#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)

[gxbtx]

The CHROMAKOPIA Album Review

The project begins with the track “St. Chroma,” laying foundations of his ingenuity by marching along to his whispered anthem of vanity. Like soldiers, he’s leading us into the unknown as a sergeant character using Daniel Ceaser’s returned angelic vocals to lure us into CHROMAKOPIA. Tyler (T) reels us in with the fire, getting us ready for what is to come; the metaphorical light instilled from what seems to be his mother shows us the sprightly source of creativity continuing to fuel him. The bridge ascends to a drop, and T explodes all expectations of what we think this album will be. He sets out the idea of the doubts that begs him the question of: “Do I keep the light on or do I gracefully bow out?” Introducing the term “CHROMAKOPIA,” it seems to me that the album is to dive into all the new challenges in his life, using the lessons from back home to put into perspective what his mother would say. To me, CHROMAKOPIA is the name of a thematic representation of where the chromatic roots of T’s musicianship began: his mother. 

Credit; St. Chroma music video by Tyler, The Creator

Projects prior to the 2024 release brought decade-defining sounds to and throughout the years of the pandemic. Tyler’s chutzpah has brought him up to continuously get better and better with each release, developing a new thematic persona for each new project. Flower Boy in 2017 reversed his offensive nature (prevalent in his early upbringings on the adolescent internet), transforming people’s perceptions of his capabilities to prove what he set out to accomplish years in advance. IGOR in 2019 was an experimental mix of R&B, soul, and some rap, using chords to amplify the sounds of Flower Boy that turned out to become a Grammy-winning success. Call Me If You Get Lost was the braggadocious Gangsta Grillz mixtape that Tyler had mentioned wanting to do since childhood, introducing the elements of hip-hop that heavily inspired him to his large audience. Tyler was on top of the world after COVID, and has not seen any decline since.

So to no surprise, teasers of CHROMAKOPIA brought a climactic moment of pure-excitement, one that fans had been building up for years. The unexpected timing and punctual nature of Tyler's album cycle this time around created a buzz around the Halloween season release, with teasers revealing a sergeant costume and a mask. T then reversed the expectation and overall theme of his album in espionage, however, using his masterful ability to get the listeners to hear what he actually wanted to say. T uses the demanding spotlight to show the consequences of fame in this hyper-digitalized age of the internet. Seen in the clever pick of the single, “Noid,” T introduces the distressing paranoia that his level of fame has induced. To an extent, his experience as one of the biggest stars of this decade has left him with a decommitment to his fans as he is left paranoid living in his home of Los Angeles. The mask seemingly represents his public persona from his music, which is so closely tied to him as an individual to the point that he is recognized anywhere he goes. T’s impressive abilities to demand the attention of the listeners seems to be a double-edged sword, with it also being the biggest drawback of his fame. 

Credit; Noid music video by Tyler, The Creator

Although Tyler begins to become more candid, this does not slow down his ability to RAP. He follows “St. Chroma” with “Rah Tah Tah,” bringing new confidence to the playlists in 2024. Tyler adds his classic dawg growls with these clicking sounds that make me think of shells, bringing us back to his early Odd Future era of music. Shouting out Kenny at the end of the track, T shows the LA love by sharing the energy of the spirited revival of hip hop in his city over the summer. He extends this wave of tenacity with features of GloRilla, Sexyy Red, and Lil Wayne on “Sticky,” displaying the dexterity of his production skills. T borrows elements explored this year by Pharrell Williams with drill team instruments, like the loud trumpets heard after Wayne’s verse–Tyler compliments the best features of each artist using the production to bring weight to each of the brief verses. “Thought I Was Dead” supplemented a great showcase of SchoolBoyQ, and served as a notable teaser to the album days prior to show the rap-heavy album this was going to be. “Balloon” features the new and breathtaking talent, Doechii, with a prolonged verse stimulating an impressive word play and animated personality. Even in all of these features, T is rapping his ass off to remind you whose project these tracks belong to.

This project’s capabilities are not limited to just his hyped-up raps and sounds of driller beats; more so than his previous projects, CHROMAKOPIA dives into themes of vulnerability and introspection. Sitting at age 30, time has become a struggle that is glaringly applicable to many of the topics Tyler dives into. In “Hey Jane,” T reveals a surprising mistake, leading to a conversation with a woman about an unplanned pregnancy. T’s worries and thoughts about becoming a father, especially so soon in his career, sheds light on the sides of his life that he deems unfit for a child to see. It seems that the relationship between the two is relatively healthy, as T’s lyrics in both parts of the conversation pose a mutual understanding and respect for each others’ emotions. It’s later revealed that Tyler’s mother is very keen on the thought of a grandchild, seen in the apprehensive, string-heavy “Tomorrow.” The pressure regarding the topic of fatherhood is represented through the repeated phrase “Give it up!” when his mother is talking about her desires for a grandchild, showing us the role times plays on the other side of parenthood. This same phrase is found in the track that follows “Hey Jane,” named “I Killed You,” a continued display of the pressure T feels: his apprehensiveness towards parenthood seems to come from the feeling of obligation to have a child, but the unfit environment that makes it a difficult reality to imagine. The crass nature of the song in the beginning is reminiscent of some of his earlier projects from Goblin and WOLF, bringing a dark and twisted tone to the topic of abortion. His justifications align with the aforementioned negative side effects of fame—like his paranoia—and T’s overall self-proclaimed “selfish” lifestyle. The bridge, however, falls into a more Flower Boy-esque sound, as T touches on the inherently pure, innocent form of beauty that the child would represent; the delicate nature of the child is at such a high risk thanks to the drawbacks of his fame. His tug-o-war between the life and the endangered innocence of the child represents the surface level justifications towards an abortion, but perhaps this talk of fatherhood displays a larger reflection of T’s character.

The irritants of Tyler’s world are brought about in “Take Your Mask Off,” dissing the fraudulence he observes in religion, family, and musicianship. Toward the end of the track, however, it seems he aims his shots towards himself after his mother’s reminded lesson of “Keep that sh*t one hundred with you, with yourself.” T then proceeds to take his own mask off, insulting his own excessive lifestyle, as well as his business endeavors that feel shallow or hypocritical—with the majority of his income coming from clothing purchases from an audience that’s not fully tapped into his music. He insinuates that he has lost touch with the mass-appeal audience he’s culminated over his career, reflecting on the fact that his musicianship is not recognized to the extent he geeks about. He also mentions his selfish nature in specific regard to his lustful desires, challenging himself with the idea of therapy, and to get to the bottom of why he really doesn’t want to be a parent. His lack of commitment in relationships is specifically showcased in “Darling, I,” with the upbeat R&B sound enhanced by Teezo’s exclusive vocals. In this song, he reveals how his lack of monogamy and greedy desires have potentially become obsolete or immature for his age, leaving him at a crossroads. Revisiting the themes of “Tomorrow,” the dissonance of the sounds come to show the uncertainty of whether it is time to change his ways, or if he should continue down the path that seems to have left him slightly unfulfilled. Similar to how Kendrick Lamar peeled the entire banana of his own discontentment and struggle in Mr. Morale and the Big Steppers, it seems as so Tyler, The Creator is starting to peel back a few layers of his own.

Tyler starts to end his project with a yearning for his father who was never there. He comes to ask his mother to be honest about his father’s absence, as his aforementioned struggles with fatherhood could align with his idea of why his father wasn’t there for him. I really enjoy the falsetto melody accompanied by Lola Young over the eager guitar solos, leading up to an eargasm bridge that is a lovely, bittersweet expression of longing. The conversation leads T to wonder why he is thinking about his father when he’s received all the love, support, and accolade he could’ve ever wanted from both his mother and the world. The ending of the song is an explanation from his mother as to why his father wasn’t there, bringing a sense of closure alongside the admission of her mistakes, in a beautiful way that brings tears to the eyes. The following track, “Balloon,” goes on to be one of the most positive and uplifting songs I’ve ever heard from Tyler, easily becoming one of my top songs of the year. This track brings the album to a satisfying close, as the self-reliance and self-confidence bring a more positive perspective to the unsure, somewhat dark feelings explored prior. 

Tyler popping a balloon in the studio with Teezo Touchdown. Credit; "Mask is Off: CHROMAKOPIA" from Tyler, The Creator on Youtube

Tyler’s ending track, “I Hope You Find Your Way Home,” wraps up the project by summarizing the feelings discussed throughout all the songs. He comes to answer the questions he poses throughout the album with confidence, even if in a somewhat impermanent way. The journey back home to "CHROMAKOPIA" guided him through his strife, using lessons from his mother to prompt both the sources and solutions. This project doesn’t seem to be a representation of a thematic character he’s usually creates alongside the music, but rather is him taking off the mask to reveal his truly vulnerable self to the world. All of his struggles that coincide with being a cultural influence show that even he is not perfect; and, with coming to terms with that, Tyler culminates a musical experience that drives you throughout his own personal self-reflection. CHROMAKOPIA is the complex inner-workings and trials of not only Tyler’s sergeant character leading the listeners to the next best phenomenon in music, but of Tyler himself–listeners are shown a real reflection and assessment of his character, humanizing one of the decades’ most committed entertainers.

To see this project as part of my RadioUTD organization, visit

[rudegyaltune]

So as you may or may not know I’m out here living my dream life and shit & I wrote a review on this album. Mind you this was my first time hearing this man’s music it’s THAT good. I hope you guys take a listen to his project (it’s NEEDED It don’t just sound good it’s therapy literally) andddd read my article.

[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]

[vinniedangerous]

As 2024 draws to a close, I want to highlight some of my favorite moments of the year. My album “Dream Til It’s Over” received a lot of coverage I’m thankful for but this is one of my favorites because it was a review written by Chris Buxton from my home state of NC. A big theme of this album is reflecting on my childhood & Fayetteville played a big part of shaping me as an artist & a person.

Read here:

[dudja]

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

[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

[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’

[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

[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

[omegaremix]

Autumn 2016 Mixtape:

Honeyblood “Sea Hearts”

Connie Laverne “Can’t Live Without You”

Kedr Livanskiy January Sun

Body-San “Shining The Money Ball”

C.V. Jorgensen “Ghetto Svend”

9th Wonder & Buckshot ft. Talib Kweli “Hold It Down”

Uniform “Symptom Of The Universe”

Czarface ft. Vinnie Paz & Cappadonna “Shoguns”

D.I.T.C. “Rock Shyt”

Lizzy Mercier Descloux “Fire”, “Wawa”

David “Baby” Cortez “Happy Organ”

Low Red Center s/t

Alan Turing “God Save The King / Baa Baa Black Sheep / In The Mood”

Dolly Parton “Jolene” (33 RPM)

Tobacco “Gods In Heat”

Pere Ubu “Blow Daddy-O”

La Coka Nostra “Waging War”

Elusive Textures

Technicolor Skull “Technicolor Skull”

Hanin Elias ft. Electrosexual “Hold Me”

IKO 93 “Drag” / “Mutt”

Innsyter Poison Life

Bloom Offering “Bite Their Tongues”

Jlin “Downtown”

Sandro Brugnolini & Stefano Torossi “Effetto Notte”

Comet Gain “(All The) Avenue Girls”

Le Matos “Eyes Throat Genitals”

Bill Loose “Slight Misgivings”

L-Fudge Chronic Irresponsibility

Author & Punisher “Lust For Scales”

Sun Ra “The Cosmic Explorer”

Liquids Hot Liqs

Ice Cream Love, Ice Cream

Khost “Deathset” (Godflesh RMX)

Ramleh “Airborne Babel”

L-Fudge ft. DJ Spinna, Shabaam Shadeeq & Talib Kweli “What If?”

Caroline K “Tracking With Close-Ups”

Rosa Yemen “Herpes Simplex”

Jonas Reinhardt “Androma”

Sunrise Ltd. “Our Love Will Grow”

Tearist “Headless”

Red Fetish “Spanish Meths”

Hot Chocolate “Could Have Been Born In The Ghetto”

Vibrators, The “Disco In Moscow”

York Factory Complaint Lost In The Spectacle

Nick Klein I’d Rather Sit Alone, “Anxiety Plae”