Tag: Metro Boomin

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Music Quickspins

QUICKSPINS: Future & Metro Boomin — WE DON’T TRUST YOU

Album cover of 'WE DON'T TRUST YOU' by Future & Metro Boomin. Courtesy of Apple Music.

The trap titans reunite for a joint album that highlights their best strengths.

Future and Metro Boomin are synonymous by this point. The rapper is the voice behind Boomin’s iconic producer tag “If Young Metro don’t trust you, I’m gon’ shoot you,” and the pair have been working together for over a decade. From DS2 to the Drake-assisted What a Time to Be Alive mixtape, and viral hits like “Superhero” and “Mask Off,” the pair have cemented themselves as a dynamic hitmaking duo in hip-hop. WE DON’T TRUST YOU doubles down on their usual chemistry, delivering a 16-track offering of sinister, icy trap bangers.

Boomin’s signature production style is fully on display right off the bat. The horns on the title track are understated yet triumphant, the bells are ominous, and the producer’s knack for creating atmosphere truly shines. This is equally the case on other tracks: “Claustrophobic” and “Ain’t No Love” notably shine due to their inclusion of strings, creating an orchestral feel. Boomin’s signature bells appear all over the album (”Ice Attack,” “Cinderella” and “Magic Don Juan”), setting the nocturnal backdrop that defines his production style. 

The St. Louis native’s beat palette on the album highlights the signature sound he’s carved for himself, one that is versatile. Some of the catchiest beats on the album have a retro feel, whether it’s the late ‘80s hip-hop samples on “Like That” or the open hats on “Fried (She a Vibe)” that call back to classic 2000s trap music. Boomin further elevates his production through collaboration: producer Mike Dean’s synth passages on “Young Metro” close out the track on a cinematic note. Producer Zaytoven’s contributions to “Ain’t No Love” include his signature flutes and varied percussive sounds, all of which make the instrumental even more animated.

Future is fully locked in throughout the project, meeting Metro Boomin right in the middle to create addictive hits. His flow is sticky, his hooks are catchy and the majority of tracks aim for the sweet-spot runtime of three minutes, never overstaying their welcome. His lyrical focus mostly relies on braggadocio, but there are moments of clarity. He takes aim at a friend turned foe on the intro track, and “Runnin Outta Time” is about feeling paranoia and distrust in those around you. No matter the beat, he sounds laser-focused and fits the production like a glove.

Several artists also lend their talents to the project. The Weeknd appears on “Young Metro,” laying a soft and understated hook that perfectly works as entrancing background vocals. Travis Scott’s feature on “Cinderella” perfectly suits the track’s psychedelic, woozy atmosphere and his auto-crooning effectively serves as a segue on “Type Shit.” The latter also features Playboi Carti, who comes through delivering a full-length verse in his recent, signature deep voice cadence. Kendrick Lamar is the true show stealer on the album, with a fiery verse on “Like That” taking aim at Drake and J. Cole. He disclaims the idea of the “Big 3,” claiming “it’s just big me” and reigniting hip-hop’s competitive flame. Rick Ross is another perfect fit, dropping opulent raps over an elegant soul sample-based beat on “Everyday Hustle.”

In addition to Boomin’s cohesive sound, the project is driven by a series of quotes from late Mobb Deep rapper Prodigy. His voice bookends various tracks with quotes that are cocky yet assertive: they are metaphors for the rapper-producer duo’s excellence, a reaffirmation of where they stand alongside their peers—above them, amongst the greatest to ever do it.

WE DON’T TRUST YOU is the latest reminder as to why Future and Metro Boomin are so often revered as a duo: where Future’s flow hits, the production hits just as hard. With another album set for April 12, this album proves that the pair can effortlessly impress once again.

7.5/10

Trial Track: “Like That (feat. Kendrick Lamar)”

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Music Quickspins

QUICKSPINS: James Blake – Friends That Break Your Heart

Friends That Break Your Heart  is a continuation of the sound he was surfing on his last record, Assume Form

James Blake is one of the more interesting names in the pop and R&B field. His last record, Assume Form, was a big departure from the sound that first got Blake onto the scene. Despite being a popular figure in the genre, the enigmatic singer approaches the style in a way that stands out from your average artist, blending elements of electronic music and R&B in a refreshingly experimental form.

Friends That Break Your Heart is an intimate listen that all starts with the gorgeous opener “Famous Last Words.” This song sees Blake opening up about a relationship that ended, feeling like he should have forgotten about that person by now. This is accompanied by a stellar instrumental, with an absolutely breathtaking string progression at the end.

Blake’s self-titled debut veers more towards the experimental while including esoteric sound clips in a Björk kind of way. This might not be for everyone at first but once you get used to it, it’s actually quite pleasant. Friends That Break Your Heart borrows a lot of trendier elements that are easier on the ears. The production of the record is extremely atmospheric with songs such as “Life Is Not The Same” and “I’m So Blessed You’re Mine,” showcasing Blake’s somber and more ominous instrumentals. The Metro Boomin produced “Foot Forward” is also another cool highlight with its bouncy piano chords. These production choices instantly captivates listeners into his own world. It truly feels like it has been meticulously assembled in a genuinely delicate way with every single sound on the record having its own purpose.

Blake’s voice also adds a lot to the experience and his vocals throughout the album can be described in two words: hauntingly beautiful. His rich and high-pitched delivery provides a profound sentiment of melancholy, and when this is paired with his lyrics about losing friends, it all makes for one truly magnificent experience.

This album doesn’t have a lot of features, but the few that are included all enrich the overall experience. Blake has a knack for choosing quality artists to be on his songs, and this album makes no exception. From the likes of SZA on the utterly pleasing “Coming Back,” or even JID and SwaVay on “Frozen,” both delivering explosive verses — they all add up to the overall experience of the album.

Friends That Break Your Heart is a breath of fresh air in the mainstream pop and R&B branch and is one truly hypnotizing listen that you will come back to more often than not. Ten years after the release of his first album, this is definitely his best album to date.

 

Trial track : “Coming Back”

Score : 8/10

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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 Quickspins

QUICKSPINS: Metro Boomin – NOT ALL HEROES WEAR CAPES

After a month of silence, Metro Boomin tweeted “METRO BOOMIN PRESENTS: NOT ALL HEROES WEAR CAPES.” Less than 48 hours later, the album popped up on streaming platforms everywhere.

Metro Boomin has made it clear that he is here to stay after announcing his retirement in April. In his first release of the year, Metro grabs the likes of Travis Scott, 21 Savage, Kodak Black, Young Thug and many more of rap’s top talent to collaborate on a trap album with enough features to satisfy any hip hop head. Gucci Mane’s intro blends flawlessly into Scott’s  Astroworld–esque track “Overdue,” yet this smooth transitioning can be heard between every song on the album. Gunna and Swae Lee’s singing voices provide appreciated downtime from heavy trap verses by the album’s more aggressive rappers. And of course, an essential Drake feature to send us off.

Rating: 8/10

Trial Track: Space Cadet (feat. Gunna)

Star Bar: “At 17, I wanted everything that was in store. At 23, I bought it all just to make sure.” – Drake on “No Complaints (feat. Drake & Offset)”

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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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Student Life

When hip-hop and cartoon culture meet

The online platform Montreality is taking the Montreal hip-hop community by storm

Sina Ghiassi didn’t know his love for both cartoons and hip-hop would one day collide, leading to one successful project.

Within the vivid colours and mystical worlds of childhood cartoons, Ghiassi believes there is a driving force that pushes people to follow their dreams. Cartoon heroes take on the world and face trials at every turn, all while figuring out exactly what their superpowers are.

After years of being inspired and enamoured by these heroes, Ghiassi heard the whispers of his own superpowers at age 16.

Nestled in the crowd at a Talib Kweli concert, Ghiassi fell in love with hip-hop. He realized he didn’t belong in the crowd, but backstage, amidst the workhorses and geniuses that made these concerts run smoothly.

Nine years later, Ghiassi has built a rare archive of interviews with some of rap’s best.

Montreality is an online platform devoted to the curation of interviews with various world-class and local artists who are dominating the rap and hip-hop scene. Ghiassi has interviewed and met some of the most sought-after artists in hip-hop, and he’s developed his own interviewing style. Often, he will ask quirky questions about first jobs, favourite cartoons and favourite books.

Montreality operates through a YouTube channel, Facebook page and website.

Over the past year, not only has the group’s Facebook page increased from 20,000 likes to two million, Ghiassi also had the chance to meet talented MCs and producers, including Rae Sremmurd, Schoolboy Q and Metro Boomin.

The Montreality team, made up of Ghiassi and his partner, Daniel Yañez, have collaborated with Belgian artist Robin Velghe (RHYMEZLIKEDIMEZ) to create stunning visuals for the website and the filmed interviews, all inspired by the cartoons and video games Ghiassi grew up with. “I wanted it to feel like Saturday morning cartoons,” he says.

Photo of Ghiassi by Galton Celestin

The Montreality project all started with Ghiassi and his best friend Yañez sneaking backstage at concerts, trying to get their favourite rappers, to give “Montreality shoutouts” on camera. That was a mere six years ago, at a time when there was no full vision for these interviews—just some kids looking to meet their heroes.

Ghiassi still carries that youthful enthusiasm and intense fervour with him as he continues to build his platform. “I feel like cartoon characters, I looked at those as my role models. I feel hip-hop artists are superheroes as well, or super-villians some of them—they’re all characters,” says Ghiassi. “Ash [from Pokemon] wants to be the very best, he wants to catch them all and that’s what I want to do, I want to capture every artist on my list.”

Ghiassi learned much of what he knows about the hip-hop industry from the books lining his shelves, and from his experience interning with the legendary Montreal harmonica player Bad News Brown and Bad News’ manager, Henry-Francois Gelot.

When Ghiassi worked with the team, the pair saw a tenacious work ethic in him, as well as an eagerness to learn. Though he learned a lot from them, he also brought his own set of skills to the team. He started as an intern, creating graphics, but always soaking up as much information as he could in Gelot’s downtown office and on tour with Bad News. Eventually, he became their executive assistant.

“I would have messed up big time at some point without mentors like Bad News and Henry,” said Ghiassi. “As soon as I was introduced to hip-hop, I was like, I have to be a part of this. I want to bring something to the culture. It’s my duty.”

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