Tag: hip hop

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Music Quickspins

QUICKSPINS: MONTERO – Lil Nas X

Lil Nas X’s ascension to fame was quite impressive

From sleeping on his sister’s floor to spending 19 weeks at the No. 1 spot on the Billboard’s Hot 100 Chart back in 2019 with the worldwide hit “Old Town Road,” Lil Nas X has certainly come a long way.

The promotional rollout for MONTERO was completely wild. With singles that did enormous numbers (the title track even topped the Billboard Hot 100), to “scandalous” music videos that sparked discussion in good (and bad) ways, it’s clear Lil Nas X is not afraid of being extra dramatic. Most notably, by acting pregnant on social media, with MONTERO being the baby he was expecting. Lil Nas X’s camp really played it well with the promotion of the record and it quickly became one of the most anticipated releases of the year.

On MONTERO, Lil Nas X blends the two genres he is most comfortable with, pop and hip hop, in a brilliant but distinctive way. The hip hop portion of the record seems to appear more at the top of the tracklist while the poppier section is more towards the bottom. While he executes both genres extremely well, his hip hop tracks hit more home than his pop tracks. Songs like “INDUSTRY BABY,” “DEAD RIGHT NOW,” and “DOLLA SIGN SLIME” are by far some of the best tracks on the record.

No matter what genre he’s working with, Lil Nas X always has an ear for a catchy chorus, and MONTERO features some of the most infectious hooks of the year. The artist also doesn’t back down from hopping on current trends in music. From a high use of horn-dominated instrumentals on hip hop tracks to even embarking on a pop-rock cut with “LOST IN THE CITADEL,” he knows how to exploit the trendier and fresher sounds of today in a more than profitable way. Although not as triumphant as some of the bangers on the first half, the more mellow second half is as enjoyable with smoother and sweeter tunes like “VOID” and “SUN GOES DOWN” showcasing Lil Nas X’s versatility and willingness to switch things up.

Being one of — if not the only openly gay and queer black man mainstream rapper — brings a breath of fresh air to the industry. Hip hop culture is often perceived as homophobic, so for a figure like Lil Nas X to rise so astronomically within it and proudly representing his genuine self is great to see. The industry has been in need of a figure like Lil Nas X for a very long time.

With his debut album MONTERO, Lil Nas X proves to the world that he is here to stay and that he is a force to be reckoned with among other mainstream artists. He has completely left behind the “One Hit Wonder” tag that was stuck with him.

Trial track : “INDUSTRY BABY”

Score: 7/10

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Music

The Class of ’11: hip hop’s last great draft year

A decade on, the genre’s then-rookies have continued to have a lasting impact with several remaining in hip hop’s upper echelon.

When sports fans discuss the greatest draft classes of all time, there are a few that are a necessary inclusion on any list. Whether it be the ’96 NBA draft class, the ’83 NFL draft class or the ’03 NHL draft class, the best ones see a high volume of players go on to become all-time greats within their respective leagues.

In hip hop, while there’s no official “draft” per se, one can still apply that logic to the crop of new artists in a given year and look at the impact they’ve had since entering the game. When you take that into account, it’s clear to see that some of these “draft classes” are stronger than others, but none in recent memory are stronger than the class of 2011.

Now, due to the lack of an objective drafting process, selecting the rappers from this class is based solely on which artists had their breakthrough moments, either albums or singles, in 2011. When looking at these moments, the focus isn’t necessarily on mainstream success, but moments in which they gained considerable notoriety within their respective lanes in the genre.

For example, we can look at artists like Danny Brown who, while swimming in critical acclaim for the last decade or so, may not have the sales figures of a major label artist with a big budget. Regardless, he’s been one of hip hop’s most consistent artists of the last decade, with project after project finding their home on a multitude of album of the year lists, starting with 2011’s XXX. The project is incredibly unique and introspective, and while it wasn’t his debut, it was the first to put Brown in the spotlight, bringing him near-universal acclaim and showing his potential to become one of the genre’s all-time greats.

Similarly, Tyler, the Creator has found his way on many of those lists in recent years as well, following excellent releases like Flower Boy and IGOR. His emergence on the scene in 2011 came as the cockroach-eating shock rapper in the “Yonkers” video, which was one of hip hop’s biggest moments that year. The video went viral and, while his debut album Goblin wasn’t as well-received by critics as his 2009 mixtape Bastard was, it did help to build a cult-like following for the young artist and his group Odd Future. Ten years on, Tyler is now a Grammy winner and one of hip hop’s most prominent and adventurous figures, who’s become revered by both fans and critics alike for his development and experimental nature.

That growth and willingness to take risks is one of the ways that artists ensure longevity and continued success in the industry, and another 2011 draft pick who embodied that growth and progress was the late, great, Mac Miller. Now it’s arguable that 2010 would be Mac’s rookie season so to speak, with his first big mixtape K.I.D.S. dropping that year. However, Mac not only dropped a well-received mixtape in 2011 with Best Day Ever, but he also released his first platinum single “Donald Trump” as well as his debut album Blue Slide Park, which went on to debut at number one on the Billboard 200, the first independent debut to do so since 1995. From that point until his tragic passing in 2018, Miller grew from a traditional rapper to a multi-faceted, genre-blending artist whose creative output grew more and more unique with each subsequent release, becoming one of his generation’s most important voices.

Each generation of music has its defining artists in each genre – The Beatles, Marvin Gaye, Prince, etc. and there aren’t many talents that define this generation of hip hop more than Kendrick Lamar. In 2011, Kendrick released his debut album Section.80 to heaps of praise from critics, gaining notability from fans and fellow artists alike, leading to his eventual signing with Dr. Dre’s Aftermath record label.

The album jump-started what has become one of hip hop’s most impressive and consistent discographies, with his next three albums all receiving platinum and multi-platinum certifications, massive critical acclaim, several Grammy wins and even a Pulitzer Prize. Kendrick has gone on to become an all-time great that many people consider to be a top 5-10 talent in the genre’s history, one of music’s most important voices today – proving himself to be the MVP of the 2011 draft class in the process.

This is no small feat, as the class includes not only the artists mentioned above but also acts like Future, Meek Mill, Big K.R.I.T., YG, 2 Chainz, A$AP Rocky, Frank Ocean and The Weeknd, to name a few — all of whom have a presence that’s still felt today. It’s a group so absolutely stacked with talent that its impact is undeniable and hasn’t even come close to being duplicated since. 2011’s roster is one that represents a special time in hip hop, one that has gone on to shape the genre since.

 

Graphic by Taylor Reddam

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Music Quickspins

QUICKSPINS: BROCKHAMPTON – ROADRUNNER: NEW LIGHT, NEW MACHINE

ROADRUNNER is a return to the lively energetic form BROCKHAMPTON became known for.

BROCKHAMPTON’s newest LP ROADRUNNER is a departure from the depressive and mellow aesthetic of their last album GINGER, as this new record sees the boy band going towards a more mature and hopeful direction.

ROADRUNNER is BROCKHAMPTON’s seventh major release in five years, and even though there was a year-and-a half-long wait for a new record, which seems like an eternity for the band, they did the right thing — taking time for themselves to breathe and let the dust settle after GINGER.

On GINGER, BROCKHAMPTON’s mood was at an all-time-low, mostly dealing with the departure of member Ameer Vann, resulting in some of their most downhearted and desperate songs to date. ROADRUNNER truly proves that the boy band has turned the page for good on this somber chapter by delivering one of their most focused and absorbing projects to date.

The band is undoubtedly in great shape on this new album and offers anything you would want or see from a BROCKHAMPTON record. They deliver their most aggressive and in-your-face bangers like on “BANKROLL” and on the abrasive opener “BUZZCUT,” which, in the context of the album, strikes even harder than solely as a single. They also haven’t shied away from making some of the most polished and sweetest pop tunes in the industry with songs like “I’LL TAKE YOU ON” and “WHAT’S THE OCCASION?” — both containing some of their most infectious and enticing choruses to date.

As is standard on a BROCKHAMPTON album, we can’t forget a bearface-led outro track that instantly puts you in your feelings, like on “DEAR LORD.” The boy band still finds time to unwind with some laid back and feel-good rap unmissables with songs such as “WHEN I BALL” and “WINDOWS,” the latter being a posse cut that sees every member come up with a hard-hitting verse. ROADRUNNER surely has something for everyone to enjoy while also being extremely reliable.

Kevin Abstract and Dom McLennon especially shine on this project with introspective verses, dropping one bar after another. Highlights include Kevin’s verse on “BUZZCUT,” “THE LIGHT” and on “THE LIGHT PT.II,” and Dom’s verses on “CHAIN ON” and “WHEN I BALL.”

Although the performances are top-notch, it is the production that unquestionably steals the show. Every single beat on this project is incredibly well-crafted and thoughtful, all aiming for a clear sentiment in their own unique way. Some of the best instrumentals include “COUNT ON ME,” “BANKROLL,” and “THE LIGHT.”

ROADRUNNER is the closest BROCKHAMPTON has come to reaching the level of greatness they once achieved on the legendary SATURATION trilogy, with the new endeavour seeing the boy band pursue this epic run. This new album is another incredible installment in their discography and is one of their most consistent and meticulous efforts yet.

Score: 9/10

Trial track: “COUNT ON ME”

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QUICKSPINS: slowthai – TYRON

U.K. rapper slowthai’s sophomore album takes it a step further on TYRON, proving he is unquestionably talented.

slowthai is by far one of the most unique and recognizable voices in hip hop with his thick British accent and his eccentric and electrifying vocals. On TYRON, he even takes it a step further by experimenting with his voice.

Whether it be with the distorted and pitched down vocals on the choruses of “VEX” and “DEAD,” the baby voice on the end of the opener “45 SMOKE,” or the weird effect on the chorus of “nhs,” which sounds like something hip hop collective BROCKHAMPTON would do, slowthai is not afraid of trying new things vocally.

He also does not back down from trying new things when it comes to the production. As usual, he likes to hop on some grimey and slightly disturbing rap beats, and this record makes no exceptions of this. However, TYRON also sees slowthai rapping over some melodies that we are not used to seeing him rap over, especially in the second half of the record.

Instrumentals on songs like “push,” featuring a gorgeous performance by Deb Never, the boom bap beat on “i tried,” or even the repeated piano chords on “feel away,” really stand out among these aggressive and loud beats.

This album is separated into two sides, each of them containing seven songs. On the first side, slowthai sounds as aggressive as ever, dropping banger after banger on some abrasive and ominous beats. Songs like “WOT,” “MAZZA” and “CANCELLED” really pack a punch and put slowthai’s ability to kill a beat on display.

On the second side of the record, slowthai switches things up by going towards a more introspective route. The rapper is as hard hitting as on the first side but the focus is more on the impact of his words. He really raps from a heartfelt place. Whether it be by rapping about a broken relationship on “feel away,” featuring James Blake and Mount Kimbie, or on the powerful closer “adhd” where he raps about substance abuse and being at a low point, these songs help to establish slowthai as a gifted lyricist.

slowthai’s sophomore LP TYRON,  is a thoughtful concept album that sees the rapper improve on all fronts.

Score: 8/10

Trial track: feel away

 

 

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Music

Underrated Albums of 2020, Vol. 3: MIKE – weight of the world

The Bronx-bred lyricist presents us with an extremely cerebral album dealing with depression, grief and the emotional aftermath of losing his mother.

Carrying the weight of the world on one’s shoulders can be a crushing burden, but since his teenage years, MIKE has been doing just that. Born Michael Jordan Bonema, the 22-year-old lyricist is a pioneer in the underground lo-fi hip hop scene, all the while delivering some of its most emotionally resonant, introspective and prolific works to date.

With weight of the world, MIKE delivers yet another extremely personal, transparent and cerebral experience that continues this trend. As always, the Bronx-born MC wears his heart on his sleeve, exploring his anxieties, depression and the emotional toll that the loss of his mother has taken on him.

It’s this emotional weight that MIKE carries with him that he masterfully conveys through his lyrics, crafting immensely impressive verses that are as intriguingly poetic and abstract as they are emotionally impactful. In just a few words, he’s able to effectively encapsulate some of his most visceral feelings and agonizing memories in ways so visual that it plays like a movie scene for the listener. This is exemplified on “222,” as MIKE rifles through his dealings with substance abuse and depression, his relationship with his brother and the moment that his mother died, “Walked her out the Earth, just me, a couple nurses.”

This lyrical prowess is perfectly complemented by the work that MIKE does behind the boards, handling the majority of the album’s production under his producer pseudonym, dj blackpower. In doing so, he creates a soundscape that’s as scattered and dense as the thoughts he’s put to paper in his verses. The murky lo-fi instrumentals, mostly comprised of chopped-up soul samples and irregular drum patterns, are deliberately messy enough to match the emotion within his lyrics while still creating a comfortable enough pocket for MIKE to sound his best in.

And while this isn’t his best project per se, as a writer and rapper, he is absolutely at his best. His writing is sharp, and his delivery is more confident than ever, even when he’s teetering on sounding monotone. From the exchanging verses with Earl Sweatshirt on the album’s closer “allstar,” to his personal reflections on songs like “no, no” and “trail of tears,” MIKE showcases that within his sadness and pain, his growth has been the light at the end of the tunnel.

On his 2019 magnum opus tears of joy (released shortly after his mother’s passing), we heard verses that played like the reflective diary entries of an emotionally distressed, grieving son. weight of the world sees that son, still sorrowful and grieving, finding solace in his music and further confidence in his abilities. It’s as hopeful as it is harrowing, a true testament to MIKE’s growth as a lyricist and producer, and one of the best and most unjustly overlooked albums of last year.

 

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QUICKSPIN: Megan Thee Stallion – Good News

Megan Thee Stallion continues to show that she’s a great rapper even if that means she hasn’t made a great album just yet.

From the first few seconds of “Shots Fired,” the very first track of Megan Thee Stallion’s Good News, it became abundantly clear that the Texas-born rapper isn’t taking kindly to being disrespected anymore. A few months ago, Megan was at the center of a massive controversy when she claimed that Torey Lanez shot her in the foot. Lanez then responded by saying she lied and he didn’t shoot her which led to her being constantly scrutinized on social media. The now-ridiculed Toronto rapper then took it upon himself to release a whole album dedicated to slandering Megan. So what did she do? She retaliated with one of this year’s most searing songs.

Megan’s rapping on the aforementioned track is cutthroat, vicious, and very much angry. And why shouldn’t she be? Since her breakout mixtape Fever, she’s proved over and over again that her rapping skills are among the best in the industry right now. Though she channels this energy through much of her debut album, at times she seems to be a better rapper than album artist. 

Good News is made up of hits, for better or for worse. On “Body,” Megan crafts an annoyingly catchy hook built for the TikTok machine. It’s simple and couples with a dance move sure to ruin people’s knees, but the repetitive “Body-ody-ody-ody” will only be attractive for so long before it becomes the world’s most overplayed song. Still, even with these issues, Megan’s verses are as sharp as they’ve been.

The 25-year old rapper shines brightest when she avoids attempting to make pop-music and when she doubles down on her hypersexual aggressive flows like on “Do It On The Tip” with City Girls. The track is expectedly raunchy but packs a fiery punch as the southern rappers all fit together as perfectly as one could imagine.

“Circles” features a beautiful sample of “Holding You Down (Goin’ in Circles)” from Jazmine Sullivan and sees Megan rapping some of her best verses on the album. It also features a better hook, something Megan struggles with.

Megan’s collaboration with SZA on the exquisite “Freaky Girls” is the apex of the album. SZA’s rare appearance is a sight to behold and she sings the best hook on the album with a fervour that only makes me want to hear her new project that much more.

For as much as Megan does right on this album, Good News is burdened with a few lazy attempts at making pop tracks that simply don’t work that well. “Don’t Rock Me To Sleep” is a boring autotuned affair that adds nothing to the Megan Thee Stallion story. It’s a retread on her sexual lyrics masked by a glittery pop instrumental. “Intercourse” sees Megan collaborating with Popcaan on what sounds like a leftover track from Drake’s Views sessions. Popcaan’s vocals are decent and fit the theme of hypersexuality, but Megan’s crossover into dancehall is unnatural.

The album effectively ends with “Outside” (the three tracks following it are previously-released singles that one could call bonus tracks) which is akin to Drake’s reflective outros on each of his projects. It’s reflective and insanely confident which only points to a brighter future for Megan. If she can start cutting the fat on her albums and removing her attempts at going pop, then perhaps she has a classic album in her.

Until then, we’ll have to deal with yet another good Megan Thee Stallion project with only a few blemishes. She continues to prove that she’s a great rapper who’s just shy of achieving greatness as an artist.

 

Rating 7.5/10

Trial Track: “Shots Fired”

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QUICKSPIN: Aesop Rock – Spirit World Field Guide

The alternative hip hop pioneer takes listeners on an eccentric and surreal tour of a new realm on his latest LP.

At this point in his career, Aesop Rock is in a league of his own. The verbose wordsmith’s catalogue is one of hip hop’s most consistent, and his vocabulary is quite literally the most expansive the genre has ever seen. On top of that, his abilities as a producer have improved with every release, resulting in him being absolutely brilliant behind the boards as well.

This is on full display on Spirit World Field Guide, as Aesop’s pen is as sharp as it’s ever been, and his production is even sharper. The instrumentals on this record are extremely layered and eclectic, oozing with a fanciful and futuristic personality that perfectly matches Aesop’s idiosyncratic cadence and flow. This is an impressive feat, especially considering that his work on both ends keep this project unwaveringly captivating through the entirety of its runtime, despite its length.

This is because, in handling all aspects of its creation, Aesop has done more than just make an album – he’s built a world akin to those found in sci-fi and fantasy novels. As a result, the LP plays like a neurotically narrated film with the eccentric and otherworldly production serving as its score.

From Spirit World Field Guide’s intro to its closing moments, Aesop takes on the role of tour guide, accompanying the listener and giving his own insights as they explore this new realm. While his stellar storytelling is delivered through a more outward and observational scope than usual, Aesop’s staple introspection, self-deprecation and anxiety-riddled lyrics are still here, as this is as much an internal journey as it is external.

Even when dissecting the world around him, Aesop sees a reflection of himself in the spirit world, and in inspecting it, he also places his own mortality under a microscope. He’s aging and feeling disconnected and he’s dealing with the pains that come along with it, though he never outright says it, as his musings are perfectly woven into the world and stories he’s crafted.

This is Spirit World Field Guide’s biggest strength. These recurring instances of emotion and introspection, hidden beneath layers of lyrical complexity, are what make the project as engrossing as it is. Yes, Aesop’s impeccable writing and fantastic production are the draw here, but it’s his very relatable reflections on the human condition, hidden within these elements, that make the album so resonant.

 

Rating: 9/10

Trial Track: Button Masher

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Revisiting Mac Miller’s Faces – a mixtape ahead of its time

Mac Miller’s 2014 opus isn’t available to stream, but it sure is worth the download on DatPiff.

Six years after its release, Faces is still Mac Miller’s pièce de résistance. The 2014 mixtape came out during an interim period between Miller’s tenure with Rostrum Records and his subsequent signing with Warner Records. Following his sophomore album, Watching Movies with the Sound Off, Miller was making music at lightspeed. His projects, You, Delusional Thomas and Faces are a fraction of the projects that Mac released after 2012’s Macadelic. Miller was not shy about his work ethic as he proclaimed on his track, “Malibu,” “I’m recordin’ like I’ll die tomorrow.”

Having ditched Rostrum Records, Miller showcased his freedom by fleshing out his Larry Fisherman alter ego, producing 14 out of 24 tracks on the project himself. As mentioned by Miller over the course of his career, most of the songs on this tape segue from one into the next in an attempt to leave the project as a start-to-finish listening experience. Using production play and sample cuts from movies, classic jazz and famous writers alike, the tape draws from a variety of sources of inspiration. Faces features a variety of guest appearances, most notably Thundercat, Earl Sweatshirt, and Vince Staples.

Faces has no shortage of dark, funny, and borderline terrifying lyrics. On some tracks Mac is singing his own praises, other tracks see him joking around with his friends, on “What Do You Do” he’s alluding to his own demise (“A drug habit like Philip Hoffman will probably put me in a coffin.”). This tape has no shortage of drug references, whether it’s PCP, LSD, or referring to cocaine as “the same shit that got Whitney,” Faces is an unadulterated view into Miller’s drug infested lifestyle at the time. His bars don’t sugar coat any of it, making this tape some of Mac’s most candid and soul-bearing work.

At the midway point in the album, Mac presents a trio of songs named after celebrations, “Happy Birthday,” “Wedding” and “Funeral.” Each one segueing into the next, the trio tells three separate tales of introspection going from an upbeat yet depressing birthday party, to a failed love story, ending with “Funeral,” where Miller admits, “Doin’ drugs is just a war with boredom but they sure to get me.”

The closing track, “Grande Finale” serves as the conclusion to the tape’s winding road of cocaine-induced delirium and wide range of sonic experimentation. The closing track sheds some closure as Miller admits his habits could kill him, as they eventually did. In an interview with Billboard, Miller admitted that “‘Grand Finale’ was supposed to be the last song I made on earth.”

From top to bottom, Faces is a complete body of work that takes listeners on a journey narrated by Miller. Coming in at a lengthy 86 minutes, this project isn’t necessarily the type of album you’d sit down and listen to start-to-finish, but the road that Miller navigates with Faces has something for everyone to appreciate. Whether it’s the snappy back and forth with Vince Staples on “Rain” or the psychedelic trip that is “Colors and Shapes,” this tape covers a variety of bases and still finds a way to be some of Mac’s best work lyrically and production-wise.

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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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QUICKSPINS: Kamaiyah & Capolow – Oakland Nights

Kamaiyah and Capolow keep each other on their toes on Oakland Nights, a tribute to their hometown.

Kamaiyah knew we were deprived. Before the start of 2020, she’d been fairly quiet since her 2017 mixtape Before I Wake, a short but cutthroat display of the Oakland sound she grew up with. This year alone, she returned with another small mixtape back in February titled Got It Made. On that project, “Digits” was a standout track featuring Capolow, another Bay Area native. The chemistry between the two rappers was so immaculate that they agreed to team up on Oakland Nights, a 10-track EP that sees both artists trading bars and creating sticky hooks across its brief 25-minute runtime.

Capolow sounds right at home rapping alongside Kamaiyah. On “Gimme Dat,” he tries his hand at making a pop-crossover, with a sing-songy hook that has a bounce that would sound as great in the car speakers as it would at 1 a.m. at the club. Their addictive writing is also apparent on “Undercover,” a sensual late-night jam that has Kamaiyah singing an R&B-like hook that must have existed on some early 2000s MTV compilation.

Despite having several tracks that feel like an attempt at crossover success, Kamaiyah and Capolow also indulge in harder-hitting, aggressive rap songs. On “How I Move,” Capolow raps like he’s on a mission. Backed only by an isolated guitar-chord progression and without the help of Kamaiyah, the track is a showcase for Capolow. His flow sounds angry and his lyrics are punchy.

The lyricism, while fine, isn’t what makes the mixtape so addictive. Kamaiyah’s charm and wit are an indication that she can be both a serious rapper and a jokester at once. Some bars might not land the way she might’ve wanted them to, but it’s not even that much of a deterrent because of how confident she sounds while rapping them.

Although this a collaborative tape between two Oakland rappers, it feels both have their own unique conclusions. For Kamaiyah, this is more a victory lap following Got It Made. For Capolow, this is his opportunity to direct more ears to his solo work as a joint-album with an established Oakland rapper will likely turn some heads.

Trial Track: Gimme Dat

Rating: 8/10

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The Globalization of Travis Scott

Travis Scott’s transformation from rapper to music oligarch to meme proves that money always beats art

It’s about 1 a.m. and you and your friend Tanner are driving to get food after a long night. As you both approach the golden arches of a local McDonald’s in a beat-up Honda Civic, you decide to connect your phone to the aux. Presented with a myriad of new albums and singles to listen to, you know there’s really only one song you can play.

Once the drive-thru worker asks for your order, you pause, just long enough to add dramatic effect, and whisper, “you know why I’m here.” “Sicko Mode” starts playing.

“Cactus Jack sent me,” you add.

While this seems like a soap-opera dramatization of the ordering, it’s actually not that far off from what’s really happening. In case you haven’t been following, Travis Scott recently announced a collaboration with McDonald’s in which the fast-food giant is trying to sell a quarter pounder with bacon as a meal called “The Travis Scott.” And if you thought this might be the most ridiculous collaboration, you may very well be right.

This collaborative effort comes right off the heels of Scott’s puzzling song “The Plan” made specifically for Christopher Nolan’s new movie Tenet.

In the real world, people are getting yelled at by other McDonald’s customers for recording annoying TikToks of them ordering “The Travis Scott” meal. Others are parodying the stupidity of this whole affair, and some are spending their money buying the bland collaborative merch between Travis Scott and the enormous fast-food chain.

Travis Scott has transcended artistry. He is a business mogul and a meme now, all to his benefit. He can release a phoned-in feature and no one will care. He can drop the worst merch ever, including a chicken-nugget-themed-body-pillow, and get people to buy it. He can release a whole Netflix documentary, and the fans will eat it up like it’s an Oscar-nominated piece of work.

Despite this level of superstardom, Travis Scott feels less like a human being every year and more like a machine meant to satisfy your wants and needs than an actual person who cares about their craft.

And the worst part is that Scott’s music isn’t even all that terrible. Out of all his projects, there are only one or two entries that completely miss the mark. Days Before Rodeo, Rodeo, and Astroworld are good-to-great albums that show he can be fun and entertaining, if a little vapid.

But quality aside, Scott’s numbers began to hit the stratosphere after the release of his second album Birds in the Trap Sing McKnight, a record that took the world by storm with the inclusion of the Kendrick Lamar-assisted hit, “Goosebumps.”

This was the beginning of the rise of Travis Scott, the meme.

Travis Scott was everywhere. There wasn’t a single on the album that he couldn’t have pushed more. At the time, he seemed primed to at least compete with Drake and Kendrick for being one of the most commercially successful artists.

Then came Fortnite, the massive battle royale game that had the world entrenched in its complex yet accessible gameplay. Following a few years of success, Fortnite itself transcended being a game. In fact, it halted the actual battle-royale aspect of the game for a few evenings when they announced a live, in-game Travis Scott concert.

Obviously, Scott wasn’t performing on a stage inside the game’s only level, but it was an expensive psychedelic experience akin to a Travis Scott video that had a number of my friends ask me to virtually go with them. To these friends, I’m sorry I had to say no.

But just because his music is accessible doesn’t mean it should be thrown everywhere. To be a Travis Scott fan in 2020 is to not just enjoy his music, but to enjoy and, without any doubt, gobble up everything this man has to offer.

And this is the problem with how we treat artists. We give them all the platforms they can use because the bottom line is obviously money. The music business is still a business, after all. But Travis Scott seems to have traded all his humanity for an increasing slew of income, even if it means dropping cop-out merch and sending features to other artists that should’ve stayed in the vault.

With this Travis Scott obsession taking over the world, the resale value of anything Travis Scott-related has become astronomical. His collaborative effort with Reese Puffs, which is literally Travis Scott branding on their usual cereal boxes, at one point sold for $400 on eBay, while some listings still have it at over $200 CAD. Teens are stealing the Travis Scott burger posters. To his fans, Travis Scott is a god.

Treating artists like deities has proven to have a horrible track record, but Travis Scott is perhaps beyond even being a deity. Maybe he’s the Zeus to Drake’s Ares, but even Drake knows his limits.

It’s interesting to watch this development (and collapse if you’re not as big a fan of his music) because he was and still is a mogul in hip hop and mainstream pop. But if there’s one thing Travis Scott won’t do, it’s giving up the spotlight. He lives in it and would never relinquish it. He might know the cost, but let’s be real, he absolutely does not care. We should stop caring too.

 

Graphic by @the.beta.lab

 

Categories
Music Quickspins

QUICKSPIN: Conway The Machine – From King to A GOD

The Buffalo MC comes through with his third release of the year, and his best solo work to date

Throughout the last few years, the Griselda crew have solidified themselves as one of hip hop’s most highly regarded acts. With multiple high-quality projects released every year and a consistent signature sound, the group has set a high standard for their releases. On his latest release, founding member Conway The Machine continues the tradition, with yet another gem being added to the crew’s catalogue.

On From King To A GOD, Conway’s mastery of his craft is apparent, and though he was already elite, he is in rare form on this LP. He spends the album’s runtime spitting verses like a seasoned veteran in the genre, even going bar-for-bar with legends like Method Man and Lloyd Banks. His unique drawl — the result of his Bell’s Palsy — paired with his fiery flow and distinct delivery make him completely captivating on every instrumental his voice touches.

Lyrically, the album contains a good balance of Griselda’s signature gritty street raps, and more intimate moments of introspection, grieving and reflection on society’s ills. On “Front Lines,” we see Conway delivering an extremely potent verse responding to the murder of George Floyd, over a grimy, sinister Beat Butcha instrumental that perfectly captures the horror, pain and aggression in Conway’s lyrics.

On the emotional, Erick Sermon-produced “Forever Droppin Tears,” Conway reminisces about close friends that he’s lost over the years, including Griselda producer DJ Shay, who passed away earlier this year. His reflections on losing some of those closest to him and the trauma attached to it are felt through the pain in his voice. It’s a touching moment on the album, and one of the most personal songs in Conway’s entire catalogue.

There are several soundbites peppered throughout the album of DJ Shay being interviewed regarding the Griselda crew, and Conway specifically. It’s clear that Shay had a deep admiration for Conway and his craft, and vice versa, and Conway misses him dearly. These interview clips serve as a fitting tribute for DJ Shay, while showcasing just how highly Conway’s peers think of his abilities.

With From King To A GOD, Conway reminds us how elite of a lyricist he is, while also showcasing sides of himself that fans may not be familiar with. Striking that balance between the street raps, and the new, more personal content, he shows growth while keeping the album’s sound familiar. This project is his most well-rounded work to date, and with it being billed as the prelude to his Shady Records debut, it looks like Conway is gearing up for something special.

 

8.5/10

Trial Track: Forever Dropping Tears

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