Category: Reviews
Review: 6LACK: “Since I Have a Lover”
Hailing from East Atlanta, 6LACK (pronounced ‘Black’) has finally returned to music with the release of his third studio album Since I Have a Lover following a six year hiatus. The album boasts three features, including a surprising Wale feature. Previously, 6LACK has established common themes in his music like break-ups and being a rolling stone who does not want to settle down. Since I Have a Lover expands his palette to new themes such as growth and healthy relationships, hence the name. He hasn’t topped East Atlanta Love Letter with this latest release, but the lyricism and emotion on this album are standouts.
This album feels incredibly personal and it’s evident that he spent a lot of time working it. While listening, I can practically feel the emotions he conveys. 6LACK has been very open with fans about his personal growth and how he has been coping with change as he enters new eras in his life, like fatherhood. This album explores the possibility of settling down, which was not a common theme in his previous music. He also reflects on experiences from youth and childhood that make him reluctant to do so. In an interview with Zane Lowe, 6LACK speaks on the album and what it means to him. He goes into detail about the choices he made and what helped him recognize there was a need for change. “(I) was putting (myself) in the position to have to make Free 6LACK 2,” 6LACK says, reflecting on self-sabotaging and pushing away people who cared about him.
The album opens with the song “cold feet”, which is a term often used to describe apprehension or doubt, showing his reluctance to change. The song features an intro with a woman asking him to return to music. He addresses his absence by saying while his old projects were hot and made him feel alive he’s been waiting on something to set him on fire fulfilling those old passions.
In the second song, “Inwood Hill Park”, he starts to doubt his past life, but nevertheless appears hopeful. He contemplates marriage saying “I been thinkin’ about gettin’ on one knee, turn a solo to a feat”. He appears to have changed, realizing he loves the girl who has been there since the beginning. He echos this sentiment during the Apple Music interview, stating that if it had not been for his lover’s patience there may not be an album. He acknowledges his growth with a reference to his old album Free 6LACK: “remember when it was all black and white, colors startin’ to feel real vibrant”.
The next two songs (“Since I Have A Lover” and “playin house”) reference marriage again. This time, he dives deeper and discusses some things that could be holding him back and what it would take to sustain a marriage. On “playin house”, he uses great imagery to portray his unstable relationship with his lover, “spent all that time building a strong foundation, it’s like we need a renovation”. This demonstrates his growth as he acknowledges there is a need for change.
The first third of the album was lively and lyrically the strongest but after “chasing feeling” it’s harder to engage with the tracks. The mood shifts and it is not as captivating as earlier songs. The lyrics make it seem as if he is regressing back to old ways “You mine every day, don’t try to file no restraint”, he exclaims on “Decatur”. This is a huge emotional shift from someone who was just contemplating marriage and traumas a few songs ago.
But then, the last three songs come in and save the day, starting with “Stories In Motion”, which features eloquently written bars from Wale. Then, it’s fan-favorite “Testify”, which is accompanied by calming acoustic guitars and 6LACK’s beloved ultra melodic voice. The album wraps up nicely with “NRH” (which stands for night ride home). 6LACK reflects on past lovers, who cross his mind especially at night.
While it was not the heavy-hitting album I expected, lyrically it is one of my favorite albums of the year so far. He poured his emotions into it and shows a deep commitment to growth. I commend any artist that can expose that kind of vulnerability to the world.
Review: GROUPLOVE: “Hello, All!”
When the temperature reaches 70 degrees, certain things become non-negotiable for me: every outfit needs to include a pair of shorts, my car windows will be rolled down, and every playlist should contain at least one GROUPLOVE song to set the mood. Thankfully, with the surprise release of their new double single “Hello, All!” off of their upcoming album I Want It All Right Now, the band has provided me two new options to choose from.
Since the release of their appropriately titled debut album Never Trust a Happy Song, GROUPLOVE has become known for creating music that sounds like happiness feels, even with songs that contain heavy themes. The first single of the pair, “Hello,” a deceptively upbeat sounding number grappling with themes like loneliness and attempting to figure out your identity, is certainly no exception. The song still somehow remains bubbly and energetic even with lyrics like “When will you ever find yourself? / Inside, you feel like someone else” and “Yeah, you’re constantly numb ‘cause nobody sees you through / So you run, and it’s not enough for you,” a true testament to the bands signature sound. Honestly, if you listened to the music without paying attention to the lyrics you may not even realize the subject matter is depressing.
Second on the double single (but not in my heart) is “All,” a song about leaning into your struggles and leaning on those in your life. By swapping out loud instruments for loud vocals and delivering the outro consisting of lines such as “I want it all right now / I wanna take a long ride / With you by my side / I wanna be alright now” via passionate shouting, the point of the song gets across very effectively and proves that GROUPLOVE is not a one trick pony. This is certainly the more somber number of the two and the band successfully capitalizes on that.
These songs are reminiscent of the bands earlier music and remind me of exactly why they dominated the Indie Pop scene for the greater part of the 2010’s and if the quality of these songs is any indication of the rest of the upcoming album, there is a good chance they will rise to the top again. To help pass the time counting down the days until I Want It All Right Now comes out July 7, check out the video for “Hello, All!” down below.
Review: Musiq Soulchild & Hit-Boy: ‘Victims and Villains’
Following a six-year hiatus from releasing his own music, Musiq Soulchild returned to the scene in early March 2023. Victims and Villains is a collab album with producer Hit-Boy. This new album comes nearly 23 years after the release of his debut studio album Aijuswanaseing (I just wanna sing), but he still continues his E.E. Cummings-esque aversion to conventional capitalization and syntax.
Musiq Soulchild is a veteran of the music world and a foundational figure for modern R&B artists. Songs like “Love” and “Halfcrazy” are timeless classics, with the latter even being heavily sampled on Lucky Daye‘s 2022 breakout hit “Over”.
Hit-Boy is known primarily for working with rappers and is no stranger to working on collab projects. Burden of Proof with Benny the Butcher along with all three iterations of Nas‘ King’s Disease series are some of his most notable recent work.
The album opens with a question: will i touch the sky. Backed by a groovy bassline and enhanced by smooth vocal layering, Musiq’s talent and artistry is evident on this track. This is the most personal song on an album where almost every song is about love or a relationship. He laments in the chorus, “Feels like I’m drownin’, tryna keep my head up / Don’t lеt this broken smile tell you a liе / Lost in the crowd with myself to find.” This feeling of anguish is a relatable phenomenon, and it provides context for his mindset on the rest of the album.
Track two, i remember you my ex and track three, imreallytrynafuckwichu, serve as foils. The former is a vulnerable male breakup anthem in which his decision to stop the relationship outweighs his fond memories of the past. On the other hand, the latter is a more macho song where he lets a girl know that he’s down for whatever. It also has the album’s only listed feature, The Husel, who in reality is Musiq Soulchild’s rap alter ego.
The crux of the album is the title track, victims and villains. On my first listen, the simple drum beat and the expressive piano clued me in that he was about to really speak from the soul. He feels fooled and betrayed by a woman who has falsely claimed vitcimhood but in truth is actually a villain. He asks her, “Just how far will you go / Your mask is comin’ down / Thought no one would ever know.” The song’s strength lies heavily in its simplicity and repetition. It feels cyclical in the same way that an argument normally does when it comes to relationships.
On the seventh track, white rice déjà vu, he employs several similes and metaphors in his descriptions of a woman like, “You would think it’s white rice by the way we spoon”, “Love like a shot of Henny, I would chase it”, and “She wanna ride like an ’84 Caprice / You’ll be my passenger all between the sheets”. This track made it evident to me that Musiq Soulchild has definitely been influenced by popular R&B singers of the last few years. These lines feel more like rap bars rather than the lines of a love song, a stylistic choice that’s characteristic of contemporary acts like Brent Faiyaz and Bryson Tiller.
The final track, we were just binging, ends the album and a relationship, comparing them to a TV show that you would binge. What was once the source of joy and fun has now become tired and bored. It’s a somber but poetic end.
Yeah, we put on quite a good show
Now it’s time’s up, next episode
No need to re-up our subscription
The season has come to an ending
Oh, and I know in good time
You’ll find someone just right
Ain’t no victims or no villains
We wasn’t in love, we were just binging
Musiq Soulchild & Hit-Boy, “we were just binging”
With recent features on projects from Kehlani, Freddie Gibbs, Robert Glasper, and EARTHGANG, this project is likely the proper introduction to Musiq Soulchild for many new-generation fans. It details either different perspectives for a single relationship over time or a collection of multiple love stories accumulated by one man with different women. It doesn’t have the same sort of magic to me that his first few projects do, but sticking too closely to his traditional style would only beget music that’s tired and forgettable. As a whole though, this is a cohesive project and a worthy return for a music legend.
Review: Jordan Ward: ‘FORWARD’
Jordan Ward is an unexpected new favorite of mine. I usually don’t go for the more “pop-y” and energetic side of R&B, but Ward’s sound has captured my attention. His joyful melodies and rhythms, partnered with a wavy ambiance, bring a fresh and inviting feel to his music, making it perfect for relaxing and easy listening. When Ward’s music comes on I can’t help but bob and bounce around no matter the theme, and his new album FORWARD is no different.
I discovered Ward through his collaborations with DMV rapper Joony, a talented upcoming artist making waves in the industry. Joony’s Pretty in Black saw the pair’s first catchy collaboration in “ZOOM ZOOM.” Shortly after, Ward released “IDC (with Joony),” the groovy lead single for his new album. This song perfectly encompasses how well the two mesh, with highlights where Ward provides harmonies over Joony’s melodic verse, which could be appreciated by any music lover around. It is a fun and cohesive song that shows off Ward’s lighter, more lively side.
Before “IDC” appears on FORWARD, Ward introduces the album with the somber “BUSSDOWN”. Here, Ward reminisces on his childhood and worries for the future, ultimately saying that his past is in the past and that he is hopeful for “how all this will pan out.” In the climax of this opener, a voiceover tells him that “that was then, it’s over, you know. You see, baby, they tell you you’re free, but you’re always reminded,” hammering down on the song’s theme: you can’t escape your past but it doesn’t define your future. This song sets the tone for FORWARD, showing Ward’s improved conceptual and lyrical depth that is evident throughout.
Following the emotional and honest “BUSSDOWN,” comes my personal favorite, “FAMJAM4000”. Its wavy, synth style and bouncy drums contrast the song’s darker lyrics, with Ward discussing his broken childhood home and a more recent lost love in two respective verses, with them both coming together in the chorus when Ward says “Can we bring the love back? I know that you’ve been waitin’ so long for it to come home again.” The line works in both situations, asking his dad or his ex-partner to return home, which seems to be a symbol of love for the artist. This song speaks on the importance of family to Ward, and his regret that it is not as together as he would prefer. It was released with a music video giving fans a view into his hometown, St. Louis, and quickly became a favorite.
After a smooth collaboration with Gwenn Bunn on “311,” we get to “White Crocs,” where Ward is joined by fellow St. Louis native, Ryan Trey. The song served as the album’s second single and has a distinct sound compared to the rest of the album, seeing the increasingly popular “plugg” style of production (a subgenre of trap, influenced by popular west coast sounds and sprinkled with heavy 808s) infused with more traditional R&B elements. Trey’s melodies and Ward’s hooks are infectious, making for an addicting song. The song has a cool swagger to it and shows off Ward’s unique sound, setting him apart from any competition.
The album is executively produced by Lido, who also makes an appearance on “PRICETAG/BEVERLY”. He is a close collaborator of Ward’s, working on PLANTAIN KARAOKE!!, a three-track ep of covers dropped on SoundCloud (which may have the sickest cover of SZA’s “Prom” I’ve ever heard). The pair once again shines on FOREWARD.
“DANCE MACHINE” once again proves how well Ward can create such enjoyable, catchy songs, but the following few tracks further cement the depth that he reaches on the album. Ward touches on loneliness in “FLIGHTS,” reluctant violence in “THINK TWICE,” and community conflict in “0495.” He also took a new Frank Ocean-esque vocal approach in this run, which added to the weight of these heavier themes.
Hate the way them drugs took my cousin, oh
– Jordan Ward, FORWARD
Hate the way them drugs took my bro, oh
Last time we talked, he called from behind bars (Yeah)
He would probably say, ‘Boy you took that shit far’
I would probably say, ‘Didn’t you know I was just one call away?’
So I’m ‘a do this for y’all”
The title track “FORWARD” is another highlight of the album, serving as the closing track (aside from the two additional bonus tracks). Here, we see Ward dive back into familial themes, but this time rather his relationships with them through the progression of his career. He mentions the pain of seeing loved ones die from drug overdoses or go to jail when he knows he could have helped, saying “didn’t you know I was just one call away,” ultimately taking that pain as inspiration and claiming that he is doing all it for them. In the second verse, he further analyzes the impact of his success on those around him. Ward wonders if he could have set his differences aside with them and had a more positive impact, despite the difficult circumstances. “FORWARD” wraps up the album and its overarching self-reflective themes perfectly.
Jordan Ward had a lot of pressure on him, finding himself in the spotlight after opening for Smino and JID on their tour and performing at J. Cole’s Dreamville Fest, but the proud St. Louis native absolutely delivered on his debut album. It felt effortless yet still intentional, offering one of the freshest sounds any artist has to offer in the music industry. I really enjoyed Ward’s work here and found myself impressed with his artistic evolution. It seems that he gets better and better with each project, so I will definitely be looking forward to whatever he comes up with next.
Review: PICTURESHOW: ‘A Night at the Picture Show’
PICTURESHOW is one of the newest bands to rise from Athens, Georgia. On March 3, they released their aptly titled debut EP A Night at the Picture Show. Almost two weeks earlier, the band eagerly released their debut single “Fix,” which features cyclical riffs, passionate growl-singing, and sharp lyrics. The band’s EP is characterized by all the same elements.
The opening track, “Mean” is a slow burn, but a grand statement. The same musical motif repeats again and again while leader singer Jim Bass’s voice rises and falls back down with vigor. He uses volume in a playful manner, which is harder to capture on a record than it is to perform live; on this record, the desired effect is achieved. It is great choice as an EP opener. Next up is “Loving in the Real World,” which has an authentic throwback feel. It takes me back to my middle school playlist; it could sit squarely between a track by Mayday Parade and Secondhand Serenade.
“Breaks Like Plastic” and “No Words to Spare” are catchy songs despite (or perhaps because of?) the somewhat self-pitying lyrics. When I first listened through the EP, I thought that these would be the mosh pit songs, but that was until I heard the next song, “Fight Night at Flicker,” which turned out to be more suitable for that title. This is an absolutely cathartic release.
The final song, “Gyno Magoo” is an eccentric finale about a man who is good for nothing except sex. The end of the song reads like an inappropriate Dr. Seuss parody, but charming nonetheless, in its own way. One thing is for sure: PICTURESHOW has a raw, gritty and DIY feel that’s sure to be hit live.
Concert Review: flipturn Glows at the Georgia Theatre
Last Friday, Florida-based flipturn brought their Shadowglow tour to the Georgia Theatre for one glorious sold-out evening with support from Athens’ beloved Hotel Fiction.
Hotel Fiction
From the second Hotel Fiction stepped on stage, it became abundantly clear that they were meant to be there as Jade Ireland’s soft vocals and Jessica Thompsons’s sharp sound balance each other out so brilliantly. Their distinct vocals allowed them to shine independently or as a duo, whenever they decided to grace the audience with some of the most incredible harmonies I have heard. This was especially true when they played their breakout hit “Astronaut Kids.” During their set, they asked the audience members to hold up their phone lights to make it feel like space and this was very consistent with the overall vibe of the show, which I can only describe as what I imagine it would feel like to attend a rave on a spaceship.
Seeing a band perform in the city they are from always elevates the experience; while I’m sure that “Athens GA” sounded phenomenal at every show, I’m willing to bet it sounded just a little sweeter in the Classic City itself. There is nothing quite like a hometown show.
They played “Man on The Moon” off their latest EP Enjoy Your Stay and not only was it my favorite song from their set, it is now one of my favorite songs from recent years—calling it phenomenal feels like an understatement, but for now that’s the word I’m landing on. I fully intend on listening to this song an absurd number of times until I physically can’t anymore. Then, picking it back up sometime around May and doing it all over again.
Towards the end, they played “Instead of us,” which is a triumphant number about putting yourself first. It is so well written that it makes me want to tell off people that didn’t even wrong me due to how empowered it made me feel. In only four minutes, the song both destroyed and rebuilt me. To close out their set, they asked the audience to sing along to their song “Monster,” but I am confident the crowd would have done this unprompted.
Every time a song ended, I was sad because I didn’t want it to be over, but once the next one started, I immediately felt on top of the world again. My biggest regret going into the show is only knowing a couple of their originals. To repent for this grave error, I will immediately be learning all of them. Although traveling to outer space may be ambitious, Hotel Fiction is certainly going places.
flipturn
I was familiar with flipturn’s music prior to the show but after hearing them during soundcheck I knew that I was in for something special. My expectations were high going into the evening, and they were absolutely shattered within ten minutes; the atmosphere in the venue was fantastic, the energy on stage was electric, and frontman Dillon Basse and bassist Madeline Jarman did high knees that put my high school tennis conditioning to shame. (They were also given sparkly cowboy hats by an audience member for “Space Cowboy” which really added to the ambiance.)
On top of being great musicians, they just seemed like great people. I watched at one point as Basse struggled to get the lyrics out, because he was too busy smiling at the audience’s response to the song. This made it clear that they were as humble as they were talented. Later, I watched as he jumped full speed into the audience while trying to crowd surf, but was unfortunately greeted by the Georgia Theatre floor instead of the loving arms of the audience. I think that he felt a full array of emotions that evening.
They have a great catalog consisting of songs with choruses that were designed to be played in front of a packed venue, and are somehow able to keep the atmosphere in the room lighthearted, even when performing songs like “Whales” and “Goddamn” that feature heavy subject matter, like dealing with suffocating pressure and mental health respectively. They have the unique ability of making a room full of people shouting the lyrics “Goddamn my mind, sign of the times / If everyone’s fine, everyone’s lying to you” feel comforting instead of daunting.
After seeing them perform “Halfway,” which features a nod to Houston, and “Chicago,” I concluded that they should write more songs that mention cities. (I would like to throw Athens’ name into the ring if they’re open to suggestions.) These are the kinds of songs that make me want to drive around with my friends and an open sunroof; they made me feel like I was in a coming-of-age movie even though I am a prehistoric 23-year-old.
While the set mainly consisted of songs from their debut album Shadowglow, released last August, as well as some earlier releases, they also covered “Everybody Wants To Rule The World” by Tears For Fears. With the way they dominated the Georgia Theatre, they just might be on track to do so.
During the encore they played “Vanilla,” a deep cut from their debut EP Heavy Colors. Basse prefaced it by telling the audience that it is not normally a part of their set, but they were making an exception since someone yelled it out earlier. Based on how the audience responded to the song, I think it was a pretty good call. At the end of their encore, they brought out Hotel Fiction to join them on stage for fan favorite “Nickel,” a song and moment that reminded me just how much fun live music can be.
They mentioned that this was their largest headline show to date, but judging by the massive amount of talent that I witnessed that evening, I have a feeling this won’t be the case for much longer.
Review: Blu & Exile: ‘Below the Heavens’
Below The Heavens is a phrase that immediately strikes one when they read it. Coincidentally, it is the title of the 2007 debut album of Los Angeles rapper-producer duo Blu & Exile.
Looking back at Hip Hop in the 2000s, we can place most popular rappers into one of two lanes. Flashy and “hardened” MCs like 50 Cent, Cam’Ron, Ja Rule and Diddy embody the spirit of the “Bling Era,” an aesthetic that many today still associate with rappers. On the other hand, more eccentric MCs, like Lupe Fiasco, Kanye West and OutKast led a resurgence in the popularity of “alternative” hip hop. Generally, compared to their bling counterparts, these alternative rappers employed more sung choruses and “conscious” messages.
This album answers the question: what if alternative rappers hailing from Chicago, like Kanye West and Lupe Fiasco, were from Los Angeles instead? As the name suggests, this album skillfully intertwines religious themes with the stories and ideas of an exceptionally talented underground rapper.
Vocal samples are littered by Exile throughout this project, most notably in the opening track, “My World Is…”. Sections of Joni Mitchell’s “Blue” and The Dells‘ “I Can Sing A Rainbow / Love Is Blue” where they sing “blue” are used in the song’s intro, chorus, and as ad-libs. Blu uses the song to introduce himself and begin the religious motif the album is predicated on. He describes himself as “a product of a God-fearing pastor” in the first verse and exclaims “and my mission’s just beginning, call it Genesis” at the start of the third.
On the fifth track, “In Remembrance of Me,” Blue is backed again by a vocal sample. The chorus of The O’Jays‘ “How Time Flies” repeats as Blu examines and contrasts his childhood, high school experience and current life. Lines like “At 18, I headed off in the streets without guidance / Just the eyes of God watching over me” provide insight into the details of his life. In the next verse, he tells us, “My mom thought that I was too young to make this song / Because I’m only 22, but John Barnes has a long path behind him.” Just like Nas, whose work is subtly referenced throughout this album, Blu, or Johnson Barnes III, is an artist releasing insightful and layered work. When you hear this section, it really grounds the album, making his realness and wisdom more evident.
Track eight, “First Things First” is the broke rapper’s version of J. Cole‘s “Work Out.” In this playful song, Blu does his best to throw game while acknowledging his lack of money, something that girls would usually associate with rappers like him. The lines, “Now, don’t get it twisted broke niggas need love too / And underground rappers like to chill at the club too” encapsulate the feel of the song. We aren’t given a peek into his psyche like we were in prior tracks but instead, we get to feel his personality shine as he skillfully rhymes and progresses the narrative of the track.
On “No Greater Love,” Blu continues the narrative of the last track while returning stylistically to what we’ve already heard. “Theme From Love Story” by Smokey Robinson and The Miracles is sampled, so we hear Smokey sing “there is no greater love” throughout the song. The approach is unconventional, but this is a love song nevertheless. Blu exclaims his love for an unnamed woman and explains the title of the song in the refrain. “Yeah nah, ’cause on the real y’all there is no greater love / People try all the time trying to break us up.”
“The World Is… (Below the Heavens),” track 13, is the climax of the album. Exile interpolates a Nas classic, “The World is Yours.” In the first verse, Blu outlines his journey with religion.
I was trained to be a soldier for God
Blu & Exile, “The World Is… (Below the Heavens)”
But as soon as I used my own thoughts
I kinda got lost in this smog called reality, where hell is a fallacy
And Heaven is a fantasy created by man, so don’t believe in it
You came in here with nothing then you’re leaving with
Nothing so retreat from this world of deceitfulness
But my people it’s time to rise
Realize there’s a heaven whether you think it’s inside or in the sky
Reach for it before it’s gone eternally
And you stuck here below the heavens for eternity
Blu explains that he has had problems reconciling his religious upbringing with the harsh reality of life. We are informed by the rest of the album, that Blu is definitely a spiritual man, but now we learn that he isn’t really a religious one. When interviewed by Passion of the Weiss in 2016, in fact, he said “I’m religious without a religion”. In the next verse, Blu talks at length about hell. So often, people describe themselves as “going through hell” or “in hell” but Blu wants us to understand that “heaven” is what we make it. He tells us, “hell is what you choose to call the present,” and in what are likely the most succinctly powerful lines of the album he closes the track, “So you can call it hell but brah… / I can say I’m below the heavens.”
Fifteen years later, Blu is hailed as a legend of underground rap, and this was the beginning of his ascent. He exhibits so many of the qualities of a great rapper. He teaches but doesn’t preach, he is intellectual but digestible, he has the poise and skill of a star but never sacrifices his bars. As outlined by a 2017 Vice article, the release of this album was botched and Blu’s label went under. Interestingly, that only added to the mythos of the project. With only 3000 CDs originally released, secondhand copies went for hundreds of dollars, a testament to Blu and Exile’s skill, ear for good beats and relatability. Each of these songs is powerful in its own right. Combined with the full and lively production of Exile, Blu’s wit, passion, bars and experience make this album a timeless classic.
Review: Gregory Alan Isakov: ‘This Empty Northern Hemisphere’
I think everyone has that one album that really redefines what music means to them and transforms their view of the world and for me, This Empty Northern Hemisphere by Gregory Alan Isakov is that album. When I listen to it, it perplexes me how I could possibly have access to the same 26 letters of the alphabet as its writers who seemed to select the perfect words for each song resulting in one of the most beautiful, tranquil bodies of work I’ve ever heard.
Starting off the album is “Dandelion Wine,” a song that makes me understand why people say less is more. While the song does not feature a lot of lyrics, it doesn’t take away from the listening experience at all due to how impressive the musical arrangement is and when Isakov’s voice does appear to sing a line or two, it balances it out perfectly.
Due to his unique lyricism, Isakov is able to paint very vivid pictures of the stories that he is telling with his music. His ability to do this is clear on songs like “Virginia May” and “That Moon Song,” but it especially shines through with “Evelyn.” Featuring compelling lyrics such as “There’s an old folk song on the radio / Sounding thin and dark and haunted,” and “And she can’t stand the sight of this cul-de-sac / Like an old crow, king of the lamp-post,” the song tells the story of a woman working the overnight shift in a convenience store narrated to the tune of a banjo strumming in a way that makes it impossible not to root for her.
My first introduction to Isakov was through the song “Big Black Car” and despite the many ways my life and musical preferences have changed over time, it has always found its way back home into my rotation since that fateful day I heard it in my freshman dorm room four years ago. The song is soft, but powerful nonetheless. Featuring lyrics like “You were a miracle, I was just holdin’ your space,” and “The past, she is haunted, the future is laced,” there is a good reason the song has become such a fixture in my life and dominated my Spotify Wrapped.
The albums titular track “This Empty Northern Hemisphere” shows off Isakov’s impressive range as a musician, featuring a heavy guitar and powerful vocals that make the song stand out compared to its softer sounding counterparts on the album. While the recorded version of this song is undoubtedly beautiful, as someone who has seen Isakov in concert I wholeheartedly believe that this song should be experienced live as the full band is able to breathe extra life into the already striking number.
Every time I hear the familiar keys of the piano at the beginning of “Words,” I remember why this album holds such a special place in my heart. With lines like “And I wish I could leave my bones / And my skin / And float over the tired, tired sea / So, that I could see you again,” Isakov reminds listeners what makes him so exceptional as a lyricist with a song that leaves me torn as to whether I want to smile or cry when I listen to it.
Featuring folk singer Brandi Carlile, “If I Go, I’m Goin” shows just how heartbreakingly beautiful a song can be. With stunning harmonies accompanying gut wrenching lyrics like “And I will go if you ask me to / I will stay if you dare / And if I go, I’m goin crazy / Let my darlin’ take me there,” this song devastates me every time, but I will gladly continue to pay that price.
Every time I listen to this album it feels profound; I have heard each song hundreds of times, yet each one feels like a new experience. The songs on this album have been in the background of some of the most significant moments in my life and for that I am so grateful.
Review: Lil Yachty: ‘Let’s Start Here.’
Let me set the scene. It’s an early Friday morning and I am running low on sleep. On my walk to school, I remember that Lil Yachty, SoundCloud legend and an old favorite of mine, has just dropped a new album. I had been looking forward to it and heard whispers about rock influences. After getting past the horrifying, AI-created album cover, I experienced a truly incredible album. BOOM—psychedelic-rock influence. BOOM—next-level production. BOOM—Teezo Touchdown, Fousheé, Diana Gordon, Justine Sky, and Daniel Ceasar features (all complementing Yachty with fantastic vocals). Let’s Start Here. shocked me in a good way (and woke me up on a slow morning). It opened my eyes and got me excited about the future of hip-hop. Yachty brings it all on his new album: crazy transitions, a great tracklist, and conceptual depth.
It’s funny hearing his auto-tuned vocals in psychedelic rock, but Yachty finds a way to push the boundaries of genre and create a cool and cohesive sound. We had heard tastes of it before, like on Tame Impala’s Currents b-side remix of “Breathe Deeper,” but I was far more impressed by his sound here. Yachty obviously sought to be more than his SoundCloud/mumble rap image from the past and cement himself as a true, impactful artist, capable of changing modern music. I believe he executed it perfectly.
The first song, “the BLACK seminole.” throws you right into Yachty’s new sound. Produced by Justin Raisen (who is known for his work with experimentalists Yves Tumor and Joji), the nearly seven-minute song introduces Yachty’s new sound with synth swells and laid-back rock instrumentals. When his vocals hit, it feels as if you were sent back 50 years to a Pink Floyd show. With its length, this song gives listeners a perfect opportunity to understand Yachty’s vision, allowing them to better process the rest of the album.
It’s followed by “the ride-,” assisted by the talented Teezo Touchdown. This track is where I thought Lil Yachty’s autotune-flushed vocals shined the most. Paired with the song’s ambiance and electronic melody, it feels as if this was the true purpose of his vocals.
After the groovy “running out of time”, we reach “pRETTY.” It has some silly lines from Yachty, like “let’s go to sunset-city, go to sun-city,” and albeit a fantastic feature from Fousheé, this song is the start of a short lull in the album. In that mix is the interlude “:(failure(:”, which is cool with its instrumental assistance from Mac Demarco and Alex G, but I feel like it does not add much to the album as a whole, as Yachty delivers a spoken word from his perspective on failure.
We saw that same energy from early in the album return with “WE SAW THE SUN!” The vibrato vocals seen in his hit song, “Poland,” return on one of the best-produced tracks this album has to offer. A couple of songs later comes the stand-out track, “IVE OFFICIALLY LOST THE VISION!!!!” With a comical elevator-music-esque intro, the song hits the listener with harsh noises and screams, before coming in with hard-hitting drums and one of the most energetic and raw sounds on Let’s Start Here. Diana Gordan’s vocals flow perfectly into Yachty screaming the track title in a beautifully climactic moment towards the end of the song. While it may not have much lyrical depth, the overall delivery creates a strong, emotional feeling that I never knew Yachty was capable of. You can absolutely say I was impressed.
The final leg of the album is where it shines brightest. “sHould i B?” sounds like it could be a bonus track from an upcoming Tame Impala album, but its coolest moments come with its ending. The droning guitars meet the theatrics at the beginning of “The Alchemist.,” creating a cinematic transition between two of the better songs on the album.
“REACH THE SUNSHINE.” ends Let’s Start Here. with a bang. Yachty’s and his team’s attention to detail is shown in the progression of this song. The acoustic first minute builds up to an intense, synth-layered melody that puts an exclamation point at the end of the album. To top it off, Daniel Ceasar joins Yachty with haunting harmonies that accent the song perfectly. The somber, piano-lead outro wraps this moody album up smoothly.
To compliment any part of this album without highlighting its collaborators would just be unfair. Yachty obviously did his research. Aside from Raisen, he recruited the likes of Chairlift’s Patrick Wimberly, Unknown Mortal Orchestra’s bassist Jacob Portrait, Magdalena Bay, MGMT’s Benjamin Goldwasser, and Nick Hakim. Whether they were a psych-rock veteran, or a modern producer, each of these artists contributed to Let’s Start Here.’s addictive sound and each should be celebrated.
Lil Yachty successfully created a psychedelic rock album, signaling one of the most interesting and entertaining sonic transitions I have ever seen from an artist. It deserves every ounce of hype it has received and Yachty has absolutely earned his flowers. I genuinely enjoyed it and am excited to see where Yachty takes his sound next.
Review: Little Simz: ‘NO THANK YOU’
Little Simz closed out 2022 with the release of her fifth studio album NO THANK YOU. Announced just one week before its release, the 50-minute album was subsequently accompanied by a ten-minute short film. Simz, an English rapper born to Nigerian parents, is an independent artist who released her first album in 2013. Now, at just 28 years old, she displays the poise, technical ability, and unapologetic honesty of a much more seasoned act. Backed up by choral and orchestral arrangements, she navigates her disillusionment with the music industry and money, her status as a black woman, and the value of self-worth.
The songs on this project are long-winded and introspective as opposed to the hard and punchy tracks that characterize the UK rap scene and much of her earlier work. She battles challenges on all fronts with several refrains on this album referencing her faith in God.
Throughout the whole album, Simz asks a lot of questions. In some cases, these questions are rhetorical and used to brag and in others, they are devices that help drive her narratives. On the first track, “Angel”, she asks “what did I expect from those livin’ the corporate life?” Disillusioned with the payment structure of the music industry, this idea is a recurring source of anger for Simz. “No Merci” is a double entendre; It is both the French translation of the album title and a blunt warning to others of how merciless the industry is. Simz raps “They want you rushin’ life decisions over a three-course meal / Next thing you know, you’re doin’ free tours.” These lines are especially poignant after she canceled her 2022 North American tour just months before the release of this song because of financial infeasibility.
The West African-style drums on “X” combined with the choir, strings, and horns give this track an anthemic feel. “Been beaten on, we been chewed on / But it happened years ago, so we should just move on” is an eerily familiar sentiment that many in the Black diaspora are told by others. As the track progresses though, Simz asserts the strength in her Blackness and her family, specifically mentioning her grandfather whom she was named after. “Simbi”, a shortened version of “Simbiatu”, is a nickname that only her closest family and friends call her. “Broken” is an equally emotional but more somber track. Simz goes between detailing the ways people hide their pain and uplifting those who struggle with mental health and hope. Her second verse ends with a series of positive affirmations to the listener while her third verse ends with “Why is mental health a taboo in the Black community?”.
The aptly named “Heart on Fire” is an outpouring of Simz’s thoughts and emotions. In the lines below, Simz describes how easily money corrupts just by listing a series of wants.
"Do it for the love, nothin' more Nah, maybe to cop mum a house, but nothin' more Maybe to sort my cousin out, but nothin' more Maybe I'll get the new coupe and nothin' more Fifteen to a hundred shoes, nothin' more By the time you know it, that list never stop growin' And you don't know what you even do this for"Little Simz, “Heart on Fire”
The track, and the album as a whole, are thematically reminiscent of Kendrick Lamar’s To Pimp a Butterfly. In songs like “Wesley’s Theory” and “For Free (Interlude), Kendrick describes how his love of music has waned as the temptations of Lucifer and the music industry have pushed him to be a more material person just as Simz does.
Simz continues her work with producer Inflo, who has credits on every song from all of her last three albums. Similarly, Simz and Cleo Sol extend their long list of collaborations, with the singer-songwriter providing background vocals on most of the tracks.
This album reaffirms Little Simz’s status, not as one of the best female rappers or one of the best in the UK rappers, but as one of the best rappers, period. Sometimes I Might Be Introvert (SIMBI), a contender for the best album of 2021, may not have been surpassed, but this is a worthy addition to an already incredible catalog of music. I feel emboldened by her words and think that the radically different production choices seriously add to the album’s value. This is lyrically dense music, but there is value in playing these songs, whether that be alone and listening through headphones or driving around with friends and bumping up the car speakers.