Dark Lane Demo Tapes does one thing in particular, it reminds you that Drake has talent. That talent gets lost a little in all of the stuff around him. He’s a superstar in a real sense. He is the upper echelon of the upper echelon of fame and it can be easy to forget the music what with the shoes and the viral videos and all that, but even with a loosie like this, Drake just puts out very good music.
“Toosie Slide” has the viral dance that it was built around and the virtual tour of his mansion and it’s probably already something I can do in Fortnite, but it’s the song that’s stuck in my head, not the accessories. His flow is excellent. He’s greyed the area between singing and rapping so thoroughly by now that the question of what is what feels empty, but it’s still incredible. The pauses in his chorus are nothing short of genius. The song is infectious and every bit as good as anything Drake has ever put out.
He’s got a great sneer in this album. “When To Say When” takes well-placed shots at the people biting at his heels. The stunting in “From Florida With Love” is excellent bragging, even if the jetsetting lifestyle seems a little quaint at this exact moment, as is also the case in the fun “Landed.” Drake wears his superstardom well.
However, this is where the mixtape fails a little. Drake sticks to comfortable poses throughout. He plays superstar in the ones above, he plays Toronto sadboy in the rest, and I’d like to see him try something new. “Pain 1993” gestures at that growth, but it still feels like the old Drake. “Losses” talks about changing, but he’s still as quick to mope and as petty as he has ever been. “D4L” is quite good trap, but the man has worn these topics through. Even reimagining “Superman” in “Chicago Freestyle” while clever and solid rap feels a little pointless at the end.
Drake is a father now, and while it’s trite to expect family to change a man, it’s unbelievable that it doesn’t. Drake only ever shows us what he wants to show us, but his music suffers for running the same themes again.
Musically though, he’s as inventive as ever. His proficiency at trap is no surprise anymore, but “War” is excellent British rap. Drake has been both willing and able to experiment with everything in rap and beyond and he does it with consummate skill. His shapeshifting is as much a part of his legacy as any of the shinier parts.
This is where the mixtape ends up falling overall. This is some of the most consistent work that Drake has ever put out. It’s all good, high-quality rap. Drake has perfected his molasses sound, it’s sugared, but dark and viscous and it sticks to you, but he adheres to the same limited issues and it’s beginning to hold him back. Nevertheless, he’s good enough to make this mixtape stand out. This has some of the best music of the year and while Drake is definitely capable of more, he still delivers in a way that most cannot.
Jimmy Greene has made something of a name for himself in jazz circles since 2014’s Beautiful Life and while the sequel wasn’t quite as brilliant, it’s still always exciting to see new music from him. Unfortunately though, While Looking Up leaves too much to be desired.
There are some definite stand-out moments. “While Looking Up” has a very nice sax solo and some unexpected diversions in the piano solo and there’s good energy in “Always There.” I always like a vibraphone solo and the one in “April 4th” is a delight, even if would have benefited from some tightening. Jimmy Greene’s sax work is also excellent in the slower “Good Morning Heartache” and the equally heartfelt “I Wanna Dance With Somebody (Who Loves Me).” He’s good at getting emotion through, but the song stays too long without enough to say.
This happens with some regularity in the album and it pushes the whole thing too far into easy listening for my taste. There are some clever bits, but the album tends to predictability, a trait made worse by a number of songs refusing to end. It’s an often beautiful album, but one without depth and one ultimately that’s hard to recommend.
It has been a long time since we’ve seen an album release like Fetch The Bolt Cutters. Acclaim this universal comes by only about once a decade. The combination of storytelling and challenging, clever music is powerful and the album is unquestionably brilliant, but it lands just a little short of being a full fledged masterpiece for me.
Firstly, this is an album that rewards attention, even if it doesn’t do that much to force it upon itself. It’s a largely understated album but right underneath the surface are all kinds of interesting currents. It’s heavily layered, but delicately so. Despite all of the flirtations with noise pop, the album only rarely pushes at you. It’s content to just be itself. Should you spend the effort to focus on it then it is generous with its rewards, but should you not, it’s not going to make the first move.
For instance, in the excellent title track, there are beautiful little musical sparkles running below her already muted voice and percussion. You can spend the whole song chasing any one of them happily and then come back to do it again with a completely different strain. Small touches like the chimes and the barking dogs at the end substantially elevate the song as a whole. A trend through the album is ˙letting each song fade with the band noodling and Apple vocalizing and this both highlights and expands the music. They like messing with noise here, but instead of the tortured guitars of 90s alternative, this is gentle, gossamer noise. It’s the sound between radio stations at night. Instead of breaking the song down, it builds upon the foundation that it set.
“Fetch The Bolt Cutters” also has fantastic storytelling and sharp lines through it. “And you maim when you’re on offense / But you kill when you’re on defense” is a great couplet. The quiet, but determined, music works excellently against the dark humanity of the lyrics. It finds exactly the right tone to communicate a very specific feeling, that of understanding that it’s time to cut the links with a person. This is a very understated song in an already understated album and quietly one of the best in here.
The writing here can often be excellent. The album is exceptionally coherent and so the storytelling comes through strong. “Rack of His” is a clever and honest song built around a sublime pun and ”Newspaper” is sharp story. “I wonder what lies he’s telling you about me / To make sure that we’ll never be friends” is lean and yet complete. There’s nothing more that needs to be said after a line like that. On top of that, the music is inventive and unexpected. It’s pinned well by the percussion, but it’s very pleasingly jagged. It’s never quite where you expect it to be.
The album then takes a turn for the softer with “Ladies.” It’s softer and simpler than the rest of the album, but it makes for a lovely break because it’s a lovely song. She’s able to belt out vocals when she needs to and the bravery of the repeated “ladies” in the song is amazing to see. Also, having the song be a plea for cooperation and then ending it with the garbled, mumbled refrain of “Yet another woman to whom I won’t get through” is a body blow.
Unfortunately, from here we get to much of my issue with the album. “Heavy Balloon” is just too simple a song, especially right after “Ladies.” The blues in it should work well, but it just compounds the problem. The metaphor here is too weak to carry the song and so the whole song breaks down. It’s almost rescued by the instrumental ending. Deemphasizing the lyrics allows the music to really speak and it’s foot-stomping fun. The ending is one of the best parts of the album, but the core of the song is just too weak. Similarly, the following song “Cosmonauts” is great to listen to, especially once it takes off and just goes hard into the chant. However, the core simile, though clever at first glance, is just nonsense.
This problem is even worse with a few of the opening songs. “Shameika” has a kindergartner stomping around in it. It’s a heavy pace that’s childish and fun and the Alice-down-the-rabbithole bridge is excellent. However, the bullying just doesn’t have any heft to it. There’s too much comfort in the song. Similarly, “Relay” has a catchy chorus that’s anthemic, which is amazing given the meaning in it. That Apple wrote it at fifteen should be amazing, but the couplet of “Evil is a relay sport / where the one who’s burnt turns to pass the torch” sounds like it was written by a fifteen-year old and that takes a lot away from the song. It’s just too naive for me.
This is still all strong music though. “Under The Table” is too privileged in its politics for me, but the music is incredible. The couplet of “I would beg to disagree / But begging disagrees with me” is too wealthy a couplet for my taste with the dinner parties that it evokes, but the song fades it repeatedly into the background near the end and that’s excellent. Also, when she sings “I’d like to buy you a pair of pillow-soled hiking boots / to help you with your climb / Or rather, to help the bodies that you step over along your route / So they won’t hurt like mine”, the lyrics finally match the cleverness of the music and it’s sublime. I just wish that the album was more able to consistently line the two sides up. The songs with the best music tend to weak lyrics and those with the sharpest lyrics have music that, while extremely good, is not quite as great as the best here and the result is that there’s no single here that sticks with me.
These flaws are the exception, not the rule though. This is a stellar album. The opener “I Want You To Love Me” has a nice, arboreal sound to it. It’s a country song, but the country is a woodland. “For Her” places a nice summer pop sound against harsh lyrics, including the memorable “Well, good morning / Good morning / You raped me in the bed your daughter was born in.” That’s the kind of thing that wakes you right up. “Drumset” is the same kind of brutal in the lyrics, but manages to be healing nonetheless. Finally, the closer “On I Go” is a very intelligent set of variations on a repeated chorus that gives the album a good, open-ended sound. It leaves you with the feeling that the album hasn’t ended, it has just left space for you to fill in with your life.
This is an exceptional album all told. This is some of the best music that I’ve heard in a long while. There are enough issues here to hold it back from being a true masterpiece, but it’s still an astonishing accomplishment. This is the best album of Fiona Apple’s career and a highlight of the year. You should definitely check it out.
As albums go, there are far harder ones to sell someone on than I’m Your Empress Of. It’s frothy, compelling pop led by the skill of Empress Of herself. “Bit of Rain” starts the album with a great synth beat that’s elevated by her voice and it’s got sex both poetic and fleshy. “Not The One” is similarly a highlight both for the honesty in the sex and honesty in the singing.
It’s a very consistent album, there’s no bad music here. However, there are also just not enough highlights either. Something like “Love Is A Drug” is very well crafted, but lacks a little inspiration. There’s a lot of good music in this album, but not quite enough that sticks to you. I’m Your Empress Of is a good pop diversion and it doesn’t need to be anything more.
At this point, it’s nothing short of ridiculous to argue against Lil Wayne’s importance. Music today has his fingerprints all over it and his absence has been nothing short of criminal. Weezy’s singularity, his energy, his unexpectedness and creativity, and the fact that he has prodigious enough skill to pull off his more absurd tricks with all of the above are things that rap has sorely missed.
Funeral has Wayne return to something more of a mixtape sensibility and the return to mixtape Weezy is welcome, even if it’s not 2006 anymore. He’s loose and having fun here and there’s some quite good music that comes from it. Right at the beginning of the album he goes hard in “Mahogany.” He has a velocity with his raps that always feels breathless, but he’s in such control throughout.
When he goes hard here, he does really well. “Ball Hard” really stands out for what he can just do as a rapper. He just drops a stream of consciousness on the listener, but he’s so good a rapper that it grabs you the whole way. Throughout, when he just lets go and raps, the album shines. “Bing James” and “Not Me” showcase him as just a rapper and are highlights.
His experiments are more of a mixed bag though. “Dreams” is interesting and it’s a very Lil Wayne song. This is the kind of thing that we’ve been missing without him. However, while “Sights and Silencers” might be interesting for its inclusion as a slow R&B jam, it’s just not good enough to warrant that inclusion. “I Don’t Sleep” has a solid flow, but the venture into pop-trap with Offset ends up forgettable overall. “Trust Nobody” with Adam Levine is just unfortunate.
There is undoubtedly some air in this album, but it still has a lot of solid music. It doesn’t really have anything that’s a must-listen and that’s what really holds it back from being a full return to Weezy’s peak, but it’s still fun and a good reminder of who exactly Lil Wayne can be.
The new Christine and the Queens EP is good upbeat pop. It’s fun, uptempo music and eminently danceable. It’s infectious and very consistent. I don’t think there’s a single moment here that could be considered a misstep. The quality is startlingly high throughout.
For all of that though, there isn’t anything here that truly elevates the album either. I’m very much enjoying listening to it right now, but I don’t think that I’m going to return to it again. If you’re looking for something entertaining and lively, this is perfect for right now, even if it maybe won’t be as perfect tomorrow.
A Written Testimony is a surprisingly pleasant listen. You don’t expect a rap album right now to be something so bracing, but this is like drinking the first good cup of tea in a day.
The first part of that is the Nation of Islam theme that runs through the album. It’s honestly pretty understated, but it’s still an important touch and one that sets the tone for the album. More than that though, the album is at its best when it’s laid-back, unhurried and clean. Jay Electronica’s rap in “Ezekiel’s Wheel” does this perfectly and the beat takes its time underneath it and then Jay-Z comes in to close the album with quite as much tranquility as the rest.
Hova shows up for no less than nine of the ten tracks here and he’s in form. The serene raps and quiet beats work really well for him. He’s very fluid throughout. His singing in closer “A.P.I.D.T.A.” is halting and soft and really gets the emotion through. Electron then comes in and takes his time with the verse to get it to land well. Between their deliberateness and the interestingly twangy beat underneath, the song feels like folk-rock despite clearly falling under fairly traditional rap. It’s very well done.
Similarly, they trade good, leisurely bars on “Universal Soldier.” Jay Electronica’s punchy, heavy flow features well throughout. His lines are haymakers, they’re ponderous, but land with weight. Jay-Z is of course Jay-Z. We all know who Hova is.
The sound is no monolith though, “Ghost of Soulja Slim” has strong Dan Tha Automator vibes. It reminds me of a Deltron cut and Jay-Z goes hard in it. Jay Electronica has done strong work on the production throughout. He has clever, stripped down beats like in “Shiny Suit Theory” that elevate the sound.
There’s still a little filler here though. The Swizz Beatz-produced “The Blinding” feels too much like an outtake from Watch The Throne. It’s pretty solid once it hits its flow and there are some interesting pieces in there, but it doesn’t fit and it doesn’t do much by itself either.
This is a strong rap album though. It’s good to see Jay Electronica finally release his debut album. I don’t know if he still counts as a newcomer, but it’s close enough and it’s good to see him come out so strong. It’s just as good to see Jay-Z keep showing us that he still has it and his elder statesman era is an excellent, exciting evolution.
Overall, A Written Testimony doesn’t quite do anything breathtaking. It’s not a classic. It is very good though and worth checking out for something that is straightforward about what it does and skilled at doing it.
It’s still a little hard to come to terms with the end of the Trilogy-era Weeknd, but he’s left that mixtape period long behind him. What we have now is less consistent and less directed, but more accessible and definitely much more appropriate for the star that he has become. The man is even doing movies now.
The music is still good though, perhaps the best that he’s made since ascension. As always, his voice is his greatest strength. It’s high pitched, but strong nonetheless and very richly textured. And, as always, the loucheness of his character works very well with it. When he yelps “But if I OD, I want you to OD right beside me” in “Faith,” his voice is what really sells the point.
“Faith,” in fact, works as a good showpiece for the more modern Weeknd sound. It uses a heavy, pulsating Metro Boomin’ beat to drive it forward while Abel’s voice dances above it. His dissipated storytelling matches both the griminess of the beat and the etherealness of his voice. He even has the genius to cut the beat for things like the line above and also for the outro, giving his voice that much more time in the spotlight.
This is the same general formula that he’s used for a while now, and it works well for a fair bit here. The 80s-style upbeat journey through a too-early-to-be-early city of “Flashing Lights” is excellent. “After Hours” is a banger and a testament to his strength as a singer. He hits all his points flawlessly and effortlessly. ‘Too Late” is similarly strong. “Escape From LA” could have been something of a cliche, but he works well in well-trodden scenes and he can pull off lines like “LA girls all look the same / I can’t recognize / Same work done on they face / I don’t criticize.”
Some of it is just too close to straight pop though. “Scared To Love” is just painfully predictable. “Save Your Tears” is boring and goes on for far too long. “In Your Eyes” has a sax interlude that should be fun, but instead goes too far into the uninteresting side of old school pop.
“Snowchild” should have the same problems. It goes on for too long and needs more twists. His voice is able to save it though. He is just that good a singer. Besides, he has the line “She like my futuristic sounds in the new spaceship / futuristic sex, give her Phillip K. dick.” in it.
It all really comes together in “Heartless” though. It’s the same formula as above, but done so very well. It’s frenetic, it’s self-loathing and it’s self-destructive. It’s ominous and sexy for it. It’s even danceable. It’s absolutely as good as the best of what he’s done before.
After Hours is still more commercial than I would have wanted from The Weeknd. It’s also just not the classic that I’ve been waiting for from the new-era Weeknd. It is however still very good modern R&B and, while there is some undeniable filler, there’s also a lot of absolutely top-tier music in here.
Uzi just keeps moving the music forward. There’s just so much in Eternal Atake, so much cleverness, so much fire and so much that’s unexpected. Uzi’s new album is urgent, energetic and unmissable.
Firstly, he just goes so hard in this. He puts so much pace on “Homecoming” that the song steams with sweat. It’s relentless and tireless. “POP” is frenetic and “You Better Move” is almost punishing and yet the two only serve as a launchpad for “Homecoming.” Even then though, they have highlights of their own. His chant of Balenci’ is breathtaking in “POP.” It holds a white-hot intensity for so long that it puts you in a lather just to listen to it.
“You Better Move” has a yelped shout-out to Yu-Gi-Oh! that just sticks. This is the other thing about the album. Uzi is just really likeable. I love the random call-outs. I love the space themes. Uzi has that charisma.
Above all though, he just has the ear for music. He puts together sounds fearlessly and pulls in the most unexpected sounds with impeccable smoothness. This is showcased by his going back to his break-out “XO Tour Llif3” with “P2.” This could have gone very poorly, but he manages it cleanly and his take on “That Way” actually works well. His crooning is maybe a little grating, but the sound is just so clever that it’s more than forgivable.
He’s got such versatility here. His crooning works, I love his hard raps and he’s fantastic in the more traditional songs like “Futsal Shuffle 2020.” He traps excellently in “Secure The Bag” where his hook of “This is a game” is sublime. He yelps perfectly against the sublime Asian-inflected trap beat of “Pieces.” He changes flow fluidly in “Bigger Than Life.”
This album feels like the bebop of the trap world. It’s challenging and demands your focus, but it has so many rewards for your attention. It’s deeply textured and there’s so much to provoke thought in the details here. His yelps, his ad-libs, the pauses in his raps all can catch you by surprise. It’s all just so clever.
This is an excellent album and if it only had a truly stand-out single, this would be a masterpiece. As is, it’s merely fantastic and something that you should definitely listen to.
I had a blast with Netflix’s Rhythm + Flow. First of all, rap always gets short shrift in reality music shows and so it’s really nice to see one of these shows focus on the genre. Chance and Cardi were great hosts and two out of three isn’t bad. Some of the guests were great. The show was a lot of fun. Above all though, some of the rap was excellent.
The show had one major structural flaw though. The show just didn’t run long enough. In something like Masterchef Australia, the show just goes on for so long that contestants really get a chance to develop over the course of the show. Rhythm + Flow, despite a little mentorship, never really gave its contestants the same space. The ones who looked best at the beginning looked best at the end and from the first moment that you saw him, D Smoke looked better than the rest.
Releasing an album like this puts him up against professionals though. He’s no longer competing against amateurs on TV. So, does Black Habits hold up in the real world? Mostly yes, but maybe also a little no.
Firstly, when Smoke goes hard, he goes hard. “Gaspar Yanga” is really very strong and it plays to all of his strengths. His bilingualism is good, his calling out Inglewood is good, Snoop is naturally good. It just lets Smoke stretch as a rapper though. His flow is such a strength and this song really shows off his skills.
Similarly, “No Commas” is a standout. Going hard just works for him. I do however feel the political interjections are a little tame, as I did through the album. I want him to really take his politics to the next level.
D Smoke’s natural comparison point is Kendrick. His flow, his style, just everything about him feels like early Kendrick, but Kendrick’s raps are conscious in a way that no one else is. Especially after To Pimp A Butterfly, it was clear that Kendrick just thinks differently and, in the same way, D Smoke needs to find a unique space for himself. Black Habits just isn’t memorable in the way that top rap albums achieve in spades, and this is much of the difference.
Additionally, some of the music here, while interesting explorations, are just not him at his best. It’s impressive that he has the ability to drop slow cuts like “Seasons Pass” or “Real Body” but it’s just not what he should be doing. “Fly” works well by having Smoke rap hard against a slow beat and hook, but when he slows down himself, it’s fine, it’s definitely not terrible, but he’s just better than it.
This is a good album overall though. We could see Smoke’s talent from the moment he came on TV and this album shows it. I want something with more individuality from him though. Smoke’s personality came through strong in the show and when he figures out how to fully integrate that with his music, there’s no doubt that it’s going to be special. For now though, Black Habits should by on your rotation and D Smoke someone you should watch out for.
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