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therappundit · 5 years ago

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***The Best Rap Songs of 2019 - A Pundit PlayLi$t***

THE YEAR IS 2019.

The rap music genre has splintered multiple times into sub-sub genres, and the line between what is considered “real” hip-hop and what is considered 🗑️ begins to grow sharper and sharper. Hate grows on both sides, as heads - both old and new - collide over which rap songs should be considered worthy of praise, and which ones may be merely capitalizing on the social media trends of the day...

Enter THE Rap Pundit, a purist that is open to all lanes of rap music - provided those lanes are well represented with quality. That Pundit is me.

This year was harder than most because it was a mix of so many different impressive styles...with the exception of mainstream rap music. No Drake, no Kendrick, no Hov or Nas on the list this year, but what you will find are a ton of talented young artists inspired by them, and many other first ballot rap hall of famers. So while the mainstream waned, the underground absolutely feasted in 2019.

Here is the criteria I tried to use for this year’s rankings:

the song had to be in my regular rotation by 12/20/2019 (otherwise, I simply could not have had the time to truly experience it)

I aimed my rankings with the following prioritization in mind: 75% of my decision based on personal favoritism, 20% based on overall quality within the sub-genre regardless of whether or not I listen to it regularly (is it a vapid strip club joint? Then be the best strip club joint you can be!), and 5% based on overall impact (YES, how often a song comes up in conversation with my fellow peers does make a difference - welcome to the culture)

believe it or not, there was an honest attempt at making the most diverse list possible (because in reality if this list was just personal favorites, then the whole list would consist of Griselda, Roc, Mach, Mutant Academy & other underground all-stars from all over the east coast...but seriously, the underground straight massacred the mainstream biz this year)

Again, I have 200+ additional songs I love that I could easily have added on top of this one, but I think this list is plenty long enough as it is, am I right?

Enjoy...because I know I certainly have enjoyed listening to this unparalleled lengthy scroll of dope rap songs that dropped in 2019. 🙏

1. “Palmolive” - Freddie Gibbs & Madlib feat. Pusha T & Killer Mike

https://www.youtube.com/watch?v=NSn_r2w-idg

(A terrific verse from Freddie, a great hook from Killer Mike, and a verse of the year calibre contribution from Pusha T, all over a soulful Madlib back-drop?? Yikes. Freddie Gibbs & Madlib made all rap fans very proud in 2019.)

2. “Ricky” - Denzel Curry

https://www.youtube.com/watch?v=3WHm6tfvKlk

(As soon as you press play, you can feel the humidity coming off of this song as if we were in the crowd with Curry down in Florida. Denzel delivered a wonderful homage to his father, and to the Carol City of which he hails.)

3. “Crown For Kings” - Benny feat. Black Thought

https://www.youtube.com/watch?v=AtTu_TC3f6A

(Black Thought and Griselda?? Bars on top of bars on top of bars…two verse of the year contenders, easily.)

4. “Glorious” - Skyzoo & Pete Rock

https://soundcloud.com/skyzoomusic/glorious?in=skyzoomusic/sets/retropolitan-1

(Want to hear an impressive way to kick off a great album? Look no further than Sky’s scathingly hot verse on “Glorious”, a track that lives up to its’ name.)

5. “I.G.W.T.” - Roc Marciano

https://www.youtube.com/watch?v=bz5W9LztqZs

(The instrumental alone makes for a quintessential Roc Marci soundtrack, an early standout off of Marcielago. That first beat is magical.)

6. “Crime Pays” - Freddie Gibbs & Madlib

https://soundcloud.com/gangstagibbs/crime-pays?in=gangstagibbs/sets/bandana-16

(So quintessential to Bandana’s vibe this thing feels like it has a pulse. I was listening to this on my walk home the other day and it put me in such a breezy headspace...I can’t even describe it any other way than simply saying it’s another classic Madlib production.)

7. “5 to 50” - Benny feat. India

https://www.youtube.com/watch?v=QQGRPxrHtjI

(Captivating. Benny and The Alchemist join forces to concoct a song so real it makes 90% of drug dealer talk in rap music sound phony.)

8. “Thank God” - Tree

https://soundcloud.com/mctreeg/thank-god?in=mctreeg/sets/wegrownnow

(Tree’s We Grown Now is such a great album. This song perfectly captures the gifts of the legendary Chicago MC, who I consider one of the genre’s unsung special talents. It’s worth a New Year’s Resolution to get familiar with Tree’s catalogue.)

9. “Funeral March (The Dirge)” - Your Old Droog feat. Mach-Hommy

https://soundcloud.com/your-old-droog/funeral-march-the-dirge-feat?in=your-old-droog/sets/it-wasnt-even-close-1

(One of the hardest sounding songs in recent memory. I can hear these two do this all day, a great example of the tremendous work both artists put into 2019.)

10. “Freestyle Shit” - Freddie Gibbs & Madlib

https://soundcloud.com/gangstagibbs/freestyle-s-t?in=gangstagibbs/sets/bandana-16

(Pffffew, that Gibbs delivery….right from the get-go with the album’s first song, it’s so clear that Bandana is a special project.)

11. “Ephesians” - Roc Marciano feat. Ka

https://www.youtube.com/watch?v=7pWWHYd_SBI

(METAL CLERGY RAP.....if I need to say anymore about this joint, than you and I simply don’t roll in the same rap circles.)

12. “It’s All Good” - Skyzoo & Pete Rock

https://soundcloud.com/skyzoomusic/its-all-good?in=skyzoomusic/sets/retropolitan-1

(The gorgeous first single off Retropolitan feels like liquid nostalgia and summers in NYC, without sounding the least bit dated.)

13. “Situations” - Freddie Gibbs & Madlib

https://soundcloud.com/gangstagibbs/situations?in=gangstagibbs/sets/bandana-16

(One of Bandana’s more minimalistic instrumentals, and it takes off thanks to the jet pack provided by Gibbs and his sensational performance on this one.)

14. “There U R” - Tree

https://soundcloud.com/mctreeg/there-u-r?in=mctreeg/sets/wegrownnow

(Give this man his flowers now. There are a lot of talented artists in rap music, but none tackle a song like an old Blues man…none except Tree, that is.)

15. “Pete’s Sake” - Conway & Benny

https://www.youtube.com/watch?v=njNKcQx7NSA

(Quite simply one of the most raw beats I have heard in some time. And my favorite Conway verse of 2019.)

16. “Massage Seats” - Freddie Gibbs & Madlib

https://soundcloud.com/gangstagibbs/massage-seats?in=gangstagibbs/sets/bandana-16

(Smooth as Helllll. “This ain’t for soccer mamas this is for the underground” is right.)

17. “Flights” - Tree

https://soundcloud.com/mctreeg/flights?in=mctreeg/sets/wegrownnow

(Tree kills it with the autobiographical joints, and this soulful walk down memory lane is as enthralling as an audio diary.)

18. “Dr. Bird’s” - Westside Gunn, Conway & Benny (Griselda)

https://www.youtube.com/watch?v=8sc3WbLz2IY

(It’s no secret that Griselda Records had a sensational 2019, and no posse cut personifies that better than “Bird’s”.)

19. “Cokewhite” - Goldlink feat. Pusha T

https://www.youtube.com/watch?v=8zCGiHhTxMM

(Another spotlight stealing verse from Pusha Ton, who in limited work, managed to appear everywhere this year in music.)

20. “Funeral” - Tree & Parallel Thought

https://parallelthought1.bandcamp.com/track/funeral

(I hope with all of my heart that songs like this aren’t part of Tree’s process of letting go of the music biz, but even if it is, what a beautiful way to go out.)

21. “Bandana” - Freddie Gibbs & Madlib feat. Assassin

https://www.youtube.com/watch?v=yWCciqqzno4

(While it may not have made the final cut of the Bandana album that shares its’ name, this reggae-tinged, Madlib blessed riot starter has been one of my favorite songs of the year since it dropped and it keeps feeling better to me.)

22. “Homegrown” - Skyzoo & Pete Rock

https://soundcloud.com/skyzoomusic/homegrown?in=skyzoomusic/sets/retropolitan-1

(Another incredibly soulful standout from Retropolitan. When Skyzoo & Pete Rock are performing at the top of their game, both are as potent as it gets within their respective lanes.)

23. “El Toro Combo Meal” - Earl Sweatshirt feat. Mavi

https://soundcloud.com/earlxsweatshirtmusic/el-toro-combo-meal-feat-mavi-prod-by-ovrkast?in=earlxsweatshirtmusic/sets/feet-of-clay

(Two MCs vying for the lo-fi crown are Earl Sweatshirt and Mavi. It is beginning to get confusing to figure out who is the student and who is the teacher here, but regardless, both talented artists flashed a ton of skill in 2019.)

24. “To Whom It May Concern” - Jim Jones feat. Cam'ron, Guordan Banks, Benny The Butcher and Conway

https://soundcloud.com/jim-jones-capo/to-whom-it-may-concern-feat-camron-guordon-banks-benny-the-butcher-conway-the-machine?in=jim-jones-capo/sets/el-capo

(A Dipset and Griselda collaboration is enough to make someone like me get emotional…anyone have a tissue, this Benny-Cam’ron-Conway back to back series is too much to handle!?)

25. “Under The Sun” - J. Cole, Lute & DaBaby (and Kendrick Lamar?)

https://www.youtube.com/watch?v=eUUuI--jAlM

(The best song off of Dreamville’s Revenge of the Dreamers 3 is the first track. It’s just a straightforward soul loop, but Cole and Lute really shine...but then DaBaby comes through to shine hard enough to blind the first two verses.)

26. “Sunday School” - Benny feat. 38 Spesh & Jadakiss

https://www.youtube.com/watch?v=0ero1Xexyhs

(Spesh really killed this great cut off of Benny’s The Plugs I Met, but all three really did their thing.)

27. “Dominate” - DJ Muggs & Eto

https://www.youtube.com/watch?v=DxjTKqpMHIE

(Straight menace music. Muggs & Eto would have made Mobb Deep proud with “Dominate”…especially Muggs, this beat is brutal!)

28. “Lucha Bros.” - Westside Gunn feat. Curren$y & Benny

https://soundcloud.com/westsidegunn/lucha-bros-feat-curreny-benny?in=westsidegunn/sets/hitler-wears-hermes-7

(Another crazy banger from Griselda, off of Westside’s fantastic Hitler Wears Hermes 7. Don’t let the smooth vibe force you to overlook the bar-fest on this one.)

29. “Obamacare” - Quelle Chris

https://www.youtube.com/watch?v=L-F19d5PcJY

(Another year, another thought provoking Quelle Chris project. He seems to be getting better with age, is that possible?)

30. “Big Uzi Vert” - Fly Anakin & Big Kahuna OG

https://www.youtube.com/watch?v=-CxWj6g0DnU

(As with 2018, some of the best rap songs of the year are collaborations from the mighty Mutant Academy. Virginia’s Fly Anakin and Big Kahuna OG both clocked in ready to work in 2019, and they have stacks of great joints to prove it. Anakin’s “I’m from the projects, I don’t skateboard” helped this one push to the front of the Mutant pack.)

31. “Daylight Savings” - Mavi

https://www.youtube.com/watch?v=iZTI9YkK_1w

(Mavi really captured the attention of fans and critics alike with Let The Sun Talk. His flow on “Daylight” proves that Mavi is so much more than the copycats you may stumble across on Soundcloud these days.)

32. “Chasing Ghosts” - Your Old Droog feat. Roc Marciano

https://soundcloud.com/your-old-droog/chasing-ghosts-feat-roc?in=your-old-droog/sets/it-wasnt-even-close-1

(What a great example of why these two are so good at what they do. Eerie underground hip-hop at its’ finest - and Roc’s best guest verse of the year.)

33. “Cubicle” - Buddy feat. 03 Greedo

https://www.youtube.com/watch?v=nZ9Yw7i_Fo8

(What a slept-on smash from Buddy and 03 Greedo. Both artists do the West Coast proud with one of my favorite cuts off of the deluxe edition of Harlan & Alondra.)

34. “Education” - Freddie Gibbs & Madlib feat. Yasiin Bey & Black Thought

https://soundcloud.com/gangstagibbs/education-feat-yasiin-bey?in=gangstagibbs/sets/bandana-16

(As if that line-up isn’t enough to make any hip-hop head salivate, it’s even more impressive that the final product manages to meet expectations.)

35. “Wild Minks” - Quelle Chris feat. Mach-Hommy

https://www.youtube.com/watch?v=4dQmPX1C0Vk

(Quelle and Mach make beautiful music together, and they don’t come much more beautiful than this one.)

36. “IMG” - Nolan The Ninja

https://www.youtube.com/watch?v=8vNvRLIQHVs

(Nolan has blessed us with a number of great songs in 2019, but I think this one epitomizes just how much he has progressed as a rap artist.)

37. “Splinters” - Fly Anakin & Tuamie feat. ANKHLEJOHN & Al.Divino

https://www.youtube.com/watch?v=ZWORdUQAEcc

(Just a chilling collaboration from some of the best artists that underground hip-hop has to offer, that’s all.)

38. “Spider Hole” - Billy Woods & Kenny Segal

https://www.youtube.com/watch?v=t1WBEi5LlkI

(Beautifully bleak music from Billy Woods and Kenny Segal, who demonstrate brilliant chemistry throughout Hiding Places.)

39. “Deadass” - Kemba

https://soundcloud.com/kembaland/deadass-2

(Unfortunately, in any other era this could have been a hit rap song. But fortunately, in this era it can be praised as one of the best underground smashes of the year from a very good album. Keep an eye on Kemba...)

40. “Dynasties” - Tedy Andreas

https://soundcloud.com/tedyandreas/dynasties-prod-graphwize

(Dope beat, dope MC and a killer hook. I can’t be the only longterm fan that Tedy earned with this one.)

41. “OD” - Earl Sweatshirt

https://soundcloud.com/earlxsweatshirtmusic/od-1

(Say what you want about the length of Earl’s songs, but he can accomplish more with a minute and a half on a record than most rappers can with an hour.)

42. “Still” - Maxo Kream

https://www.youtube.com/watch?v=o3Tza0cGrQk

(Maxo may have just dropped the best project of his career, and this woozy thumper is one of his hardest tracks yet.)

43. “18 Wheeler” - Benny feat. Pusha T

https://www.youtube.com/watch?v=JdZC8uBwJ4Q&list=PLVipAi3U-JouPCQvz3KoH2B1VAKAZc7m4&index=6

(At this point, what else needs to be said about the potency of these two rap-writers? Calling it “coke rap” wouldn’t even begin to explain how good these two are when it comes to the art of rapping.)

44. “ZUU” - Denzel Curry

https://soundcloud.com/denzelcurryph/zuu?in=denzelcurryph/sets/zuu-3

(A rousing intro to what I would consider the best “mainstream” rap album of 2019.)

45. “Flat Tummy Tea” - Freddie Gibbs & Madlib

https://soundcloud.com/gangstagibbs/flat-tummy-tea

(I liked it when it first dropped, love it even more now. Freddie straight MURDERS this one...)

46. “Broke Bitch Dreams” - ShooterGang Kony

https://soundcloud.com/shootergangkony/broke-bitch-dreams

(I knew nothing about ShooterGang Kony at the start of 2019, and I don’t know much more now. But I know that this song has smash written all over it, one of the best ‘cruising with the top down’ joints that I have heard in recent memory. The hook is an ear worm to the point of concern.)

47. “Tito’s Back” - Conway feat. Benny & Westside Gunn

https://www.youtube.com/watch?v=YGqViFucmJ8

(Griselda’s top two lyrical assassins doing what they do best, but going back and forth in a manner that not even Styles & Jada could touch.)

48. “Attics” - DJ Muggs & Eto

https://www.youtube.com/watch?v=1UmYxcv4YTs

(Sure Muggs & Eto dropped a banger of an album with Hell’s Roof, but “Attics” has the strength to be a career defining track for Eto. This is dark poetry from one of the hungriest parts of upstate NY.)

49. “Under The Train (Transporting)” - Your Old Droog

https://soundcloud.com/your-old-droog/under-the-train-transporting-1

(Droog’s Transportation album may be the perfect traveling companion for moving through the streets of NYC, and this song may be the projects’ crown jewel. This has the feel of a classic New York anthem and I am crazy for it.)

50. “Know The Type” - Lansky Jones feat. CJ Fly & Mr. Muthafuckin’ Exquire

https://www.youtube.com/watch?v=riRJk2QiROI

(What happens when a collection of some of NYC’s most talented, but least heralded MC’s join forces to deliver what sounds like a classic mid-90′s throwback joint? They create one of the smoothest rap songs of 2019.)

51. “NINA” - Rapsody

https://www.youtube.com/watch?v=54yOD994ors

(Eve raised Rapsody’s discography to a whole other level. A brilliant, pro-woman battle cry that somehow manages to ether the industry while still radiating positivity, Rap pulled together a beautiful collection of songs with this album - and verse of the year contenders, beginning right here with her opening track, the impressive “NINA”.)

52. “Spongebob” - billy woods + kenny segal

https://www.youtube.com/watch?v=83F4JpVu61k

(Segal’s production is perfect background for woods to go to work. If Hiding Places isn’t in your collection, that must change immediately.)

53. “Cash War” - Gunna

https://www.youtube.com/watch?v=ObdMBhfySMI

(Gunna has had a fantastic year, and this song shows why he is a natural hitmaker. Drip or Drown 2 is one of mainstream rap’s finest records of 2019.)

54. “May Store” - Westside Gunn, Conway & Benny feat. Keisha Plum

https://www.youtube.com/watch?v=x6kMBwNCAyw

(More dazzling lyrical chemistry from Griselda. Damn Benny, why do you have to murk beats like this? Not even fair to other MC’s at this point.)

55. “HolOnHolOn” - Fly Anakin & Tuamie

https://www.youtube.com/watch?v=SCbgGn2BXUc&list=PLAfLqY9BQJkyjUuDAEn7cehQ3DZWAZogX&index=4

(Another fantastic track from Mutant Academy. Is it me or does Tuamie channel some Jay Dee-esque vibes with this one?)

56. “Bad Boys” - Pivot Gang (Joseph Chilliams, Saba, MFnMelo) feat. Smino

https://www.youtube.com/watch?v=UCaBVqi4Rag

(This one didn’t blow up - at least not yet - but I have no idea why!? This track, like so much of Pivot Gang’s You Can’t Sit With Us album, is such a fantastic showcase for Chi-town’s deep hip-hop scene.)

57. “Pop Out” - Polo G feat. Lil TJay

https://soundcloud.com/polo-g/polo-g-feat-lil-tjay-pop-out

(HUGE hit, and rightfully so. So much more than a typical baller anthem, the hook - and more specifically, the performance of Polo G - makes “Pop Out” easily one of the best rap songs on mainstream radio in 2019.)

58. “Field Negro” - Royce Da 5′9″

https://www.youtube.com/watch?v=zK7N63lsoRE

(An unorthodox production anchored by one of the best writers in the history of the genre, that’s all. Royce murders this thing with so many quotables…yet you’re still somehow sleeping on Royce???)

59. “Nobody’s Favorite” - Rick Ross feat. Gunplay

https://www.youtube.com/watch?v=xMzfaCskeGo

(At the top of 2019, would I have predicted that Ross and Gunplay would have dropped one of the best rap songs of the year? No. Is “Nobody’s Favorite” a seriously dope rap song? Without question.)

60. “WYRM” - Quelle Chris

https://www.youtube.com/watch?v=5DNS1pXDec0

(Another gorgeous track from a man that low-key has one of the strongest discographies in rap music, Detroit’s Quelle Chris.)

61. “Memorial” - MIKE

https://www.youtube.com/watch?v=w0czotN8EXQ

(If the lo-fi movement in rap music was a sports team, MIKE deserves to be the team captain. Tears of Joy is an intensely personal album, but amongst the tears there is much to feel joyful about after listening to MIKE’s latest collection of gems.)

62. “4 Clove Club” - Wiki

https://pitchfork.com/levels/wiki-4-clove-club-new-song-listen/

(Few MC’s as unique as Wiki manage to actually create music that is enjoyable to listen to while they are attempting to color outside of conventional lines. Somehow, Wiki seems to get better at this rare skill with every project. An autobiographical album that feels like a disjointed, but musically cohesive diary, what Wiki manages to accomplish with Oofie is wildly impressive.)

63. “PTSD” - Omen, Mereba, Deante' Hitchcock & St. Beauty

https://www.youtube.com/watch?v=yWbjiP50Nbg

(One of the most beautiful songs off of ROTD3, but it’s Omen’s verse that tugged most on my heart strings, and snagged a spot on this year’s Best Of list.)

64. “Giannis” - Freddie Gibbs & Madlib feat. Anderson .Paak

https://soundcloud.com/gangstagibbs/giannis-feat-anderson-paak?in=gangstagibbs/sets/bandana-16

(One of the funkier standouts from Bandana, and album full of standouts. Paak and Gibbs tap dance all over this one.)

65. “Baby” - Lil Baby & DaBaby [Quality Control]

https://www.youtube.com/watch?v=0GbwYFqN1iE

(A collaboration that at one point, most would have joked about off of name alone, the joke is now on the doubters because both of these Babies can really RAP.)

66. “The Old Groove” - Westside Gunn, Conway & Benny feat. Novel

https://www.youtube.com/watch?v=eo-E6Nl-aoE

(Somber - even by Griselda standards - this collaboration off WWCD feels like a victory lap from the best group of gritty MCs since Mobb Deep, Boot Camp, and the Wu Tang Clan.)

67. “The Norm” - Von Pea

https://soundcloud.com/vonpea/08-thenorm

(Von Pea’s City For Sale deserves to be mentioned as another great release in the growing sub-genre that is “rappers warning the rest of the world of the dangers of gentrification”, this record right here captures the message so well and he knocks the production way out the park.)

68. “The Routine” - Wiki

https://soundcloud.com/wikset/10-the-routine

(A bouncy standout from Oofie that has really climbed my own rankings in recent weeks. I love what Wiki was going for with the production aesthetic on this one.)

69. “Playground Bench” - Raz Fresco feat. AZ & BriskInTheHouse

https://www.youtube.com/watch?v=M-4wzn2KRVQ

(Bonus points to anyone that caught this joint! A way under the radar AZ feature that warrants more shine. But don’t sleep, Raz Fresco dropped *multiple* dope projects in 2019.)

70. “Smallsteps” - Medhane

https://medhane.bandcamp.com/track/smallsteps

(Another rising star from the depths of the lo-fi underground, Medhane’s Own Pace project is an easy but by no means basic listen from start to finish on the strength of his solid production choices and candor.)

71. “No Love” - Maxo feat. lojii

https://soundcloud.com/rundatbacc/no-love-feat-lojji?in=rundatbacc/sets/lil-big-man-1

(Maxo’s Lil Big Man has made 2019′s ‘Best of’ lists on more than a few sites, and thanks to smooth joints like “No Live” it’s certainly not hard to understand why.)

72. “CLONES” - Tierra Whack

https://www.youtube.com/watch?v=9-8qrzg-vgQ

(Walking the fine line between truth and song parody, Tierra may have been imitating her peers with this one, but nevertheless the final result is catchy as hell.)

73. “2/5” - Jay Bel

https://soundcloud.com/groovyxjay/6-2-5-flip-gawd-dre?in=groovyxjay/sets/4wurd-an-anti-gentrification-project

(A lot of folks might not be familiar with Brooklyn’s Jay Bel yet, but that’s going to have to change soon because this kid is too talented to stay under the radar too much longer. 4wurd made for a fantastic introduction.)

74. “Meet Again” - Maxo Kream

https://soundcloud.com/maxo-kream/meet-again

(Another dope Maxo Kream song, another great example of this superb story telling skills.)

75. “Everything” - Little Brother

https://www.youtube.com/watch?v=krnOMqDjB0k

(A dope Little Brother album in 2019 was not something that anyone had on their itinerary heading into the year. Pooh and Phonte haven’t lost a step, and there are plenty of cuts on May The Lord Watch that feel like classic LB.)

76. “Proceed On” - Fly Anakin

https://www.youtube.com/watch?v=FO2mRZTX8XM

(A slick loosie from one of Mutant Academy’s finest.)

77. “Suge” - DaBaby

https://www.youtube.com/watch?v=YPpmGHn6gB8

(What DaBaby lacks in depth of content, he makes up for with his recognizable flow and sheer charisma.)

78. “Monica” - Flatbush Zombies feat. Tech N9ne

https://www.youtube.com/watch?v=o0db9NJhVEA

(One of the more recent additions to this list, it has slowly creeped up the charts on my end - and reminded me of how contagious a Flatbush Zombies joint can be.)

79. “NYC” - Jim Jones feat. Fat Joe

https://soundcloud.com/jim-jones-capo/nyc-feat-fat-joe?in=jim-jones-capo/sets/el-capo

(Just one of a cornucopia of classic-sounding Heatmakerz firecrackers off of Jim Jones’ surprisingly potent El Capo.)

80. “Murray’s” - Fly Anakin & Tuamie feat. Skyzoo

https://www.youtube.com/watch?v=lYyGTepAhM0&list=PLAfLqY9BQJkyjUuDAEn7cehQ3DZWAZogX&index=8

(Good things happen whenever Skyzoo connects with rising underground stars. Ask Griselda, and now you can ask Mutant Academy, too. This joint might sound basic to the uneducated listener, but for me, Tuamie provided Anakin and Sky with an ideal minimalist back drop to wax poetic over.)

81. “$ream - Rigz (Da Cloth)

https://www.youtube.com/watch?v=piGwjW27ZRQ

(Not just one of Rochester’s finest, Rigz is quite simply one of hip-hop’s finest MC’s. Major props to Da Cloth’s Rigz and Mooch for dropping some tremendous work in 2019.)

82. “Voodoo” - Rome Streetz

https://www.youtube.com/watch?v=6g4tfLwlODo

(I don’t know if I have enjoyed any full Rome Streetz project as much as last year’s Street Farmacy, but he has incredible rap music scattered all across 2019. I’m currently enjoying his latest work, Joyeria, but his collaboration with Sadhugold remains my favorite Rome joint of the year...but he absolutely owned anything he spit on. A future NYC MVP right here.)

83. “Scotties” - Westside Gunn, Conway & Benny

https://www.youtube.com/watch?v=Fn3S89vi_L0

(An off-kilt head nodder off WWCD showcases the unparalleled chemistry of real life brothers Gunn and Conway, and finishes strong with an impeccable verse from cousin Benny.)

84. “Tom Chambers” - Roc Marciano feat. Knowledge The Pirate

https://www.youtube.com/watch?v=MB6No8zPsU0

(Roc and Knowledge pass the mic back and forth and completely bar-out on this Marcielago banger...one of several slick tracks off the album that switch-up the beat halfway through the song.)

85. “Big Tipper” - Young Thug feat. Lil Keed

https://www.youtube.com/watch?v=CYO28vD5N2A

(Thugga’s So Much Fun was the first Young Thug project that I truly enjoyed. I think it all came together for Thugga on this album, and it’s chockfull of singles. Most folks would tout “Hot” as the early standout, but “Big Tipper” was the one that stood out to me as having the greatest smash potential.)

86. “100,000” - NYM Lo feat. Smoke DZA & 183rd

https://www.youtube.com/watch?v=tukJUizDj_g

(I would describe this sound as “underground bop”. NYM Lo and DZA show some great track chemistry here, the hook is a dope homage, and 183rd brought his sharpest production tools to the table with this one.)

87. “Lupos” - CRIMEAPPLE

https://crimeapple.bandcamp.com/track/lupos

(Not many MC’s can claim they had a stronger year than New Jersey’s CRIMEAPPLE. Multiple dope projects, some fantastic feature work, and a stack of quotables to his credit, “Lupos” is my top pick from his recent catalogue off the strength of bars like “I hear biting was the best form of flattery, now I’m glad to see some teeth marks in my strategy.”)

88. “Oaks” - BULLIES (Denmark Vessey, DrxQuinnx and Azarias)

https://fxckrxp.bandcamp.com/track/oaks

(A criminally underrated project that stands amongst this year’s finest, Denmark, Quinn & Azarias have fantastic musical chemistry that can be found all across the Bullies album. In another time and another place, Bullies would fit in well alongside Def Jux’s starting line-up.)

89. “Intro” - DaBaby

https://www.youtube.com/watch?v=YpR0gTQG8FI

(What a year for DaBaby. Entering the year with mainstream potential, and leaving 2019 as a flat-out star, all he really needed to do to extend his career trajectory at this point was prove that he also had substance as an artist. Well, say hello to the Intro to his KIRK album and consider all questions answered.)

90. “Protons Electrons Always Cause Explosions” - Al.Divino & Estee Nack

https://www.youtube.com/watch?v=bkpPdfNfneg

(One of the more interesting contributions by two of underground hip-hop’s most prolific and exciting MCs’. The duo of Divino and Nack don’t need to back down from any other duo because they are gifted at what they do: hitting fans over the heads with their consistently dope brand of raw rap.)

91. “Skimmin’” - Apollo Brown feat. Nolan The Ninja & Dopehead

https://apollobrown360.bandcamp.com/track/skimmin-feat-nolan-the-ninja-dopehead

(With Sincerely, Detroit, Apollo Brown pulled together one of the strongest compilations of his career. I could have saluted a handful of joints off of this album, but “Skimmin” was my personal favorite, thanks to a great subdued performance by Nolan The Ninja.)

BONUS TRACK: “Mister” - Young Nudy & Pi’erre Bourne feat. 21 Savage

https://soundcloud.com/youngnudy/mister-feat-21-savage?in=youngnudy/sets/slimerre-2

(Just a fun, bouncy collaboration from two of the game’s most unpredictable trap flows. Nudy is Pi’erre’s greatest collaborator - if you were thinking Playboi Carti, there’s no way you read down this far - and there is really something to be said for any rap artist that makes it hard for the listener to guess what they’ll say next. What Savage & Nudy may lack in clever wordplay they make up for in flow, charisma, and catchy hooks.)

***HIGH HONORS [songs that definitely belong in the top 91...so while they might not be the first item packed, consider these joints worthy of smuggling on board the plane for any trip]***:

https://therappundit.tumblr.com/post/189803686616/honorable-mention-the-best-rap-songs-of-2019

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sonicawareness · 5 years ago

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The Best Albums of 2019

After listening to more than 2000 new albums in 2019, I’ve narrowed my picks down to The 20 Best Records of 2019.

I’ve included 3 essential songs from each pick, as well as a choice lyrical clip and a brief description of the album.

Noting beats actually LISTENING TO MUSIC! So don’t just read my thoughts: follow and listen to the Spotify playlist containing 60 songs from the top 20 albums:

https://open.spotify.com/playlist/5TWlfWoo54MQ5cYTMmB0RI?si=M_23L6DDRieVuA845A90Pg

01: Yung Gravy - Sensational

Aptly titled Sensational, this debut full-length is a thirty minute party that dances between the hottest trap beats, well-placed samples, and the young Minnesota rapper’s braggadocious persona and ridiculous raps

Hey Alexa, how many bitches can we fit in the Tesla?...Pull up in that Model X with your model ex!

“Whip a Tesla” • “1 Thot 2 Thot Red Thot Blue Thot” • “The Boys Are Back in Town”

02: TWICE - &TWICE • Feel Special EP • FANCY YOU EP

Nine young South Korean women radiate endless energy, bountiful bliss, and some of the catchiest songs to come out not only in 2019 but recent memory

Even when things go wrong, feelings out of control: lessons, to be sure. Be okay, all right! Even a crying face is glittering, filter and laugh! You can return to invincibility, right? Blow off, and we havin’ fun! [Translated from original Japanese]

“Fake and True” • “Breakthrough” • “Stronger”

03: Sublime with Rome - Blessings

Frontman, bandleader, multi-instrumentalist, and producer Rome Ramirez delivers his finest record to date: eleven heartfelt reggae-driven songs that are as well-written as they are masterfully recorded and produced

Watching you feel good tonight: it's your song up on the station, and we don't even know no words. I wanna hear you roll your R’s, singing Spanish in the car, “Dime algo hermosa tonight”.

“Wicked Heart” • “Light On” • “For the Night”

04: Bring Me the Horizon - amo

Cohesive yet genre-spanning (metalcore, hip-hop, electronic, and pop, to name just a few), the sixth album from the English quintet is an emotional yet insightful rollercoaster masterpiece

Before the truth will set you free, it'll piss you off. Before you find a place to be, you're gonna lose the plot. Too late to tell you now, one ear and right out the other one ‘cause all you ever do is chant the same old mantra.

“MANTRA” • “wonderful life” • “i apologise if you feel something”

05: Weezer - Weezer (Black Album)

Expertly produced and instantly memorable, the long-running Rivers Cuomo-driven California quartet is once again in top form, adding yet another fresh and unique — but distinctly Weezer — record to their extensive discography

Don't get mad at me, I'm just being honest. I should have lied, now you're mad at me? I'm just being honest. How 'bout from now on you'll write the script, I'll read the lines?

“Can’t Knock the Hustle” • “Zombie Bastards” • “Living in L.A.”

06: Big Data - 3.0

Like this sophomore album’s lyrical content — exploration of the impact artificial intelligence will have on humans and on the Earth — the latest project from producer, multi-instrumentalist, and mastermind Alan Wilkis is paradoxically dark yet bright; like AI, this album’s execution is equally flawless and Dangerous

I created a monster, it's out of control, it's going to take me...I didn't know what I was making...But now it's coming, coming for all of us!

“Monster” • “See Through” • “Evolution Once Again”

07: blackbear - ANONYMOUS

Vibrant yet dark, personal yet accessible, the fifth album from Mat Musto is a collection of 18 vulnerable, confessional songs told over slick electronic and hip-hop sounds

You drop the bag and ask me how my weekend was. I love that, though. You laugh when I make stupid jokes, and when I went to rehab, you didn't judge me that bad. I struggle with addiction probs, you always got my back. What am I gonna do the day that my drug dealer moves away? Whatever am I gonna say to my new plug? It just ain't the same.

“DOWN” • “HATE MY GUTS” • “DRUG DEALER”

08: Denzel Curry - ZUU

Hit-after-hit of hip-hop bangers pack this album’s half-hour runtime, with a plethora of guests joining the fray but never quite knocking it out like the young Miami native, Denzel Curry

First they mockin', now they hoppin', all on the wave, 'cause they see me poppin'. Big-big-big large pockets, they start flockin'. Here's what I say when they ass keep knockin'...

“RICKY” • “BIRDZ” • “ZUU”

09: DaBaby - KIRK / Baby on Baby

On his two 2019 albums, his first proper efforts after countless mixtapes and singles, DaBaby unleashes his signature, incessant vocals over relentless trap and modern hip-hop beats

Prolly heard I was broke from a broke nigga, prolly heard I'm a ho from a ho! I don't know what you know, I ain't runnin' from no nigga, let’s go!

“BOP” • “OFF THE RIP” • “Suge”

10: Bayside - Interrobang

On their eighth album, the Anthony Raneri-fronted New York natives sound refreshed, focused, and tighter than ever telling their trademark tales of heartbreak and healing

I love that music saved you, and Lord knows it’s saved me too, but songs never love you back, and you never know the person preaching to you...

“Interrobang” • “Prayers” • “Bury Me”

11: The Hold Steady - Thrashing Thru The Passion

Few frontmen can weave an album’s worth of compelling narratives, yet the Brooklyn band’s Craig Finn finds himself on the seventh The Hold Steady album once again delivering ten more engaging, interlocked tales over his band’s fierce guitar riffs and all-too-catchy choruses

Thanks for listening, thanks for understanding: tequila takeoff, Tecate landing.

“Entitlement Crew” • “Denver Haircut” • “You Did Good Kid”

12: Electric Guest - KIN

Sugary sweet, the third record from the California duo promptly polishes any rough few rough edges they once had to deliver a perfectly slick yet quirkily heartwarming collection of eleven easy-listening songs

I'm like, “this mothafucka might sue me, and that mothafucka might boo me”. I'ma keep on goin' to a better day, all this other bitterness can fade away.

“Dollar” • “I Got the Money” • “More”

13: Billie Eilish - WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?

Part punk energy without sounding even slightly punk, part emo diary without being a dashboard confessional, the debut record from American teenager Billie Eilish craftily bounces between genres, haunting sounds, and strange stories

If you think I’m pretty, you should see me in a crown. I'm gonna run this nothing town. Watch me make 'em bow one by one by one.

“bad guy” • “my strange addiction” • “you should see me in a crown”

14: The Cat Empire - Stolen Diamonds

The eighth album from Australia’s The Cat Empire is a full-blown dance party packed with catchy, clever songwriting and a room full of drums, horns, strings, keyboards, turntables, and bass

Operator, please, I can’t get out my head. Tell me where I’m going or where I’m being led. Tell me like an order, and order I’ll obey. Maybe I just thought you said, or did I did I hear you say, “We’re going to ([kill a man]) Kilaman-jaro, jaro…”

“KIla” • “Stolen Diamonds” • “Ready Now”

15: Dirty Heads - Super Moon

Co-frontmen Dirty J and Duddy B return to the beach for the seventh Dirty Heads album, borrowing sounds from across their entire discography of acoustic guitars and witty hip-hop to craft a surprisingly delicate record

I'm a flame, I'm a beacon that won't go out. In the dark, in the rain, I'm your lighthouse. When you can't stand the pain, hope you know now, I'll keep you safe, I'm your lighthouse.

“Super Moon” • “Lift Me Up” • “Tender Boy”

16: TENDER - Fear of Falling Asleep

Dark and uninviting, the second album from this London duo is an intimidating but rewarding listen delicately spiced with just enough hooks to keep you trapped in its atmospheric dreams

I’ll be looking for the scent when it goes cold. I’ve been trying to beat the maze with a blindfold on. I’ve been foraging through mud and sticks searching for that power that don’t exist.

“Closer Still” • “Bottled Up” • “Handmade Ego”

17: Logic - Confessions of a Dangerous Mind / Supermarket Soundtrack

Logic returns once again with countless rhymes delivered over his trademark breathless bars, frequently painting an all-too-vivid picture of a famous rapper struggling to comprehend the world around him

All these comments got me lost in my mind; all these thoughts that I'm having are not mine. I always post that I'm having a good time so my life looks perfect online...

“Homicide” • “Don’t Be Afraid to Be Different” • “Lemon Drop”

18: Tyga - Legendary

More than just a collection of hits, the seventh album from the Compton rapper is well-sequenced and effortlessly laced with hook-after-hook for Tyga to deliver his signature obscene lines about things he self-admittedly has too many [sic] of: money, cash, hoes, cars, clothes, flows

Hey, shut the fuck up, bitch, you know who I are. Point blank range, and I'm shootin' for the stars. You niggas subpar and I just raised the bar. You got Rollies on your wrist, this is Chopard. Slide on your block like a fuckin' go-kart, my nigga A&R, still got an AR.

“Haute” • “Lightskin Little Wayne” • “On Me”

19: The Chainsmokers - World War Joy

The third album in three years from Alex Pall and Drew Taggart (and no shortage of guests) is an easy, light collection of ten slick relationship-focused pop songs that find the duo largely eschewing their dance-centric history

You said, "Hey, whatcha doing for the rest of your life?" and I said, "I don't even know what I'm doing tonight". Went from one conversation to your lips on mine.

“The Reaper” • “Family” • “P.S. I Hope You’re Happy”

20: Bear Hands - Fake Tunes

Brooklyn’s Bear Hands returns with another collection of bright, bouncy songs that ever-so-slightly conceal the trio’s underlying sadness and struggles

I don't see how you think you can come to me, and bitch to me, lay out your problems, like ancient history, like I ain't got no other shit to do. I love you, baby, but my lips are turnin' blue.

“Blue Lips” • “Back Seat Driver (Spirit Guide)” • “Mr. Radioactive”

THE BEST ALBUMS OF 2019

Yung Gravy - Sensational

TWICE - &TWICE • Feel Special EP • FANCY YOU EP

Sublime with Rome - Blessings

Bring Me the Horizon - amo

Weezer - Weezer (Black Album)

Big Data - 3.0

blackbear - ANONYMOUS

Denzel Curry - ZUU

DaBaby - KIRK / Baby on Baby

Bayside - Interrobang

The Hold Steady - Thrashing Thru The Passion

Electric Guest - KIN

Billie Eilish - WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?

The Cat Empire - Stolen Diamonds

Dirty Heads - Super Moon

TENDER - Fear of Falling Asleep

Logic - Confessions of a Dangerous Mind / Supermarket Soundtrack

Tyga - Legendary

The Chainsmokers - World War Joy

Bear Hands - Fake Tunes

#best albums

1 note · View note

vskpop · 6 years ago

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My 30 favourite songs of 2018

YouTube playlist ⋅ Spotify playlist

30. Heroine – Sunmi

I hesitate to call Sunmi feminist – does she consider herself one? Can k-pop really be feminist? – but her matter-of-factly, eyes-wide-open songs that touch on the position of women in relationships and in society are the closest thing to genuine female empowerment I’ve seen in k-pop. It doesn’t hurt that every single one of her songs is amazing.

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29. Bboom Bboom – Momoland

Considering I usually hate “viral” songs – I’ve been brainwashed to like Gangnam Style just recently – I’m still shocked at how much I love Momoland’s Bboom Bboom. I’m also proud to say that I was an early adopter of the song, and watching their success skyrocket made my Q1. I’m still not tired of the sax line and of the “GREAT!” shouted during performances. This song (and Momoland, really) is just irresistible.

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28. Retro Future – Triple H

The last ever song by Triple H (anger abounds) is just a taste of the genre-bending, sound-mixing, absurd-lyric-writing that we could have gotten for many years. Their retro-future has nothing to do with the Jetsons, and much more with insane 80’s synths and, well, that sexy vibe.

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27. Love Shot – EXO

Well, EXO, that was last minute. My ambivalence towards EXO is represented by this song, which I both find ridiculous and adore at the same time. This song’s luscious synths and layered vocals make it elegant, then the performance makes it kitsch. I don’t know if I’ve been brainwashed, but it’s so great.

Other songs of note: Electric Kiss – Tempo – Gravity

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26. Not That Type – Gugudan

A thousand times yes for Gugudan doing edgier concepts. Not That Type is the spiritual successor to A Girl Like Me, and it’s almost as good. This song, however, is even tougher and more explosive. The new 8-member Gugudan is off to a great start.

Other songs of note: The Boots – Shotgun

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25. Beautiful Feeling – Day6

Yet again, it’s my special skill to ignore all the popular songs that a group has, and in this case the rock vibe that defines it, and pick the sweetest, mellowest song they’ve put out. Day6 make some amazing power ballads, and Beautiful Feeling gives me warm and fuzzy feelings every time I listen to it.

Other songs of note: Days Gone By – Headache – Shoot Me – Somehow

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24. Dinner – Suho ft. Jane Jang

I don’t know how the powers that be decided that this duet should happen, but the result is everything. Jane Jang’s one-of-a-kind voice layers beautifully over Suho’s, who ended up being often overlooked as an EXO vocalist for all these years.

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23. Remember Me – Oh My Girl

Every single Oh My Girl put out is juicy in its on way. They may always go back to their foundational dreamy pop, but they never fail to throw in a twist. Remember Me’s EDM flavour and heavy rap are a total change from Secret Garden, but the song still blossoms into a romantic, airy chorus, and all of the members find something to sink their teeth into.

Other songs of note: Secret Garden – Magic – Love O’Clock

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22. La Vie en Rose – IZ*ONE

My resolve to ignore the existence of IZ*ONE (and survival show groups in general) faded at the first two octaves of La Vie En Rose. This song does so much with so little: the atmosphere it creates, and the contrast between the powerful pre-chorus and the understated chorus are what makes the song for me. In the meantime I’ve started to learn their names, so I’m doomed.

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21. I Want You – SHINee

SHINee’s constant stream of releases this year is at the same time a new beginning and the beginning of the end. It’s hard to imagine that a whole year has passed since Jonghyun, and it’s hard to think that the group has survived even though these songs are concrete proof. I really struggled to make it through the more melancholy songs, so I picked I Want You out of a series of basically perfect tracks.

Other songs of note: Good Evening – Chemistry – Electric – Who Waits For Love – Countless – Our Page

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20. LATATA – (G)I-DLE

I would be surprised if there was a single Boombayah lover who didn’t love this song. It has the same (pseudo-Indian?) influences, the same rhythms, the same anthemic quality. Latata is catchy, hypnotic, fun, and showcases all the members equally (ok, maybe Soyeon a bit more than everyone else). This is a textbook debut for 2018.

Other songs of note: Maze

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19. 1, 2, 3! – Seungri

Here’s someone who usually did club music and for once didn’t, and I loved it anyway! 1,2,3! is retro, guitar-led and much more lighthearted than anything Seungri has ever done. It’s lovely to see a less sultry (and a biiiiit slimy?) side of him. Also Anda.

Other songs of note: Hotline – Where Are You From

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18. 22 Century Girl – fromis_9

I feel that my obsession with fromis_9 is still at its earliest stage, and that by the end of 2019 I will have gone totally mad for them. I am in love with their singles – To Heart, Love Bomb, what instant classics! – but the whirlwind of sounds of fever dream 22 Century Girl have stolen my heart.

Other songs of note: To Heart – Love Bomb

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17. Blue Moon – Gyeong Ree

Another one for the theme of this list: house! Give me all of it in your pop songs! Here’s hoping that Gyeong Ree (wasn’t it easier when she spelled it Kyungri? Anyway) continues her solo career with such intriguing, sophisticated but super-fun songs.

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16. Stay Here – Sojung

I don’t know exactly, but I cry my eyes out more often than not when I hear this song. Ladies’ Code’s Sojung’s voce is as light as a feather, until it explodes in the soaring chorus. Everybody knows that I love any power ballad, but the complex emotional balance of this one is just on another level.

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15. Now or Never – SF9

I can’t say I’ve been following SF9 as idols, but I have been listening to all their releases and they have given me nothing but quality. I know I complain about songs with drops, but the deep house (yep, again) and that sensual “jealous” have been killing me ever since they came into my life. It might be my favourite hook of 2018.

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14. I Love You – EXID

I was a bit taken aback by EXID’s Lady earlier in the year, but it was love at first listen with I Love You. The distorted hook opens and holds together a song that has all the best of EXID, including Solji, who has returned stronger than ever with flawless vocals and zero shame.

Other songs of note: Lady

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13. Dejavu – NU'EST W

You guessed it – house. Nothing has given me as much joy as the rise of NU’EST W, and I’ve been even happier because they did it with superb, incredibly on-trend songs while retaining the dark charm of their pre-success material. They really leaned into the “sexy bandit” thing, and I’m all for it.

Other songs of note: YlenoL – Shadow – Feels – Help Me

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12. Oh! My mistake – APRIL

This song is fluffy and super-poppy and at the same time side-eye in music, if that was ever possible. The super-innocent and cute concept that APRIL have been doing since forever is now tinged with tongue-in-cheek sarcasm, and a little creepy synth that perfectly matches the theme of the track. It’s so addictive and so delicious.

Other songs of note: Oh-e-Oh – BEEP

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11. Snapshot – IN2IT

I love when smaller groups do really, really great and out of the box stuff instead of copying their more successful peers. I’ve watched countless performances, entranced by the bass that opens the song, holding my breath for that “heartbeat go fast, heartbeat go slow”. This is one sexy song, and IN2IT are one good rookie group that I will keep my eye on.

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10. Timeless – NCT U

Leave it to me to find the most niche release a super-popular group has had, and fall in love with it so deeply that the rest (most of which I hated, not sorry) doesn’t count. NCT are too big of a group with some really, really good singers hiding in the back line while the rappers swagger about. I loved that some of them got their chance to show off and I adore this poetic, heartbreaking song.

Other songs of note: Boss – Baby Don’t Stop – Replay (PM 01:27)

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9. Shine – Pentagon

I have to wonder if this song would have been higher in my charts if it wasn’t for the bloodbath that was of Pentagon and their career after this song came out. It’s such a pity that such a feelgood song has become, well, not so feelgood. This song’s wonky piano riff and anthemic chorus are still a delight, and their personality really shines (LOL) through. OT10 forever.

Other songs of note: Off-road

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8. The Grand Dreams – Minseo

Where did Minseo even come from? Why hasn’t she been here our entire lives? Her dreamy vocals have been giving me life this year, and her refined musical sense (or of her producers, really) is a breath of fresh air when everything gets a bit to same-y in k-pop.

Other songs of note: Is Who

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7. One of Those Nights – Key ft. Crush

Key came in last minute and slapped us all in the face with a perfect album that is reminiscing of SHINee’s work from earlier in the year, but also shows his personality as an artist. The lead single One of Those Nights moves fast and interweaves the melancholy of the lyrics in the music. Both Key and Crush are shockingly good vocalists, but together they just make each other shine even more.

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6. Allegro Cantabile – Nature

Random music terms / Italian? I had to check it out. Nature put out something that’s a musical number, j-pop anime opening and k-pop bubblegum all in one. Their vocals are amazing and they are adorable. I’m excited to follow them into 2019.

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5. DDU-DU DDU-DU – BLACKPINK

Is this Blackpink’s best offering? No. But what does it say when your not-best is still miles ahead of the competition? Blackpink have been doing k-pop bangers better than anyone else, and DDU-DU DDU-DU, from Jennie’s spitfire rap to Rosé’s melodies, hits all the right spots (like a ddu-du ddu-du).

Other songs of note: See U Later

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4. Puzzle Moon – GWSN

This song is so good. These girls are so good. As I put together this list, I realised how much all I wanted in 2018 was a good deep house sample, and GWSN delivered. The bass contrasts elegantly with the tiny voices, and the obscure chorus – “make it moon” – emphasizes the magical atmosphere of this song.

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3. Air – Winner

I miss old Winner. New Winner’s YOLO swag annoys me at best, so I dig through their b-sides in search for what we lost when Taehyun left. Air’s appropriately breathy chorus and gentle, romantic atmosphere did it for me and managed to put Winner on my podium yet again. Good job, Winner. Now stop it with the tropical house.

Other songs of note: We Were – Movie Star – Raining – Have A Good Day

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2. KILLING ME – iKON

The year started well for me (and everyone else) and iKON with Love Scenario, but I had no idea of where it would bring us. Killing Me’s bitter, moody atmosphere made for the dance song of my dreams. The decisive beat and array of distortions somehow create an eerie, understated atmosphere. It’s a dance song, but make it sad and a little creepy.

Other songs of note: Love Scenario – Rubber Band – Beautiful – Perfect – Freedom – Don't Let Me Know

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1. Oh My – Monsta X

I know. I am annoying myself by picking a b-side as my favourite song of the year, but here we are. Monsta X have become one of my very favourite groups and, while their album songs have always been amazing, to me Oh My summarizes everything I love and everything I want from them. In a year of minimalism, it’s loud, larger than life, unafraid of bleeps and bloops, rich in both vocals (Kihyun!) and proper rap sections. It’s the powerhouse that I expect from them and I hope to hear again and again.

Other songs of note: Jealousy – Destroyer – Fallin' – Spotlight

9 notes · View notes

silverglyph · 7 years ago

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FRAME BY FRAME - All References in the MIC DROP Fan Video by Kiera and Arwen (with pictures and links)

youtube

First of all, go follow @seiyoko and @salukiart, they are amazing artists, animators, and creators!

If I missed any references, please message me and I will add them in!

The opening line of Dope - 0:13

At 0:08 in the video, all member’s names are graffiti’d on the walls.

A line from the song Come Back Home

From about 0:25 to 0:29, Steve Aoki’s eyes watch over the boys from the Mic Drop remix. Also, the TV says ARMY <3

Also at 0:29, there are posters lining the walls from BTS’s past comebacks. If you look closely, you can also see their logo on the controllers (this is much more easily visible later on in the video). The room MIGHT also be modeled to look like a room in their current dorm but I’m not sure.

At 0:30, the first screen of the game finally shows up, and it lasts for about 10 seconds. In that time, we can see:

The stage is modeled from their first music video, No More Dream

J-Hope (who’s character name is written as JHS in the game-- short for Jung Hoseok, his real name) is firing a Supreme gun that shoots fake money (lol).

The little mascot in the Info section is Van, a mascot from the BT21 series created by BTS and Line. Each mascot was made by/represents one member of BTS, except for Van, who represents ARMYs.

“Today, your dream begins! A new path has been opened, don’t hesitate!” I am pretty sure these are lyrics from one of their songs since, throughout the video, Van pretty much mostly speaks in lyrics. I haven’t been able to find this one though.

At 0:41, the stage changes to reflect their We Are Bullet Proof Pt. 2 music video.

Van’s quote “It’s like a desert here, there’s nothing but rocks” is a reference to the hidden song on the LYH album, Sea.

ALSO, a some of the monsters designs are based on lyrics and references from BTS’s music. I’m sure all of them are but I just can’t make the connection. Maybe the rock monster is also a reference to Sea?

Edit: Apparently most of the enemy designs are based off of album covers! This is according to Kiera’s twitter.

At 0:46, Suga joins the party as MYG (short for Min Yoongi, his real name).

J-Hope’s special attack at 0:48 is a reference to the short movie he stars in during the Wings era called MAMA (also the name of his solo song in the Wings album).

I’m not sure I even have to put this, but the great transition at 0:51 is a dead ringer for the iconic MIC MIC BUNGEE move that Suga and J-Hope do in the Mic Drop remix MV.

So now Suga is in the frontlines, attacking. His method of attack is the lighter he’s seen with throughout the entire HYYH series. It first made it’s appearance in the I NEED U music video (seen clearly at 0:29).

The stage has changed to reflect their music video N.O. The red and white color palettes of the monsters in this area are supposed to reflect the red and white album.

And at 1:05 (we’re only A MINUTE INTO THIS VIDEO WOW), they’re in the classroom setting from Boy In Luv. I have no idea what the monster is supposed to be. Is it balancing on a candle? Chalk? Does it represent the red string of fate???

Whoa hey, it’s 1:07 and we’re in the Just One Day music video! I’m fairly sure that paper airplane monster refers to the paper airplane J-Hope had in Spring Day? (At 3:20.) I don’t recall paper airplanes in their other MVs unless there was one in Just One Day that I missed?

Also, it looks like V has shown up! (As KTH, or Kim Taehyung.)

Suga’s special attack starts at about 1:09 and lasts until 1:14. In it, he throws a rock at the monster, an alarm goes off, and a piano falls on the monster’s head. This is a reference to the short film FIRST LOVE, released during the Wings era. In it, Suga throws a rock into a music store, where a piano sits, and an alarm goes off.

Back in the real world at 1:15, we can see more detailed posters from different eras. I just know the Dope era one on the right.

At 1:18, we’re in the underground subway setting for Danger. (If it wasn’t obvious, the stage appearances correspond to the order the actual music videos were released in.) V unleashes his attack, unfurling black wings and firing feathers. In the MV for Blood, Sweat, and Tears, as well as other subsequent material during this era, V was seen and associated with black wings. I think he’s fighting the Gucci snake? Because V loves Gucci in real life?

Also, Van is back! “It’s already your second year, time flows fast...” references their song Second Grade/So 4 More (which is an underrated BANGER btw).

Also, easter egg time: There’s graffiti reading “What Am I to You?” which is the title of one of their intro songs.

New player! Jin (aka KSJ, aka Kim Seokjin) appears at 1:24 and fights by blowing kisses :). Blowing kisses at ARMYs is pretty much his thing lol. Also, blowing kisses sends out hearts that hurt the enemy, and while that’s a common visualization for blowing kisses, I pray that its also a reference to Jin’s heart events.

They’re at the storefront present in the War of Hormone MV. The enemy he’s fighting is, I think, one of the black-clothed goons from Not Today and the Mic Drop remix MV. (It also appeared in Kiera’s last full-length fan animation of Cypher Pt. 3. That video is itself chock-full of references! Incidentally, I believe Van’s quote here is also referencing that song.)

Two seconds later at 1:26, Jimin (aka PJM, aka Park Jimin) makes his appearance. This time, they’re at the bonfire scene from I NEED U (also appears in their prologue MV I think). Their fighting a flower monster that I don’t know the significance of.

Jimin attacks with an umbrella. I think the umbrella is from the Love Yourself short films but I’m not entirely sure.

At 1:37, we get our first look at the achievement system in this game.

It’s all the awards they’ve won up until this point! Really awesome touch.

Two new players appear this time: Jungkook (JJK, Jeon Jungkook) and RM (KNJ, Kim Namjoon). I have no idea what Jungkook’s attack is: he pulls some string from his wrist and it transforms into a spear? Jungkook’s attack may be referencing the move from DNA. Strands of DNA come oout of his arm and form a spear. (Thank you @bangpdofficial!)

The stage is a scene from their Dope MV. Van’s quote, “so this is Bangtan style,” references the same song.

I am almost certain that the lion enemy has a mane modeled after the lily flower that appears frequently in the Bangtan Cinematic Universe. It’s even got six petals.

At 1:46, Jimin unleashes his special attack. The attack involves him eating an apple and then teleport-kicking the enemies. I think this is a reference to his short film, LIE.

The stage is from the For You MV, a song/MV exclusively released in Japan. I am not sure what the enemies are supposed to be.

Jimin’s kick transitions into the next scene, where the stage is modeled after the tunnel scene from the RUN MV. I am pretty sure the enemy is a reference to Baepsae/Crow-tit, and this bird represents the wealthy older generation.

A wild BTS lightstick appears at 1:53! (Also, we got some new scenes of their room with some new posters.) 9:18 might refer to the date the Love Yourself album was released (thank you anon!)

A new stage shows up at 1:55. I don’t quite recognize it but it might be the Japanese version of I NEED U? We can also get a clearer look at the bird from Baepsae.

At 1:57 we come to yet another new stage modeled after the Japanese Run MV. It’s filled with graffiti of the names of a ton of their songs.

V activates his special attack. A single lightbulb hangs from the ceiling and a table appears, which he kicks towards the baepsae. I believe it’s a reference to his interrogation scene in his short film, STIGMA.

Also, in a blink-and-you’ll-miss-it moment, V’s attack animation ends with him giving a peace sign and his adorable puppy Yeontan popping out of his pocket.

Two minutes into the video and we get a new stage (modeled after the Fire MV) and we finally see RM’s attack. He pulls out a giant lollipop and smacks enemies with it. He’s frequently seen with a yellow lollipop in the Bangtan Cinematic Universe.

And now they’re in a stage modeled after the Save Me MV.

Again, the stage changes into one based on Young Forever. I don’t know what that enemy’s supposed to be, but he’s pretty cool looking. And an animation for downed party members has never been so cute. (But what is that in Jin’s arms?)

At 2:08, RM provides an assist move that revives V and Jin. It takes the appearance of his BT21 mascot, Koya.

We get another look at the achievements screen at 2:10. It’s coming along nicely!

And a level selection screen a couple of seconds later! Not only does it show the title of the MV, but the description includes the album the song came from. The level code is also the date of the comeback (thank you @bangpdofficial)

2:18 shows a stage based on the Blood, Sweat, and Tears MV, as well as my favorite enemy design in the whole video: a dear featuring the circle designs from the Wings album cover.

For his special attack, RM unleashes a phone booth to crush the enemies, referencing his short film REFLECTION.

More awards!

Also, seems like the boys have started taking notes. You can see a DNA strand drawn on the bottom one (blocked a little by the YouTube bar--sorry about that).

New stage at 2:30! It’s the train from Spring Day. Van’s line about forgetting shoes also references the lone pair of shoes featured many times in that video.

Jin summons his pet sugar gliders to restore the HP of the rest of the party (to the bewilderment of Van).

Jin uses his special attack in the Not Today stage at 2:45. He takes a photo with the polaroid camera seen many times in the Bangtan Cinematic Universe, and it turns the enemy to stone. It crumbles away under his touch. This might relate to the way Jin crumbled as though he were stone in the Blood Sweat and Tears MV.

At 2:50, we’re taken to a new stage. I think it’s based on the Japanese MV of Blood Sweat and Tears. Van’s quote is another reference to the song Sea.

A closer look at the controller at 2:55.

Even more awards! Too many that I can’t even count ‘em.

And at 3:03, we see a DNA-based stage. Van’s quote is once again from Sea.

Jungkook’s special attack has all the other members in BTS appear behind him in succession before he delivers a punch to the enemy. It’s safe to say that this references the song (not the short film) BEGIN, which is something of an ode to the hyungs of Bangtan. <3 (song) (film)

3:20. Hey look it’s pretty much a direct replica of that one scene from DNA (at 3:49).

At 3:25 we get our first look at the game over screen. Among a bunch of other “you have failed” messages, there’s this one (”don’t be such a try-hard”) that further references Baepsae.

Looks like they keep getting knocked out in the Mic Drop stage. That weird rainbow ball from DNA is tough.

Van’s words of encouragement are nearly a direct quote from the best-known line in Sea. “Where there’s hope, there’s trials.”

Last but not least, BTS’s achevements have earned them a spot on the world’s scoreboard, their debut on Billboard’s Hot 100 as number 28. <3

This fan animation was absolutely stellar and the attention to detail was mind-blowing. Even the tiniest details like how each member’s idle animation would work had so much thought put into it. Again, mad props to @seiyoko, @salukiart and @yowgurt for their incredible work!

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ayoswim · 7 years ago

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The Kalel Xavier Interview

By Kyle Mantha

Kalel Xavier is ambitious. His musical output is diverse, ranging from sleepy introspective jams like “Einstein” to synthy bangers like “Guap.” The young artist has aspirations of inspiring like-minded kids, and creating music that will hit home for anyone who happens to be listening. I had the opportunity to talk to Kalel about his upbringing, his creative process, and the everlasting struggle of misogyny in hip hop.

How did you get started in music?

I’ve always been around music because my dad is a huge music head. So is my older brother. It’s always been apart of me. My older brother made music and when I was younger he let me record a track. It just felt right when I was on the mic. Of course my first track wasn’t the best, but after I recorded that song music has always been something I wanted to do.

What kind of music did your dad play around the house when you were growing up? Did his tastes influence you at all?

My dad was all over the place with his music. From The Commodores and Minnie Ripperton to LL Cool J, Scarface, KRS One, Prince, Michael Jackson, New Edition, and Public Enemy. I could go on all day. But some of the music definitely affected me. I feel like music back during his time, and even before his time, was more real and relatable and that feeling they left with me is the feeling I try to leave with people who listen to me.

How do you go about adding that feeling to your music? What’s your creative process like in general?

It’s hard for me to describe my creative process. I kind of just play a beat, close my eyes, and listen to it. Then I’ll go: “Ok, the hook is here, the verse is here,” and I kind of let the beat guide me towards the topic of the song. Honestly, everything with me is a vibe. I get vibes from a beat and that’s how I formulate a song. For example, take Galactus. When I heard the beat, the vibe of it was like, make the song hype but real and let people see some of your vulnerable side too. You know, it’s not always about how much money you have or how many girls you’ve been with or what kind of car you drove. People want to see that human side of you too. It’s cool to flex and flodge sometimes but not all the time.

Who are some of your influences? Do you listen to a lot of modern stuff, or is it mostly older music?

My biggest influences are probably Kid Cudi, Big KRIT, Bob Marley, Kendrick Lamar, Isaiah Rashad, Michael Jackson, and Lauryn Hill. They all encourage me to try and be different with my music. I listen to a lot of old stuff because I only like some of the new music that’s coming out now. I listen to a lot of older hip hop and older R&B/soul music. I’m pretty diverse though. The only genre I’m not really into is opera because I’m not old enough to appreciate it yet.

You’ve got two mixtapes titled “Einstein”. What’s the concept there? What inspired you to name the tapes after him?

Einstein is a just an influence for me because he was so smart and so open minded and always trying to find new ways to do something. Einstein was ahead of his time and innovative and I like to see my music as that. The concept is I’m trying to let you into my mind for an album so you can see where my head is at. I’ve been told my music represents what’s been on my mind and people can tell when I’m going through something. But to be completely [honest] there isn’t really a valid reason. I just look up to Einstein and wanted to name a tape after him… twice.

Photos by @nabhenduio on Twitter

Can you tell me a bit about Jupiter Gang?

So, Jupiter Gang is a collective that consists of close friends of mine. There’s myself, Crimson Babes, Nabhendu, and AKA Great Saiya. Honestly, we’re just a group of friends that like making music. We’re all about spreading good vibes and making good music. Trying to give people a break from popping pills and shaming women all the time.

Do you feel like there’s a lot of misogyny in hip hop? Is that something you try and avoid in your music?

Yeah, there is most definitely a lot of sexism and it’s something I’ve been trying to avoid recently. Like, I talk about women and I admit it’s not always the most respectful context because sometimes the art form is gonna be raw and I might say something that is offensive. But I always try to keep it to a minimum.

What do you find is the hardest thing about being a rapper?

The biggest obstacle I’ve faced in my music career so far is probably having to do everything myself. I make my own beats, write my own lyrics, engineer my own stuff, shoot my own videos, so sometimes that gets in the way of everything else. The hardest thing about being a rapper in my opinion is getting people to listen to your content especially because the game is so over saturated.

What kind of gear/software do you use to make beats and record?

I make beats in FL Studio. I don’t care what anyone says, that’s the best software. I record with Reaper but I’ve been trying to learn Pro Tools a little.

When you produce do you use samples or do you prefer writing your own melodies?

I do both, it just depends on how I’m feeling… I like sampling but the process of clearing a sample is very hectic. As an independent artist, it’s hard to get a response from someone when you want to clear a sample, so recently I’ve been using VSTs to write melodies.

Do you have any future plans for your music? What kind of impact do you wanna have on people?

Me and Jupiter Gang are always working on new material. I’m supposed to be dropping a collab tape with my little brother Juice Atkins, and I also plan on doing a lot more shows and keep trying to build my following one fan at a time. I want people to feel like they know me when they hear my music, and that they have somebody who understands what they’re going through. I also wanna encourage somebody to follow their dreams and be themselves. We don’t need another, we need a first you.

Find Kalel Xavier on Twitter and Instagram: @KalelXavier

EINSTEIN 2: https://soundcloud.com/kalel-xavier/sets/einstein-2

TOO MUCH ANIME (SOUNDCLOUD): https://soundcloud.com/jupiter-gang/sets/too-much-anime

TOO MUCH ANIME (SPOTIFY): https://open.spotify.com/album/5NoxD4lvsfjdPmLDMLrGBQ?si=03l2ZGr5RKyHd2lFngLX4g

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deadcactuswalking · 5 years ago

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REVIEWING THE CHARTS: 8th September 2019

Top 10

At number-one for a second week is Ed Sheeran with “Take Me Back to London” featuring Stormzy, Aitch and Jaykae, which surprises me since it was such a race to #1 last week, where really anyone could get it, although that remix did let the song stand its ground for two weeks, which must mean something. The song’s not great though, but it’s listenable, I suppose, so I’m not complaining that this could see longevity in comparison to say, Lewis Capaldi.

What I thought would be at #1 this week is actually the runner-up spot, “Higher Love” by Kygo and Whitney Houston keeping pretty stable at the number-two spot. Like Mark said on Billboard BREAKDOWN, this week pre-Post Malone album bomb does not matter, so don’t expect a long or busy episode here.

Thanks to the release of Aitch’s mixtape, AitcH2O, the lead single, “Taste (Make it Shake)” is up three spaces to number-three, which is a new peak, to my dismay because this song is incredibly dull.

AJ Tracey’s “Ladbroke Grove” is up a single position to number-four this week.

This means that “3 Nights” by Dominic Fike has had a slight drop down one spot to number-five.

What I’m pretty sure is the Love Island theme song, “Sorry” by Joel Corry featuring uncredited vocals from Hayley May, reaches a new peak up a space to number-six.

Also reaching a new peak is unfortunately the utterly mindless garbage from Lil Tecca, “RAN$OM”, up two spaces to number-seven, probably taking a boost thanks to the debut mixtape.

Sam Smith is sticking at number-eight with “How Do You Sleep?”.

Up a single chart position to number-nine is “So High” by MIST and Fredo.

Finally, to round off the top 10, we have a new top 10 entry, which is from Young T & Bugsey with Aitch, the rising hit “Strike a Pose”, up two spaces to #10 after more than 10 weeks on the chart. It’s Aitch’s third UK Top 10 hit and Young T & Bugsey’s first to reach these heights.

Climbers

There really isn’t much here to talk about, but there are a few notable climbers and a couple more notable fallers this week, although once again it’s a slow, unimportant chart week prior to the impact of Post Malone, so first of all, “Dance Monkey” by Tones and I is looking to be a sleeper hit and replicate its international success up nine spaces to #31 off of the debut, similarly to the trajectory of “3 Nights” except being an exponentially worse song. Our second large increase in the ten-space boost for Sam Feldt’s “Post Malone” featuring RAMI, becoming Feldt’s second UK Top 20 entry and RAMI’s first. The third and final increase here is Headie One’s “Both” as it leaps five spaces within the top 20 to #13; I’m predicting it’ll reach the top 10 sooner than you think.

Fallers

There are more of these than I expected in all honesty but going down the list these are all pretty inevitable drops, and will probably be out of the chart next week: #1 hit “Beautiful People” by Ed Sheeran featuring Khalid tanks a whopping 16-space crash down to #19 thanks to streaming cuts, “Lover” by Taylor Swift falls flat after the album loses impact down six to #22, “I Don’t Care” by Ed Sheeran featuring Justin Bieber slowly but surely continues its eventual drop during the tail-end of its overlong chart run, down seven this week to #27, paralleling Lil Nas X’s “Old Town Road” featuring Billy Ray Cyrus also down seven to #29 as the phenomenon starts to wear off, another pair of identical drops for massive Summer hits zooming down the charts as both “bad guy” by Billie Eilish and “Hold Me While You Wait” by Lewis Capaldi drop six spots to #34 and #35 respectively, “The Man” by Taylor Swift collapses 15 positions off the debut to #36 and that’s all.

Dropouts & Returning Entries

Starting with the dropouts, we have only four here, which is still more than most weeks to be honest, as “Cruel Summer” by Taylor Swift drops off from the debut at #27 as expected, “Never Really Over” either suffers from streaming cuts or has just imploded on itself (Which is believable considering Katy’s track record) out from #32, “Money in the Grave” by Drake featuring Rick Ross definitely struggles from streaming cuts out from #36 and finally, D-Block Europe’s “Home” lasted a lot longer than it really had any right to, out from #39 after somehow lasting about nine weeks in the top 40.

We also have a returning entry here, which is “You Need to Calm Down” by Taylor Swift, which would have returned with an album cut if it hadn’t been less successful than “Cruel Summer”–UK chart rules mean that only three songs from one album can chart at a time. It’s back at #28, which is an oddly high return for its 11th week. Otherwise, there isn’t anything to cover other than the new arrivals, although I should comment on the album bomb outside of the UK Top 40 and instead occurring within the top 75, which honestly shocked me as I expected there would at least be some impact higher than #42 for Lana Del Rey’s #1 album, Norman Fricking Rockwell. Regardless, I feel obligated to say the Sublime cover and her biggest single in years “Doin’ Time” returned to #42, the title track is at #44 and “Frick It I Love You” debuted at #59. Now, we can move onto our three new arrivals, however...

NEW ARRIVALS

#37 – “Lalala” – Y2K and bbno$

Produced by Y2K – Peaked at #6 in the Czech Republic and #55 in the US

I’ve already talked about this song... in-depth... in June. To put it bluntly, I’m a fan of bbno$ and felt the need to point out this song’s existence as it was gaining traction on release week as a Featured Single on the episode dated 23rd of June (Man, I haven’t done one of those in a while – although there is a new JPEGMAFIA album coming out soon...). If you’re interested more, you should probably read that, but to summarise my thoughts, this is a really fun, catchy banger that reeks of a certain smugness that should be irritating but is self-aware to the point of ridiculousness. If a song could be called “overly meta”, it’s probably this one. Bbno$’ charisma and delivery is really snot-nosed and nasal and could get annoying, since it is pretty tiresome, in fact, it’s soured on me since, but Y2K’s cheap Latin-tinged production is just as vibrant. I’m also disappointed that bbno$ does not in fact say “wristicle” in the chorus. My favourite song from bbno$ is “nursery” with Lentra, if you like this one. Sorry this is too short, but I’ve already discussed it, you can read it here. Next.

#25 – “Ride It” – Regard

Produced by Regard

...

I have never been so happy to see an absolute nobody chart with a song I’ve never heard before. Let me explain: Do you remember, no pun intended, the late 2000s and early 2010s club boom? There are a lot of fantastic songs that came out of the pop music during that time, and I’m glad there’s been some sort of revisionism of them amongst music communities because some of these are awesome and always have been. One of the most commonly brought up, most popular and definitely one of the best of these dance-pop singles is a song featuring Lil Wayne called “Down”, in which he ends his verse with this, may I add:

And honestly, I’m down like the economy

Listen, it’s one of my favourite songs of all time. I could gush on and on about how that song is near-perfect, but it’s not the time. The dude who is singing on that song isn’t a one-hit wonder like Iyaz, known for the iconic “Replay”, but “Down” hit #1 in the States and despite prolonged success in the UK ever since 2004 with R&B songs, he disappeared entirely after 2012, funnily enough after making a song with Nicki Minaj called “2012 (It Ain’t the End)”. It very much was for the dude’s career, at least in the pop climate, and the dude was talented but admittedly he could only really make one song that was even close to the heights of “Down”... and that was “Down”. Don’t get me wrong, he has a couple amazing singles but none of them pop as well. Maybe it’s J-Remy and Bobby Bass on production, maybe it’s the transcendent guest verse from Weezy, I don’t know, but even his direct follow-up, “Remember the Name”, was just “Down” but so much worse it’s nonsensical. After doing a tiny bit of research on this new single, I found out it’s not an original break-out song by an unknown singer called Regard as I thought it would be. Welcome back, Jay Sean.

The original “Ride It” is a really sweet 2008 Indian-tinged R&B tune with very Timbaland-esque production, and it’s a pretty great single, with very tribal percussion, a Kanye reference and yet somehow it’s still really smooth. It peaked at #11 in the UK and was massive in Russia for some reason. There’s also a rap verse that sounds pretty great, and is the only part in Jay Sean’s career for all I know where he sounded explicitly British to be honest, but the dude is English. The instrumental bridge between the rap verse and final chorus is ethereal, really great stuff, and Jay Sean sounds pretty fantastic on it as well. I didn’t expect the relaxed sex jam to be the EDM remix, especially since it’s nearly Autumn so there’s not as much audience for that... but it’s honestly not a bad remix at all. This is Regard’s first ever UK Top 40 hit, he’s a DJ who released a couple flop singles, and Jay Sean’s eleventh, albeit his first uncredited appearance on the chart, and it’s not a bad house remix at all, to be honest, although it is a tad generic with the typical house-pop drum pattern and drowned-out, pitch-shifted vocals against some synth loops and keys. The vocal mixing is shoddy but it is a remix of a 2008 R&B song that probably does not have an acapella vocal track out there on YouTube, it’s not going to sound perfect by any means, and hell, Jay sounds great against the bouncy 808s here, and while there is a pretty non-existent build-up, that drop, again despite being very weak, is reminiscent of a very 80s synth tone, which I like as it makes a song that would have definitely worked as a hi-NRG track back in the day sound pretty similar to how it probably would have sounded if made so. Yeah, this is pretty cool, I’m just ecstatic to see Jay Sean on the charts again. The drop also reminds me of the chorus “Only Human” by Jonas Brothers. Just a stray observation.

#11 – “Circles” – Post Malone

Produced by Frank Dukes, Louis Bell and Post Malone – Peaked at #2 in Ireland and #7 in the US

Oh, yeah, the bigger story should have been the top 20 debut for Post Malone’s new single “Circles” straight off of his third album, Hollywood’s Bleeding, but I decided to ramble on about Jay Sean. I’m honestly not particularly interested enough to write a lot about this one, and I didn’t want to spoil myself by listening to another single before the album but I have yet to hear the record in its entirety so here we are. This particular single has been quite polarising from what I can gather and apparently it’s an acoustic pop-rock jam which seems promising, although I’m not entirely sure Post can even try and hit the heights of “Goodbyes” with Young Thug – in fact, that album better be good because not only does it feature “Goodbyes” but also “Sunflower” with Swae Lee and “Wow.”, two of his best ever songs released in his career so far. It’s produced by Post and all of his right-hand men, and is his eleventh UK Top 40 hit, and, well... it definitely isn’t awful, in fact, I do appreciate a lot of this sonically. The acoustic guitars drowned out by typical kick-heavy indie-rock percussion and wiry synths as well as Post’s really subdued vocal delivery initially that somehow peaks in the mix just as much as his more intense, reverb-heavy signature Post Malone warbling during the chorus, it doesn’t sound bad. It just feels very much out of Post’s element. He can do pop songwriting, and when it’s just bass and drum in the start of the second verse, that sounds great, but the second verse is also fitted to a trap beat the way “Better Now” is, except this song doesn’t have that heavy trap beat to elevate it, but a weaksauce indie pop beat that is compressed to hell and doesn’t sound great, especially due to really crappy mixing overall. This isn’t bad at all, but incredibly disappointing coming off of the other singles.

Conclusion

There’s not much to judge off of here and while I’d love to give the song with more novelty Best of the Week, the song really isn’t as good as “Lalala” so bbno$ and Y2K are getting Best of the Week, with Worst of the Week going to Post Malone for “Circles”, which is just a really underwhelming single. Oh, and Jay Sean of the Week goes to DJ Regard for “Ride It”, although I don’t think that title will be coming back anytime soon. Follow me on Twitter @cactusinthebank for more musical ramblings and I’ll see you next week!

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jaycross666 · 5 years ago

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The true power players thrive behind the scenes. For Mez, who recently dropped the lofty King title from his moniker, the studio is where the depth of his talent reveals itself. A dominant lyricist, whom you may very well have met on Dr. Dre's Compton album, Mez has proven himself a valuable asset in any given studio session. His resume speaks for itself, having contributed to the aforementioned Dre album, Kanye West's The Life Of Pablo, and most recently the J. Cole quarterbacked Revenge Of The Dreamers 3 sessions.

I first met Mez when I was writing a cover story on J.I.D and EarthGang, which happened to taking place during the Dreamers 3 session. Mez was, as you might expect him to be, in the booth. It's no wonder he ultimately found himself on two of the project's standout tracks, including the raucous posse cut "Costa Rica." A calm, confident, and kind conversationalist, I had the pleasure of speaking with Mez on the phone after the release of the Dreamville compilation. A lyricist with an impressive hip-hop pedigree, Mez opened up about his history working with legends, his own upcoming work, and following his creative impulses no matter the end.

HNHH: Hey, how you doing Mez?

Mez: What’s up G. How you doing?

Not too bad. It’s good to talk to you. Thanks for doing this.

It’s all love, I'm not trippin'. Thank you for having me, man.

Congratulations on the Dreamville’s album. That must’ve been a great moment.

Oh man, huge. I’m always thankful to be a part of anything they got going on. It's funny cause the art is one thing but the experience, the type of people they are and the way they make you feel when you're around them is another thing. For both of those parts of the experience to be high level is something you really want to be apart of.

I can imagine. I was only there for two days as an observer and it was still such an experience. It was something to behold. So many artists. So much collaboration. So much creativity.

I feel like you saw me record one of my verses!

I did actually! When I first walked into the studio you were laying down vocals for a track with Ari. I don’t think the track ultimately made the final cut but it was a dope experience to witness. That studio seemed to constantly be a source of so much good music.

It’s so crazy. Even the songs that didn’t make it. There are songs that didn’t make it that dudes will probably end up using on their own projects that are great songs. And shit, the inspiration. If you didn’t get any songs out of it, you got inspired for the rest of the year. I know that I’m definitely different after that.

It seems like you’re always in the studio, working nonstop. What have you been working on this past while?

From when to when?

Most recently. When you were last in the studio, what were you putting in work on?

I've been working on my EP. The EP is pretty much wrapped and my album is very close as well. I’m putting finishing touches on those right now. When I’m in the studio on my own that’s what I’ve been on lately. Every now and then, I get in with some other people from Revenge. I made some relationships. Certain people I’ve known. Buddy, I’ve known since I moved to L.A. I’ve known him for like five years. I got a song on my album with T.I. and Buddy on it from like three years ago that’s not out yet. I’m always working with different people but as of late I find myself collaborating with the people that were at camp.

Is there anybody in particular who you clicked with creatively? I’m sure there were a lot of musical partnerships that formed at those sessions. Did you connect with anyone you didn’t expect?

Yeah. Kyle Banks, the producer. Me and him have a real musical relationship now. There’s not a lot of people I can say that about since I’m such a picky dude. A lot of the dudes from Dreamville I’ve known for years so that’s not new but I met Kyle there. Me and him have been working and he’s got beats on both my projects now and I met him at Revenge. It’s interesting how it works.

You said you’re a picky dude with beat selection, how did that work when you were going into a session like Dreamers? Did you have to reinvent the way you were approaching things?

Nah. A lot of that shit was just tight! The beats were fire. I heard “Costa Rica” and I was like “Damn. This shit is crazy.” You’re in an environment where people bring in the best of what they have to offer every single night nonstop. That’s a rare occasion. When we’re in the studio doing regular sessions, people aren’t doing that all the time. Being in a place where everyone was bringing their best twenty-four-seven every room you walk in is inspiring.,

I’m gonna be honest with you, I don’t think I heard a bad song the whole time. I didn’t hear anything where I was like “I don’t like this,” or “I want to leave.” Maybe I had been in sessions where I felt enough had already been contributed and it didn’t make sense for me to put my energy on it but I never felt like “This isn’t good.”

When you first heard “Costa Rica" were you in the studio with everyone? What was the studio session like when that song came about? I remember first seeing the snippets leak for that track...

For “Costa Rica,” the session was like a movie. That’s the most high energy session I’ve every been in, in my life. I’ve been in a lot of sessions with a lot of different artists and people and I have never seen no shit like that. It felt like we were partying to a song as it was being made. We were having a party to the song! We were singing along the hook as it was being made because it was so catchy and each verse had moments. “Costa Rica” is like a great example of when people talk about the energy in a room. Sometimes the energy makes the song and the energy in that room really made that song.

Do you feel there was any particular song that got away? One you had wished had made the cut?

Yeah. It’s funny because there’s a song that didn’t make the album and I thought "Damn, this song is fire. Maybe I should ask Ib or Cole if I could use it for my shit.” You never know what’s gonna happen with songs or what plans they might have. There’s some records that I think were good enough to make it, but I can't say they would have outshined what was already there cause the album is great. That shit is amazing.

Image via artist

Going back to your own album, a lot of people talk about the difference between making bangers and making more reflective tracks. How do you go about finding a balance and do you have a preference when it comes to writing those different types of tracks?

I learned how to rap on shit like “Sleep Deprived.” I can literally breathe those records. It’s funny because K Quick was one of the producers on “Sleep Deprived,” and when Complex put out an article saying that was one of the best verses on the album, K Quick was like “Y’all don’t even know the story of the way he recorded it!” I didn’t write any of it down. I was just coming up with it word for word. Everybody was tripping. The truth is that came from me being very comfortable on introspective records because that’s how I learned how to make music. But also, it came from working with Dr. Dre for so many years and having to come up with shit so fast. At some point I learned that I don’t really have to write music to create it. As long as I’m in the right space, I could just sit there and come up with it.

The introspective type of records, that’s how I learned how to rap. It wasn’t until I got older that I wanted to venture into shit like “Costa Rica.” At first, I didn’t even want to do shit like that. I remember when I was in high school and Soulja Boy was out and I was listening to Illmatic. Years and years removed, listening to Illmatic in the two-thousands. Girls were getting in my car like “What is this? Why are we listening to this? Turn on Soulja." I wasn’t fucking with none of that shit at the time. I didn’t really like music that was super fun. Maybe it was because I had went through a lot of shit in my life and I needed music that was going to heal my soul. I liked shit that made me feel something. As I got older, I realized “Damn. The fun shit makes you feel something too. You just in the space to receive it.” At some point, I wanted to venture into records like that and now, my album is definitely a balance. I got “Costa Ricas" on my album and I got “Sleep Depriveds” on my album. It’s tight to be on both of those records because they’re the dichotomy of me or at least a part of it.

I like what you said about Illmatic, that being the type of record you gravitated toward. To me, when I saw you on The L.A. Leakers...Most people who go up their hold their own, but you killed it. You were going in, and it got me thinking that you must have a lot of admiration for lyricists. Who are your biggest influences when it comes to lyrics?

I got to say Nas. I got to say Biggie, Andre 3000, MF Doom, Mos Def, Jadakiss when I was growing up. There’s so many people bro. As I got older, I started listening to Jay-Z. When I was younger, I thought Nas was better but as I got older, I started to like Jay-Z a little bit more. I like Jay-Z for the plethora of different music he has but Nas is still my favorite as far as storytelling goes.

And of course in the latter generations, you’ve got Cole and Kendrick and Drake. Even Drake. At first, it was only Cole and Kendrick, but like I said, I started opening my mind more and now I admire Drake for the melodies, for the hooks, the song structure. First, I wanted to only be like the best rapper and now I want to be the best artist. That changed after a while.

Did you remember living through the Nas, Jay-Z beef at the time?

Oh yeah. I was a kid but that was amazing!

At the time, I thought “Ether” was the craziest diss track I had ever heard, but looking back, I’ve come to appreciate “Takeover” a little bit more in the end. It was a good feud, that’s for sure.

That was the best. I love “Takeover.” I love the beat but I still do feel like “Ether” is the one. ”Ether” is so crazy to me. It’s so personal! I heard an interview with Memphis Bleek and he was talking about how Jay-Z sat in his car and listened to “Ether” for the first time by himself. He was probably scrunched up. I don't know what he looked like! “Ether” is crazy. I know I would’ve been feeling a type of way.

As someone who loved rap beef, is there a sick part of you that wishes you were involved in one so you could let off a diss track?

Nah man. I’m a defensive person. My personality has never been like “I’m pulling up on you,” or being excited to create a problem with somebody. Especially with rap, that shit can turn into something else sometimes. People end up dying over that shit. I’m not excited about rap beef. I’m just protective. If you try me, I’m gonna have to show up. And I mean verbally. I’m not talking about street shit. I mean artistically, creatively.

If you try me, I’m gonna have to show up but I don’t plan on being in rap beef. I feel more like a Kanye or Pharrell of an artist. Hopefully, in the end, people see me as an open-minded dude. Especially with venturing into other parts of art like film. I’m really excited about that and I got other endeavors coming soon that I’ve directed or I’ve written. I’d rather be looked at more like some type of savant rather than a battle-rapper.

Like an auteur in the film world?

Yeah bro for sure. I always say I feel like Dexter's Laboratory meets The Boondocks. I’m going to design all types of shit, clothes, film stuff. In my forties and fifties bro, I would love to design automobiles. I went to college to be a mechanical engineer. I love math and science. A lot of that shit is so far away from rap beef that is doesn’t make sense to even be thinking about that.

I’m a massive Dr. Dre fan, so I was really following everything surrounding Detox. All of a sudden, he came out of the blue and dropped Compton. One of the first surprise albums! You were one of the first people on it so that was my introduction to you. Can you tell me about your experience looking back on Compton? We’ve got the three year anniversary this year. What are some of the things you took away from working with Dr. Dre?

One of my favorite things about working with Dre is that he challenged me. Like someone who learns martial arts, you have different senseis throughout the course of your trajectory. He’s one of the senseis that I’ve had. He probably challenged me the most out of anybody that I ever worked with. He challenged me to try this and try that and use my voice in ways you never hear. I’m the first person you hear when you press play on Compton. I’m screaming but most people don’t know that’s me because that’s not something that I’m privy to doing. It’s tight that he pulled me out of my element and made me try some other shit. He’s got real competitive nature but so do I. So, in the studio, it turned into “Let’s see if you can do it,” and I would be like “What? I can do it.” He’s smart and he knows how to pull the best out of people and that’s what he did with me a lot.

There must have been a revolving door or hip-hop legends coming in and out of those sessions. Do you have any memorable stories that us hip-hop nerds out there might want to know?

Yeah! For me, all that was brand new. I was living in L.A. for like a week when I started working on Compton. I’m living there for a week and the next thing I know, everybody is pulling up. Pete Rock, DJ Premier, LL Cool J. I met T.I. with Dre. A bunch of different people ended up pulling up that I heard about or listened to as a kid. Seeing them in person was crazy. The other crazy part is that, at some point, Dre liked what I was doing and was banking on what I was capable of. I remember a very specific night when Pete Rock and someone else was in the studio, and Pete Rock played a beat and I had to write a verse for it. Dre was like “Watch this. Watch what he does,” and they’re just looking at me while I’m sitting at the microphone.

This is the type of shit where I was like “Man, this is so stressful.” I couldn’t think too hard, I just had to do what I do. I didn’t have time to write anything down, I had to come up with stuff until I got what I wanted and then I turned around to look and everybody’s smiling in awe like “This shit is fire!” Those are the moments that prepared me to go on Revenge where it’s all these people. Some people aren’t used to recording in front of people. But I had to impress my idols time and time again on the spot. When it was time to go to Revenge and do that with my peers, I was like “Man, I’m excited. I’m prepared for this.” I didn’t even realize how prepared for it I was until I got there. When everybody else started noticing I was different, that’s when I realized “Damn, I did a lot of preparation for this and didn’t even realize it.”

Having experienced both Compton sessions and Revenge sessions, when you’re working on your own stuff, is there any attempt to recreate certain environments that you experienced there?

Oh yeah bro, absolutely. You got to learn and take away from all of it. I worked on Pablo with Kanye for two weeks. That shit changed me too! Learning the way everybody works and the way everybody puts albums and projects together. I’ve been very blessed to be apart of some very special experiences. I’m definitely taking all of the things I’ve learned and incorporating them in my sessions. Of course, I’ve still got my own way of doing things as well. I think I’m a better artist because of all of it.

A couple of months back, I saw a picture of you, Anderson .Paak, 2 Chainz, Dr Dre. and Dem Jointz in the studio. It reminded me of a Compton reunion. What was going on on that day? What were you guys working on?

We were at Dre’s crib, bro. There were a bunch of people there. Sometimes we go to his house to make music. We were at his crib working on music. With Dre, you don’t know what music is gonna end up where or on whose project. He really loves to be creative so he was creating and we just happened to be there. You’ll get a phone call or a text from somebody saying, “Yo, Dre is at his crib working,” or Dre will hit you like “Yo, I’m at the crib working. What you up to?” I don’t know how I ended up there that night but it was one of the two.

Did you guys work together for your upcoming album at all?

We’ve definitely done some work but whether some of it will end up on it, I’m not sure just yet. That would be a crazy surprise if we did have something on there.

It would. But I trust your vision, man. I think you’re gonna drop something very strong. I’m looking forward to it.

Thank you man, I really appreciate that.

Based on everything you’ve been doing, I think it’s going to make a lot of waves.

I’m hoping so.

So what’s the next step for Mez?

It’s to do things that keep people guessing. To pop up in situations that you don’t expect me in. I’m having a really good time. Especially “Middle Child,” that was refreshing. This is something that I knew I could do and a part of me that I knew existed that other people didn’t know existed. You almost feel crazy when people don’t see you the way you see yourself but after “Middle Child,” people started realizing that I was multifaceted. I felt like I could breathe. The more and more I prove myself in the music business and film and anything I feel like I can do. The more I feel like I can exhale, being the person I know I’m supposed to be. The next thing for me is to continue on that path. Continue surprising everybody.

#IFTTT #Blogger

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thisaintascenereviews · 7 years ago

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Album Review by Bradley Christensen Miguel – War & Leisure Record Label: Bystorm / RCA Release Date: December 1 2017

When people make their yearend lists, they make the cutoff date around the beginning of December, and that does kind of make sense, because you want to get everything together, but that’s only if you’re going to put it out at the end of the month. In years past, I’ve done that. I’ve put out my lists at the end of the month, and I started them around a week beforehand, so they’d be done by the actual end of the year. It bothers me that a lot of critics will put up their lists in the beginning of December, or even in November, but I understand it. There’s not much that comes out during the month, but if I were an artist, that’s why I’d surprise people with something. I mean, why not, right? You can drop a new project, because no one would be expecting it at the end of the year. No one would be expecting a new album from an artist in December, because that’s a lull for most new albums. The reason it bothers me is that, yeah, you can find albums in December, and a lot of people just make their cutoff date before the year is even over. The reason I always would do the week before is, well, no new albums would come out that week. This year, though, I ended up just doing it a couple weeks into December, mainly because work was stressful, so I just wanted to get it done. The problem is, though, I didn’t quite account for albums coming out. One album came out that I’ve been looking forward to for a while now, and it’s not even that I was looking forward to it, specifically speaking. Like I was looking forward to the album itself, because I knew it was coming out. No, I had no idea the album was coming out, but I’ve been looking forward to a new album from this particular artist for the last couple of years. That artist is Miguel, and he released his fourth album, War & Leisure, in the beginning of December.

I remember seeing the album come out, and I’m just like, “Crap.” I decided to just listen to the album after the holidays ended, because I wanted to catch up on some albums, anyway, but I’ve been excited for this. Miguel is one of my favorite R&B artists, and he has been for the last five years, especially when I first listened to his 2010 debut LP, All I Want Is You. It’s crazy that album is eight years old now, but it’s a pretty good album. I remember listening to it, and not being crazy about it, because I was only just starting to get into R&B and pop music, but I kept going back to it. I started getting into his stuff around 2013, but for whatever reason, I didn’t pick up 2012’s Kaleidoscope Dream, until a few years ago. I love that album. That one, I think, is great. I think I got it a bit before 2015’s Wildheart. I remember getting it at Best Buy, because I had a rewards coupon, so I ended up getting it for a good price, but I loved that album. Wildheart was really good, too, but it showed even more of an experimental leaning, so I was curious for what War & Leisure would bring. Frankly, I think this is his best album, because it’s a very mature, interesting, unique, and all around weird album. It’s not weird, at least in the sense that it’s Death Grips, or something like that, but it’s just weird, because it’s not what you’d expect. This LP has a lot of funky and psychedelic tones to it. During the late 1960s, and early 1970s (at least for the first few years, anyway), psychedelic funk / soul was a thing that a lot of Motown bands employed, because bands like Sly & The Family Stone were popular, but that style went away towards the latter half of the 70s, and a lot of these bands went away, or simplified their sound a lot, whether becoming a funk or soul band, but I haven’t heard psychedelic soul / psychedelic funk in a long time. This LP also goes through pop, R&B, and hip-hop textures, too. The lead single is “Sky Walker,” featuring Travis Scott of all people, but it’s a damn good song.

The song is basically a “trap” song, at least what Miguel thinks a trap song would be, but it’s pretty good. A lot of people were wondering what the album itself would sound like, but it’s a good mix of stuff. This album is a weird one, not because of its sound, but it goes through a lot of styles, like I said. You wouldn’t expect this album to have as diverse of a sound as it does, but it’s surprising how it does have a diverse sound. On many other albums, its diverse sound would be a problem, and I’ve talked about this before, because albums that are very much all over the place can be exhausting. Miguel’s always had a way of making an album that’s definitely diverse, but at the same time, it’s also flowing and easygoing. It’s not a jarring album, and War & Leisure isn’t a jarring album at all. It also helps when every song is really good, and yeah, this LP doesn’t have any misfires on it. Every song has something to offer, whether it’s “Sky Walker,” Miguel’s idea of a trap banger (which is quite good, honestly), the funky “Banana Clip,” the very sweet and sentimental “Anointed,” or the seemingly sleazy “Come Through And Chill,” featuring J. Cole. I really like the song, because it’s admittedly a “Netflix and chill” type song, and sometimes you need a song that’s honest about what its intentions are, but at the same time, the song is really smooth, easygoing, sexy, and J. Cole’s verse on the song is actually really damn good. I didn’t like his last album at all, but his verse here is really solid. What’s odd, however, is that he throws some political commentary into his verse. That’s weird, only because that’s not what I want to talk about when I’m about to get freaky, if you know what I mean. At the same time, though, it’s kind of interesting, because what he says is good. It’s not it’s pandering, pretentious, or lame, but it doesn’t really need to be there, so I’m mixed on that.

Overall, though, the lyrics are very good on this LP, along with the vocals. The album doesn’t have many features, but the ones it has are fine. Rick Ross is on the first track, “Criminal,” and it’s a damn good track. Like I said, I really enjoy J. Cole’s feature on “Come Through And Chill,” and Travis Scott delivers on “Sky Walker.” There are a couple other ones, but those are the most important ones. Miguel himself sounds great throughout the album, but that’s not a surprise whatsoever. Miguel always sounds great. He’s got one of the smoothest voices I’ve ever heard. If anything, he reminds me a lot of Trey Songz, another R&B singer that I love, but he’s more experimental, unique, and interesting than Songz. The lyrics on this thing are quite solid, too. Some songs are pretty much what you’ve expect, but you got a song like “City Of Angels” that tells the story of Los Angeles becoming a desolate wasteland, and Miguel is trying to find his significant other through the rubble, and it ends up being a sad love story. The closing track, “Now,” follows in Miguel’s more political footsteps from both Wildheart and Kaleidoscope Heart, but it’s not pretentious, annoying, or preaching at all. War & Leisure is an album that’s got a fitting title, because the album’s very laidback, but it can be very energetic, interesting, and loud when it needs to be. The album can be very funky, but it also gets smooth, silky, and sensual, too, so it hits both of those extremes. I talked about this album many times already, at least within a couple of lists that I did over on my Facebook page (where there’s a lot of exclusive content), but it was deserving of its own review. I love this album, and if I did work on my lists before the end of the year, this album would have been in my top ten. There’s no doubt about it. It’s Miguel, so there’s no way this album wouldn’t have made it onto my list.

#miguel #war and leisure #sky walker #travis scott #rick ross #r&b #wildheart #j cole #come through and chill #funk #hip-hop

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jezfletcher · 7 years ago

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#2017MP - Top Tracks

I tend to focus on albums in my write-ups (and the term “write-ups” is used loosely this year), but in reality, the part of our music projects I’ve most enjoyed is finding those individual tracks that really kick. This tends to be how I listen to music—I rarely sit down to (re)listen to an album I’ve enjoyed, end-to-end, but I very frequently shuffle through my favourite tracks, nodding along as the intro to another favourite comes around.

To that end, I bring you my list of my top tracks of 2017. These are really where my true love lies.

At the end of the list, I’ve linked to two GPM playlists. The first is my Very Top Tracks playlist, which contains the songs in this list, my personal favourites, spanning everything from synthpop to regular pop (I kid, but not as much as you might think). The second playlist, is a much more extended playlist, containing around 700 songs from this year that I enjoyed. This second playlist spans a much broader array of artists and genres, and will almost contain something that you’ll like. Yes you (mother).

Anyway, counting down from #112 to #1 of my Top Tracks:

112. Seaway - Day Player 111. The Safety Of Life At Sea - Take You Home 110. Nick Heyward - Love Is The Key By The Sea 109. Passenger - Simple Song 108. Moon Hooch - Sandstorm 107. Johnossi - On A Roll 106. Wesley Stace & The Jayhawks - The Wilderness Years 105. The Jungle Giants - On Your Way Down 104. Dent May - Across The Multiverse 103. Anastacia - Redlight 102. Ninja Sex Party - I Wish 101. Scandroid - Rendezvous 100. Jesca Hoop - Simon Says 99. Chris Robinson Brotherhood - Behold The Seer 98. Eliza Carthy & The Wayward Band - Fade & Fall (Love Not) 97. Right Said Fred - I Don’t Wanna Die Right Now 96. Silverstein - Aquamarine 95. Amadou & Mariam - Filaou Bessame 94. Ecca Vandal - Cassettes, Lies & Videotape 93. John Smith - Headlong 92. Orchestral Manoeuvres In The Dark - The Punishment Of Luxury 91. Authority Zero - Summer Sickness 90. Nigel Stanford - Talk To Your Lover 89. Nova Collective - The Further Side 88. Vazteria X - Flying Dutchman 87. Slow Dancer - Bitter 86. Mànran - Parallels 85. Manchester Orchestra - The Gold 84. The Charlatans - Not Forgotten 83. Less Than Jake - Bomb Drop 82. Langhorne Slim - Life Is Confusing 81. Alex Lahey - I Love You Like A Brother: 80. Sia - Ho Ho Ho 79. Hollywood Undead - Pray (Put Em In The Dirt) 78. PVRIS - Same Soul 77. Lady Antebellum - Think About You 76. Jett Rebel - All The Way 75. Sound of the Sirens - Together Alone 74. The War On Drugs - The Strangest Thing 73. Lindsey Buckingham & Christine McVie - Carnival Begin 72. Foster The People - Sit Next To Me 71. Charlotte Gainsbourg - Ring-A-Ring O’ Roses 70. The Whistles & The Bells - Small Time Criminals 69. dodie - Would You Be So Kind? 68. Baby Copperhead - Captain Noel 67. alt-J - In Cold Blood 66. PNAU - Into The Sky 65. Odesza - La Ciudad 64. Alison Moyet - Beautiful Gun 63. The Accidentals - Arizona Stars 62. Paramore - Caught In The Middle 61. Johnny Flynn - The Night My Piano Upped And Died 60. Alex Cameron - Country Figs 59. Conor Oberst - Tachycardia (2017 reworking) 58. Kitty, Daisy & Lewis - Slave 57. Ali Barter - Tokyo 56. Petrichor - As She Moves Slowly 55. Paloma Faith - The Architect 54. flor - guarded 53. The Infamous Stringdusters - Vertigo 52. Lydia Ainsworth - What Is It? 51. Aimee Mann - Knock It Off 50. The Bloody Beetroots - Kill Or Be Killed 49. Melody Moko - The Wreckage 48. The New Pornographers - Colosseums 47. Squeeze - Rough Ride 46. Enter Shikari - Rabble Rouser 45. Dropkick Murphys - Rebels With A Cause 44. The Creases - It’s Alright 43. Will Joseph Cook - Alive 42. Meklit - This Was Made Here 41. Beck - Colors 40. 3D Stas - Anger 39. Emily Saliers - Spider 38. Wolf Alice - Beautifully Unconventional 37. Wiley - Laptop 36. Sound of the Sirens - Smokescreen 35. The Go! Team - Semicircle Song 34. Confidence Man - Better Sit Down Boy 33. Poppy - I’m Poppy 32. Scarborough - Time Rolls On 31. Big Wreck - One Good Piece Of Me 30. Benjamin Clementine - Phantom Of Aleppoville 29. Liam Gallagher - Wall Of Glass 28. Portugal. The Man - Easy Tiger 27. Hippo Campus - Western Kids 26. Benny Nelson - Just Another Love Song 25. Woods - Bleeding Blue 24. All Our Exes Live In Texas - Candle 23. Hundred Waters - Wave To Anchor 22. Big Wreck - All My Fears On You 21. Paramore - Hard Times 20. Oh Wonder - High On Humans 19. Gabrielle Aplin - Waking Up Slow 18. Paramore - Rose-Colored Boy 17. New Politics - Color Green 16. Natalie Pearson - Strangers 15. The Family Crest - Sparks 14. Close Talker - Okay Hollywood 13. Perfume Genius - Otherside 12. The Family Crest - Mirror Love 11. Shaman Elephant - Shaman In The Woods 10. Little Big Town - Lost In California 9. Foxygen - Mrs. Adams 8. Jens Lekman - Wedding In Finistère 7. Wiley - Back With A Banger 6. Rubblebucket - Donna 5. MisterWives - Coloring Outside The Lines 4. Matthew E. White & Flo Morrissey - Look At What The Light Did Now 3. Sugarbag Blonde - Crows Hollow 2. Paul Heaton & Jacqui Abbott - People Like Us 1. MisterWives - Machine

Seriously, check out Machine. I defy anyone not to have a great time with it.

If you want to have a listen (and have a GPM account) check out the following playlists:

My Favourite Tracks of #2017MP (112 tracks)

My Favourite Tracks + MORE of #2017MP (691 tracks)

#2017MP

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tune-collective · 7 years ago

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Element Talks Inspiration, Music Culture, And His New Single, 'The Voices'

We’re back with another single from Brooklyn’s rising talent, Element. We covered his gritty electro single ‘Revolution’ last month, and are stoked to sit down with him to talk about what his project means to him, how the music culture of his surroundings has impacted him, and what we can expect upcoming. We also have the pleasure of showcasing his new emotional single, ‘The Voices’.

Tune Collective: What does Element mean to you?

Element: There are 3 meanings behind my name.

My mom loves music. She’s actually a really good singer too. Growing up, I would play oldies 24/7. One of my favorite groups she always listened to was Earth, Wind, and Fire. My name is a tribute to my mom introducing me to my passion for music, for without her none of this would exist.

TC: Your music ranges broad in style. What inspires this eclectic catalogue?

E: I’m constantly drawing inspiration from different artists in different genres, in one way or another. Pac, Kanye, Porter, Rachmaninoff, Hans Zimmer, Banks, Kendrick, Earth, Wind & Fire, Stevie Wonder, Phil Collins, graves, RL Grime, Mr Carmack, J Dilla, Benny Blanco, Cashmere Cat, Noah Shebib, to name a few.

I also draw a lot of inspiration from cinematic music. It’s fun as hell to me to make music imagining it being played in the background of a movie scene.

TC: Coming from Cali and now living in Brooklyn, how has the scene and culture made an impression on your musi?

E: Man, growing up in the Bay was the biggest blessing ever. I grew up listening to hip hop. Artists from the Bay take pride in their different, but pioneering style- E40, Jacka, San Quinn, Mac Dre, Andre Nickatina. Each of these artists brought their own style. Not many people know this but Pac lived in the Bay too. There’s just this sauce from people in the Bay that you can’t find anywhere else. The Bay taught me to not put myself in a box.

I have to say also that moving to New York was the best decision I’ve ever made. the energy and hustle over here is insane, and it just inspires me to spend countless hours in the studio perfecting my craft. Everyone here is putting in heavy work to make it- whether it’s being an artist, actor, model, trader, or even just selling shit on the street. When I’m exhausted, all this energy from this city feeds into me, and Ijust want to crush it even more.

TC: You’ve collaborated with ARMNHNR and a select few other talented producers. Are there any other collabs in the work you can tell us about?

E: There are a few that are under wraps, but me and my brotha AIRWAV have been working on some really dope stuff and will be dropping something soon.

TC: ‘The Voices’ is a pretty emotional song. Can you speak on the message and inspiration here?

E: When I wrote the instrumental I wanted to evoke a pattern of conflicted thought that a lot of us go through – hopelessness and hope. I wanted to swing between the two emotions, picking chord progressions that can be interpreted either way. I let the track sit for a while because I knew this track needed the right vocals.

I was on HypeM a few days later and I heard Tequisha’s voice on ‘Lights’ – I knew right when I heard her vocals that she would kill it. She loved the track and we got to work right away. We were literally on the same wavelength when it came to creating the rest of the song. She wrote her lyrics with the same emotional intentions as I did with the instrumental, and her result was so amazing. I couldn’t have done this song without her

TC: With the debut of your ‘Uprising’ EP upcoming, what can we expect for the remainder of the year? Singles, remixes, another EP – what can the fans expect?

E: A ton of originals are on the way! From collabs to solo releases. I’m already working on the second EP, which Ido hope to release this year as well.

Uprising gives the introduction to all the different ‘elements’ of my music which each represent an energy, mood, and vibe. And each of the upcoming releases will be a representation and focus of a single ‘element’, whether it’s a soulful, organic, and uplifting vibe, or an intensely heated and emotionally charged, hard hitting banger.

Follow Element: SoundCloud | Facebook | Twitter

http://tunecollective.com/2017/06/07/element-talks-inspiration-music-culture-new-single-voices/

#Element #EP #Interview #revolution #the voices #uprising

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themanguidemg · 8 years ago

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The Man Guide’s 5 Best Albums – March 2017

March felt like build up to a few great releases that we have coming up in April. Most notably, Drake dropped his “playlist” which was more focused than his last album, but still not solid enough to make this month’s list. . Gorillaz surprised everyone by releasing 4 tracks and a short film to promote their new album, which drops next month. Kendrick Lamar contributed to next month’s hype by announcing his album releasing next month and dropping two new songs including the first video for his first single, HUMBLE.

There were some really dope albums that dropped in March, however, including 3 debuts from very talented rookies. Here are our 5 best albums this month.

Spoon – Hot Thoughts

Album Of The Month

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I have never been a big fan of Spoon. Neither of their previous 8 albums have really struck a chord with me, although I’ve enjoyed a few songs from them. In my opinion, Hot Thoughts can be considered the musical anti-thesis to their previous releases. Where as their past albums were filled with minimalist sounds and slight sonic repetition, their 9th album has a full spectrum of instruments and overproduction in almost every track. WhisperI’lllistentohearit starts off with a very simple drum-less synth line which slowly builds up until it explodes to an infectious riff. Britt Daniel still delivers catchy melodies and hooks such as Can I Sit Next To You, which kicks off with a funky struts and is a perfect example of dance rock done right.

If you’re an old fan of the band, you might be conflicted as they have changed quite a bit with this project. Through out Hot Thoughts you see a band that leaves their comfort zone and experiments with electronic segments that add to their overall musical growth. Spoon has taken the direction that started on their last album, They Want My Soul, and turned it up to 11, which results in their best album yet.

Stand out tracks: Do I Have To Talk You Into It, Can I Sit Next To You, Shotgun

J.I.D. – The Never Story

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Having already penned verses within his Spillage Village crew, including appearances on albums by EarthGang, it wouldn’t be fair to call J.I.D. a rookie to the game. The Never Story is his official debut under J. Cole’s Dreamville imprint, and J.I.D. comes out the gate with hunger seeping out his pores. After a short intro, the Atlanta MC steps into the mic on General weaving effortlessly in and out of different flows. This is followed by his first single, Never, a hypnotic banger with a barrage of fast paced wordplay.

Those that still sleep on a Southern rappers lyrical prowess needs to check the 3rd verse on Lauder, a simple Cole production which allows J.I.D’s verbal ability to shine: “You couldn’t kill it and take it out of me/ The ideology, this is the odyssey/ I’m Odysseus, you gotta follow me/ Watch how I maneuver, I influence the influencers/ The flow is like the flu is influenza join through the motion.” Guest features are kept to a minimum with only EarthGang, Mereba, and another Georgia newcomer in 6LACK. The latter joins in on the way too short 8701. This kid is special and a welcome reminder that the south got something to say.

Stand out tracks: Never, D/vision, LAUDER

Khalid – American Teen

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It’s been a pretty great year for new R&B talent, and it’s only March. Khalid keeps up this trend with a fantastic debut album, American Teen. The young Texas kid delivers an album that covers the R&B Pop market with melodic hits. Like the album title track states, this is the life of an American Teen, Khalid writes coming of age anthems and he does it well. He gained tons of traction last year with his first single, Location, which currently hits at over 70 million streams on Spotify. Khalid’s warm vocals serenades a love interest to convince her to no “fall in love off sub tweets so let’s get personal.” A great love song that encapsulates the desire for physicality in an age where technology dictates our communication.

Khalid never gets into complex songwriting, rather he lets his honesty and relatability keep tracks afloat. Young Dumb & Broke proclaims this as an anthem for staying single and not getting into a serious relationship while young because we “still got love to give.” American Teen is one of the best debut’s that I’ve heard out of the R&B/Pop genre in a while, and his hits are bound to stay on rotation year long.

Stand up tracks: Young Dumb & Broke, Location, Shot Down

Stolas – Stolas

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It’s rare to hear a band that makes significant changes to it’s line up and becomes better for it. Two years ago, their lead singer/guitarist Jason Welche left the group. Stolas‘ 3rd release and self titled album is the first to feature the band as a trio, with Carlo Marquez on both vocals on drum duties. If you’ve followed these guys previously, then the change in vocals might take some getting used to. Gone are the screams and growls, replaced by Carlo’s high pitch tone slightly reminiscent of Cedric Bixler-Zavala (At The Drive-In/The Mars Volta). This similarity caused me to initially be skeptic about it but as the album went on, the vocals grew on me more and more.

Obviously, musically they remain very influenced by bands such as The Fall Of Troy and, even more so now, the aforementioned The Mars Volta. But it helps to have some very talented musicians come together with punishing guitars such as Damage Division. Both Carlo’s vocals and drums shine on Bellwether while the guitars and bass provide a truly mesmerizing riffs. This might be their third album, but Stolas seems to be once again trying to refine their sound with a new vocalist. Their self-titled project offers nothing but hope for the future of a talented band trying to reinvent itself.

Stand out tracks: Bellwether, Damage Division, Catalyst

Smino – blkswn

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Smino is an artist that has way more to offer than meets the eye. He’s far from a one dimensional rapper and he uses his debut album to showcase his versatility. Blkswn is littered with funky tracks such as Anita, which shows off not only Smino’s variety in flows but also his affinity for melodies. Though out his debut album, Smino will switch up his tone of voice while going back and forth from rapping to singing effortlessly. Spitshine highlights his vocals in falsetto, while interweaving humming that goes right into the following track, Netflix & Dusse, creating a completely immersive experience.

Listen closely because amid all the singable tunes you might miss the gems this kid spits. One of my favorite quotables is in Amphetamine where he bashes the appropriation of black culture: “Appropriating the fellas, sucking the fruit from my elders/ Don’t give Chuck ’bout no Berry, they’d rather listen to Elvis.” Smino is a rising star in St. Louis’ hip hop scene and with blkswn he will get the respect and acclaim he deserves nationwide.

Stand out tracks: Anita, Father Son Holy Smoke, blkoscars

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elevatedvistas · 8 years ago

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10 of Our Favorite Verses from Dreamville's Latest Signee, J.I.D (So Far)

So, you're a huge fan of J. Cole, and have recently heard about his label, Dreamville's latest acquisition in Atlanta's J.I.D, but you don't know where to start? We've got you covered. Since following J.I.D (pronounced as spelled, or "Jid") in 2011, not only has he been one of our favorite acts since the first song we heard him on, but we've followed his music very closely and are self-dubbed J.I.D scholars. In no particular order, here are 10 songs and verses from the ATLien that you simply must hear to get a full feel for what you're in for when he releases his Dreamville debut, "The Never Story", whose release date is still pending: OG Maco - Who Came to Party ft. J.I.D (Prod. Archibald Slim) https://soundcloud.com/og-maco/who-came-to-party-ft-j-i-d Probably our favorite pound for pound JID verse. At the time, it was the latest in the start of a string of collaborations for JID. This one hosted by OG Maco, who more than held his own in what we, here at Ev, may credit as the first song that we actually heard OG Maco really float and spit on--the track was featured on Maco's brilliantly titled, I Made This Shit Before You Guessed It. We probably wouldn't appreciate Maco as much as we do now if it weren't for this track that we initially peeped specifically to hear JID. Isn't music amazing? J.I.D - Never (Prod. Christo + Childish Major) https://soundcloud.com/jidsv/never-prod-by-christo-x-childish-major Never could arguably be credited with the distinction of being the song that really took J.I.D into that, "Ok, you GOTTA hear this guy" category. With a beautifully nasty cadence, and witty bars like, "I crept on the steps where the demon sleeps/and yell, belch to my Lord what He means to me. Oh, my God. Don't be mean to me", the first round of Never is a display of pure skill as the Zone 6 spitter rips apart the Christo-produced banger. Don't double back. You read that correct: the first round. The second round of Never features a production switch--this time brought to you by Childish Major--that is so opposite the spectrum of its predecessor, it's sure to catch your ear, and by the first bar--"What you call a chick that don't suck dick?/ Ya don't"--JID is sure to have your attention. There is some debate on which round of Never is the best, but most of us are just glad that these beats and these verses were put together for an epic clash of the titans that is one artist: J.I.D. J.I.D - Letters ft. 6lack, Marian Mereba, & PELL (Prod. ThaOfficials) https://soundcloud.com/jidsv/letters-feat-6lack-marian-mereba-pell Letters is one of JID's furthest strays from his usual lyrical onslaught to deliver an actual record with a concrete message. Assisted by 6lack (who has had maybe the biggest 2017 of any underground artist thus far), Marian Mereba (If you've never heard of her, don't you dare scroll past this name without making note), and the one-of-a-kind PELL, JID delivers a somber ode that is probably the darkest song he has put out to date, but also a possible glimpse into what the Little Dragon fanatic wants to do more of. It's an impressive song that more often than not, goes unmentioned by even the most solid JIDiens. J.I.D - M.O.M ft. Quinten Miller (Prod. Zeon) https://soundcloud.com/spillage-village-am/mom-feat-quentin-miller-prod-by-zeon A recent gem that may be the standout track on a super effort by the Atlanta collective, Spillage Village (Earthgang, J.I.D, Hollywood JB, Jordxn Bryant) that features The WDNGCRSHRS' Quinten Miller. M.O.M is JID's most recent collaboration, and neither he nor Miller let's us down for even a second. With a hook that ends, "Since she started f***ing me, her ass got fatter", it's not hard to notice JID's effortless control and balance of cadence, wit, lyrics, and melodies. MOM was probably a top 3 track from JID in 2016. You'd earn yourself a year long favorite song by simply clicking play on this one. J.I.D - Yellow Snow Freestyle (Prod. Christo) https://soundcloud.com/spillage-village-am/yellow-snow-freestyle-prod-by-christo Another standout track from Spillage Village's Bears Like This Too Much project, this one is more of a flex of lyrical muscle for the 27-year old MC. And, if you've listened to any other cuts on this list, you can understand that songs like Yellow Snow is where JID really thrives. A minimal hook that's catchy as it is different, and usually includes some humorous lyrics wrapped in air tight cadences. "My lil n*ggaz got lil n*ggaz, so I'm a grand n*gga" is one of our favorite JID bars, and he delivers it and many more like it over jazzy production that sounds like James Bond making a clean getaway as the building explodes behind him. One of the most unique songs on our list also may be the most funky JID record to date. Earthgang, 6lack, & J.I.D - BatMan Smells (Prod. Ryan Mellow) https://soundcloud.com/earthganghbt/earthgang-x-6lack-x-jid-batman-smells-prod-by-ryan-mellow BatMan Smells came out in December of 2014, and features JID, 6lack, and Earthgang. As referenced in its title, Batman Smells (a reference to the old Jingle Bells spoof) is a Christmas song. And, it is quite possibly our favorite Hip Hop Christmas song of the last 10 years. One could argue there haven't been enough Christmas themed songs in that time period to compare it to--which is fair--but that's also the beauty of Batman Smells. It's also very subtle in being a Christmas song. Hints include jingle bells at the beginning of the song, references to eggnog, and JID getting drunk with his aunties. If that's not Christmas, what is? J.I.D - UnderWear (Prod. Christo) https://soundcloud.com/jidsv/underwear "Melancholy cool. Matthew McConaughey!" One of the most fun, always relevant lines JID has dropped on wax that we have access to, UnderWear was J.I.D's 'Never' of 2015. Christo's production matched with JID's complex wordplay and playful-but-deadass-serious lyrics is an underrated combo that we fully expect to have more light shed on in the coming months. UnderWear finds J.I.D solo, aside from a couple of The Wolf of Wall Street quotes from the aforementioned McConaughey, and it may very well be his best track, depending on who you talk to. A lyrical trapeze act, UnderWear served its purpose by guaranteeing that the revolution was underwear. I mean, under way. J.I.D - Jiddeth https://vimeo.com/49116270 Jiddeth was the first song we heard JID solo on. And, it was like a tidal wave of vibes. The beat was slow, with a lone, long horn serving as its lead. It's a fairly simplistic beat that is undeniable southern. On Jiddeth, JID boasts about not doing this and not doing that, only to flip the script ten-fold and claim all of his vices, his Zone, and his own position as a flat out monster behind the mic. He does all of this with very little effort, and by the song's end, your head is bobbing, and you're leaning up in your chain, wondering, "How did ppl miss out on this guy for so long?" That's J.I.D. Earthgang - The First Scoop ft. J.I.D https://soundcloud.com/thepromogorilla/the-first-scoop Holding the honorable distinction of being the first record we heard JID on, The First Scoop is as impressive now as it was when it was released in 2012. JID dropped on our Twitter timeline via Earthgang (the song's main artists) like a bomb, and we immediately followed him after hearing his verse, which opens the record. Specifically, the bar that made our timeline lose its mind was a clever use of "Bye, Felicia" popularized by the movie Friday, and the expounding of why, according to JID, she had to go. The opening bars of JID's verse on The First Scoop are still relevant: "I hear a lot of n*ggaz talking about they ballin'/You ain't ballin' if the bill collectors callin'/talkin' about you missed a payment, couple installments/they finna cut your shit off, you should come by the office." Again, that's circa 2011. J.I.D - Bruuuh (Prod. Willie B) https://soundcloud.com/jidsv/bruuuh-prod-by-willie-b JID's most recent release that we were amped to check out, as it features production by The Ichiban Don himself, Willie B. TDE fans may recognize Willie B's name for producing gems such as Kendrick Lamar's Ignorance is Bliss, Poe Man's Dreams, & Rigamortis, and Ab-Soul's Showin' Love. We're huge TDE fans, and particularly were at the height of our fandom when all of those productions dropped. So, Willie has been on our favorite producers list for years. That being the case, when we saw him tweet JID about a finished track, we couldn't help but be fans of the song right then and there. Appropriately titled "Bruuuh" for its ridiculous rhyme patterns and instrumentation (and for the collaboration, itself), the listener can insert a good, "Bruuuh" anywhere in the entire song, and it would be fitting. Once again, JID sprints a marathon and absolutely levels a Willie B production. To lovers of credits, this was probably JID's most important collaboration yet, as it was a sort of cosign that--even if not necessarily needed--aided and continues to aid in what we believe will be a stratospheric take off for one of the most talented MC's we've ever met, covered, or heard. Straight up. If you call yourself a Hip Hop head like we do, here at Elevated Vistas, and haven't heard JID, we're encouraging you to do so--and, soon. Because as with JID's signing to Dreamville, his explosion onto the Hip Hop scene by way of your television and radio is only a matter of time. Congratulations to Dreamville for signing one hell of an artist. And, most importantly, congratulations to JID--the latest example of an elite rapper getting the exposure and rewards that he is justly due. And, the best part? It's only just begun. Congratulations, JID. We're still rooting for you. Honorable Mention: J.I.D - Liverpool ft. Earthgang, J.I.D -October/3 Storms ft. Earthgang J.I.D - Sia, J.I.D - Pro-Verbs, Earthgang x J.I.D - Ten Ten Follow J.I.D on Twitter: @jidsv Follow us on Twitter: @ElevatedVistas Written by Ida Wonyaluv

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spiceukonline · 8 years ago

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Stormzy Gang Signs & Prayer Track by Track Review

Originality

Production

Tracks

Lyrics

Impact

2017-02-24

4.2/FIVE

So the time has come, Stormzy aka WickedSkengMan has finally dropped his long awaited album “Gang Signs & Prayer” on his own independent label #Merky Records.

Following subtle hints via billboards, a triumphant return to social media, a new single and a sold out tour the music that finally matters is now here and Grime fans are eager to know whether or not Stormzy has delivered on the hype. The answer to this question will obviously be unique to each listener but here I’ve written down my thoughts on each individual track, enjoy!

Stormzy Gang Signs & Prayer Track by Track Review

First Things First

The album opens fittingly with a backdrop of rain and thunder until the song drops into a twinkling melody, with minimalist percussion, and occasional bleeps, clicks and echoes. His flow starts off slow and deliberate; addressing issues such as his absence from the Grime scene, personal issues and social media drama and his newfound fame. I got the impression on this track Stormzy is holding back slightly, taking things at his own pace and easing the listener into the album on his own terms.

Cold

Originally revealed at live shows last year,and in contrast to what it’s title may suggest, “Cold” is an upbeat and celebratory tune. Complete with brass instrumentation and a bright synth melody this track immediately hits you in the face with just how happy and positive it sounds, and were it not for the MC’s trademark vocals you’d never imagine that this would be a Stormzy song. Impressively however this track does not make the jump to full on pop song in my opinion but it’s clear that this isn’t a traditional Grime song. The lyrics themselves are positive and uplifting with Stormzy referencing his previous achievements “I just went to the park with my friends and I charted (Wow)” and encouraging others to do the same“All my young black kings rise up/ Man this is our year/ And my young black queens right there/ It’s been a long time coming I swear.”.

Bad Boys (featuring Ghetts & J Hus)

And after the lightness normal service resumes with “Bad Boys”. A quick glance at the tracklist and this track is definitely one that jumps out, featuring grime legend Ghetts and rising star J Hus. Now I’m going to say it, for me personally, J Hus steals the show on this track. The two verses contrast well with Stormzy’s slower, heavier delivery in the first verse met by Ghetts’ razor sharp bars and rapid flow in the second verse. But it’s J Hus’ melodic yet deadpan chorus which takes this track to the next level differing from his usual tongue-in-cheek afrobeat-tinged rapping but he pulls this off spectacularly.

Blinded By Your Grace Pt. 1

After the initial flurry of heavy tunes “Blinded By Your Grace Pt. 1” offers the listener their first chance to breathe. The track has a soulful and gospel-like sound to it, Stormzys’ smooth vocals are set against a simple piano melody. Now personally I can appreciate the talent that Stormzy is displaying on this track but for me it seems a little out of place here in the tracklist and kind of takes the energy out of the listening experience. I found myself kind of drifting this song waiting for the next heavy song to drop.

Big for Your Boots

I really didn’t have to wait long! The lead single off the album is Stormzy at his best, doing what he is known for. I love the beat on this track, in my opinion it brings the elements that I love from classic Grime along with those that have come to define the genre in its current phase. The pitched up samples and strings evoke memories of noughties grime tracks but the intensity and richness of the sound show how Grime has evolved. In terms of bars Stormzy doesn’t hold back, his delivery is rapid and his flow aggressive. Lyrics wise it has been suggested that some of the bars on this track are indirect shots at other MCs but this has not been confirmed by the man himself. What is clear on this track though is that Stormzy is laying down a benchmark for other MC’s in 2017.

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Velvet / Jenny Francis (Interlude)

The first interlude on the album features high-pitched “chipmunk” vocals sampled from singer NAO’s “Intro (Like Velvet) and tinny hi-hats with smooth vocals. This is an R&B song, adding even more to the different genres and sounds present on the album. The last verse on the track begins with the tongue in cheek lines “Yeah, alright alright alright, okay okay okay / Man thought that Stormzy’s good at singing *laughs*” and features Stormzy singing almost acapella before leading into a skit from radio host Jenny Francis announcing the track as being on “#MERKY fm”. The last part of the song shows Stormzys’ playful side and the track as a whole shows he’s not afraid to do what he wants and write an R&B song.

Mr Skeng

Heavy string chords and military-esque drums announce “Mr Skeng” a dark, heavy track. The thing that struck me with this track is that it again reminds me of noughties grime tracks, but things are different. The strings on this track in particular are a feature I remember heavily from the grime i used to listen to in my teenage years; compared to those songs however everything sounds richer, more polished and more organic. It sounds like this track actually uses real instruments as opposed to samples and I can almost imagine it being performed with a live string section.

Cigarettes & Cush (featuring Kehlani)

American R&B singer Kehlani is one of my favourite R&B singers of the moment and a song featuring Stormzy and her sounds like a dream collaboration, but not one I honestly ever expected to see. In addition to Kehlani, the track also features Lily Allen who is uncredited in the Album’s tracklisting. The piano-led beat is definitely contemporary R&B and is relaxing and dreamlike, the chorus features Kehlani, Lily Allen and Stormzy all singing. This track is a classic R&B slow jam, a track meant for chilling out to.

Kehlani

Wretch 32

Raleigh Ritchie

21 Gun Salute (Interlude) (featuring Wretch 32)

The lyrics on this track read like a prayer, opening with a gentle hook from Wretch 32 that flows like poetry. Stormzy once again shows the versatility of his delivery, and you really get the sense of emotion in his voice as he opens up. All of this is set over a gentle melody but this serves only to be in the background, it’s the vocals that steal the show on this track.

Blinded By Your Grace Pt. 2 (featuring MNEK)

The same hook from Blinded By Your Grace Pt. 1 plays and is immediately followed choral vocals. When the track drops electric guitars, choral vocals and the organ in the background really take this track far out of the realms of what you expect from Stormzy. This song reminded me of Chance the Rapper’s recent output, his latest album “Colouring Book” heavily features religious influences and gospel music blended with hip-hop. In the past Stormzys’ music has not featured much in the way of religion but, after listening to the album properly, the title “Gang Signs & Prayer” begins to make sense and highlight this aspect of Stormzys’ life.

Return of the Rucksack

After a trio of light songs you’d be forgiven to forget that this was a Grime album, “Return of the Rucksack” is another heavy, Grime banger in the same vein as “Big For Your Boots”. The beat is frenetic with rumbling bass, pining strings and hard-hitting drums. The track starts and ends with a segment that sounds like a declaration of war from Stormzy “I don’t wanna be on Lord of the Mics with shit MC’s, na bro, I’m above that / Using my name for a dead bit of fame, tryna get up in the game, yeah right nigga, fuck that / Stormz’ ain’t grime and Stormz’ ain’t clash, look don’t be fooled ’cause the war ting, I love that / Call this the return of the rucksack, oi Flipz get the four-door truck back”.

100 Bags

100 Bags opens with a recording of Stormzys’ mum, it’s a deeply personal touch and sets the tone for the rest of the song. The song is pure “conscious rap”, dedicated to Stormzys’ mum, throughout which Stormzy thanks his mother for all that she has done for him over the years and apologising for any problems he may have caused her. It’s an intimate moment on the album and one that stands out as being truly personal to Stormzy.

Don’t Cry for Me (featuring Raleigh Ritchie)

Now this track is simply beautiful, Raleigh Ritchies soaring vocals making this one of the most memorable tracks on the album for me. The lyrics on this album are amongst the best on the album in my opinion “Man I was in history class when my bredrin died / So vexed that I cried / But I come from a place where mandem can’t let shit slide / So we rest in pride”, “Can’t chat about pain, just look at my veins / Look brudda, I bleed all that / Damn, I just want all my people back / Yo”. It’s on this track that we see Stormzy at his most vulnerable and his most human.

Crazy Titch (Interlude)

This interlude features a clip of Stormzy in the booth on the phone with fellow MC Crazy Titch. An excellent quote is included “If you put all bias aside, Stormzy has to be Neo, he has to be / So therefore that makes me Morpheus so I’m telling the council right now”. It serves as the perfect intro for the next track.

Shut Up

Now this is a track that requires no introduction! The highest charting freestyle on the UK charts is arguably Stormzys’ best known song. It’s a no-holds-barred thrill ride of a track! On a personal level this track always gets me hyped up and is my go-to song whenever I need motivation.

Lay Me Bare

So here we are, the final track! Dissonant voices float in the background with piano chords sitting over them, occasional pitched up vocals and sparse drums making up the rest of the beat. As the title would expect the track is deep and personal. The chorus is particularly chilling “One more time I’ll make it clear / This some shit I hate to share / Escape this life or pay the fare / Grab this gun and aim it there / Shoot my pain and slay my fear / Before I die, I say my prayer / Don’t worry about the mess just lay me there”. Here we get a sense of the anxiety that Stormzy often faces and the dark thoughts that haunt him “Like man’a get low sometimes, so low sometimes / Airplane mode on my phone sometimes / Sitting in my house with tears in my face / Can’t answer the door to my bro sometimes”. I find it incredible when artists write songs that deal with issues such as mental health as it really helps to normalise these issues and make them easier to talk about. Here we see Stormzy as an ordinary person facing the same issues that will affect his fans, I definitely found that this track resonated with me.

#album #Gang Signs & Prayer #review #Stormzy #UK Grime #UK Music #UK Rap

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deadcactuswalking · 5 years ago

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REVIEWING THE CHARTS: 17th November 2019

Three consecutive weeks and we get eight, seven and now NINE new arrivals! This week isn’t even an album bomb week, either. I’d say I fully expect the charts to cool down and for Christmas music to start coming back but I have no idea. I’ve predicted a slow week for two weeks in a row and I’ve just been greeted with more and more nonsense coming at me, so I’m not even going to try and speculate here.

Top 10

The top five often doesn’t reflect that movement within the charts, and this week is no exception as everything in the top four hasn’t moved, and for a sixth week, “Dance Monkey” by Tones and I is at the #1 spot.

I expected “Don’t Start Now” by Dua Lipa to drop off after the debut but surprisingly, it held on, showing a lot of initial longevity here at number-two, the runner-up spot, although I could very much see this grabbing the #1.

“Ride It” by Regard featuring Jay Sean is still at number-three this week.

Also not moving at number-four is “South of the Border” by Ed Sheeran featuring Camila Cabello and Cardi B.

At number-five, we actually have a new arrival and our biggest of nine debuts this week, J Hus’ “Must Be”, his lead single from an upcoming project, album, mixtape, what have you. It’s his first solo single since he was released from prison in April this year, and we’ll talk more about Hus and his music later, but just for now, it’s his eighth UK Top 40 hit and it’s pretty great.

Now, there is some impact of this important top-five debut of course, although “Memories” by Maroon 5 climbing up two spots to number-six is a direct result of J Hus’ high new arrival.

The real impact is seen within the rest of the top 10, as “Circles” by Post Malone is down two spaces to number-seven.

Also down two spaces to number-eight is “Lose You to Love Me” by Selena Gomez, which is falling off a tad quicker than I thought, although it could easily rebound.

Lizzo’s “Good as Hell” featuring Ariana Grande is also down two spots to number-nine.

Meanwhile, at #10, Lewis Capaldi’s “Bruises” is dropping down one space to the final spot here, but not near fast enough.

Climbers

Unless you’re a diehard fan of “The Last Time” by the Script (which is up six positions to #32 off of the album release, which should actually be incredibly disappointing for the band), there’s nothing to speak of here.

Fallers

Fallers on the other hand... well, it’s been a while since we’ve done this. Let’s split it into two vague genre sections: pop, rock and EDM vs. Hip-hop and R&B. First, let’s focus on the first section, as “Lights Up” by Harry Styles is down seven to #23, “God is a Dancer” by Tiesto and Mabel is down six to #26, “Liar” by Camila Cabello is down five to #29, “Post Malone” by Sam Feldt featuring RANI is down nine to #30 (Thankfully), “Someone You Loved” by Lewis Capaldi is down six but I have no idea how it’s still on this bloody chart anyway and “10,000 Hours” by Dan + Shay and Justin Bieber flops down six spaces to #35. None of these drops are exactly disastrous for the artists here, although the drops for “10,000 Hours” and “Lights Up” seem worryingly premature. In terms of hip-hop and R&B, we have “Be Honest” by Jorja Smith and Burna Boy finishing its run down eight to #25, “Follow God” by Kanye West flailing down 12 spots to #27 whilst it’s not even Top 40 in the US, “Tell Me” by Krept & Konan featuring D-Block Europe and Ling Hussle down 14 off of the debut to #37, “Take Me Back to London” by Ed Sheeran featuring Stormzy and remixed by Sir Spyro featuring Aitch and Jaykae down five to #38 (Typing that each time takes about 20% of my overall writing time), and finally, “Floss” by AJ Tracey featuring MoStack and Not3s is down 12 spaces to #39.

Dropouts & Returning Entries

There are no returning entries, and honestly none of these drop-outs are ones I’m worried about or unfortunate drop-outs, because none of these songs are really worth mentioning. Let’s cover these in order of how little I care for them. “Orphans” by Coldplay, dropping out from #32, is a great lead single yet it’ll definitely rebound next week as the album Everyday Life is released, “Kiss and Tell” by AJ Tracey and Skepta is the only one here that really worries me as it’s out from the debut at #31 (It could still rebound, but perhaps this just isn’t catching on), “Higher Love” by Kygo and Whitney Houston is okay but it did have a respectable run before dropping out from #34, “G Love” by Krept & Konan featuring Wizkid dropped out from #28 but that song doesn’t exist anyway, neither does “Graveyard” by Halsey out from #40 for that matter. “Break Up Bye Bye” by the cast of RuPaul’s Drag Race UK (Specifically the... Frock Destroyers?) featuring uncredited vocals from Perrie Edwards is out from #35 as expected since the season’s finished, “Look at Her Now” by Selena Gomez monotonously hums its way out of the charts from #39, as does the regrettable “Playing Games” by Summer Walker out from #36, and finally, we have the detestable “Thumb” by M Huncho and Nafe Smallz out off of the debut at #30. I’m frankly kind of disgusted we ever let this chart in the first place.

NEW ARRIVALS

#40 – “Better Half of Me” – Tom Walker

Produced by Cam Blackwood and Mark Ralph

We all know singer-songwriter Tom Walker at this point. His debut album, What a Time to be Alive, went #1 and already produced two singles: “You and I” and “Leave a Light On”, both of which are inoffensive, boring guitar-pop fluff. This is his third UK Top 40 hit from this record and I’m not expecting anything close to any good or God forbid interesting from it... and, yeah, I’m right. The song’s a guitar ballad with Tom Walker singing in his nasal voice over some generic instrumental with piano and guitar with no attempt to even make it sound rich. The whole mix sounds really cheap, especially the transition from the pre-chorus into the chorus. Speaking of the chorus, Jesus Christ, Tom, have you been listening to Lewis Capaldi? It’s almost funny how Tom puts so much force into that part and it feels like a really inorganic warble and just sounds pretty gross overall. The lyrics are pretty sweet sometimes, though, I especially like the first verse. Otherwise, yeah, this is boring, milquetoast trash.

#36 – “Pump it Up” – Endor

Produced by Endor

Who’s Endor, you wonder? Well, I was wondering that too, so I looked it up and I found that Endor is a fictional moon in the Star Wars universe, known for its endless forests, savannahs, mountain ranges, and a few oceans. Okay, no, I’m kidding, obviously, but this dude seems pretty obscure, he wasn’t even on my first page of results for the term “Endor”. He’s not from Star Wars, he’s not from the Hebrew Bible, and he’s not a nation from Dragon Quest either. He’s a British house DJ who’s been releasing stuff since 2015 and became a self-proclaimed “Champion of the underground” before finally breaking out in the mainstream with this single released September this year on Defected Records, obviously his first UK Top 40 hit, and I mean it can’t be that bad if he’s latched on for so long with an underground fanbase. I mean, Skream likes him, and I like Skream, so it can’t be that bad.

Well, that wasn’t Skream, but it was interesting. It starts with some crowd cheering and the main hook coming in, which is delivered in a fun way (It kind of has to be, it’s just “Pump it up, you’ve got to pump it up, don’t you know?” for two and a half minutes), before the drums and the keys come in, and then the bass, and slowly it becomes a pretty fun, vibrant banger, with a pretty anti-climactic first drop but the way the 808 (or in this case, possibly 909) is modulated here is especially cool, and I love the cheesy Eurodance synths in the drop as well, and the second drop has a cool glitchy effect I really like. This isn’t bad at all, in fact I’d argue it’s pretty good house, it’s just that I wish there was more stakes here, because it just feels weak and at times empty.

#34 – “Gangsta” – Darkoo and One Acen

Produced by AJProductions

Okay, well, I’ve actually briefly heard this song on the radio, but I don’t know who Darkoo is, so naturally, I had to do some research again, and I found out she’s a female singer and rapper in the same vein as her male contemporaries who makes UK trap or drill music (I can’t really tell the difference a lot of the time if there is one, to be honest). I can’t really find a great comparison off the top of my head to a rapper she resembles in the mainstream currently stylistically, but that shouldn’t matter. Darkoo blew up three months ago with the song “Rover” (or “Keys to My Rover”) and this is her big first UK Top 40 crossover single with One Acen, who we know from their collaborations with people like Hardy Caprio. I believe this is One Acen’s second UK Top 40 hit, though I might be missing one. The most important thing is: is the song any good? And well, it’s okay, but Darkoo doesn’t sound any different from her counterparts, female or male, and has very little character, but to be fair, she’s not exactly helped by this absolute crap guitar beat, with a clap that I’d like to ask a lot of questions, and chipmunk vocals echoing her lazy interpolation of “Strike a Pose” by Young T & Bugsey. Darkoo’s vocals have constant stuttering put onto them as well, while One Acen’s vocals are a lot smoother, and don’t sound bad at all, especially the start of the first verse, but I can’t pay attention to anything else when the beat is mixed this awfully that it’s genuinely giving me a headache! The bridge is pretty cool, especially the strings and the gang vocals that elevate it, but everything fades out afterwards and hence it just sticks out like a sore thumb. This outro sounds like someone put a piano beat’s MIDI through a Legend of Zelda: Ocarina of Time soundfont.

#28 – “Don’t Rush” – Young T & Bugsey featuring Headie One

Produced by GRADES

And that’s all for anything resembling anything other than UK trap (Excluding another upcoming new arrival), as I guess the last song was kind of R&B. Young T & Bugsey are rappers I had a pretty uninteresting first impression with although I liked their second hit single, “Strike a Pose”, as that had a lot of energy and groove, and a pretty great feature from Aitch, who has yet to impress me since if I’m honest. Headie One is someone who I was also initially bored by, but he did win me over with “Both”, a banger I still listen to due to its menacing guitar line and gorgeous soul sample. This is Young T & Bugsey’s third UK Top 40 hit and Headie One’s fourth, and I’m actually expecting some quality here... and well, I have no idea what that 80s-sounding synth and guitar sample is in the intro, but if that’s original, then this producer needs more attention because that sounds fantastic. It just transitions into a pretty dull Afroswing beat though, with none of the groove that “Strike a Pose” had. In fact, this is just “Strike a Pose” again, but now Young T and Bugsey have separate verses instead of one shared verse, and there’s no humour to this one and just feels like a bunch of filler bars. Only one line made me laugh here and I’m not sure if it was even intentional or not, but on their last single, Aitch was hilarious, sure, but both Young T and Bugsey delivered some equally sleazy lines. Here, I’m just bored by everyone, and Young T sticks to one flow for his verse (For the most part). Bugsey shares his verse flow with his chorus, so the whole song just kind of meshes together. Bugsey introducing Headie One with the same grandiose synth riff that was in the intro is a pretty fun idea, but it’s not worth it because Headie One is boring too. At least it’s professionally mixed, which is better than most of the more B-list UK trap that charts in the second half of the top 40.

Edit: Nevermind lol the bass is clipping throughout the chorus. Also realised I never talked about the line that made me laugh. In the first verse, Young T might have interpolated MC Smally and if he hasn’t, he’s used the same inflection and that’s hilarious to me.

#24 – “ROXANNE” – Arizona Zervas

Produced by Jae Green and 94skrt – Peaked at #1 in New Zealand and #27 in the US

Now for our only diversion from UK rap, but still vaguely in hip hop, Arizona Zervas, an R&B singer-songwriter who was starting a humble career before suddenly, TikTok found this song and now he has a global hit single. His live shows are pretty prolific for such a new artist... I am a bit weary of Arizona Zervas being a bit of an industry plant because this song blowing up so quickly is all too convenient, especially considering he got the playlist placement within three weeks. I don’t know, and I don’t care, it’s his first UK Top 40 single. Is it any good? No. I listened to the whole song and just sat there thinking what I could talk about... which is nothing. I guess I like the splashes of guitar and the... oh, for God’s sake, whistling? Sigh, well, the lyrics are questionable at times, and the second verse is pretty obviously ripped off from somewhere, and the guy sounds whiny and infuriating. That glass breaking sound effect is pretty corny as well. Also, Drake did the “Shake and Bake” / Ricky Bobby joke nearly exactly 10 years ago, Zervas, and he didn’t sound nearly as gutless saying it... wow, Drake sounding tougher than you really is an insult. Sidenote, why is “BedRock” five gruelling minutes?

#18 – “Down Like That” – KSI featuring Rick Ross, Lil Baby and S-X

Produced by S-X

From here on out, we only have British hip hop to talk about and now this is a name I didn’t expect to see... YouTuber and semi-professional boxer KSI, who after winning against Logan Paul, stated he would be working more on his music (He said this in a Good Morning Britain interview with Piers Morgan, by the way) and I didn’t expect this so soon, but here it is. It’s not KSI’s first time charting, it’s actually his second UK Top 40 hit after “Lamborghini” peaked at #30 in 2015, but he seems to be taking music more seriously now and without all the nonsense diss tracks he released (most of which genuinely charted), as he’s got his highest-peaking single yet and some pretty high-profile features from Rick Ross and Lil Baby, as well as relatively unknown British rapper S-X, who also produces the track. It’s his first UK Top 40 hit, but Rick Ross has a lot more (The information for this on his discography page is messy, scattered and often non-existent so I’m not bringing up specific numbers) and it’s Lil Baby’s third. I’m not expecting anything great from these guys, but I’d like to be surprised.

I wasn’t. S-X sounds pretty flat against the menacing piano line, especially when he gets into the falsetto but this beat isn’t bad, especially with the distorted vocal sample, although the vocals here are typically pretty muddy, which is expected considering a YouTuber recorded them. KSI is the lead artist but he doesn’t really give much of an impression, although his Dragon Ball Z reference was a nice touch, I guess. Rick Ross comes in with ad-libs about being the biggest in the game, and I always love a M-M-Maybach Music tag but his verse but is non-existent. Lil Baby sounds confused and initially off-beat, with his flow ending up sounding pretty janky, as he also refers to Rick Ross as “the biggest” and his verse sounds like it abruptly stops mid-sentence. Somehow, KSI had the best verse here, as the American rappers didn’t really seem to know how to adapt. Good beat, though.

#15 – “Paper Cuts” – Dave

Produced by Ghosty

I’m tired of writing these introductions at this point, I have to write nine of them and explain everything and... ugh. Okay, this is Dave, we all know him if you read the series, he’s a UK rapper who’s very introspective and typically one of my favourites. This was marketed as the first time he would rap on a drill beat, which has me wondering how well he’ll fare on a track he didn’t actually produce (He usually does self-produce). It’s his first lead single since the #1 album, PSYCHODRAMA, and 15th UK Top 40 hit. I am a bit worried for the upcoming record though, if there is one, as he’s been keeping himself busy with pretty lacklustre features and a mediocre Top Boy soundtrack single. Regardless, is this new song any good? Well, Dave sounds pretty Dave here, talking about his past with his typical flow and contrived wordplay about Anakin from Star Wars and Red Bull, as well as an awfully misguided tangent about Megan Thee Stallion. Dave sounds really awkward here, which is odd as not only is this beat great and eerie but it’s also pretty much in his wheelhouse. This isn’t bad, but I feel there are people who could have made this a lot better and more organic or even just hyped up as the song as it is, it’s a slog and wildly uninteresting, despite only being three minutes. Good beat, though.

#13 – “Netflix & Chill” – Fredo

Produced by Kirk Beats

Fredo? Oh, come on, he’s one of the least interesting guys! Okay, well, he’s a UK rapper all the same and he can be pretty funny and wild when he wants to, like on his #1 hit, “Funky Friday”, with Dave, and even “So High” with MIST where MIST was just dead weight. Overall, I just find him okay most of the time, but it’s his seventh UK Top 40 hit and without any features, I doubt I’ll like this... and you know, maybe I’m wrong actually. This guitar line is pretty slick and the vocal samples are cute here, and the chorus is actually pretty fun with Fredo actually singing for once... although his vocals are awfully punched-in here. Jesus, that sounds unprofessional, but otherwise the trap beat is pretty cool, and his flow in the first verse is constantly switching and his style of casual, careless braggadocio is actually clicking with me here. His second verse is surprisingly long and despite him lazily repeating some of his bars throughout the verse, his bars can be pretty funny. The mixing is strange here, especially vocally, and I left this feeling conflicted if anything. Again – good beat, though.

#5 – “Must Be” – J Hus

Produced by JAE5

Finally, it’s the last song and probably the best one, to be honest, but I’ve already talked about the chart placements and all that nonsense, so let’s discuss the song – because it’s really freaking good! Okay, so perhaps some context here: J Hus is a pioneer of the genre ‘Afroswing’ and a pretty respectable rapper as well, although I personally didn’t like many tracks from his first and so far only studio album Common Sense. In June 2018, Hus was arrested for carrying a knife in Stratford and after changing his plea from not guilty to guilty, served eight months in jail. During this time, he would deliver a verse for Dave on “Disaster”, which is one of both rappers’ best songs. I think the most powerful statement I’ve heard from J Hus is when he was asked why he had a knife, because he responded, pretty simply, “You know, it’s Westfield”.

He was released on 5th April, 2019, to much rejoicing from his fanbase, the British rap community and his colleagues but since his release, he’s actually been pretty scarce – he made a guest appearance hours after release at a Drake show in London, and has done some features for Skepta, MoStack and... Ed Sheeran, but there hasn’t been any solo material until now. This is his massive comeback single, and, yeah, it’s great. Let’s talk about the lyrical subject matter here first and get that out of the way: J Hus is singing about paranoia and trauma he experiences now due to his time in prison and his roots in gang violence, giving him a tough exterior that isolates him from everyone else. Both the chorus and the end of the first verse sum it up pretty well.

If man slip, get up, dust yourself off / Everyone F off, yo

The second verse dives into being “Guilty by association” and with an incredible rhyme scheme, Hus mostly talks about how if someone dares even talk to his enemies, they will become an enemy, and how he doesn’t trust people anymore, but also interesting touches on how young black men struggle to fit into society without resorting to rapping or being a gang member, although he doesn’t do this in a serious manner, and is actually pretty humorous wordplay and just general turn of phrase.

I think he’s an opp, but I need confirmation

All that doesn’t matter if it’s not delivered well... and of course it is, with that groovy bassline and synth embellishes in the intro thanks to JAE5, and a funky trap beat with cute pitch-shifted chipmunk samples and a freaking sax loop just coming in whenever it wants to. In fact, the instrumental feels pretty frantic initially, but the second half of the first verse is just beautiful. After the epic drum fill, some grandiose, sweet-sounding synths come in and it’s just gorgeous. J Hus has a lot of charisma even if he tends to mumble in the first verse, but his voice is just so sonically pleasing to me, man, I could listen to him all day. Well, this is miles ahead of the rest of the rap here, and that outro with the string composition in the background might be one of my favourite musical moments of the year. Welcome back, J Hus. Glad to have you back.

Conclusion

Well, it should be obvious that J Hus is taking Best of the Week for “Must Be”, with Honourable Mention probably going to Endor for “Pump it Up”, although it isn’t that great. Dishonourable Mention goes to Tom Walker for just being boring with “Better Half of Me”, but I think Arizona Zervas is taking Worst of the Week for the sappy, gross “ROXANNE”. I don’t even want to try and make sense of what’ll happen next week. Interestingly, we’re going into the Christmas season with a lot of hip-hop on the chart, although we know most of this won’t survive the Winter and... well, you know what happens in Winter. Follow me on Twitter @cactusinthebank for more musical ramblings and I’ll see you next week!

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