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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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QUICKSPINS: Aminé – Limbo

Aminé refines his sound and raises the bar for himself on Limbo

Since the 2016 release of his now multi-platinum breakthrough single “Caroline,” Aminé has shown consistent growth and improvement with every release. Limbo continues this trend for the Portland rapper, combining and refining the best aspects of his previous two releases, resulting in his best and most mature work to date.

Aminé’s biggest strength is the individuality that has been present in his music since he first jumped onto the scene. His versatile and bouncy flow mixed with his trademark wit and humour have been staples of his work thus far. On this album, we see him successfully blend these aspects with more pungent, mature and introspective lyrics and topics, giving his music more depth while maintaining its distinct personality.

This personality is present regardless of the sound or content that a given song is going for. As varied as Limbo’s instrumentals are, including everything from bass-heavy bangers to more melodic R&B-leaning tracks, his unique voice and style manage to make these tracks unmistakably Aminé.

That’s not to say that he feels out of place in the modern hip hop landscape, more that he manages to stand out, even when incorporating more trendy, contemporary sounds. Limbo features an extremely diverse guest list that backs this up. The album contains features from Young Thug, Charlie Wilson, Vince Staples and Slowthai, the latter two appearing on “Pressure in My Palms” together, and all of them feel right at home in Aminé’s world.

The only song that feels like it’s out of place on this project is “Easy,” featuring Summer Walker. That’s not to say that the song is inherently bad, it’s actually quite good, it just feels like a standard fare Summer Walker song that Aminé is featuring on. Still, it’s not enough to break up the flow of the album or take away from its highs, which there are plenty of.

The biggest highlight and takeaway from Limbo is Aminé’s growth both as an artist and as a man. On songs like “Mama” and “Fetus,” he manages to showcase more depth and introspection than on previous releases, all while maintaining the humorous charm he’s become known for.

Overall, Aminé shows that he’s improved in nearly every facet on Limbo. He manages to strike a near-perfect balance between the aspects of his music that thrive in their uniqueness and contemporary hip hop conventions. With two solid projects already under his belt, Aminé has delivered once again and has proven to be one of the most exciting young acts in the genre.

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QUICKSPINS: 5 Seconds of Summer – CALM

5SOS reveal their growth and improvement in their new album

After disappearing for two years and releasing Youngblood in 2018, 5 Seconds of Summer has returned with their fourth studio album, CALM.

The album starts off with loud songs, such as “No Shame,” and “Easier,” in which the bass and drums are prominent. After the fifth track “Teeth,” the album shifts to softer, calmer tracks, like “Wildflower,” and “Best Years.”

The Australian pop-rock band gave us exactly what we needed during this quarantine: incredible music to enjoy. Songs like “Teeth” have you dancing around to catchy beats while screaming the lyrics (“Fight so dirty but your love so sweet/ Talk so pretty but your heart got teeth”).

Yet, the profound lyrics heard in “Old Me” have you reflecting on the old you (“Shout out to the old me/ And everything he showed me/ Had to fuck it up before I let you get to know me”). This will, undoubtedly, make you think of all the mistakes you’ve made but don’t necessarily regret, as they probably made you into the person you are today.

Also,  lead vocalist and rhythm guitarist Luke Hemmings explained the meaning of the 12 songs in an interview with Apple Music. “You’re not the person that you were when you were younger, but also you have to do these things and make mistakes to move forward and grow as a person,” he said, explaining “Old Me,” and possibly the album, along with their 2016 disappearance.

Taking time to explain the meaning of every song is extremely helpful for fans as they can understand what the songs mean to the band, as well as their purpose in releasing the album.

Rating: 9/10

Trial Track: “No Shame”

 

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QUICKSPINS: Childish Gambino – 3.15.20

The final album from Childish Gambino sees the multi-talented artist distance himself even further from rap

Donald Glover doesn’t follow any patterns. Be it in his music, his movies, his TV series, there’s no one-word you can use to describe the Stone Mountain-bred artist. After an abrupt end to his rap albums with the beautifully retro Awaken, My Love! under the Childish Gambino moniker, fans wondered if they’d ever hear him rapping again.

Sure, “This Is America” is technically a rap song, and sure, his feature on 21 Savage’s “Monster” is a rap verse, but those two moments are literally the only times we’ve heard Gambino rap since his 2014 mixtape STN MTN.

Childish Gambino released his newest album 3.15.20 on a Sunday morning at 3 a.m.—on his website. You couldn’t download any tracks, nor could you even know what song was playing as it was just one long stream with no breaks in between tracks. As was expected, there was little-to-no rapping, which is for the best.

Rapping has never been Gambino’s strong suit. He’s been able to scrape by with inventive concepts that show how hard he’s trying to create a unique experience no one else is offering. Because the Internet was a millennial look at life in an internet-filled world and was accompanied by a script that reflected on mortality. Awaken, My Love! echoed the funk-driven sound perfected by Funkadelic, a prominent funk band from the 70s. It was also seemingly dedicated to his then newborn son.

3.15.20 feels like it’s lacking that conceptual drive. Instead of a cohesive storyline, the album feels like a loose collection of tracks that feel more like summer-ready bops than a narrative-driven project. The songs aren’t basic, as Gambino really tries to experiment with instrumentals, vocal effects, and track lengths throughout the 12 tracks.

“Algorythm,” (yes that’s what it’s actually called) is the first real track on the album that sounds like a computer-generated banger. Gambino’s lyrics are simple and uneventful, but the hook is enough to bolster the track from boring to decent. 

“Time” features the stellar Ariana Grande who shows great chemistry with Gambino as they both sing the chorus in an uplifting way (“Maybe all the stars in the night are really dreams/ Maybe this whole world ain’t exactly what it seems/ Maybe the sky will fall down on tomorrow”). Gambino manipulates his vocals to make them seem both robotic and drugged-out.

The hooks shine the most on 3.15.20 because of how sticky they are. “19.10” and “47.48” are breezy guitar-led tracks that sound like they came from the 60s while high on a cocktail of drugs.

The album’s highlights come in the shape of “12.38,” “24.19” and “42.26” (previously released as “Feels Like Summer.” The first of the three tracks features an excellent 21 Savage verse accompanied by a strong instrumental from DJ Dahi and bright vocals from Gambino.

“24.19” is a beautiful track dedicated to a “sweet thing” who moved to southern California and follows her parents’ orders daily. The lyrics are a bit all over the place (“If you wanna be happy, don’t look at my phone), and that somewhat brings it down, but the instrumental and the vocal effects are enough to distract from the few iffy moments. That said, the first verse without any alterations to Gambino’s voice is the most sincere part of the album (You wouldn’t change a hair/ Sometimes I wonder why you love me / But you love me). However, the track runs about four minutes too long and, along with many other tracks, overstays its welcome.

Gambino falters a little after that track as “32.22” and “35.31” are a bit underwhelming. The former track is one of the grimiest beats on the album but comes out of nowhere and seems a bit out of place. “35.21” is a childish attempt at making a country-rap crossover that sounds more like a kids’ song than an experimental island song the album seems to have been preaching up until this point.

Thankfully the album closes out nicely with “42.26,” “47.48” and “53.49” which allow Gambino to stick the landing on a good––but rather quaint––album. 3.15.20 is a step back from Awaken, My Love! but it is still enjoyable to an extent. It feels unfinished and the track titles are just psychopathic.

Glover  has been vocal about 3.15.20 being his final album under the Childish Gambino moniker. It may be time to retire him indeed, but Glover should continue to make music. It’s become evident that he no longer wants to rap, which is what Gambino is primarily known for (if you exclude “Redbone”). But if there’s one thing that 3.15.20 makes apparent, it’s that Glover should have been singing his whole career.

Rating: 7/10

Trial Track: “24.19”

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QUICKSPINS: U.S. Girls – Heavy Light

U.S. Girls’ Heavy Light is a testament to their writing strengths, despite being a mixed bag

On Heavy Light, Toronto band U.S. Girls continues to make provocative pop music, while taking an experimental trip through the genre’s past, touching on funk, psychedelia, motown and more.

Heavy Light starts out with a bang. The first two tracks “4 American Dollars” and “Overtime” are the strongest on the album. Both songs are incredibly groovy pop tunes highlighting major social issues, with the former discussing the false trappings of capitalist ideology and the latter speaking about alcoholism and being overworked and underpaid. This is U.S. Girls at their best, combining danceable beats with hard-hitting social commentary. Yet, sadly, this high isn’t quite preserved throughout the rest of the album.

The album contains three interludes, about a minute apiece, where voices share advice to their teenage selves, the most hurtful thing that’s ever been said to them and finally, the colour of their childhood bedroom. While these interludes certainly put the listener into U.S. Girls’ desired emotional state, they disrupt the flow of the album in a way that is too jarring to come back from.

The track “State House (It’s a Man’s World)” kicks off with a pitched-down reworking of the beat from “Be My Baby” by The Ronettes. Yet, unlike The Ronettes’ classic love song, U.S. Girls’ lyrics eerily discuss the role of women in society. In lyrics that sound as if they were lifted from The Handmaid’s Tale, front-woman Meg Remy sings, “But it’s a man’s world, we just breed here. We don’t have no say, we only bend.” While this song has a solid concept, it remains just that—a concept. Clocking in under two minutes, “State House” isn’t given the time to evolve into something more satisfying.

On Heavy Light, Remy’s energetic dance-pop tracks are worlds more exciting than her balladry. “And Yet It Moves / Y Se Mueve” is a highlight in the middle of the tracklist, with its Latin-inspired beat and psychedelic distortions. Contrasted to the slow-burners “IOU” and “Woodstock ‘99,” which are not nearly as gratifying.

The penultimate track, “The Quiver to the Bomb,” chronicles the birth of humanity to the climate crisis from the perspective of a “mother earth” type of character. The lyrics are downright scary and justifiably angry. In the second half of the song, the instrumental switches up to some vaguely prog-rock synth passages à la Pink Floyd, as Remy’s vocalizations become more and more desperate-sounding. This song should have been the closer, as “Red Ford Radio” doesn’t have nearly as much in the way of lyrical or instrumental intrigue.

Overall, while Heavy Light contains a few low-points, it is still a strong testament to U.S. Girls’ songwriting and conceptual abilities. In a time of mass uncertainty, corrupt leaders and failing systems of control, albums like Heavy Light seem more necessary than ever.

Rating: 7/10

Trial Track: “4 American Dollars”

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QUICKSPINS: Megan Thee Stallion – Suga

A hard-hitting playlist of songs to hype you and your girls before a fun night out.

As a vengeful parting gift to her ex-record label 1501 Certified Entertainment, Megan Thee Stallion mic dropped her new nine-track EP Suga.

With plans to release the album on her late mother’s birthday, May 2, being blocked due to her attempt at renegotiating her contract with the record label. Megan took matters into her own hands by filing a lawsuit against the label demanding that she be removed from the contract. After the Houston-born rapper was granted her request, she took the small window she had to drop her unfinished album on March 6 with no strings attached.

Throughout this album, Megan showcases her versatility as a rap sensation whilst touching base with 90s hip hop and R&B. Megan channels 2Pac in her track “B.I.T.C.H” where she samples his hit song “Rather Be Your N****.” She also uses her talent to incorporate a slow and sensual R&B vibe to the album in her track “What I Need.” The artist carries herself as an influential figure in female empowerment as she embraces her sexuality, diversity and her overall love for contemporary rap.

The fan-favourite “Savage” tackles her self-reflection as she repeats, “Classy, bougie, ratchet/sassy, moody, nasty,” delivering the track with force and intent whilst allowing her audience to exude their true identity and fully accept who they are.

As always, Megan Thee Stallion never fails to deliver. The 24-minute EP is well balanced, incorporating Gunna and Kehlani as key features. The album is yet to be finished so this EP can be considered as an entree to her soon-to-come main dish.

Rating: 9/10

Trial track: “Captain Hook”

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Jay Electronica’s debut both amazes and underwhelms

The enigmatic MC manages to reach the extremely high bar he set for himself over a decade ago, but it would mean a lot more if he reached that bar himself.

Jay Electronica has been the hip hop world’s biggest enigma for over a decade. At one point, he seemed destined to go down as one of the genre’s greats, but after years of limited-to-no output, he became its greatest “what if.” While he’s technically been active since 2007, the 43-year-old Louisiana-born MC has released less music in 13 years than some rappers do in 13 months. But somehow, between the one official mixtape, a handful of guest verses and three singles, he’s managed to maintain the interest of fans for this long.

Maybe it’s the Jay-Z co-sign, maybe it’s the air of mystery he built around himself, or maybe in the small sample size fans got, we knew he was just that good. Whatever the case may be, his status as an MC had essentially become mythical, and expectations for his debut reached seemingly insurmountable levels.

That’s to be expected when you’re following up the extravagance of songs like “Exhibit C,” or spending a decade teasing a sequel to a cherished project like 2007’s Act I: Eternal Sunshine (The Pledge). Jay Elec had set the bar so high for himself, through both what he’d done and hadn’t done, that his debut was never going to live up to the hype… but surprisingly, it mostly does.

The thing is, A Written Testimony doesn’t meet these expectations by being exactly what fans have been waiting for—it does it by doing the opposite. This isn’t Act II: Patents of Nobility (The Turn). There are no tracks with the grandeur of “Exhibit C.” This shouldn’t even really count as Jay Electronica’s debut solo album.

Every track on A Written Testimony, minus the intro and “Fruits of the Spirit,” has an unlisted Jay-Z feature. In addition to being on nearly every track, he’s the first person to rap on the record and he is at the top of his game throughout. This is essentially a collaborative project between the two, being marketed as Jay Elec’s long-awaited solo debut.

This is not to say that Jay Elec doesn’t perform at the elite level that was expected of him, he just raps so little that it’s slightly underwhelming. Still, his pen is impeccable, and his verses are dense and wonderfully written reflections on his life, his faith, and often, his fears.

Throughout the project’s 10-track, nearly 40-minute runtime, Jay Elec and Jay-Z come together to deliver exquisitely put-together verses over a soundscape that is completely unique to this project. Boasting instrumentals from The Alchemist, Swizz Beatz, No I.D. and Jay Elec himself, the album’s production strikes a nice balance between eclecticism and cohesion. No two beats sound the same, but they all fit together extremely well.

The majority of this project is absolutely fantastic, with tracks like “The Ghost of Soulja Slim,” “The Neverending Story,” “Universal Soldier” and “The Blinding” being highlights. While “Shiny Suit Theory” is a fantastic song in its own right, including a single from 2014 on an album so highly anticipated feels unnecessary. The only real low point on the album is “Ezekiel’s Wheel,” which features an extremely airy and empty-sounding beat and an awful hook from The-Dream.

This is an overall great album with a soundscape that completely sets it apart from other modern hip hop releases, and a pair of MCs exchanging immaculate verses throughout. Though the synergy between Jay-Z and Jay Elec is what makes this such a fantastic album, it’s also what makes this a slightly underwhelming debut for Jay Elec. As phenomenal as the vast majority of this project is, we’ve yet to see the extent of his abilities as an artist.

While Jay Electronica may have reached the astronomically high bar that he set for himself years ago, he stood on the shoulders of a giant to do so. Having Jay-Z on nearly every song makes for great music, but it takes away from what could’ve been a monumental moment in hip hop.

Though A Written Testimony is a fantastic record, the mythical debut album from Jay Electronica shouldn’t have so few Jay Electronica verses.

 

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QUICKSPINS: Jhene Aiko – Chilombo

A slow yet meaningful sequence of great songs. A must-listen for a chill night in.

Looking for something soft, smooth and sensual to listen to? Jhene Aiko’s new twenty-track album Chilombo is definitely a must-listen.

Aiko set sail towards Hawaii, where her great-grandmother was born, to fulfil her experiment of self-discovery, power and confidence.

She surrounded herself with crystals, incense and the sound of ancient singing bowls, which she also samples throughout the album. With that, she aimed to balance her chakras, alleviate anxiety and revitalize her creativity. Going to Hawaii allowed her to reconnect with her roots, hence the reason she titled the album Chilombo, which is her legal surname: Jhene Aiko Efuru Chilombo.

Aiko walks us through love, intimacy, heartbreak, reflection and forgiveness. She conveys these messages through specific songs like fan favourite, “Pu$$y Fairy” where she speaks about sexual tensions between a relationship and “None of Your Concern” featuring Big Sean, speaking to their failed relationship and the path they took to overcome these obstacles.

The album is quite long when taking into consideration the slow sequence that is highlighted throughout. However, Aiko’s voice remains soft yet powerful, which creates this sense of continuity while listening to each of her songs. In support of Chilombo, the artist has announced a North American tour called, “The Magic Hour” with opening act Queen Naija debuting May 1.

Rating: 8/10

Trial Track: “Pu$$y Fairy”.

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QUICKSPINS: Lil Uzi Vert – Eternal Atake

Eternal Atake was worth all the delays

Lil Uzi Vert defied expectations. After numerous album delays, very few singles, and a quiet label feud, it seemed that Eternal Atake was destined to die from the start. Expectations were high, but people were wary. Could the rapper responsible for one of 2017’s biggest hits drop a complete album?

In short, yes. Very much so, actually. There are a lot of things on Lil Uzi Vert’s album that shouldn’t work: a sequel to “XO Tour Llif3,” a Backstreet Boys-sampled track, and a lengthy runtime that is likely to test the listener’s patience. Yet, all these elements work in the album’s favour.

Lil Uzi Vert is at his best on songs like “POP” where his energy is unparalleled and his rapping is immaculate. The hook is catchy and a part of the third verse sees Uzi yelling “Balenci!” multiple times and the results are simply exuberating.

The writing is also one of Eternal Atake’s strengths as shown on songs like “I’m Sorry” and “Bigger Than Life” which showcases Lil Uzi Vert at his most engaging and most thoughtful self.

Eternal Atake is a wonderful album that, despite having been done for a while now, barely shows its age and sounds like it came from the future. Lil Uzi Vert has always been ahead of the curve—we just finally caught up to him.

Rating: 9/10

Trial Track: “POP”

 

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QUICKSPINS: Grimes – Miss Anthropocene

Bubbly with a twist: Grimes’ new album might be the Grimesy-est yet

Grimes is unapologetically herself. Yeah, she’s pretty weird, but she’s committed. She’s committed to her own aesthetic, sound and digital perception. Quite frankly, it’s impressive.

Miss Anthropocene brings back the artist’s darker side, similar to her older music, but continues to evolve ideas present in Art Angels (2015). This new album includes an array of sounds, some trendy mixes and continued collaboration with Japanese rapper 潘PAN, painting the twisted and cynical content of her tracks in an upbeat light.

Grimes imagines a digital future populated with AI robots and fast moving vehicles, and the songs on Miss Anthropocene speak true to that. “4AEM” feels as hazy and dreamy as “Genesis” with a busy twist. The album is certainly existential, and her climate anxiety, or anxiety in general, merges with a dark and tacky feel, especially in “New Gods,” that makes this album feel like a joke and a masterpiece all at once. The name itself is an obvious play on “misanthrope” and “anthropocene,” and each song is a biography for one of the four horses of the apocalypse (except there are 10).

Rating: 8/10

Trial Track: “You’ll miss me when I’m not around”

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QUICKSPINS: Denzel Curry & Kenny Beats – UNLOCKED

Denzel Curry’s newest collaboration with Kenny Beats is a necessary heat check for the Florida rapper

Denzel Curry wants to scare the hell out of you in as little time as possible. His 2019 banger-fest of an album, ZUU, was a brisk battlefield of tracks that would have parents question your sanity if played at full volume. UNLOCKED, the newest collaborative effort from Curry and the ever-popular Kenny Beats is even shorter, even wilder, and just as exciting as ZUU.

Running under 20 minutes, UNLOCKED leaves little room for failure. In fact, there’s not that much rapping either. A lot of the project sees Beats having a field day behind the boards, creating the most imaginative retro-futuristic instrumentals that bring the best out of Curry’s aggressive, bulletproof rapping style.

“DIET_” and “Lay_Up.m4a” are the two tracks that stand out the most but really there are so few, if any, missteps in this project that any two songs could be standouts—though maybe not the intro since there’s not much going on.

If rap is a basketball game, then UNLOCKED is Curry’s heat check. His last two projects have been incredibly well-received and this new effort should do nothing but add more weight to the argument that Curry is a top tier rapper today.

Rating: 8/10

Trial Track: “Lay_Up.m4a”

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QUICKSPINS: Key Glock – Yellow Tape

With Yellow Tape, the Memphis rapper delivers a project that feels fresh while respecting his hometown’s hip hop roots.

With a show-stealing presence on 2019’s Dum and Dummer—a joint album with fellow Memphis rapper Young Dolph—Key Glock emerged as an artist to watch. On Yellow Tape, he has returned, standing completely on his own, without a feature in sight.

Glock exudes a level of confidence that is uncommon for an artist who is still on the rise. From the start of the project, he delivers his bars with striking conviction, commanding the attention of the listener—and he never lets up.

Throughout the project, Glock’s deep admiration for his city’s rich hip hop history is on full display. There is an unquestionable and consistent Memphis sound from track to track, with the influence of Three 6 Mafia being ever-present, among others.

The only negative aspect of this tape is that the content of the songs can become a bit repetitive. While Glock’s delivery, overflowing with confidence, can keep it fun and exciting, it becomes more and more apparent with repeat listens.

Still, Yellow Tape is a fantastic project, rife with bangers and memorable lines. With Glock being in the infancy of his career, it’ll be exciting to hear where he goes from here.

Rating: 8/10

Trial Track: “Dough”

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