

After laying dormant for six years, LCD Soundsystem’s core sound remains very much untouched. But that’s exactly where “tonite” draws its energy. Perhaps the year’s most proper return to form, the track pumps with the flashy tongue-in-cheek irony and existential musings LCD is known for. And after nearly two decades, they still sound as fresh as ever.

 

 

  1. “Bank Account” – 21 Savage

One of 21 Savage’s best standout tracks, “Bank Account,” continues the sinister trap persona the Atlanta rapper cultivated on his first few mixtapes. The nonchalant cadence of 21’s flow lurks with a cold and natural prowess, imitating the feeling of being watched without even knowing it.

 

 

  1.  “Executioner’s Tax (Swing of the Axe) – Power Trip

Power Trip’s “Executioner’s Tax (Swing of the Axe)” embraces a platonic passion for heavy metal reverie. The track is a sneering plea for the arrival of judgement day, where the only means of escape rests at the feet of the reaper’s axe.

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Music Quickspins

21 Savage / Offset / Metro Boomin’ – Without Warning

21 Savage / Offset / Metro Boomin’ – Without Warning (Slaughter Gang, 2017)

Like the title suggests, the latest 21 Savage and Offset collaboration, completely produced by Metro Boomin’, dropped without warning on Halloween. From the opening track, “Ghostface Killers,” we get Metro Boomin’s signature dark, moody sound, while 21 Savage and Offset effortlessly flow over the beat. The album lives up to its Halloween release with eerie tracks, like “Nightmare” and “Ric Flair Drip,” that showcase why Offset might actually be the most talented member in Migos. The first five tracks are exciting and catchy, however, the second half of the album takes a more laid-back approach. By track six, “Mad Stalkers,” the novelty of the collaboration wears off until track 10. However, this is an incredibly tight album, with catchy flows and world-class production from one of the best young producers in the game. If you’re a fan of any of these artists, the album is a must-listen.

Trial Track: “Ghostface Killers” ft. Travi$ Scott

Score: 7.5/10

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