Holiday jingles and eggnog are Christmas classics. Overly simplified lyrics, doleful emotional sentiment, and reoccurring, commonly overused, hooks throughout the album make Merry Christmas Lil’ Mama another classic; that being a weak concoction that receives more praise for being around during heightened spirits than something truly tasteful to enjoy throughout the entire year.
Posts tagged with Review
The “Kid” has returned. Leaving the experiential punk sound behind, Kid Cudi’s lead single off his sixth studio album (Passion, Pain & Demon Slayin’) shows that nobody tops his ear for producing a late night hip-hop track. Drugs, parties and women, The Frequency is a look into how an ideal night manifests for this angsty artist.
The Frequency’s has the catchiest hook of 2016, making nights of psychedelic tripping and copious sex seem irresistible. This hook catches you into the track, leaving you desiring for more of Cudi’s tripped-out experiences.
In the midst of any chaotic night, The Frequency sets a mood of leisure. The slowly melodic rhythm is smooth, and with Cudi quickly rapping overtop, the mind takes a soulfully refreshing relax. Reminiscent to his earlier hit Pursuit of Happiness, Cudi embraces his neo-psychedelic style that he refrained from in his previous album Speeding Bullet to Heaven.
The sense of urgency in his flow is a convincing flair to an otherwise mellow song. The tempo of his words is opposite of the rhythm that plays under his voice. Singing, as well as his signature humming, are caught in the mix of his rapping, creating a remarkable trifecta in his vocal performance.
Cudi’s mantra to experience a successful night of antics is to simply follow the good vibes happening. Let love lead, and you’ll be rewarded accordingly. A message that couldn’t fit into the despair of Speeding Bullet.
The Frequency is a reintroduction for this tenured hip-hop artist. The emotionally distraught Cudi is dormant in this single. This song is a fresh beginning for our big brother, liberating himself from the self-indulgent music that captured the worst of depression and suicidal thoughts. Now, Cudi has returned to his roots, appealing towards casual listeners and passionate followers alike.
[With the release of the Drive, Thighs & Lies EP less than a week away, we decided to take a look back at the project Rome Fortune opened 2014 with]
One of the most priceless attributes of music is the possibility of hearing something that shatters perception or pushes forward ideas, or futures, that have been ruminating in the mind below consciousness. Any song, or project, has the possibility of doing this, but only some have probability on their side and Rome Fortune’s Beautiful Pimp II might be among them.
With My Krazy Life, Compton-based YG is attempting to become more of a global figure, rather than the mostly regional act that he currently is. Whether its warranted or not, every piece of Hip-Hop music that accomplishes success beyond the regional barrier that exists out in the West will be greeted with comparisons to Kendrick Lamar and his album Good Kid, M.A.A.D City. YG navigates through My Crazy Life with help from storytelling outros and skits, as well as songs that finish by way of lyrics that are relevant to the next track. Does that sound familiar?
There is no angle. There is no cultural or influential noise to speak of. There are no yarns to spin about how Freddie Gibbs & Madlib’s Piñata will change the way music will be viewed or about where Piñata will push Gibbs’ rapping career or Madlib’s production style.
(“Remember everybody ain’t loyal / You soft as gelatin, sick of telling them, nigga show ’em / It’s coka in the pot, nigga drop it and let it boil / Goofy niggas make me nervous, ain’t serve ’em if I ain’t know ’em”)
Most publications are approaching the new(er) Atlanta trap sound that Migos, among their peers (Young Thug, Peewee Longway, Rich the Kid, Que, Rich Homie Quan, & the like) provide as a passing fad. As a sound that will be here today and then suddenly gone with only a select few to rise from the movement and move on from the sound signature that started their career. It’s a relatively fair assumption to make considering how much, and how often, the Atlanta sound has morphed in just a decade. Acts like Crime Mob, Lil Scrappy, and Yung Joc are a distant memory of a different sound from a seemingly completely different place; While Lil Jon is only now just regaining ground, but his success is in EDM rather than the Atlanta defining Analects he created in the early and mid-aughts.