#hip hop review

[idiotcoward]

Noname - Sundial

Holy shit. I didn’t really think we’d ever get another Noname album. From her saying straight up she doesn’t want to make music anymore, to her butting heads with the music industry, it seemed like she had other things on her mind. Like political or community organizing! Noname has taken a really big role in helping inform and radicalize people all over the country, but especially poor and black communities in the Chicago area by creating book readings of leftist and civil rights theory and all different kind of shit. She’s basically doing legitimate political activism now so I thought that would be her only focus.

The album itself is incredibly powerful. Her lyrics are so fucking pointed. Tearing down the fans of rap music, the rappers, the industry around the music, and capitalism and the system itself. All of this going over the top of some genuinely beautiful jazz production with some really great features. Just genuinely a terrific album. So happy Noname is making more music. Genuinely an amazing artist who has made now three fucking beautiful records.

[anarchic-miscellany]

Review to follow, but: Rather than giving money to Hollywood, give your money to "Kneecap": the anarchic, debauched, drug fuelled punk ode to rebellion, independence, anti-authoritarianism, pushing back against gate keepers of culture, and fucking mayhem. All told through Irish hip hop. I'm a proud patriotic Irishman now. I have never been to Ireland.

[13lizardsinatrenchcoat]

Nothing I can say about Dunya has not already been said better by Hanif Abdurraqib in this article .

I highly recommend reading it in full, even if the Mustafa is unfamiliar to you. The mastery that both he and Mr. Abdurraqib have over language makes the interview itself a poignant mediation on art and class and race and music and war and and and and.

Dunya is probably my album of the year, and I'll steal a quote from the article here to tell you why:

"Perhaps the miracle of Dunya is how it moves with a spirit of vibrant protection, the miraculous ability to hold, in your palm, an entire city and everyone you have ever loved and who has poured into it – to draw people close and say can you believe THIS?"

I'll end this with a reminder that the proceeds from Mustafa's music video for Gaza Is Calling go to the PCRF and that the song is an excellent entry point for his music.

[artpicsrare]

Halloween (1978)

[thesinglesjukebox]

DOECHII - "NISSAN ALTIMA"

Accelerating right to the top of our charts...

[8.44]

Ian Mathers: I hadn't forgotten "What It Is," but this one hits like Doechii wants me to. Two minutes (and it feels like it's that long because the job is done, not for some algorithm), high intensity, great delivery, and I think even a better chorus. Definitely the only earworm I've heard in a while prominently featuring the phrase "face fuck." [9]

Alfred Soto: With Rapsody and Noname releasing excellent work in the last two years, we're living in a fecund time for female-identifying singer-rappers. "Nissan Altima" proves she can do the slither-tongued swagger as well as anyone. "I'm the trap Grace Jones," she admits after a trip to Spain results in tsunami-ing someone's vagina. [9]

Mark Sinker: It’s like you can’t say "cunnilingus dalai lama” without me handing myself over to a Doechii YouTube deep-dive for hours on end, happy as a dim little lamb in some Cenobite Hellraiser dimension. Sometimes she’s even gentle and charming, like the director dropping out of character to explain the logic of a move. Not here though — and anyway those are never the best bits, though they are the most reassuring. The best is when her mind is flashing at frightening speed and the words and voicings and just grunts are breaking open into unexpected hidden corridors, running at angles behind the walls to energies you didn’t quite want to imagine, maybe.  [9]

Katherine St. Asaph: It took me several (exuberant) listens to figure out what this reminds me of: the sparkly instrumentals and kinetic charismatic presence of early Azealia Banks, except better because to my knowledge Doechii is not a rampaging drama-seeking TERF. [9]

Al Varela: You know, we've had such a rough streak of terrible fast raps from Eminem and Eminem wannabes lately that it's easy to forget how fun fast raps can be when it's done well. Doechii immediately jumps in with this roller-coaster flow in the first verse after the chorus that's so infectious that if the song was just that verse and two choruses I would have been satisfied. But the second verse is just as good! Doechii is such a firespitter and some of her pop concessions make me forget that sometimes. Glad to have a song where she truly proves herself and reminds us she can and will take over the rap game when the time is right. [9]

Jel Bugle: A short rap song, not too bad. I liked the brief acapella bits, and change of speed.  [6]

Will Adams: Initially the brief run-time felt unsatisfactory. But when you pack as many scorching lines (and line deliveries) as Doechii does in "Nissan Altima"'s 120 seconds, who cares? [7]

Taylor Alatorre: Even when listened to with intent, the refrain registers not as individual words but as a percussive barrage of obscenity, which is more or less how Doechii wants it. It can still be diagrammed if you're into that, but its purpose is to soften you up for the more stylish and surgically targeted body blows to follow. She's unsparing yet economical with her flows, always giving the impression that there's more to her than what she’s choosing to reveal at the moment. She uses the breaks in the instrumental to fool you into thinking a beat switch is coming -- it never does -- but when it starts up again the beat feels slightly fresher than it did a few seconds ago. "Give us nothing,” but unironically. [8]

Nortey Dowuona: All rise and put your sticks up for the motherfucking Princess and that short ass second verse. [10]

[Read, comment and vote on The Singles Jukebox]

[swangtup6]

Mixtape Review: Sematary & Ghost Mountain - Hundred Acre Wrist (2020)

For ppl who somehow don't know, Sematary has been a pretty popular (relatively) underground rapper for the last couple years, known for mixing black metal, witch house, and old Chicago drill with a super cool aesthetic with influences from horror movies, esoteric-themes, and the occult, with a lighthearted and humorous side to it as well. I've been a fan of Sematary since mid-2021, and Hundred Acre Wrist, largely regarded within the fanbase as his best release (though I still think his Warboy EP deserves that title), has finally clicked for me. Let's discuss.

The first thing that stands out to me about this mixtape when I listen to it is the production. Most Sematary beats follow a certain formula: black metal sample or witch house synths with drum patterns ripped straight from Yung Chop layered on them, that are very repetitive and often have lots of beat chops, especially during the choruses. However, Hundred Acre Wrist takes these general ideas in a completely different direction, and cranks them up to 11. The production on Hundred Acre Wrist is of a totally different nature than Sematary's other work, it relies on NO sampling as far as I know (I believe I've heard that Ghost Mountain played most of the guitar found in the mixtape) (I could be wrong abt allat tho) and is instead a complex layer of etheral synth melodies, original guitar riffing, and complex and fast-paced drumming with heavy influence from drill, but taken in a different direction, with busier patterns and more complex rhythms. If you listen closely, with a good sound system, you can actually hear forest ambience and nature sound effects looping throughout the mixtape, furthering the natural vibe and atmospheric elements of the production.

The next thing is probably the atmosphere. As I touched on in the production paragraph, this mixtape has an incredibly strong atmosphere (and is insanely consistent quality-wise) without sounding too same-y. A common (and somewhat warranted) complaint I've heard a lot about Sematary's older stuff is that it's just one song over and over again, and listening to a tape like RB1, I can kinda hear that (I love RB1 though). Hundred Acre Wrist doesn't have this problem, every song is distinct. But they do all keep a very consistent atmosphere. This mixtape is in the forest, it's deer that don't look quite right, it's watching horror movies at a sleepover that you're definitely too young to be watching, it's scary stories you heard around a fire at summer camp, it's being 13 and trying DXM for the first time (we all did it don't lie), it's a fusion of all these kind of innocuous themes and vibes that, when combined, make a super cool and complete world, like an alternate reality, that you kind of sink into when listening to the album. Pay attention to the lyrics, trust me. Some of them are pretty goofy, but that's just a part of it.

Speaking of the lyrics, they are definitely what made this project click for me. I'd never really listened to what they were saying in the lyrics, but once I did I actually started appreciating this release for what it is. Sematary is amazing (especially on Heffalumps and Taxidermy) but I kinda feel like this is the one time where he takes a bit of a backseat to Ghost Mountain. Ghost Mountain has some HARD verses here, I'm gonna put screenshots of some of my favorite lines from both artists below. It's kind of amazing to me that nobody thought to combine the themes found here, and in most of Sematary's early music, before, but at the same time It kind of makes sense. Nobody else could do this in a million years, this is a genuinely unique piece of art.

This whole verse from Ghost Mountain is just so fucking eerie sounding, his voice has an almost paranormal feel to it that makes the strange and unique lyrics stand out. If you can't appreciate the artistry in this shit, don't say shit about music to me. (Tourniquet)

This is one of Sematary's hypest moments. When this clicked for me, I was playing Roblox and this shit made me turn off Roblox and rewind the song because of how fucking crazy it is. (Taxidermy)

Ghost Mountain's flow on this section is crazy. Just looking at the lyrics you wouldn't think this would work rhyme-wise but it does. (Johnny Cutter)

Both of them go so crazy on this song (Deer God). Nobody else could fuckin do this man, I don't know what to tell you.

Overall, this is just a super cool and creative work of art that deserves its flowers. There's a lot of really unique experimentation on here. What other underground rap mixtape are you gonna hear an acoustic folk song and a Q-Lazzarus cover? Sematary and Ghost Mountain took a LOT of risks on here, all of which paid off, and I think they reached the peak of their combined artistry. PLEASE listen to this.

9.9 / 10

Standout Tracks: Taxidermy, Deer God

btw did yall fw the pictures?

[dudja]

When I was 10yrs old, a kid on my block had a cousin named Patty #comedy #memes #funny #dannydevito

[lunaarorbiter]

💿 MEGAN ― M.T.S

album analysis + rating

b/n : been excited for this one and wanted to get this out asap. this is my interpretation of these songs and what i got from them. might not be yours and that's okay ! + last edit 10/24

HISS ((10/10))

― masterpiece from start to finish. she left EVERYTHING in this song. anything that anybody had to say she basically predicted because the response back is the song again.

in this, megan calls out multiple rappers, especially male. she calls out about how many male rappers are fein's for her body and fame. they're constantly chasing after her, and can't decide whether they wanna be her or be WITH her.

the verses she spits just keep coming in this song. it's a long ass receipt that she's been waiting to print and sign with class.

one thing i disliked was that it was heavily overshadowed by you know who.. not enough people payed attention to where the shots were directed and thrown at. drake for example.. her bbl line was a direct shot to him who can't handle rejection and who has constantly been taking low blows at meg and her body when he's been under the knife for "his".

not to mention the artistry in the music videos and the photos she'd been posting leading up to the release of this song. she aligned everything perfectly and made a snug spot for this in her discography. her references, bars, visuals, flow, foreshadowing and everything else was a masterpiece that will not be forgotten decades from now ..

RATTLE ((8/10))

― the instrumental in this has me imagining her walking on thin ice, confidently and not worried about breaking it because she can also walk on water. all eyes on her because they're waiting on her for ideas and what to talk about next.

this song is about people always trying to rip meg off and turn her into something she's not. she's standing up for her character and to the people who continue to try to take advantage of her ..

FIGUEROA ((8/10))

― catchy, rich, and classy. the meow got me. having to call out the lies and everyone who says shit about her.

WHERE THEM GIRLS AT ((8/10))

― this feels like it could be a club classic. the beat of it reminds me of songs from the early 2000's. simple and makes me wanna dance ..

BROKE HIS HEART ((8.9/10))

― she's dominating in this song. it feels like she's calling for her hottie army. + this song being just in time before pride month ends. need people to stop denying her sexuality now ..

B.A.S + KYLE RICHH ((10/10))

― right as the song starts, she jumps right in. she's not letting anyone play with her, her time, her pleasure, and body. any wrong way you treat her, she's gonna throw it right back at you .. the juxtaposition with the aggressive beat but soft feel of this sample blending together adds onto it.

she's winning the idgaf wars with this one as well. she doesn't care about how she's treating you because she deserves better anyways. this song is a shrug and her turning her back on you because you're not worthy enough

+ this SAMPLE. when it starts playing it's like the perfect after taste to an already delicious desert. i love the way the lyrics from the sample contradict with the song. sending completely different messages but still mix seamlessly. she makes the best uses of all the samples she uses. this time "out on a limb" by teena marie. an addictive listen especially when it gets to the end. a want to hear the end but not for it to finish ..

OTAKU HOT GIRL ((10/10))

― a fan favorite already, especially for megan's anime fans. can we acknowledge adam mcarthur, yuji's (jjk), english voice actor getting on this track to talk about how he likes grammy winners like megan?? with fat asses?? oh i know that's fucking right !

+ the jjk sample used in the song?? i love the eery sound and feel of the sample and how she incorporated it into the song. but WHO REALLY DOES IT LIKE MEGAN?? she searched and sought out for the puzzle pieces to perfectly connect to each other in this song. everything being smooth and blending together so effortlessly.

not to mention the japanese she was speaking, who's not bilingual? "can't touch me, like gojo" and the domain expansion line? yeah. this pulled the anime nerd out of me. her brain. also noting that megan had to keep changing the song days before her album released to appease the anime studio. give her, her flowers..

to listen to the part she sampled click here ..

FIND OUT ((9/10))

― once again in love with the instrumentals she uses. the tingly feel the noise effects give make it yummier. not much to say about this one, need to let it marinate a bit ..

BOA ((8/10))

― artistry on ten. references on ten. looks on ten. dancing on ten. only thing is i expected more from the song. i love the use of the sample from gwen stefani's "what you waiting for".

it definitely is an experience to watch the music video. the anime, movie, video game, and tv show references she was putting out, was being picked up.

a bunch of iconic looks that have been referenced already and will continue to be. you can tell a lot of work and creativity went into this one. not to mention the creative and comedic deaths. she showed her hot girl nerd for this track !

MAMUSHI + YUKI CHIBA ((8/10))

― again w the japanese, bilingual queen. a chill song that added some more flavor to the album. they're both speaking of their luxury being celebrities and glamor of it all. yuki and megan are bonding and relating to each other over those aspects ..

WORTHY ((7/10))

― a feel good self assuring song. she speaks of how she's worthy of the love she craves and deserves nothing less than that. everyone should have this type of confidence and this should be everyone's default thought process ..

MOODY GIRL ((10/10))

― she in her feelings with this one. relatable and a song that i connect with. feeling lonely with a room full of people and like she's the only one that feels that way and the only one that sees she's not okay. she's not feeling herself, looking in the mirror and thinking things she would never usually think. also being told and feeling forced to feel some other way as if she isn't trying to feel better.

feeling like everyone is against her and no one else is trying to understand how she feels.

i love the way she talks about her mental health in her music and captures negative feelings so perfectly. these types of songs are always overlooked by her songs about her sexuality. also the people who say she only talks about being sexual and having money when these songs are sitting here, get on !

the mellow background vocals add onto the sad girl theme of the song. we FEEL the sorrow she's feeling. wanting to party away the emptiness and despair she feels, wanting to move past the feeling but just stuck on it. one of my favorites and i fear it's gonna be underrated <//3 ..

ACCENT + GLO RILLA ((10/10))

― an addictive duo that i will always come back to. the passing of the baton in this song is my favorite. catchy, flowy, and throwing shots. need a music video where they're fighting something together ..

PAPER TOGETHER +UGK ((10/10))

— need people to stop complaining about the lack of tina snow on this album when this track exists. probably my number one on this album, she was NOT holding back. super underrated track and wish it got as much attention as mamushi. i love how she’s always repping for the south. her flow so unique, STOP COMPARING MY GIRL

“you ain’t a bad bitch if he cheating and you staying with him” TELL THEM AGAIN MEG !

SPIN + VICTORIA MONET ((9/10))

― a duo i wasn't expecting but goes so well together. again megan spitting fire ass verses. she’s collecting all the rnb girls. "messy, men wanna kick it like neymar let a man know i'm the goal, i don't chase y'all".. in this track they speak on people being hypnotized by them and their every move ..

DOWNSTAIRS DJ ((10/10))

― will forever love how open megan is with her sexuality. the start of this song with watery sparkly noises matches the vibe of the song. in this song she's talking about self pleasure and taking care of herself. she's not ashamed like how society wants women to feel. truly normalizing women being open. she's real as fuck, will tell you a joke but never a lie !

MIAMI BLUE + BIG K.R.I.T. BUDDAH BLESS ((8.5/10))

― buddah did his one on this track. very different sound imo. enjoyed the feature and song in general. definitely underrated as well. hope she continues to work with buddah ..

COBRA ((10/10))

― one of my favorites in the album. cobra delves into the hardships megan faced and the reality of her mental health throughout these years. the many difficulties she had to face alone with an audience watching her every move wasn't an easy feat but she did it with grace, something that many admire about her. she continues to keep it real with her fans and show her scars.

the symbolism and visuals tying in together with shedding her skin and becoming a different person and moving on from that part of her life is genius. the rebirth of megan. thinking outside the box feels like the usual with megan.

+ her versatility with the beat of the music. just by how the song starts it gets you excited, not knowing what to expect until the beat drops surprising you. this song shows you a different side of megan and feels like a complete 180 compared to her other work ..

OVERALL RATING :: ((9.3/10))

final thoughts :;

megan thee stallion's first independent album. her artistry, on a completely different level, her flow and delivery 10/10. she has such a creative mind that extends from just rap and music. it SHOWS in her visuals in her music videos. it is such a beautiful art that she continues to make and she is consistent with it. her music goes past the bounds of any rapper right now. her versatile blend of rap, instrumentals, and her niche interests.

this album also having her constantly switch up her flow and each song being their own. nobody can say anything about that ever. people who say she doesn't change her flow only listen to her surface music and don't bother to acknowledge her artistry and songs aside from her features.

also her work when it comes to sampling other songs. she completely transforms the samples she uses and makes it her own, using it as a seed for her music. doing it megan's way.

i wished she would have explored more with other alternative genres as well like she did in cobra rock version, and hope she does so in the future.

i will never get tired of her referencing animes. always being discreet and behind fire and smooth bars making everything fit together. she said people hate her because she's a hot nerd and right ! will forever be obsessed w thee stallion and enamored with her work and grind. my favorite album from her now !

@lunaarorbiter

[hiphopncountrychick]

J. Cole: A Hip-Hop Icon Who Raps Without Guns, Gangs or Negativity

In the world of hip-hop, where the spotlight often shines on extravagant tales of violence, gangs, and materialism, one artist has consistently stood out for his commitment to authenticity and positivity. J. Cole, born Jermaine Lamarr Cole, is an iconic figure in the rap industry who has managed to make a profound impact without resorting to the glorification of guns, gangs, or negativity in his music. With thought-provoking lyrics and a dedication to being true to himself, J. Cole has carved out a unique path in the rap world.

On this special day, January 28th, we celebrate the birth of one of hip-hop's most influential figures - J Cole. Known for his insightful lyrics, powerful storytelling, and raw authenticity, J Cole has carved a niche for himself in the music industry. Let's dive into the remarkable journey of the artist who started rapping at the age of 12 and has since become a triple platinum-selling artist with his groundbreaking album, "2014 Forest Hill Drive."

Early Years and Passion for Hip-Hop:

Born Jermaine Lamarr Cole on January 28, 1985, in Frankfurt, Germany, J Cole developed a passion for hip-hop at a young age. Growing up in Fayetteville, North Carolina, he began rapping at the tender age of 12, showcasing his innate talent and determination to make a mark in the world of music.

The Struggles and Triumphs:

J Cole's journey to success was not without its challenges. After graduating magna cum laude from St. John's University, he faced the harsh realities of the music industry. Working odd jobs to support himself, Cole's perseverance eventually caught the attention of Roc Nation, where he would later cross paths with hip-hop mogul Jay-Z.

Meeting Jay-Z and Signing to Roc Nation:

In 2007, J. Cole was on a rap website and he read an article on how Jay Z was making his tenth studio album, American Gangster. J. Cole had high hopes of meeting Jay-Z and being signed under him.

After reading the article, J. Cole conceived of a plan on how he could make beats for Jay-Z’s American Gangster. He saw this as an opportunity, a calling from divine intervention to pursue this path to get himself in the limelight of music. He said it was as if “God is telling me to get on this album. So I was praying for it.” This was going to be how he was going to get on as a rapper.

With his plan in mind, Cole went to work and carefully selected all his best beats for Jay-Z. Cole and his friend got all the beats on a CD and waited outside the Roc the Mic studio in the rain waiting for Jay-Z to arrive. They had a hunch that Jay-Z would be there to finish working on the American Gangster album.

Two hours passed before Jay-Z showed up in a black Rolls Royce Phantom. The opportunity came, standing in front of J. Cole was the person who he had visualized, dreamt of meeting, and moved to New York for. This was the person who could hand him his ticket from his overdue rent and into stardom. As he walked up to Jay-Z, words refused to form but J. Cole mustered up the courage to approach Jay-Z and hand him the CD.

Jay-Z saw Cole and said “Man, I don’t want that.” Cole in an interview with ABC said that “I thought he was evil at that point — cause it caught me off guard, I had such high hopes, that just one little phrase like that from him.”

A year later, it was Jay-Z asking to meet J. Cole. The same person he previously dismissed. Veteran A&R Mark Pitts played for Jay-Z one song which lead to a three-hour meeting which lead to multiple meetings until eventually, J. Cole was officially the first artist signed to Roc Nation.

Things will materialize sooner or later as long as you stay persistent.

"2014 Forest Hill Drive": A Masterpiece Unveiled:

In 2014, J Cole released his magnum opus, "2014 Forest Hill Drive." This album, named after the address of his childhood home, is a deeply introspective work that earned critical acclaim and achieved triple platinum status. The tracks not only showcase Cole's lyrical prowess but also offer a raw and unfiltered glimpse into his life, covering themes of love, fame, and societal challenges.

A journey of trials and tribulations combined with lessons learned is what Jermaine Cole experiences. A vivid picture of each phase of his journey gets depicted beautifully to me.

In life, I believe that we all get distracted from different environments and prioritize materialistic things such as social media and use it as our main source of love, mistakenly.

In this album, Cole vividly portrays that this should not be the case and instead, we should prioritize non materialistic things such as friends, family, and home to bring happiness.

"Love Yourz" and "No Role Modelz" are emblematic of the album's brilliance, marrying profound messages with infectious beats. "2014 Forest Hill Drive" not only propelled J Cole into the mainstream but also solidified his position as a storyteller capable of weaving intricate narratives through his music.

Conclusion:

As we celebrate J Cole's birthday, it's not merely an acknowledgment of the passing years but a celebration of an artist who transformed dreams into reality. From the streets of Fayetteville to international acclaim, J Cole's journey is a testament to talent, resilience, and authenticity. So, to those unacquainted with his work, take a deep dive into the world of J Cole – an artist who not only raps but leaves an indelible mark on the soul of a generation.

As we conclude this deep dive into the life and artistry of J Cole, I invite you to join the conversation. What resonated with you the most about J Cole's journey? Share your thoughts, drop a like, and let me know your favorite J Cole song. Engage with me in the comments, unraveling the lyrical tapestry that defines his impact on the hip-hop landscape.

I want to hear from you—what aspect of J Cole's life or discography would you like us to explore next? Your feedback fuels my passion for storytelling. Don't forget to share this article with fellow music enthusiasts. Let's create a community that celebrates the artistry of J Cole and anticipates what's next. Thank you for being part of this journey. Stay tuned for more tales from the world of music!

Honorable mentions:

@todayinhiphophistory

@hiphop

@music

@jcoleofficial

[kimmiediamond]

WHAT IS IT, THE BRAIDS?! - K.Dot 🔥

[pocritics]

Duquesa - Taurus, Vol. 2 (2024)

Ela (Intro) - 90/100

Turma da Duq - 95/100

Big D!!!!! Pt. 2 - 100/100

Milionário e José Rico (feat. Jovem Dex) - 75/100

Tá Eu e a Nicole - 97/100

Primeiro de Maio (Gostosas Inteligentes) - 85/100

Disk P@#S%&! (feat. Tasha & Tracie) - 88/100

Vermelho e Preto - 78/100

Banco do Carona (feat. Baco Exu do Blues) - 70/100

Só um Flerte - 80/100

Purple Rain (feat. Yunk Vino) - 93/100

Voo 1360 - 96/100

Pose (feat. Urias) - 80/100

Nota: 86/100 Best Track: Big D!!!!! Pt. 2

[reckonslepoisson]

Cold Visions, Bladee (2024)

Back on 2018’s Icedancer – what feels like an age ago, six years – Bladee shifted from a trap-based sound to a pop one; on Cold Visions he returns  – only everything is different. In recent years trap has hardened, been brutalised into ‘rage’, and Bladee has become more lyrically impressionistic and emotional, more versatile in his delivery and much more famous, more exposed to the pressures of fame. As a result, Cold Visions is monstrous, immense, a disorienting storm of regret and resolution, absurdity and clarity, darkness and optimism. A Bladee landmark. 

Pick: ‘Flatline’

[icravemusicx0x0]

rating music pls dont hate me #36 | I LAY DOWN MY LIFE FOR YOU - JPEGMAFIA

JPEGMAFIA goes inside the recording studio to start RECORDING the INTRO TRACK: I SCREAM THIS IN THE MIRROR BEFORE I INTERACT WITH EVERYONE. he got his head close to the microphone, took a deep breath, he said, as the cymbals rocks softly:

"IF I WAS A NBA PLAYER I WOULD BE DILLON BROOKS—BUT WORSE."

imagine if it goes like that. anyways, PEGGY dropped a new album on the 1ST OF AUGUST. 41 minutes of this album are filled with AGRESSIVE LYRICISM, and a stronger PUNK aspect to the 34-YEAR-OLD NEWYORKIAN RAPPER's CIGNATURE PRODUCTION. his WRITING is EMOTIONALLY DYNAMIC and his music is LUSCIOUS in terms of VARIETY.

LYRICISM

PEGGY is well-known for his CREATIVE BARS, and he kept that in his new album. he's like TAKING SHOTS at everything like a NBA player on a court (isn't his whole NBA persona DILLON BROOKS BUT WORSE? makes sense to me at least). there a lot of mention of RELIGION and FAITH in the album overall, in fact the title of the album comes from HOLY BIBLE VERSE JOHN 10:17-18. this is what i love about JPEGMAFIA's MUSIC ARTISTRY.

I LAY DOWM MY LIFE FOR YOU, to me, is a VENT of his EXPEREINCES. on I SCREAM THIS IN THE MIRROR BEFORE I INTERACT WITH EVERYONE, JPEGMAFIA burst out his usual HUMOROUS RANTS like a TROLL he is. EXMILITARY has the SHOTS but it's a FUCK YOU to the MILITARY INDUSTRY COMPLEX (fans may know that his MILITARY YEARS was the worst). I RECOVERED FROM THIS, however, shows a TIRED PEGGY in the recording studio (no more BEEFING!) as he talks about PAST RELATIONSHIPS and the PAIN he had to dealt with.

PRODUCTION

JPEGMAFIA is more AMBITOUS in I LAY MY LIFE FOR YOU than ever. JPEGMAFIA is usually the only PRODUCER of his music, so he's a really INDEPENDENT person, and he's also a really AMAZINGA producer too, i'm being serious. his style is EXPERIMENTAL, SAMPLE-DRIVEN, and over all CREATIVE and INTERESTING. every songs on this new album is BANGERS TO BANGERS because the production felt more FLEXIBLE and CONSISTENT throughout. in JANUARY of 2024, i visited BRAZIL and had experienced the BRAZILIAN FUNK genre, to me the most INTERESTING DJ-PERFORMED GENRE. he took the CORE FEATURES of this genre and INCOPORATED his own SPICE to it.

I SCREAM THIS IN THE MIRROR BEFORE I INTERACT WITH EVERYONE has some insane BEAT SWITCHES, like what do you mean we need a SHRILLEX ass beat on your RAPPING? alright… (also can we have more of this i love it)

CONCLUSION

I LAY DOWN MY LIFE FOR YOU is JPEGMAFIA's STRONGEST and most DYNAMIC album to date. it's really WELL-MADE, and he managed to keep a BALANCE in his EXPERIMENTALISM approach so even the HOES can bop to it (contrary to the previous album). JPEGMAFIA is the most CREATIVE artist i have ever seen in the UNDERGROUND RAPPING SCENE.

underrated gem(s): I SCREAM THIS IN THE MIRROR BEFORE I INTERACT WITH EVERYONE - i'm sorry for meat riding this song but it's really good, IT'S DARK AND HELL IS HOT - brazilian funk jumpscare, DON'T RELY ON OTHER MEN - i heard you went downdowndowndowndown, JPEGULTRA! - it was actually giving LP! actually, LOOP IT AND LEAVE IT - it's too good, I RECOVERED FROM THIS.

tracks that i rec listening: SIN MIEDO, I'LL BE RIGHT THERE, VULGAR DISPLAY OF POWER, EXMILITARY, JIHAD JOE, EITHER ON OR OFF THE DRUGS, DON'T PUT ANYTHING ON THE BIBLE.

worst track: NEW BLACK HISTORY - not the wildest track of his discography but it's not as impactful as his other songs in the album.

overall score 8.6/10 - this is all opinion so pls no hate

[bangers2]

Kendrick Lamar - Mr. Morale and the Big Steppers (Long review)

AOTY first impressions: I quite literally cannot put together words to describe this album. It's cathartic and deeply personal while at the same time being so sonically diverse and obviously Kendrick's flows are amazing. Even though it's a heavy listen, it's one that I keep coming back to - even the more challenging tracks like "We Cry Together" are just SO interesting, artistic and purposeful.

Mr. Morale & the Big Steppers is a 2022 album by the incomparable artist Kendrick Lamar. The album is deeply personal and sees Lamar working through deep-seated trauma and confronting how it has impacted his present-day life. It's a double album; structured such that each track is a different therapy session, and they all tackle different angles at which he approaches his struggles. There are emotional highs and lows as the album (and his healing) progresses, showcasing the non-linearity of the process.

I think the underlying messages of the album are ones that resonate with me deeply - addressing the general sentiment that "hurt people hurt people" by tackling Lamar's personal issues head-on and connecting back to underlying traumas and struggles he experienced in the past. The advocacy for therapy and healing is so important in this day and age, when there is still so much stigma in many communities.

While MM&TBS is a difficult listen, it's one that I think everyone should have at some point. There are some challenging topics discussed. But they're so important.

Other than the lyricism, I found the production on here so diverse. It's a lot more minimalistic than Lamar's other albums but still keeps things interesting. "Worldwide Steppers" has a beat that almost sounds like a panic attack, floating in and out and having a rushed energy. "Purple Hearts" features sweet chords and a wonderful drum beat. "Saviour" has a chord progression and synth(?) line that I can't even describe, but the feeling it gives elevates the ideas of the song brilliantly.

I don't know why this album was shrugged off by so many. It's not as immediately hard-hitting as TPAB or GKMC, but with time and attention, it's a record that I genuinely believe is Kendrick Lamar at his best.

While I think this is an album that must be listened to in full, I think a good introduction is the track "Count me Out." It features a wonderful chorus and introspective lyrics, and while it's a turning point in the album (the first track of the second album, "Mr. Morale"), I think it echoes themes present throughout the entire record. Give it a listen!

I have found the rap beef immensely entertaining, but it has also opened the door for so many more people to discover the rest of Kendrick's music. As a newer fan (I first listened to TPAB in September last year), I'm really glad more people can get to sit down and listen to these albums for the first time. MM&TBS is one of my favourite albums of all time. I hope it resonates with new fans as much as it did for me. I just hope people don't go into this expecting "Not Like Us." 💀

anyways, thank you for reading! I love writing album reviews and getting to yap about topics I enjoy, and this album has been really impactful to me as of late. While I don't relate to his personal struggles much, I do relate to the general idea that healing is non-linear and a lot of your current self-destructive behaviours are a result of past suffering. Understanding that and giving yourself grace as you heal is so important.

If you've made it this far I just want you to know that you are loved and deserve so. much. good. Whatever you may be going through, you will get through it. Keep going, it will all be okay in the end! I believe in you. You got this. <3

[thesinglesjukebox]

GLORILLA, MEGAN THEE STALLION, AND CARDI B - "WANNA BE (REMIX)"

Go Jukebox! Go Jukebox! Blurb 'em, Jukebox! Blurb 'em Jukebox!

[7.10]

Wayne Weizhen Zhang: Punchline after punchline, read after read, hook after hook, no fat: just three talented titans at their tyrannical, terrifying peaks.  [9]

TA Inskeep: Cardi joins Megan and Glo — clearly their spiritual daughter — for some real hot girl shit. The beat isn't anything special, but when you've got spitters this hot on the track, I don't care. [8]

Taylor Alatorre: The addition of Cardi B turns what was a fun little collab into a putative Event Song, a burden that the midtempo sameness of the Soulja Boy sample is perhaps unequipped to take on. It's a trunk rattler, sure, but it feels perpetually on the verge of starting and never going anywhere, much unlike the drop-centric "Pretty Boy Swag." The upside of this rhythmic severity is that it makes it easier for the listener to pick out the pleasing stylistic contrasts at play here: the way GloRilla splays herself out across two whole bars just to remind us that a year has 365 days in it, whereas Cardi barks the words "pop ass on jet ski" like she’s avoiding a shot clock violation. Meg’s role is as the stabilizing force between these two extremes, which is maybe the first time in history that anyone’s referred to Megan Thee Stallion as a “stabilizing force.” [6]

Katherine St. Asaph: These credits should really be in reverse order, to better represent the three rappers' respective firepower here.  [6]

Jacob Sujin Kuppermann: I’m filling out a Cardi B apology form after being down on “Miami” earlier this year — this verse is so good that when she gives herself a pep talk in the ad libs at the end it sounds deserved. Glo and Meg are also great, of course, and I’ll always be favorably inclined towards a rap hit that pays tribute to E-40, but the beat here lets the trio down — it creeps when it should at very least groove. [7]

Nortey Dowuona: I am going to repeat what a great black poet once said in regards to all my white colleagues in reference to Cardi B: Don't save her; she don't wanna be saved. (Megan and Glo are good on this, tho.) [6]

Julian Axelrod: "Wanna Be" feels gloriously unmoored from time, as Megan Thee Stallion and GloRilla play hot potato with the "Pretty Boy Swag" beat and shout out 2012 heartthrobs Channing Tatum and Justin Bieber. (To be fair, Channing has never looked better.) But in an era where guest verses are airdropped in from a tour bus several states away, the biggest throwback is their electric interplay on the chorus, which crackles with the kind of chemistry that can only be achieved by two baddies in the same room. Listening to them trade bars feels like walking into a conversation directly after the punchline; if you have to ask why they're laughing, the joke is probably on you. Spare a thought for Cardi, who's left to wander the empty space around them like Howard Hughes roaming his abandoned mansion. Hearing her root for herself on the outro after Meg and Glo finish hyping each other up is one of the most devastating depictions of third wheeling ever put to tape. [7]

Jonathan Bradley: The Soulja Boi flip is hot but the Project Pat flip is hotter. Glo is imperious ("Do I look like fuckin' Super-Woman" she asks, incredulous), but Megan is commanding, running a sword through a million misguided fantasies with a cutting "You ain't my daddy; I'm not your baby." (Nice Gucci Mane call-back, too; the references here are laser-focused on the early Obama era.) This is a remix, so we get bonus Cardi material. Unlike Glo and Meg, she has to hype herself up at the end, which feels kinda bad, but she could never be a third wheel, not when she's bringing fun phrasings like "hoes be chippity-chopped," which rhymes, of course, with "hickory dickory dock." [8]

Ian Mathers: The original didn't particularly feel like it was missing anything, but I'll happily take Cardi's fierce verse here for "my toes white like Matthew McConaughey" alone. And I'm not too proud to admit that at some point in the future I am absolutely going to refer to myself as "white boy wasted," either. [8]

Brad Shoup: Is Megan admitting to skiplagging? Megan, they'll ban you from the airline! [6]

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