Week 15

26/09/22

Boldy James & The Alchemist - Bo Jackson

It's been a fairly slow month in terms of music, so there is a couple of older records that I will be reviewing in this edition. I'm happy to kick it off with arguably my favourite rapper right now: Boldy James. 'Bo Jackson' is Boldy's second collaborative album with The Alchemist, who is creeping up the list of my favourite producers. These two are a match made in heaven, with this album exemplifying that even more than their excellent debut collab: 'The Price Of Tea In China'. Al's signature production merges seamlessly with Boldy's often laid-back flow. Al employs the slight distortion in the snare, mixing that with a beautiful - low bpm - piano or guitar riff to produce beats that sound like no other. Beats with a distinct sound yet just enough variation for each to hit in a different way. To be cynical, some of the more subpar songs on this record are a result of the beat not standing out enough and sounding 'too typical' of Al. It's important when you're making this smooth, lowkey style of hip hop that the beats sustain themselves. For the most part on this record, however, the beats are fantastic. Al can either chop a soul sample or create a completely original beat. Either way, it sounds so soothing yet matches with Boldy's harsh and graphic subject matter. Boldy's level of rapping is here is at his usual high level. Most songs don't blow me away in terms of his rapping, but they don't need to as I genuinely love this level that Boldy spits at. I don't need to be blown away to love it. What is clear, as usual, is his rhyme schemes mixed with heavy subject matter of the street life, all whilst sounding like it is effortless for him. I liked how, on this album, he does sometimes switch up the flow to a faster and more intense style. I love his range on these songs, something I knew that he had in his locker but hadn't really heard too much. Also, I don't know if there is another album with such perfect features, in terms of quantity and artist choice. Boldy, Curren$y and Freddie Gibbs are all absolute pros at a very similar style, and this collab is honestly a dream come true. Curren$y comes through with a much more menacing and low register sound than usual. But he makes it work by wrapping it in ridiculous rhymes and imagery. Freddie delivers with humour and character, as per. Starting off with "Fuck them kids" and saying "MJ ain't dead he live in my guest house" are just two excellent quotables from his verse. All the other features hit in their own way. It is very rare that everyone holds their own on an album. I truly believe that no one got outshined as everyone brought something different. A meticulously crafted album that solidifies Boldy and Al as a true power duo.

Favourite songs: Turpentine, Brickmile to Montana, Steel Wool, Photographic Memories, Diamond Dallas, Flight Risk, Illegal Search and Seizure, Fake Flowers, Drug Zone

Score: 8.5/10

JPEGMAFIA - All My Heroes Are Cornballs

I had never listened to JPEGMAFIA before. So, after deciding to listen to a few of his songs (and liking them), I thought I may as well dive in to a full album. I chose this record as 'Free The Frail' was arguably my favourite of the songs that I heard. It's a beautiful song with more of a pop-rap style. Quite mainstream for Peggy; a good introduction for me. He is introspective and self-reflective on this song, talking about how his image shouldn't be one to admire. I love the message and the sonic patters on this tune. As I mentioned, it's a very accessible song. I would describe the majority of Peggy's music as organised chaos (for the most part). It's fairly experimental hip hop but there are definitely traditional patterns of rap and pop, just masked in a lot of unusual sounds and rhythms. It's hard to pinpoint a through-line in this album or any sort of concept. It's purpose is more to grab focus, make the listener experience all of these sounds whilst also being reminding of Peggy's very skilled rapping ability. Not to mention the fact that he produces all of his music himself. I can't even imagine what goes on inside his mind for him to craft all of this himself. I like the variety of production. Some songs are very high energy, some more lowkey. Others start off in one way only for it to go in a completely different direction. The unpredictability of this album is what makes it so interesting as it requires multiple listens to somewhat understand. It's easier to grasp the concept of these songs when you know what's coming. There are beats grounded in boom bap, and in others in a polarising synth line. Or, if you haven't already guessed, a combination of the two. Peggy's rapping style is often eccentric and rarely sticking to one flow. Often it's hard to even identify a flow. Yet, he really makes it work. His lyrics cleverly match his flow. For example, on 'PRONE!', the flow is frantic and intense, matching the aggressive person-specific lyrics. Then he goes into a Kanye '808s' style singing on the last leg of the some for some reason. It sounds great, to be fair. I'll need to listen to this record more to identify some cohesiveness, as it seems a bit lacking in that department. This record feels more like an experience than an album. Also, the mixing is inconsistent in a few songs, although I haven't yet figured out whether that is done purposely or not (I think it is). I see huge potential in Peggy and even though this project is great, I know he can do even better (in a good way).

Favourite songs: Jesus Forgive me..., Grimy Waifu, PTSD, All My Heroes Are Cornballs, BBW, Thot Tactics, Free The Frail, DOTS FREESTYLE REMIX, Papi I Missed U

Score: 8/10

Ari Lennox - age/sex/location

I've been looking forward to this one. Ari's 2019 debut 'Shea Butter Baby' is one of my favourite R&B records of the decade. On this albu, Ari tells a story of modern dating, starting with her putting herself out there into the dating scene. Most of the album details the ups and downs of meeting people and going through flings. In the end, the message is clear that it is very difficult to find a substantial partner as Ari, very maturely, ends up accepting her value as a woman and realises what she deserves. It's a very realistic commentary on dating these days that I'm sure many people will relate to. Sonically, Ari leans on her soul inspirations a lot more, especially in the silky smooth opening tracks 'POF' and 'Hoodie'. The opener gives straight Erykah Badu vibes, with Ari adding her trademark high notes. The rest of the album employs these soul inspirations more subtly, whilst focusing on the more familiar R&B style of the era. Other songs of note include her duet with Lucky Daye: 'Boy Bye'. This song is almost like the antithesis to Lauryn Hill and D'Angelo's 'Nothing Even Matters'. Lucky acts as the toxic male gaze, with Ari wanting to resist temptation but actually liking this character. It's a narrative that creates a clear picture and something that everyone can envision. I do prefer these smoother-sounding songs, with 'Leak it' employing a similar vibe, yet the guest appearance of 'Chloe' creates a very different atmosphere. The sequencing on this album is excellent as it shows a clear development in Ari's character and mindset. Bar the first two tracks, those with features are some of the best. Yet, it isn't really due to the features. Weird. I feel like this album doesn't quite reach the highs of her debut project. Even the standout tracks don't really stand out enough for me. Her voice is ridiculously good, even on more of the subpar tracks. But this is something I expect from Ari. There are a couple safer and 'middle-of-the-road' songs that make me want more from her, as I know that she has the ability to do so. I like the idea, but the introduction of the soul influence should have been maintained for the whole album, instead of just in short spurts. A handful of the songs will definitely stay in my regular rotation, however. 

Favourite songs: POF, Hoodie, Mean Mug, Boy Bye, Leak It, Blocking You, Queen Space

Score: 7.5/10

Freddie Gibbs feat. Moneybagg Yo - Too Much

The first single from Freddie's upcoming album is an interesting one. It's a hi-hat, 808-centric banger with trap influences (with more complexity, of course). Freddie's first verse is relentlessly fast paced and intense. He doesn't say much of note in the verse but it sounds like nothing I usually hear from him on his previous records. This blends in seamlessly with the chorus, which doesn't do a great deal for me. It's catchy and a definite head-nodder, but that's about it. Moneybagg Yo sounds great over this kind of bit. It fits him much better than it fits Freddie. He's a seasoned vet in trap bangers, that's his ballpark. Even though Moneybagg Yo fits the beat better than Freddie, I probably wouldn't be as interested in it if Freddie wasn't on it. But again, Freddie doesn't actually do a great deal of anything notice worthy on the track. He just has this presence that seems to always over shine everyone else. Whilst I don't mind this style, I hope that his new album isn't mostly this style. And by the looks of the producer list, I'm assuming that won't be the case.