January 2020 Wrap-Up

A mix of free time and inspiring music projects released recently has given me the ambition to attempt to resuscitate this ol' word box of mine, even if it functions as nothing more than an unused portfolio. So let this serve as a welcome, or a welcome back, if you will. 

There is not a singular album or artist review that seems timely or appropriate to return with in of itself, so I figured a look back at January releases collectively might be a little more suitable. I would say that 2020 is off to a promising debut, and while some artists have already blown me away, others have left me sorely disappointed. With that being said, let us take a look at the good, the bad, and the ugly from the last month.

The Good

Mac Miller - Circles

While there are a few albums that fall into the good category, there is only one that truly left me a mark on me and will undoubtedly show up on my (and many others) year end list. Circles, the most recent and presumably final release from the late Mac Miller who passed away unexpectedly in 2018, was a beautiful tribute to the young musician's career. As someone who has been critical of Miller at periods throughout his career, I can finally say that he was able to find the perfect blend of neo-soul and pop rap he seemed to be so desperately seeking over his previous releases. While 2016's Divine Feminine and 2018's Swimming missed the mark in this same vein, Circles sees Miller fully tuned in to his artistic direction. He's as confident as ever in his voice, yet lonely and introspective in his words. This leads to a beautifully produced melancholic mash-up of vivid sounds, with some of the best lyrical material I feel he has ever produced. From the timid, introspective, self-titled album opener, to the equally thoughtful lead single Good News, Miller never shy's away from appearing vulnerable or weak.

"Well, it ain't that bad
It could always be worse
I'm running out of gas, hardly anything left
Hope I make it home from work
Well, so tired of being so tired"

Miller writes on Good News.

There is a lot more that can be said in regards to the final product delivered, but to avoid making my reflection on this as long as a usual review, I'll finish with this.  I think it is fair to say that Miller's final release, was also his most complete. It is a tragedy to not only lose him as an artist, but of course also as a person. In saying that, Circles serves as perhaps the most beautiful final act he could have given us.

Rating: 4/5

Floral Tattoo - You Can Never Have a Long Enough Head Start

One of the biggest surprises I found last month came in the form of Seattle based band Floral Tattoo and their newest release You Can Never Have a Long Enough Head Start. If you could not tell by the long winded album title, it is indeed ripe with influences from the early 2000s emo scene. It is not inherently your standard emo release however, and it set apart by it's booming, noisy, shoegaze inspired soundscapes. Crushingly beautiful at times, with the shared voices of vocalists Alex Anderson and Gwen Power, it's a moving project that had me hooked from the first listen. It is not exactly an innovative combination of genres, but treading new ground does not appear to be what the band set out to do on this record. Instead they are looking to capture you with the explosiveness of their sound. There are moments where the album does come to a bit of a lull, and not each track brings the same energy as She or Danny, Be Well. Collectively, however, it is a positive release that brings some well deserved attention to the group. A step forward that can hopefully lead to even more powerful material as they move forward.

Rating: 3/5

Pinegrove - Marigold

Another solid release from the group who blend modern country inspired instrumentals with heart-on-my-sleeve midwest emo lyrics. Much like their previous two releases Cardinal and Skylight, I feel this album shows some very high highs. For example, the title track Marigold and the album opener Dotted Line are two brilliant pieces that warrant giving the record a listen on their own. Yet ultimately , it can feel a little too same-y when consuming it all at once. Much like my previous criticisms of Pinegrove, I feel they struggle to make the most of every track and quite quickly a project can turn into 3-4 memorable songs that you will take with you for awhile, and a handful of others that will quickly become forgettable. 

In saying this, I still feel the album was a positive addition to their discography, and further proof they have it in them to write some incredibly enjoyable songs. Whether or not they're able to build off of the momentum that came off of the positive reception to Cardinal is yet to really be seen. Here is hoping they can continue to grow with their next project. 

Rating: 3/5

The Bad

I might be better off naming this section as the "indifferent," because for the most part that is my exact feelings towards these releases. As is usually the case early in the year, we get a few releases by artists who are either looking to capitalize on an early start at a time where not a ton of big releases are scheduled, or are being held up due to delays that prevented releases later in the previous year. Perhaps this is why there were so many forgettable records to be found. Either way, let us take a look at some of the more... shall we say, lukewarm, projects from January.

Stormzy - Heavy Is the Head

Anyone who knows me personally would be aware I have a bit of an infatuation with UK grime. There is nothing quite as powerful as the booming bass and energetic deliveries found on classic grime releases from the likes of Dizzee Rascal or Wiley. Stormzy has been a bit of a prodigy in the grime scene, appearing on tracks from the likes of the aforementioned Wiley in the past and building up quite an exorbitant amount of hype surrounding him in the process. His first attempt to harness this hype into a full length studio release came back in 2017 with the release of Gang Signs and Prayers. To the disappointment of many, however, Stormzy strayed from the grime influence on that project and instead laid most of his focus on moving into a more accessible and easily digested pop rap direction. Dabbling his influences in the realm of a more traditional hip-hop and R&B sound led to a fairly forgettable project and had me hoping to see the Manchester based emcee return to his roots on his sophomore follow-up. 

What we received in Heavy Is the Head, unfortunately, is very similar to the disappointment of Stormzy's previous LP. It is better, I will begin by stating that emphatically. There are some tracks that do show the grimier side of the emcee and even when he blends them with a little more pop essence they pack enough of a punch to feel true to his sound. One listen to Big Michael, Audacity, or Vossibop will show you just how much talent Stormzy does have in his delivery. He comes into these tracks aggressive, focused, and ruthless in his approach. A project containing nothing but songs cut from this ilk could rank high in the halls of UK hip-hop and grime releases. And yet, he appears indifferent to this material. Just like on Gang Signs and Prayers, Stormzy seems insistent on burying these tracks between the blander poppy R&B styling of Do Better and the uninspired lyricism on a track like Superheroes. It isn't so much that these songs are outright bad, they just seem to serve as nothing more than what I would call vibe killers. After building you up with the energetic flows and speaker busting production of the grime cuts, Stormzy swoops back in and breaks the immersion with these uneventful filler tracks. 

A project with one lackluster cut to match every enjoyable one. Stromzy is back with yet another failure to consistently capture that same sound that made his early singles so impactful. 

Rating: 2.5/5

Algiers - There Is No Year

This one is painful to type out. I mean it when I say that. Over the last decade the Algiers released two albums that would probably end up fairly high on my top 50 list (a list that I might get around to making at a later date.) So to say I was excited by the prospect of a new Algiers project is no stretch. If you were to ask me what I expected them to deliver on it, though, I never would have guessed it would be such a disappointment. 

It is not so much that they put out a bad project. In reality, it is quite far from that. It is actually perfectly okay. Maybe that is the issue though. This is an album that is just... okay. The loud, industrial influenced elements that made their previous two records stand out so much seem to be gone. We still have the soaring soul inspired vocals of Franklin James Fisher and the chugging high tempo riffs still feature prominently throughout. There just seems to be a lack of that same substance, that pizzazz if you will, that made them such an alluring outfit to begin with. A quick flip through the track listing will give you all you need to hear. Nothing offensive, nothing really worth spending all that much time commenting on. In effect, it feels like a collection of songs that just failed to stand out enough to make the track list of their previous efforts. Perhaps not a record that deserves to be regarded as the bad, but more so as the disappointing. 

Rating: 2.5/5

The Ugly

AJJ - Good Luck Everybody 

If it pains me to dismiss Algiers in such a fashion that I previously did, then it kills me to say what I am about to say about AJJ. For those who are perhaps unfamiliar with the ragtag folk punk posse formerly known as Andrew Jackson Jihad who are responsible for some of my personal favourite albums of all-time (see Knife Man and People Who Can Eat People for such projects), let this please not serve as your introduction. A band renowned for their clever, abrasive, over the top political commentary and satire during the mid 2000s to early 2010s, AJJ seem to have lost all touch with that side of their music on Good Luck Everybody. If their last release The Bible 2 was disappointing (it was) then this is a straight up punch to the gut. While front man Sean Bonnette is still delivering the same quippy political commentary we have come to expect, it is being done at a much more tepid pace. Instrumentally the project fails to excite, with some of the blandest musicianship the band has given us to date. The only real deviation we get from that is on Normalization Blues, a track that plays very much to it's name as an up tempo blues tune but lyrically does not offer anything more than a mediocre commentary on the state of the average American person. We get similar takes on tracks like No Justice, No Peace, No Hope, that while presenting an important topic, seems to lack the same abrasiveness AJJ would approach such topics with in the past.

It all just falls a bit flat in the end. There is no question that the band are true to their beliefs and stick with it in their song writing. It just seems like that intensity you would find on their older projects has gone away, and in it's place all that remains is a subpar indie folk act bringing forward room temperature political takes in a client chalked full of more than enough of them already. 

Rating: 2/5

iiiDrops by Joey Purp

Over the past few years, the SAVEMONEY collective has been one of, if not the, most exciting things to come out of the diverse, ever thriving Chicago hip-hop scene. Spearheaded by the rise of emcees Chance the Rapper and Vic Mensa, the lesser known members of the group have also quietly managed to put together a pretty solid body of work. Now, it's member Joey Purp's turn to step up to the plate, and on iiiDrops he proves that it is him who is next to step into the limelight.


From the bright organ keys and horns on the opening track Morning Sex, into the Pharell-esque dance beat of Girls, Joey Purp stretches his sound far beyond what's popular in Chicago right now. While you might go into this thing expecting the rattling hi-hats, blaring 808s, and bumping bass, you're instead presented with the same kind of varied, flamboyant production you might find on a project from the likes of Vic or Chance. Speaking of those two, they both pop up on the track listing, Chance on the aforementioned track Girls, and Vic on the album's victory lap Winners Circle, a track that's elevated by a wonderful piano melody and shining synthesizers. Fellow Chicagoans Mick Jenkins, Saba, and theMind also lend a helping hand on the project, with all three delivering solid contributions when given the chance.


It is, however, Joey Purp who truly shines on this 11 track collection, as the 20-something year old artist comes through sounding like a true veteran of his craft, swinging his pen like a dagger of sorts as he delivers lyrics that don't aim to impress, but instead aim to provoke feeling and resonate with the listener, something that is accomplished on nearly every track. His swaggering confidence is evident, while also digging into his tough upbringing with lines like "I sold crack/I'd be damned if I can't sell a rap" on the closing track Escape.

Cornerstore, the sixth track on the mixtape is the real showcase here though, as the jazzy, street rap instrumental features a prominent use of horns and is one of the finer beats that producer Thelonious Martin has given us up to this point in his young career. Purp is joined by Saba and theMind, and the three work together to paint a picture of their childhood in Chicago, a city which has constantly been identified as one of the most violent and dangerous places in the US. On this track however, Joey isn't looking to give a PSA on the dangers of his hometown, and instead is simply presenting you with an idea of where he came from, and how it's impacted him to this day. The song presents perhaps the strongest lyrical display on the album, and is highlighted with the lines like "and white kids deal with problems that we never knew to bother/arguing with they dads, we pray we ever knew our fathers" a line which allows Purp to again put an emphasis on his upbringing while also touching on rather personal and emotional topics without coming off as soft.

Going into iiiDrops, I was quite far from being a fan of Joey Purp, but I can't deny his abilities after giving this release multiple listens. From his brash delivery to his rugged voice, the young emcee exudes Chicago, while having the charisma and lyrical strength to separate himself from the rest of the crowded pack looking to find their sound in the streets of city. 

3.5/5

Check out the track Cornerstore below:

You can stream iiiDrops in full over on Joey Purp's soundcloud page here.

Hella Personal Film Festival by Open Mike Eagle & Paul White

I find that the best way to describe Open Mike Eagle's approach to hip-hop as the type of rap that is enjoyed by men who wear scarves in the summertime and rap fans who also enjoy anime and Discovery channel documentaries. The Chicagoan emcee's blend of dry humour and intellectual lyricism with stories that present the irony of every day life never fail to provide both a laugh and some thoughtful discussion. Just last year with the release of his EP A Special Episode Of, Mike released one of the better rap projects of 2015 while only giving us about 20 minutes worth of material.

This time he's back with a lengthier project, and he's joined by producer Paul White, who is perhaps most know for his work with the always eccentric hip-hop artist Danny Brown. With Mike Eagle tackling topics such as technology, death, racial stereotyping and more, he still manages to stay as fresh and quirky as ever, and over the upbeat, childlike production of Paul White, the duo deliver an excitingly enjoyable hip-hop project.

It's hard to point a finger at exactly what makes this album work so well. Is it the varying production that swings between moments of being soulful and nostalgic to channeling inspiration from indie rock and 8bit video games, or is it the lyrics themselves that are among the most polished we've gotten from Mike thus far in his ten plus year career? Regardless, both contribute to the ever changing scape of Hella Personal Film Festival, and result in some fascinating moments. The track Check to Check for example, see's Mike explore the world of technology and our dependence on it. He states he's living "check to check" as he always finds himself in between checking some form of media. He constantly rides the line of lyrics that contain just as much humour as they do truth, and even at his silliest on cuts like Smiling where he claims to be avoided like a ghost fart because of his race, there still seem's to be a fair bit of sincerity in the lyrics. It's this mix of social inspection with Mike's tendency to poke fun at himself that grabs the listeners attention, and regardless of the instrumental backing him, remains the highlight of the project.

As the album progresses, the duo's consistency becomes highlighted as they deliver track after track that tells a story of it's own, both lyrically and instrumentally, and contributes to the overall theme of the album. That is, until the lackluster track Protectors of the Heat, which finds a tribal inspired instrumental with primarily loud percussion. It is also perhaps the only moment on the project where Mike seems to rely a little too heavily on a catchy chorus instead of delivering exciting, off the wall verses. Typically he presents just a simple couplet for the hook on these songs, and with their relatively short lengths (only Protectors of the Heat surpasses four minutes in length) it seems to fit quite well. Nonetheless, it doesn't take long for the two to get back on track and finish the album just as strong as they kicked it off. On Dive Bar Support Group we find Mike discussing both machoism and gentrification, while also dipping into themes such as alcoholism. It's a rather ambitious lyrical piece that showcases just what the emcee is capable of, and the sadness from the vocals seep into the poppy instrumental that backs him, making for one of the best tracks on the whole project. We see just how easily Mike can transition from deep topics to self satire on Drunk Dreaming, where he discusses just that, being drunk. The track is silly, fun, and lighthearted, an approach that these two seem to handle incredibly well on multiple occasions on this record.

When listening to this album it feels as if Paul White and Open Mike Eagle were a collaboration that needed to happen, despite it being a full-length album that I never expected us to get. The way the lyrics flow through the warm and fun production is a welcomed addition to Mike's always impressive approach, and helps make this a stand-out in both artists discography. To some it could seem a bit gimmicky, and that's fine. It isn't a project that everyone will get, nor will all rap fans enjoy, but to those of you who fall into the categories mentioned above, this is definitely a project worth checking out.

Rating: 3.5/5

Check out the track Check to Check below:

You can stream and download Hella Personal Film Festival over at Open Mike Eagle's BandCamp page here.

Disguise the Limit by Nyck Caution

If you couldn't tell by the wordplay in his stage name, Nyck Caution (get it? NYC, like New York City) is a New York based emcee who has gained a fair bit of exposure in the past few years thanks to his work as part of the hip-hop ensemble Pro Era, a group that also houses the likes of Joey Bada$$, Kirk Knight, and CJ Fly among many others. Despite the plethora of gifted artists who belong to the collective, Nyck has always managed to stand out thanks to his slick flow and unique voice that always brought a nice change of pace whenever he would appear alongside his label mates on a track. With that being said however, much like many other of the emcees that occupy the Pro Era roster, he has been relatively quiet over the past few years, and it has really been Joey Bada$$ who has brought the group their popularity. That's not to say others haven't been releasing projects, as Kirk Knight's Late Knight Special was released just last October, and CJ Fly has a project of his own under his belt with Thee Way Eye See It. For Nyck however, he hasn't taken on a full project of his own since Pro Era's come up, and with his release Disguise the Limit, he's looking not only to make a statement, but also to remind those who had long forgotten about his impressive performances on other emcees projects' that he's still around.

If you're already tired of hearing me discuss Pro Era, then chances are this project won't be for you. Not only is it filled with guest verses and production credits from friends of Nyck's, but lyrically the record is cluttered with references to his peers as well. Most of these prove unnecessary and serve no purpose other than to remind those not familiar with Nyck that he is a member of the collective. While that's a rather minor issue, it unfortunately isn't the only problem I found with the lyrics on this thing.

One of Nyck's strongest suits when it came to his guest features in the past, were as I mentioned, his flow and his lyrics. However, when you get fourteen tracks that present almost the exact same formula of songwriting and subject matter, there isn't much room for surprises or anything impressive, as we've heard it all so many times before. Many tracks simply deal with his past or how skilled of a rapper he is, aside from the emotional Out of Reach that deals with the death of the late Capital Steez, who was also a member of Pro Era before his passing in 2012.

The beat selection throughout feels fairly mediocre in terms of what I've come to expect from a Pro Era project, which is rather surprising especially considering the production is handled by the likes of Kirk Knight and Chuck Strangers who both lend instrumentals to the record. For the most part, it feels as if there's an uncertainty of what style the project is going for, as we get the more traditional gritty New York street style beats at certain points, but also get a fair share of cloud rap instrumentals and at other times production that is rather alternative and unexpected. The Kirk Knight produced cut Wordsmith see's Nyck spitting over a dirty, distorted guitar instrumental, something that certainly stood out, but also could have been cleaned up a little bit as the guitar did sound rather rough around the edges and does distract from what's being said on the song. The track Church also see's a rather adventurous risk as the instrumental progresses from your traditional hip-hop beat into a electronic dubstep breakdown.

There's not much to discuss in terms of individual tracks or the lyricism, as everything on the project is competent, which may be the biggest problem I have with it. Everything feels the same, and while there were a few tracks that differ instrumentally, Nyck himself stays the same with his approach throughout. I still think he has a ton of skill, but his songwriting remains very raw and until he is able to prove he's more than just a rapper who can drop a nice feature on someone else's track, he will continue to fade to the back of Pro Era's line up.

Rating: 2.5/5

Check out Nyck Caution's track Church below:

untitled unmastered by Kendrick Lamar

From the groovy opening bass line and spoken word vocals to the concluding chants of "pimp, pimp!" Kendrick Lamar manages to make untitled unmastered one of the most cohesive hip-hop compilation albums released in quite some time. The eight songs featured, many of which have been performed on live television recently during the Grammy's as well as on The Tonight Show with Jimmy Fallon, were recorded at different times over the last three years. It becomes very obvious the influence that Kendrick's last project To Pimp A Butterfly had on the recording, as there are moments of very similar instrumental progression and spoken word passages that K.Dot experimented with on the album. That's not to mention the use of many direct references not only to the album's title, but also to tracks like Mortal Men and King Kunta.

The surprise release of this project not only serves as an unexpected gift for all fans of the Compton born emcee, but it also proves his versatility and consistency. These tracks aren't driven by the same overlying theme that surrounded the recordings on TPAB, and yet they still work as both songs that could easily be hits, and deal with some very interesting and important subject matter.

The album's opening track, which can't be called anything but that, since the tracks are all untitled, is an ambitious effort that finds Kendrick discussing the future of the world over a deep bass line and haunting piano play. Eventually we get to an interaction between the emcee and God himself, who asks "what have you done for me?" The track is reminiscent of TPAB's How Much a Dollar Cost in it's introspective discussion of faith, and Kendrick's apparent fear of not being accepted into heaven. Not only does it start the project off on the right foot, but it's one of the most memorable moments throughout the album as well.

The second track on the album see's a beat more similar to something you would have found on TDE label mate Jay Rock's recent album 90059, and yet with the few moments of freejazz influence, you're reminded exactly who it is you're listening to. The lyrics on the cut see Kendrick exploring his fame, and how his own life has changed while the life in the hood remains all consistent. It's also the first time on the project we hear the chants of "pimp pimp," something that becomes a reoccurrence as the album moves on. 

The following track is one of the most impressive lyrically, and was debuted quite some time back live on the Colbert Report. Kendrick discusses encounters with members of many different races, and the advice they give him on how to live his life, yet when he arrives at the white man, all he wants is a piece of the emcee. The song is clearly being used as a metaphor for record labels and the music industry, and as far as the songwriting goes, it's one of my favorite moments on the project.

After a short interlude, we get the fifth cut on the album which see's an appearance from Anna Wise, an artist who many will recognize from her contributions on TPAB. The dynamics on this song are quite impressive, as we see Kendrick aggressively handle the laid back jazz lounge instrumental, while Wise delivers a much more beautiful and traditonal hook to the song. The duo are also joined by rappers Punch and Jay Rock later on in the track, and both drop solid verses to bring the cut to it's conclusion. Up next is the sixth track, which instrumentally reminds me a lot of the For Sale interlude from TPAB, but quickly expands to much more thanks in part to a feature by R&B/soul artist Cee-Lo Green. The song digs deep into the concepts of human flaws, as well as embracing unique traits with lines like "look at my flaws, look at my flaws, look at my imperfections and all. Look at how you think my mystique is a round of applause." This track in particular is an example of Kendrick's ability to step away from the misogynistic stereotypes that surround the hip-hop music and culture, and instead make something that can be seen as positive.

The album takes quite a turn stylistically for the seventh track, as the eight and a half minute long cut begins with much more of a "banger" beat than we've heard thus far, which is somewhat ironic considering producer/rapper Swizz Beats claimed it was his five year old son Egypt who actually provided the production on this one. Nonetheless, it isn't long before the instrumental transitions into something much broader, as the eight minute track fails to ever get repetitive, and in fact is more like three separate songs placed into one album slot. The final third of the track provides one of my favorite moments from the project, as we get a very lo-fi, direct cut from the studio audio from Kendrick. You can hear background noise, speaking, and chairs squeaking among other things, but it feels so organic and natural that it's almost as if you're in the studio as well, which is just another example of K.Dot incorporating elements of other genres into his own style.

That brings us to the closing track, which some may know as Blue Faces, which was debuted just a month or so back on Jimmy Fallon's Tonight Show. The song sees the rapper delve into the mind of a love interest to ask her why it is she's so sad. The funky, fast-paced instrumental might have served better as an opener than as the closing track, but it's still yet another solid moment and brings the album to a rather quick conclusion.

It's hard for me to assign a rating to a compilation project, but it feels like much more than just a collection of untitled and unmastered tracks. It isn't anything like Kendrick's earlier releases, and all of his previous releases have been unlike anything he's released prior to those. While the core of the album is clearly influenced by his last release, it's a much more streamlined and to the point approach that still manages to be both unique and inventive. There are some moments better than others, and it does feel rather raw at times, but ultimately it's yet another fantastic release from the Compton native that will keep fans foaming at the mouth for his next release.

Rating: 4/5

Listen to Kendrick Lamar perform Untitled 2 (Untitled 8 on the album) live below:

Jerome Raheem Fortune by Rome Fortune

My first experience with Rome Fortune's music came with the release of his 2014 EP Small VVorld, a project that didn't blow me away, but did make a solid impression nonetheless. On the project, it was made immediately clear that the Atlanta, Georgia based emcee had an ear for intriguing instrumentals and was able to match them up with the perfect flow seemingly with ease. So, going into his debut full-length album, Jerome Raheem Fortune, I was hoping to see him capitalize on the same spacey, wavy, intricate production style that made his older material stand out. Fortunately, the album delivered, as this is perhaps the most diverse project I've heard from Rome thus far into his career, as he comes through with various flows, and couples them with some fantastic production.

When the opening track All The Way began, I was forced to check my iTunes library because I could have sworn I had accidentally put on a song by a synth-pop act like Carly Rae Jepsen or Chvrches. Not only does the beat feel far off from what you would expect on a hip-hop project, but Rome Fortune's singing voice comes through in a way that sounds like he could be making radio-ready pop music. It's not one of the best tracks on the project, but it certainly sets up the listener for what's to come up next, and overall is still an enjoyable cut.

That same pop oriented singing comes into play multiple times on the album, and it almost always works for the best. Some of the records finest moments, the song Love for example, see's Rome alternating between his deeply pitched natural singing voice and a much higher autotune approach delivered over top of a dance influenced club beat. Of course, the use of upbeat danceable tracks doesn't stop there, the appropriately titled Dance is another cut that see's Fortune handling a lot of singing duties, and while lyrically it might not be the most impressive, it's the production, catchiness, and his flow that help drive the track just like with the rest of the album. 

It's not all poppy dance rap on the record however, as many tracks exude a certain alternative trap flavor, a la Chicago rapper Lucki Eck$. The song Blicka Blicka features a sparse, spacey instrumental with Fortune spitting some trap inspired bars without digging so deep into the drill or trap scene that you feel like you're listening to a project of those genres. The following cut, Heavy as Fathers see's a similar approach, and opens with the line "sniffed a bunch of cocaine last night,"  which gives you an idea of the "turn-up anthem" that the track really is. There's no promise of broad, introspective lyrics that will make you think on this album, but Rome is still constantly is able to bring more to the table than your run of the mill turn-up party rapper on cuts like these. 

There are a few deeper moments lyrically throughout Jerome Raheem Fortune as well, like on the cut What Can You Do where Rome spends the track reflecting on his childhood, his relationship with his father, and his struggles with drug addiction. While it doesn't always feel as if he's reaching as far back as he can, the sung of chorus of "what can you do about it? not a god damn thing" shows his fairly lighthearted perspective on the matter, and before too long we're back to the more upbeat, fun, entertaining tracks.

Still I Fight On, one of the most ambitious tracks in the listing as far as length goes, clocks in at over six minutes, and while the instrumental begins sounding like perhaps the most traditional the production on this project gets, it quickly progresses into one of the finer alternative trap beats found in the listing. The tinny claps met with the shiny synths and dirty bass all slide into the background as Rome takes front and centre with his rhymes which while ultimately aren't anything spectacular, remain entertaining and prove once again that he's able to hold his own.

The album wraps up with a couple more interesting tracks, as both Paid Back Loans and the closing cut Find My Way are memorable moments from the project. The guitar based instrumental on Paid Back Loans is a small but solid change from the earlier instrumentals, and the warm, tropical production on Find My Way is a strong way to wrap the project up and leave on a high note.

The combination of perhaps the best production I've heard on a hip-hop project so far this year, a plethora of fantastic hooks, and a strong enough flow and lyricism to help Rome Fortune stand on his own makes Jerome Raheem Fortune a fantastic debut full-length for the Georgia native, and proves that he may just be a hip-hop star in the making.

Rating: 4/5

Listen to Rome Fortune's track Blicka Blicka below:

This Unruly Mess I've Made by Macklemore and Ryan Lewis

It can easily be said that Macklemore has taken over as the face of pop rap over the last few years. Loved by the mainstream audience, but despised by many self proclaimed hip-hop heads, he's been put into a tough position because of his success. As an underground Seattle rapper, he released his fair share of projects, including his sole full-length album as a solo artist The Language of My World back in 2005. However, it wasn't until he met producer Ryan Lewis and the two decided to team-up that his career began to take off.

As a duo, the two independently released two EP's before their debut album The Heist hit stores in 2012. Packed full of decent production and fairly average pop rap rhymes, it was the subject matter of tracks like Same Love, and the catchiness and comedic punchlines of hits like Thrift Shop that helped the duo rise to the top of the charts. Of course it wasn't all smooth sailing for the duo however, as they received a fair bit of backlash from the rap community, especially when they were awarded the Grammy for rap album of the year in 2013 over Kendrick Lamar and his monumental release Good Kid MAAD City. The duo refused to let the lukewarm reception get to them though, and tracks like the new album This Unruly Mess's lead single Downtown made it clear they weren't prepared to back away from the pop sound anytime soon. That eventually became an afterthought however, as last month with the release of the album's second single White Privilege II, Macklemore took on a very important topic, and despite early criticism from your's truly, I've grown to enjoy the track quite a bit and respect it not only for it's relevancy, but also for what Macklemore offers lyrically.

Even with one solid single, I still went into this album expecting to be disappointed by sugary pop hooks and cringe worthy attempts at musical comedy. Nonetheless, I felt the need to give it the time of day, and astonishingly, I ended up being quite impressed.

The album kicks things off with one of the best lyrical displays Macklemore has offered thus far in his career, as Light Tunnels see's the Seattle emcee detail his experience at the Grammy awards and his thoughts during his upset win for rap album of the year. We also get a peak into the mind of the rapper, as he mentions how insecure and uncomfortable the award made him, as well as how much he began to doubt his skill after the criticism he received. Lines like "I don't like who I am in this environment, I forgot what this art's for" help reinforce what he explains throughout many of the albums deeper moments, which is that he cares about hip-hop and can offer more than just being "another white radio rapper." The song's chorus, sung by Mike Slap is the same generic pop hook I've come to expect from Macklemore, but it isn't enough to stop me from enjoying this track, as the introspective bars have me actually caring about what the emcee is saying, something that very rarely happened on his last album.

Other deep cuts like the aforementioned White Privilege II which serves as the closer, and Kevin a track that features Leon Bridges and details the overdose of one of Macklemore's childhood friend's, show us a much more honest, down to earth conscious hip-hop side of the duo that I didn't expect to find on this record. In the past, with songs like Same Love, I've felt like Macklemore was simply using current world issues for his own gain, and while I'm not necessarily convinced that wasn't the case in the past, I don't feel that way with these cuts on Unruly Mess, because there's a touch of sincerity, and it feels like there's something to prove with each line delivered.

It's not all positives on the album though, and that same cheesy mainstream pop culture artist who we've come to know appears multiple times on the album. Downtown is an obvious example of that style, but we get tracks like Brad Pitt's Cousin, Dance Off, and Let's Eat as well which see rather lackluster punch lines and weak attempts to brag. I struggle to take Macklemore serious when he takes a braggadocios lyrical approach, and the overly radio friendly production doesn't do much to elevate the tracks either. There are however, a handful of cuts that sit somewhere between those that are self reflective and the others that are drenched in pop influence. Buckshot, a cut that features New York hip-hop veteran KRS-One and iconic producer DJ Premier centres around Macklemore's experience with graffiti art, something that any one familiar with KRS-One will know he also is well versed in. It's a very enjoyable track, and sits on the fun side without relying on too clean of a chorus or too much pop influence. The indie-rock flavored instrumental on St. Ides is another one of the album's highlights, as the lyrics reflect on Macklemore's history of alcohol abuse. The twangy guitar featured on the track helps make it one of the better beats throughout the project as well.

I've breezed over White Privilege II a few times already throughout this review, but I feel like it's important to address the track a bit further. The song of course discusses the black lives matter movement and the ongoing struggle between black youth and police officers in the United States. Macklemore mentions the silence he and many other white artists have resorted to while the incidents continue to occur, and he also reflects on the hip-hop culture and those who consider him to have "stolen the sound" for his own gain. I have already said I was dismissive of the song at first listen, but since I've come to respect the emcee more, not for making a track on something important, but as serving as the connection between what's occurring and a mainstream audience. No, you shouldn't feel sympathy for Macklemore when hearing this track, but it's purpose is instead to inspire those who have set in silence and have remained uninvolved with protests and demonstrations to stand-up and be heard. Regardless of your opinions on the matter, it's a track that warrants a listen for the power behind the message alone, and the lyrical display from a man who prior to this track was nothing more than a boring pop rapper, at least in my opinion.

The best moments on This Unruly Mess I've Made are easily the best that the duo have offered since they began teaming up, and I'm very impressed with what they've done throughout the LP. Unfortunately, there are still a handful of tracks that feel phoned in, as if the sole reason they were included was to appeal to a more a mainstream audience, and that hurts the album quite a bit. Nevertheless, my opinion on Macklemore and Ryan Lewis has been altered quite a bit, and I now see a lot more potential in their sound. If they can trim out some of the more uninspired moments in the future, Macklemore will have plenty more award shows to write about.

Rating: 3.5/5

You can listen to Macklemore and Ryan Lewis' White Privilege II below:

I'm Up by Young Thug

Recently I reviewed the newest Future album EVOL (a review which you can read right here) and during that review, I mentioned the subtle subtweets and disses exchanged between Future and fellow Atlanta based rapper Young Thug over the last year or so, thanks to the two rappers embracing the state of 21st century hip-hop where all "rap beef" takes place on Twitter. Regardless of the words exchanged between the two, the true showdown came this past Friday as both artists released their own respective projects. While Future's EVOL was an average trap project that gave us the same Future we've been seeing for his last few releases, I was hoping Young Thug would seize the opportunity to capitalize on his seemingly always growing momentum, and finally prove himself as a rapper.

Originally, it was Slime Season 3 that was planned to be released this month. Instead, however, Young Thug, claiming inspiration from Kanye West and all the name changes his upcoming release (now titled Waves, incase you weren't sure) went through. Under the name I'm Up, Thug has released his 10th project since the beginning of 2014, and yet still, Thug fails to prove that he's deserving of his popularity.

The promising opener F Cancer, is a tribute to rapper Boosie Badazz, who had announced his diagnosis of cancer back in November of last year. The bass driven, upbeat production coupled with Thug's flow and simplistic lyrics and a feature from Quavo (of Migos fame) actually helps build an enjoyable, catchy cut that Thug has proven he is capable of doing in the past. Unfortunately it is one of the few songs on the album that actually manages to do enough to standout. For My People and Special are two other moments on the project where Thug is able to make a slight statement, thanks to the spacey trap production and intriguing features. Aside from that however, I'm Up is a collection of generic, boring, subpar trap songs. Thug's exuberant personality is no where to be found on the project, and much like I mentioned in my review of Future's EVOL, Thug is becoming another artist who is putting out far too much material and rather than impressing like he did when he first blew up, he's slowly assuring his fate as just another musical fad rather than a truly enjoyable act.

Each time I listen to I'm Up, I can't help but struggle to pay attention once I'm four or five cuts in. There's nothing impressive or enjoyable being shown aside from the few decent cuts I mentioned previously. If it comes down to Future or Thug, I'm listening to EVOL over I'm Up any day of the week, and that's not necessarily a compliment to either artist, but more so just proof that both are beginning to overstay their welcome thanks to the far too frequent releases.

Favorite Tracks: F Cancer, For My People, Special

Least Favorite Tracks: King TROUP, Hercules

Rating: 2/5

Below you can watch the F Cancer music video, which is co-directed by Thug himself, and also features the rapper/now director(?) being dressed head-to-toe in a set of pink scrubs.

EVOL by Future

If there's one thing that can be said about Future, it's that he's among the most frequent releasers in the hip-hop scene. Since 2012, he's released three full-length albums and eight mixtapes alongside a plethora of singles and guest features. With all these releases coming so frequent, the Atlanta born emcee has proven his consistency, but is also beginning to border on overstaying his welcome. Now, just over six months since releasing what is easily is best project thus far in his career, DS2, Future is releasing EVOL, his fourth LP.

Less than a month ago Future released his Purple Reign mixtape, and the general consensus on the release was that the trap artist needed to slow down on his musical output. Too much of a good thing can be a bad thing, and because of the lack of diversity in Future's sound, and for the most part, the trap genre itself, there's nothing new being brought to the table. On EVOL, it's much of the same we've already heard. Albeit there's much less filler and throwaway tracks than Purple Reign, but even the best tracks on EVOL fall short of what the rapper is truly capable of. 

The unfortunate byproduct of releasing an album the caliber of DS2, is the heightened expectations that come alongside the success. With so much music being released, he's smothering his listeners with subpar material instead of giving us the quality we know that he's capable of making. Some of the tracks on EVOL are catchy trap anthems that are worth a listen. Cuts like Maybach and Xanny Family are both incredibly catchy and certainly contain some replay value. The problem is that plenty of the other tracks fail to differentiate themselves from anything else found on his other material, and despite being an album, the project doesn't have the feeling of being any more than another mixtape. 

The track listing also gives us some completely obnoxious tracks, and Lie to Me is the first one that comes to mind. The spacey-synth based instrumental is way too busy and distracting thanks to the heavy bass line that feels as if it's been turned up way too high, making for what is overall some messy production. The lyrics aren't much better, although no one should go into a Future record looking for in-depth or impressive lyricism. Program is the only cut that rivals Lie to Me for the least enjoyable on this project, as the fact that every line ends with "program" drives me insane due to the lack creativity lyrically. 

Future turns it around with the following cut Low Life, that features The Weeknd, straight off of the success of his latest album Beauty Behind the Madness. It's by far the longest track found on EVOL, clocking in at over five minutes, but still managing to remain interesting. The album finishes with Fly Shit Only, a song that features one of the most impressive beats I've heard Future use since DS2, as there's some piano, some electric guitar, and even some distorted, glitchy noise to be found within the instrumental. 

Ultimately Future came up a little short on his latest effort, but EVOL is still nothing to scoff at. There's some entertaining tracks, and some not-so-enjoyable moments as well. If there's one thing to take away from the album however, it's that Future continues to prove that he needs to slow down on his releases. Quality over quantity is what his fans are looking for, and while his frequent output is very impressive, it's leading to more lacklustre songs than necessary. 

It's worth noting that fellow Atlanta, Georgia based rapper Young Thug also released a project this past Friday, and has been quite vocal about his issues with Future in the past. To find out my thoughts on Thug's latest, make sure to subscribe to the blog or follow me on Google+ as I will be reviewing I'm Up soon!

Favorite Tracks: Maybach, Xanny Family, Low Life

Least Favorite Tracks: Lie to Me, Program

Rating: 3/5

Khalifa by Wiz Khalifa

As hard as it might be to remember, there once was a time when Wiz Khalifa was an up and coming hip-hop artist putting out some very interesting stoner rap. His laid back flows, wavy beat selection, and clever yet simplistic wordplay helped allow him to put out some great mixtapes such as Prince of the City, Burn After Reading, and Kush & Orange Juice. As his popularity grew however, the apparent amount of thought and effort that went into his songwriting began to diminish, and after the release of his third full-length album Rolling Papers, it was clear he was heading in a new direction stylistically.  Now, with plenty more popularity and a couple big name awards under his belt, Wiz has delivered Khalifa, his sixth full-length release. Former fans of the Pittsburgh born emcee will probably go into this album hoping for a return to the rapper's former ways, unfortunately, they will end up sorrily disappointed.

Not only is Khalifa the worst album Wiz has put out this far in his career, it's also one of the worst rap album's I've heard in a very long time. The album, summed up as quickly as possible, is 13 tracks with absolutely zero effort, featuring generic production, an overuse of overdubbed vocals and echo effects, boring lyricism, and the Taylor Gang leader attempting to say "I smoke weed" as many times as he possibly can on an album before driving the listener insane. Lines like "my chain shit on your car, my rolex fucked your bitch" on Celebrate, or "gettin' all this paper, got me shittin' in public" two tracks later on City View are beyond cringe worthy. Not even the instrumentals, done mostly by fairly talented producers like frequent Khalifa collaborators Big Jerm, SAP, and Sledgren can help save any tracks on this LP, as most beats feel generic and boring, not even seeming good enough to be filler on an older project of his.

The album is 52 minutes yet feels like a lifetime, with guest features throughout adding nothing more than perhaps an appearance on the chorus or a lacklustre short verse. The only decent features comes on the one tolerable cut on the record, as No Permission features fellow Taylor Gang records label mate Chevy Woods. The instrumental, which is easily the most reminiscent of Wiz's past material on the album, is fairly average, and he appears to at least be attempting to put in an effort lyrically on this track. The biggest issue with the album for me, if it isn't clear yet, is that it's obvious Wiz isn't trying, coming through as a shell of himself even on his other commercial releases. While projects like Rolling Papers and O.N.I.F.C weren't great by any stretch, they at least felt like radio-bait, whereas Khalifa doesn't even seem to be enjoyable enough for the radio. It's not catchy, unique, creative, or anything else that could possibly be seen as a positive quality.

On Zoney, one of the later tracks in the listings, Wiz even brings his son Sebastian onto the album as perhaps some attempt to create a cute moment, but that's the last thing needed on a rap album. The only thing it serves to do is help the listener forget the lyrics earlier on the track, which are among the worst found in the listing. It did garner a smile from me though, because it became evident at this point how heavy Wiz was reaching, just looking to fill-up time and tracks as needed.

I'll be completely honest and admit that I'm not much of a fan of commercial radio rap. With that being said, the pop-rap elements aren't even what makes this album so unbearably bad. There's nothing appealing to be found anywhere near this album aside from maybe one or two tracks that are just a little bit above the horrendous standards the rest of the album sets. I'm not going to ramble on about just how poor this project is, or how far Wiz Khalifa, a once at least somewhat talented emcee has fallen off. Instead, I'll just leave by recommending you stay as far away from this album, or any song found on it for that matter, as possible.

Favorite Tracks: If I have to choose, No Permission is at least better than the other songs found on this trash heap.

I'm not even going to attach a video from the album below, instead listen to Never Been, a track from back when Wiz made enjoyable stoner rap.

Least Favorite Tracks: BTS, Celebrate, Elevated, City View, Call Waiting, Zoney

Rating: 1/5

Yes that's right, one, as in the same number of songs that I can actually ever potentially see myself considering coming back to on this album.

Have you listened to the album yet? If so, let me know your thoughts in the comments section down below!

Hotel Paranoia by Jazz Cartier

When Jazz Cartier claims "everybody in the States compares me to Drake, cause not many in the city can carry the weight" on the song Talk of the Town, he delivers an interesting perspective of what's to come on the follow-up to his debut album Marauding in Paradise that was released back in April of last year. Not only does Jazz share Drake's hometown of Toronto, Ontario, but he also shares a similar sound to that of the OVO member, as just like Drizzy is known for his ability to to craft fantastic party anthems over a plethora of beats, Jazz once again proves he's capable of the same on Hotel Paranoia. 

Coming in at 16 tracks, Hotel Paranoia is quite an ambitious effort from the Canadian emcee, but if one things for sure, Cartier never shies away from taking risks. Whether it be through his boastful lyrics or his seemingly ever-changing beat selection, which while often trap flavoured, seems to also incorporate influences from many other genres as well. Even with the diversity though, 16 trap songs is a lot to digest, but could the up and coming hip-hop artist step-up and deliver yet again?

The aforementioned opening track Talk of the Town is exactly the way a project should open, Jazz is bold, he's energetic, and ultimately he introduces his listeners of what's to come. That is, until the outro of the song begins, and a skit between himself and an apparent worker from the "hotel paranoia" plays out. I didn't go into this mixtape expecting a concept project, but when one presents a skit of the sorts, and even finishes it with Jazz asking the employee if she can inform him when his friend arrives, as well as asking where the elevator is. The concept seemingly disappears after that track however, and the only true reoccurrence is when the albums sole guest appearance, coming from River Tiber, appears later on in track listing. Once again though, the cut has no clear connection to anything else in the project, so the skit is a somewhat questionable inclusion on the album.

The album almost appears to be divided into halves, as the first ten or so tracks are the expected hard hitting trap beats with Jazz dropping one liners and braggadocios statements. It changes up with After The Club however, as the subject matter becomes the relationship between the Toronto native and a love interest. The change in pace is reversed however, as Tales, the fifteenth track in the listing brings back the style found in the first ten cuts. The track pacing is interesting, but in some ways makes the project feel convoluted.

The project's closer, Save Me From Myself, is one of the most eccentric cuts I've heard from Jazz, as he delivers his first verse in a raw, almost demented vocal style. It's easily one of the most intriguing cuts found on the album, alongside How We Do It, a track that samples the Montell Jordan song by the same name. Not only is the use of the sample fairly interesting in it's own right, the song is the trap anthem you can expect to hear when you tune in to a Jazz Cartier project.

The album definitely flips back and forth, with a share of generic trap cuts that don't add much to the overall experience, but also quite a few enjoyable cuts that display lyrical skill as well as a strong ability to craft catchy hooks. If the goal with this release was to separate himself from Drake, I do believe Jazz succeeded, with that being said, the comparison isn't a bad thing and the more distancing he does, the more he'll need to add diversity and individuality to his sound.

Favorite Tracks: Talk of the Town, Red Alert, How We Do It, Save Me From Myself

Least Favorite Tracks: Illuminati Love Song

Rating: 3.5/5

Malibu by Anderson .Paak

Back in the summer of 2015, hip-hop/r&b artist Anderson .Paak grabbed my attention thanks to his contributions to Dr. Dre's Compton. It was an album I enjoyed quite a bit upon it's release, and that was in large part due to the great guest features, including those of Paak's. He released his debut album Venice, a year before Compton, but remained fairly unknown until Dr. Dre's release, which really helped bring him into the public eye. So, with the new found popularity, lofty expectations, and some fantastic producers and guest features to help out, Paak set his sights on Malibu, his second full-length LP.

The warm production style and the intricate, personal lyrics that Paak puts on display throughout the album are immediately evident during the first few tracks. We see the California native sharing details of his childhood and his current age, as the topic matter ranges from the struggles he endured growing up to the love he shares for his family, as well as a woman who is continuously part of the album's theme throughout. When this is combined with the soulful bass lines, the laid back drum patterns, and Paak's own fantastic voice, it makes for a very welcoming sound. Not only does it invoke the feeling of spending a warm day on a beautiful Malibu beach, but it also has a certain nostalgic feeling that truly can't be explained.

Heart Don't Stand a Chance, one of the earlier tracks in the listing, is a stellar display of Paak's talents. As we are introduced to a love interest that as I mentioned is often discussed as the album progresses. On the song he states bravely, yet with confidence "Your heart don't stand a chance." This confidence is something that carries over track after track as the record progresses. Not only does he seem to be beyond comfortable with his newfound popularity on this album, but he also seems to have no problem taking risks and putting his life on display. Am I Wrong is a track that features an interesting risk instrumentally, as rather than the more soulful, west-coast production seen on the other tracks, we get a synth-based beat that really makes for a funky, enjoyable cut. The feature by TDE's ScHoolboy Q only helps add to what is already a great change of pace for the album.

The wonderful production throughout the project can be in-large part related to the great list of guest producers who helped out with it's creation. We see iconic names such as 9th Wonder and Madlib pop up multiple times throughout the record. However, Paak also showcases his own ability behind the boards on a handful of tracks. Parking Lot, perhaps the most enjoyable cut on the whole album is produced by Paak, and the combination of the claps and cymbals with the fast paced drum pattern make for a tap your feet, sing-a-long song. He also produced Celebrate, a song that features a loud, soul inspired groovy bass line, alongside some simple yet effective guitar and piano work. For me, just as much as he proved himself as a singer and songwriter, he also proved himself as a producer on Malibu.

With that being said, there are a few tracks on the album that even the production can't save. The chorus of "What's behind them tig ol' bitties" on Silicon Valley is an example of a rather cringe worthy moment of lyricism, which while clearly an attempt to be clever, just doesn't resonate with me personally. The instrumental for Water Fall (Interluuube) makes for another track I could certainly do without, as the drum driven beat really doesn't do too much for me. It spends too much time trying to be jazzy, and while it's an ambitious choice, it fails to excite or impress.

Even with the legendary producers and gifted emcee's on this album, Anderson Paak still manages to be the shining star on tracks that feature the likes of fellow r&b artist BJ the Chicago Kid, talented female emcee Rapsody, and iconic rappers Game and Talib Kweli. Malibu is nothing short of fantastic, and if Anderson Paak didn't captivate you with his work on Compton, he certainly will with this release.

Favorite Tracks: The Bird, Heart Don't Stand a Chance, The Season/Carry Me, Am I Wrong, Your Prime, Come Down, Celebrate

Least Favorite Tracks: Water Fall (Interluuube), Silicon Valley

Rating: 4/5