Week 12

01/07/22 

WESTSIDE BOOGIE - MORE BLACK SUPERHEROES 

This was my first introduction to a complete body of work by Westside Boogie. I knew his style was similar to that of Saba, Lute, Mick Jenkins, etc. Naturally, I had high hopes. And predictably, I loved this. There is an interesting dichotomy between Boogie's tougher, braggadocio side and introspective side. His rapping and instrumental choices back both of these themes and are split fairly evenly in the album. However, I do think that within the harder-hitting songs there is a deeper level of meaning that lends itself more towards the other themes of the album. Both styles of song are enjoyable. The instrumentals in the introspective songs like 'NONCHALANT' and 'PRIDEFUL II' are rich and soulful. Very 'Lute-esque'. Personally, this is my preferred lane for Boogie as he uses these beats as good as any other rapper in the game. He talks of loneliness and self-worth a fair amount on this album, creating a quite relatable atmosphere and a certain level of comfort for the listener. Also, he got bars. There are tons of stank-face one-liners on this project, which are necessary in showcasing lyrical skill. Speaking of lyrical skill, the song 'WINDOWS DOWN' is such a clever song. The exterior theme of smoking is used to mask the deeper layer of his insecurities that he doesn't want to 'let out of the window'. This climaxes at the frantic end of the song where he 'crashes' (from the weed and from his psyche). This side of Boogie is really thought provoking, and a whole album of this style would still be received with open arms. However, that is not to discredit the bangers on this project, which do not miss at all. Overall, this is a high quality album that does well in multiple aspects whilst attempting a lot. I can't wait to listen to it more and find more meanings and layers.

Favourite songs: KILLA MODE, STUCK, NONCHALANT, LOLSMH II, CAN'T EVEN LIE, PRIDEFUL II, AIGHT, CAN'T GET OVER YOU, WINDOWS DOWN, ANTHONY(WAR)

Score: 8/10

Logic - Vinyl Days

Wow, there is a lot to say about this album. Well, when there are 30 songs, how can there not be. First off, this was super enjoyable. It's great to hear Logic clearly enjoying just dropping bars and freely rapping for an entire project. Bar the many interludes and skits (which are also really fun with some mad cameos), this whole thing is just pure rap. Logic barely takes a breath. There aren't tons of hooks, most songs are just filled with verses. It makes it very hard to pick out individual songs that stand out, but results in the project feeling like an entity of one with highlights every so often. As a self proclaimed hip-hop head, it's really fun to just listen to Logic rapping for this long and try and catch as many bars as possible (of which there are a lot). The amount of similes and clever punchlines on this project is insane. His flow is on point and as previously mentioned, just feels free. The whole album in one word is: refreshing. The beats, produced by Logic himself, are amazing. There are tons of soul-cuts and jazz samples, which I love. Also there are some crazy rogue beats like on 'Bleed It' and 'Rogue One', which are boom-bap (like the rest) but with an extra flair. Also, I had to mention that he uses a redveil beat on 'Breath Control', which was really cool to hear. There are many interesting moments on this album. Specifically, where Logic delves in to his complicated relationship with Anthony Fantano, going from wanting to murder him to being friends. Naturally, Anthony wasn't best pleased with this tune. Funny, though. The features he gets on this album are also crazy, ranging from RZA to Blu to The Game. As an album generally, I would have liked some memorable hooks or a few longer songs like 'Therapy Music'. But, this album knows what it is and delivers some really enjoyable music.

Favourite tracks: BLACKWHITEBOY, Quasi, Bleed It, LaDonda, Therapy Music, Orville, Introducing Nezi, Sayonara

Score: 7.5/10

Aaron May - No Recognition

Aaron May is back (finally!). It isn't a full length project, but an EP of 7 songs is still received with a warm reception. This EP is typical Aaron May. Soulful beats with his signature punch in the drums and bass. The lofi feel is often employed and he raps as smooth and effortlessly as ever. I wouldn't say his rapping has drastically changed, he just seems hungrier, which is great to hear. This project sounds much more polished and mature than CHASE, as if he is solidifying himself as a rapper you should take seriously. I agree. I love how the production is similar in theme throughout the record but is slightly different on each song to clearly differentiate them. For example, the chatter of people talking in the background of the title track 'No Recognition' makes it sound like the song was recorded at a live show or in a setting around people. This is a rare technique in hip-hop but I loved how authentic yet unique it sounded. Each song has this different quirk that just amplifies the quality of the production and the record as a whole. It's no secret that I love Aaron May's voice and flow. He could rap about almost anything and I'd probably enjoy it. In terms of lyrics strictly, there doesn't seem to be a huge step up from what we heard on CHASE. That is my main gripe about this EP. I love how it sounds, production and flow-wise, but there isn't the lyrical improvement necessary to take Aaron to that next step. He has every other foundation in place, so the world better watch out when he takes this next step.

Favourite songs: Time, No Recognition, BreakBread, Last Time, Rush, I Ain't Worried

Score: 7.5/10

Drake - Honestly, Nevermind

A surprise Drake album was not on my cards for this month. Furthermore, a house-inspired Drake album was even less expected. Unsurprisingly, it isn't the best house record ever. But, it also isn't the worst. Just to get it out the way, the first four tracks suck. The Jersey Boys bed springs sample on 'Currents' make me cringe to the point of actual pain. But from there, the album picks up slightly. And, in my opinion, really picks up from 'Massive'. The beat on this track is an immediate 'head-nodder', and the beat drop on this song is (by far) the best on the whole album. I would unironically listen to this track in any setting and enjoy it. The quality does not rapidly decline from here on (which I guess is a good thing). There are a couple wavy tracks like 'Flight's Booked' and 'Tie That Binds' that would work perfectly in a beach-like setting. The latter is another stand-out track on the album. The Santana-esque guitar work in the beat works really well in producing a slightly different vibe whilst still maintaining the punch of a house beat. Then you get to the last track 'Jimmy Cooks' and it's just like Drake has said: here's what you could have had, but you had to wait until the end to hear it' whilst maniacally laughing. 21 Savage never misses, especially him on this trap-banger beat. Drake carries his own, too, with some slick bars and punchlines. There aren't many other stand-out tracks on the rest of the album, the rest are just decent (bar the first four). I respect that Drake has tried something different as his music was getting very safe and comfortable. But, with all Drake's resources and connections, the execution could have been better.

Favourite songs: A Keeper, Massive, Flight's Booked, Tie That Binds, Jimmy Cooks

Score: 6.5/10 

Cardi B feat. Lil Durk & Kanye West - Hot Shit

This is a pretty hard tune. Cardi delivered. Durk kinda delivered. Kanye...eh. Cardi talking like this is pretty cool and she has that flair with her voice that makes it sound authentic and really hard-hitting. Durk delivers a similar vibe. Braggadocio talk. Both of them bring high-energy bars and punchlines. At this point, it sounds like a decent trap banger. The beat is typical of that with an overload of 808s. Kanye takes the third verse which he evidently grows in to. He sounds half asleep for the first few bars, to be honest. By the middle-to-end of the verse he picks up the energy and employs some smooth wordplay. His energy still never reaches that of the previous two verses, resulting in him not adding a great deal to the song. I would have preferred another Cardi verse, which feels very weird to say. I sense that this track will grow on me to the point where I can just vibe to it. If you give this track time, it's decent. Otherwise, it does sound like a throwaway attempt at a trap-style 'banger'. 

Dot Da Genius feat. Denzel Curry, Kid Cudi, JID - Talk About Me

I wasn't sure about this song on first listen, but it has really grown on me. The beat is wild, for starters. It sounds eerie, yet also insanely hard. Very suitable for Cudi. Yet, his verse is probably the weakest on here. It's quite a monotone delivery and he doesn't really say anything notice-worthy for me to engage with the verse any more than it simply sounding good. This beat seems perfect for him, so that is a bit of a shame. Denzel comes through with the energy that old Denzel fans will love. What he's saying comes second when he's in this mood. Even with this, he's dropping bars with ease. The 'Kids See Ghosts' - 'phantom' bar with the Cudi adlib was especially hard. But, for me, it's JID who steals the show. The flow, as usual, is out of this world. You have to pay really close attention to catch all of his bars amongst the speed and constant alliteration in his rapping. Even without catching any bars, his flow just sounds so cool and it is only improving. Where's the album JID??? Anyway, he employs some really clever patterns of rhyming mixed in with lyrical schemes that you'd miss if you skipped a beat. Really high level, technical stuff from JID. I also like the hook, which whilst still being 'rap-centred', works well at a lower pace to break up the energetic verses.