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Ken Car$on largely fails to distinguish himself in any noteworthy way from Playboi Carti on Teen X and Teen X : Relapsed.
Teen X starts off on the right foot with the dreamlike title track “Teen X,” where the theme of Car$on’s love for narcotics is even further hammered in. However, aside from a vocal filter placed on Car$on’s vocals, it becomes apparent from the get-go that the project will be plentiful with Carti “inspired” tracks, or rather impressions. The following “Yale” is hype, but greatly lacks development as it always seems to end just as I’m getting into it. “Meds” follows this, biting the main flow and bass-like instrument from “Yale.” Though I hadn’t set the bar high in the first place given the glaring similarities between him and Playboi, it caught me off guard hearing him steal music from himself. Aside from this, the track is unbearably boring and contains nothing of interest, as is the case for “Why.” We finally receive a glimmer of hope on “For Her,” which isn’t a bad song in its own right; the production is vibe-worthy and the flow is addictive. The closer “Pissed Off” brings a disappointing end to the record, with every element of the track being forgettable on first listen and remaining that way. It comes as no surprise, however, given many of the previous tracks. Much improvement is seen on 2021’s Teen X : Relapsed. The energy-packed “Teen X Babe” brings a sense of weight to a song that Ken Car$on hasn’t managed to muster up until this point, even with the mildly-toned vocal delivery failing to match the vigorous production. Although “Teenage Rager” doesn’t blow my mind, it doesn’t seem right calling it a bad track. It’s sort of just… there - I’d never skip it, but I’d also never think to put it on aside from when it plays in sequence with the rest of the EP. The fun melodies on “Butterfly,” similar to the opener of the project, brings something new to the table for Ken Car$on. The typical lyrics do nothing to impress me, but the cadence of the chorus matches the bouncy rhythm of the song. “High as Sh!t” is likely my favorite Ken Car$on, where the stars align for one moment to make a great all-around track. From production to vocals, from beginning (that simultaneous punch from the bass and vocals!) to end, this cut remains entertaining throughout. These stars soon fall out of place with “On the Low” however, where the track listing returns to the routinely underdeveloped Ken Car$on song. The identity of Ken Car$on largely revolves around drug use, with the themes of the album, title, and cover all portraying dependence upon MDMA. Although I normally give a chance to trap artists regardless of whether or not drug use is rapped about, it seems particularly destructive both to Ken and to fans who either are already engaged in drug abuse or are on the road headed that way. Strictly pertaining to the music, Ken Car$on does not offer much that we haven’t already seen from other artists (the foremost of which I’ve already mentioned a few times here). Tracks to check out from these two projects are “High as Sh!t,” “Teen X Babe,” and “For Her.”
Atlanta cloud-rapper Thouxanbanfauni splits a short record into bad-and-good halves on October 34th.
Following up the prior Seeing Colors with another 7-song project, Fauni improves upon this previous release, however slight the difference may be. Kicking off the record with “State of Emergency,” we receive a trap beat that stales out within the first few minutes and remains unenjoyable with additional listens. Further, the vocal performance on the track provides no breath of fresh air from a generic flow and even more generic lyrics. Normally, I feel like I wouldn’t pay as much attention to lyrics in a song as I did with this one, but the production that quickly fades into the background leaves me with nowhere else to go. Perhaps this is not necessarily a bad thing - maybe I should thank Fauni for being one of the few artists to help me notice the lyrics more than the production. My thoughts on this track also make their way on to the nearly identical “Destroy Em,” whose play is practically indistinguishable from the previous track aside from a more aggressive delivery in lyrics. Another instrumental misstep is seen on the first half of “Killin Shit/ Saiyan Pride,” which provides no elements of interest save for an unidentifiable singing sample throughout. We get our first enjoyable moment on the record with the latter half “Saiyan Pride,” where Thouxanbanfauni finally tracks down a delivery that indicates he actually enjoys rapping. This marks a turning point for the project, as everything from this moment on isn’t as absolutely forgettable as the first leg. The haunting production, memorable lyrics, and purposeful delivery all align here to form a good song for a change. The following “Solid Pt II” is decent at first, but ultimately melts as it comes across as a replica of many other songs from his discography. The chorus is the best up to this point on the project, however. “On My Mind Valentine” signifies the moment at which the record becomes very good to great. Here, we get a hint of some of Fauni’s music that was soon to come after this record, with the crooning, long-hitting vocal notes delivered. My favorite chorus of the album comes with this track, with the easily remembered “I was thinking ‘bout you all day, yeah, yeah, yeah,” quickly chiseling itself into my mind. Another excellent Fauni track comes with “Diet Plans,” with more of the same great things about it as from the prior track. The most memorable lyrics appear here, with the somewhat self-aware, somewhat misogynistic “She want me under her spell, I want her under my command” topping them all. Another evidence of his evolution toward his future sound, “Best of Me” ends the record on a great note as Thouxanbanfauni goes 3 for 3 on the back end. Though the first half of this review may seem like I hate Fauni, his following two projects were among my favorites of 2020 and propelled him into one of my most listened to artists of all time. I can, however, appreciate this project in terms of his artistic progression toward the sound I came to love him for. Songs to listen to from October 34th are “Diet Plans,” “On My Mind Valentine,” and “Best of Me.”
Peggy’s proclivity for guns and autotune raps deepens on this sequel to 2020’s EP!
Teased with the single “LAST DANCE!,” I expected a much more hardcore rap project than what we received in either EP! or All My Heroes Are Cornballs. However, what we received was a pleasantly surprising sound much more closely resembling the autotune ballads and melodies of Cornballs. The distant, low-down rattles of the wind chimes in the beginning of the song resemble some sort of hollow chamber in which this project lurks. JPEGMAFIA unleashes bars in an infectious flow throughout his verse, setting the tone for the horns, fit for a video game boss battle, to thunder in. Heavy bass is also introduced at this point in the song, making the track just that much more wicked-sounding. The second single from the project “FIX URSELF!” is split into two parts on the EP, with “INTRO!” bearing the mumbling introduction (who would have guessed?) of the original track. The horn sections here sound far more prideful and delighted in sharp contrast to the previous song.This one undoubtedly has the best chorus and song structure on the entire project, with the crooning autotuned melodies making for a very catchy track. A message to a relationship partner, the track also serves as a reminder to himself that JPEG has his fans, affectionately labeled “refugees,” to rely on when he has no one else. “KELTEC!” is a flat-out diss to much of the music business, particularly rappers that sell out or make themselves slaves to the industry. Proud of having made a name for himself by being 100% himself, Peggy flexes the fact that he owns all of his music and has carefully crafted every aspect of it, whereas most other artists can’t relate. In the first reference I’ve ever seen to the origin of his stage name, Peggy also makes a clever comparison to other rappers merely being “PNG” files that need to get their quality up. Although I believe this to be the weakest track production-wise here, it’s still great lyrically. This is followed up with the delightful “THIS ONE’S FOR US!,” which includes the best rapping on the record, with the grimy flow throughout the second verse as well as the ending in the third verse. With help from James Blake on the production end of “PANIC ROOM!,” we receive another dark and murky track with aggressive lyrics. The sonar melody throughout the song fits in well with the “emergency” theme provided by the title, which is likely a reference to how terrified he makes other rappers feel due to his artillery. This track has the most beautiful and unexpected ending on the EP, where we hear a lone acoustic guitar to combat the abrasiveness of JPEGMAFIA’s rap lines. The project closes out with “FEED HER!,” a cut that greatly appeals to me through its slow but sure build up to a climax. This is one that I continue to return to, as it seems like Peggy taking the best from most of the previous tracks and combining them into one: sticky bars, potent flows, and great melody through production. Overall, this is an incredibly solid end to a likewise amazingly consistent project. With the recent release of LP!, I'm glad to see that JPEGMAFIA is still using similar ideas from this project to branch off of. Tracks to listen to from here are “FEED HER!” and “FIX URSELF!”
Even though I was disappointed to see that the new Paris Texas project was an EP rather than a full length project, the few new songs that come with Red Hand Akimbo are good at worst and spectacular at best. The duo’s follow up to BOY ANONYMOUS, a short record which I loved at first and have only become more enamored with since, Red Hand Akimbo delves even deeper into the rock/hip-hop crossover the group has become known for.
The lead single for the project, “girls like drugs,” threw me for a loop upon release; although the track makes sense sonically in Paris Texas’s catalog, it seemed a bit lacking in song progression, save for an instrumental changeup in the last 30 seconds. The track has grown on me a bit since then however, due to the earworm-inciting chorus and palpably solid guitar lines. Only recently did I realize through the lyrics that the title of the song is actually a comparison (girls are like drugs) rather than a statement of what women want. Project opener “Dr. Aco’s Miracle Bullets” sees Louie Pastel addressing comments on the group’s genre classification, as well as a line about how people think he sounds like Baby Keem, the latter of which had me dying laughing as I recall thinking the exact same thing after hearing “FORCE OF HABIT” for the first time. The banger production returns to the hardcore guitar chords and punching drums of “HEAVY METAL,” which, when paired with the scream-worthy chorus of “Woah, bitch I’m geeked,” makes for a track that would go crazy in a live show. Felix’s verse is quite sticky, as per usual, but nothing absolutely mindblowing. “RHM” takes a more emotional turn, with Louie expressing the desire to trade money for friends instead. This indicates that the title of the track stands for “right hand man,” although it could still have to do with Red Hand Akimbo. The shoegaze-like production makes for an especially dreamy and intimate soundscape, quickly making it one of my favorite songs the group has released so far. The following “BULLSEYE” commits fully to a garage/emo-rock sound, given the especially whiny and filtered vocals delivered by Louie and Felix. Admittedly, this song initially stuck out like a sore thumb, giving me the impression that I’d never want to listen to it again. I’ve since come around to it however, and recognize it as a very important step in Paris Texas’s artistic progression, should they choose to further pursue this sound. At just 5 tracks long, one of which is a postlude (“Epilogue”) and another of which was released before the project came out, Red Hand Akimbo was destined to fail to live up to my hype and expectations of a concentrated full-length effort. That’s not to say that the project is greatly flawed, however; each song offers something that no Paris Texas song has offered before. With that being said, I’m still highly anticipating the group’s next strides as they (hopefully) work towards releasing a full body of work. Songs to check out from Red Hand Akimbo are “Dr. Aco’s Miracle Bullets” and “RHM.”
At the age of just 16, Maryland native redveil crafts a surprisingly solid conscious-trap project in Niagara.
Maybe I lied: conscious-trap is something I just made up right now. Simply saying “trap” invokes thoughts of vapid or non-complex lyrics over throbbing bass and sharp hi-hats, whereas only saying “conscious hip-hop” depicts redveil’s lyrical approach accurately, but incorrectly denotes the production as boom-bap or “old school.” Whatever the case, redveil infuses soul samples, elements of trap, and lyrics about his aspirations for success into this primarily self-produced, self-written record. Alternating the track listing for the first leg of the record in jazz rap vs. trap styled production, Niagara gives off an extremely cohesive and alluring feel to the progression of tracks. “Campbell” is a hopeful, confident start to the record, and indicates this project will see redveil setting himself aside from many of the monotone-delivery tracks presented on his prior album, Bittersweet Cry. His newfound love for more varied melodies is paralleled by the increased use of soul and R&B samples on this track and in most others, like “Badnews” and “Revolutions.” On these two, redveil continues to promote political consciousness, discussing how the daily injustices he sees on TV factor into his everyday life. “Weight” gives a taste of the soul-trap direction that redveil takes with many of the tracks, all the while continuing his elaborate technical rhyme schemes and topics of political awareness. The verse on this track sees some of redveil’s better flows throughout the album, reminiscent of Lil Uzi Vert’s fire-spitting cadences. The distorted, damn-near clipping bass distortion on “5500” makes for a perfect car playlist song to go crazy to with your friends. This is both a blessing and a curse however, as some of the lyrics here or there are imperceptible due to the sound barrier given off by this distortion. A slightly darker turn is taken in the second half of the project, with the haunting underlying melodies in “Clench” giving a spooky feeling to the track. This track has some of the more aggressive deliveries seen by redveil, with bars calling out white America and the nation’s severely damaged governmental infrastructure. One of the better features on the album is provided on this song as well - more on this later. The downward-spiraling piano sections in “Grass” continue the darker production themes, which conclude with the rock-bottom “Fastlane.” Here, redveil discusses navigating around the pitfalls presented in the road towards success, and how he has the hunger to stay motivated and push on. The stumbling piano progression in this cut marks the lowest point in the record emotionally. On any normal album, Chris Patrick’s feature on “Clench” would have a great shot at being considered the best feature verse. However, both Donte Thomas and D’mari Harris on “Drown” absolutely blow every other guest artist out of the water, with D’mari Harris edging out Donte Thomas by quite a bit. The heartfelt, intimate performance by Harris on the bridge will forever remain a personal favorite of mine. In contrast with the previous three tracks, “Drown” takes an incredibly bright tone in production, with a wailing synth lead conducting the song. This feel-good quality of the track helps make this song become, quite literally, one of my favorite songs I’ve ever heard; it absolutely blows my mind that this isn’t redveil’s most popular song by miles. I’m unsure if any amount of analysis on this cut will do it justice, so I’ll let you take a listen for yourself. Closing out the album with “Pigeonman,” a track which I severely underrated for far too long, redveil shows off his ability to write slick double-entendres and catchy choruses. Though likely my least favorite on the record instrumentally, the song makes up for this for the most part with its clever lyrics. The novelty of an unfamiliar sound such as the one crafted in this project is something I only get to experience 2 or 3 times every year. Although a majority of the tracks here are less than 2.5 or 3 minutes in length, I don’t see it making much sense to extend them simply in order to add an extra verse or two. Niagara makes a strong case for redveil to not be written off merely as an “Earl Sweatshirt clone,” but rather a unique artist paving the way for a new sound to come. Tracks to check out from Niagara include “Drown,” (!!!) “Weight,” and “Badnews.”
“DICKHEAD!” appears to be London based trap rapper Lancey Foux’s new favourite adlib, as he yells it on 7 out of the 11 tracks presented. Aside from his newfound proclivity for this word, Lancey manages to string together a solid track listing - for a b-sides mixtape - in FIRST DEGREE. With the hunger and desire of Kendrick Lamar to kill the competition (perhaps even literally), we see Lancey at his most energetic here, rapping over excellent and sometimes horrifying trap beats.
Coming hot off of his exceptional 2019 project FRIEND OR FOUX, Lancey continues to prove just why I listen to him in the first place. On “MURDRR TALK,” we hear an aggressive delivery of what’s been on Lancey’s mind over a house of horrors type beat. Although it took me a while to come around to this track, I understand that it’s integral to understanding his struggle to make it as an artist that so often gets compared to the likes of Young Thug or Playboi Carti. The strange, whiny vocal intonations presented in “DONT TALK” somehow make the track all the more appealing. The track also serves as a somewhat cynical anthem akin to A$AP Mob’s “Please Shut Up,” dedicated to those incapable of speaking the truth. This song also has some of the more slick bars presented on the project, like “Empty the sink, mouth running like water, I’m breaking the tap, don’t talk.” The following cut “WHAT U WANT” unfortunately stagnates both instrumentally and vocally, even with the appearance from Skepta (although I did enjoy his reference back to the 2016 track “Put That On My Set,” which he featured on for A$AP Mob). Not offering much new or interesting, it acts as filler on a project that isn’t exactly long to begin with. “DONT! - TRUST ME” takes a better turn, including some of Lancey’s better flows on the tape both in the chorus and verse. Next, “BASED!” acts as a sort of midway point for the record, splitting the front half of heavy, dark trap beats from the back half of more soulful and vulnerable takes. The track itself is decent, with references made both to Lil B and to Lancey being based (true to himself, not liable to copy the style of others). “CONTROLLING ME” was the first track I truly loved on the project; coming off almost as a cry for help, Lancey speaks on how his accidental rise to fame has been marked with the loss of his friends as well as his loss of control over his life in general. Turning to drugs in order to medicate and cope with these losses, Lancey feels as though he needs something to help him see clearly in order to escape a depraved cycle. This is followed up with an incredibly confident cut, “BIPOLAR BAG,” where Lancey takes an out of the box approach to his bipolar disorder over one of the better beats throughout the project. Similar to Kanye’s “I’m a superhero” take on his own bipolar disorder, Lancey raps “I’m in my bipolar bag,” meaning he’s feeling himself even through his condition. We can perhaps even see some of his instability seeping into the music when we hear how many friends he’s cut off that, in his eyes, have tried to cross him. Reminding me of some of the sticky, out of pocket bars on Paris Texas’s BOY ANONYMOUS, Lancey also states here “I’m about to delete every song I have, I don’t give a f**k,” which is just about the last thing that I expected to hear from any musician. Even more of Lancey’s bipolar disorder becomes apparent on “SEX MONEY MUDER & EXTORTION,” where he talks about his inability to speak to a therapist and his paranoia. We also see his habits of drug use resulting from paranoia, and how the cycle of becoming more paranoid from drugs takes a toll on him. Although the succeeding track “CLARITY” does meddle a bit in terms of execution, I can absolutely appreciate that Lancey tries something new here by speaking on some of the injustices he sees in the world. The track still does come off as trying to be too many things at once, however, even attempting to speak on things that seem out of place in this project. Lancey saves the best for last with “HONEST,” where he opens up about the experiences that shaped who he is today. Many of the bars here hit their mark dead on, sticking with the listener after only a few listens. This is done over my favorite instrumental on the project as well, with a brilliant drum pattern and running synth melody. Though this project is far from perfect, it works well for what it is: a mixtape including tracks cut from the finished product. Many songs here provide great insight into Lancey’s character and would work well for introductory songs to the artist. I’m beyond excited to see where Lancey Foux takes his next album, LIFE IN HELL, after hearing FIRST DEGREE - that is, if he doesn’t delete every song he has before then. My favorite tracks here are “HONEST,” “BIPOLAR BAG,” and “CONTROLLING ME.”
Emphasizing poignant deliveries on lush, astral-ascendant beats, Maxo crafts an incredibly solid record in LIL BIG MAN. An affiliate of Earl Sweatshirt, Pink Siifu, and the sound of members of the New York rap collective sLUms, Maxo has proven himself a force to reckon with in his recent appearances (most notably for me on Pink Siifu’s track “Call tha Bro (Tapped In),” which featured an incredibly smooth and confident verse from Maxo).
Opener “Time” entertains a contemplative lyrical set, similar to Tyler, The Creator’s 2017 song “Foreword.” Questioning whether his friends and family will remain the same after he sees success, Maxo presents a struggle that is all too familiar to those that achieve fame and acclaim. The production on the track gradually sets off on a runway straight to the stars, doing an excellent job in creating the setting for the remainder of the project. Maxo reflects on his aspirations and hard work in the next track “Strongside.” Although this track could have been expanded upon a bit more, it does prove to be one of the better songs throughout. The following track “Kinfolk” includes one of my favorite beats on the album, with an incredibly addictive drum set and pattern. It makes for an irresistible head nod, with a flow from Maxo that indicates nothing else would have made for a better fit. The song transitions seamlessly into “No Love,” a soul-sample infused track with production that might fit in well on some Knxwledge beat tape. It becomes a bit difficult here to distinguish between Maxo and the featured Lojii; though this isn’t necessarily a bad thing, a better tactic might be necessary to help Lojii stand out in order to gain a greater following. “In My Penny’s” is another remarkably solid track which details the struggles of growing up without money, having to avoid pitfalls seen in heavily black-populated poverted areas of America. The second half of the track dips into molasses completely, with pitched down vocals and a haunting, slow sample. The album reaches a climax with “Headphones,” a song that would be inspirational even without Maxo’s reflective verse. The title serves as a command - one that I was appreciative to have fulfilled - to the listener in order to enjoy the track in all its intended beauty. “605” is an interesting concept for a track: a scat-rapped verse serving as a voicemail, with the digits 605 potentially being an area code. A reference is also made to the 65 freeway in California. The track listing soon calms down with “Crown Heights” and “Quiktoldme,” which feature the most tame of performances from Maxo as well as snoozy production. Though Maxo does show some weakness in terms of lyrical complexity, this is something that I’m sure will improve with time. I feel that what is lacking in this aspect is somewhat made up for in tone and delivery as well. The negative photo of the “lil big man” on the moon serves as a great representation both for Maxo and the sound of the project overall. On LIL BIG MAN, Maxo gives the listener a reason to hope for a lucrative future for the rapper. Be sure to check out highlights "Headphones," "Kinfolk," and "Time."
Making for a fitting title to the album, $mokebreak sees Alabama native Pink Siifu and “Mutant Academy” member Fly Anakin deliver self-assured raps over hazy production. The 10-song project, sandwiched by a prelude and postlude, is dense with a multitude of jazz-rappers and underground artists, making for a good introduction to the styles of all.
Siifu and Anakin recruit Pro Era member Chuck Strangers to rap and produce on the track “Oatmeal.” Absent drums on the track make for a good sample of a few of the abstract, jazz-influenced tracks ahead. Right away, a similarity can be noticed between the voices of Fly Anakin and fellow east coast rapper Westside Gunn. However, the comparisons end at the vocal intonation with which they deliver their raps. There exists a very cloudy atmosphere to much of the production, specifically on tracks such as “3 Dope Boys” and “Shawty.” The sound presented in these two as well as in the project itself is reminiscent of the production of beatmakers such as Knxwledge and MIKE (a.k.a. dj blackpower). Like the vocalist feature list of the project, various producers also line up to contribute to the album; this includes Pink Siifu himself, who produces under the name “iiye.” “Tha Divide” is a great posse cut, which employs a smooth sample of Patrice Rushen’s “When I Found You.” The best verse here is provided by MAVI, a protege of Earl Sweatshirt who made a buzz among underground rap fans with one of my favorite projects from 2019, “Let the Sun Talk.” The following song “Remote Relocation” has perhaps the worst production here, with a dominating sample overruling anything being said on the track. The sample itself is okay at best, but drones on and overstays its welcome at worst. It is noteworthy that this track samples The Shirelles “It’s Love That Really Counts,” as The Avalanches flipped the same sample just last year for their track “The Divine Chord” featuring MGMT and Johnny Marr. Pink Siifu and The Avalanches collaborated when Siifu was featured on The Avalanches song “Running Red Lights,” which appeared on the same album as “The Divine Chord.” Just one song in the entire track listing here features Siifu and Anakin on their own, and it turned out to be my favorite track on the album: “Blame,” which contains an earworm of a sample. The song is produced by Black Noi$e, who has production credits on Earl Sweatshirt’s critically acclaimed “Some Rap Songs” with “The Mint.” The cool “$moked Outro” serves as a nice conclusion-postlude to the record. The strengths of this project include its incredible consistency overall. In terms of weaknesses, this album very rarely manages to reach out and grab my attention and force me to listen. With that being said, it excels when played in the background and you need to focus on performing some task. In other words, every song here (except “L’s”) maintains a very low key vibe. Be sure to check out album highlights “Blame” and “Tha Divide.”
Probably one of the more underappreciated albums of the current year, Minus the B******t Life’s Great sees producer Nascent managing to bring together the sounds of various rap and R&B artists in order to create a cohesive and mesmerizing project. Though these different vocalists appear uniquely throughout the record, giving it ever-changing ideas and feelings, the artists featured each are able to contribute in an incredibly effective manner to the instrumentals given and to the project as a whole.
Opener “Got Fired” takes a soulful approach, setting up the listener’s expectations production-wise. On the following track “Bottom Dollar,” a scat-influenced feature from C.S. Armstrong takes place over a likewise jazz-influenced instrumental. With the drums and the piano taking command, this one becomes an easy head-nod and a great vibe. Instrumental tracks pop up every now and then throughout the album, floating in between those backed by vocals. These songs are great not only individually, but also as interlude tracks or prelude tracks. For example, the two-parted “Lover Boy” plays great in sequence with the album and relieves the listeners ears in anticipation of a track including a vocal performance. I perceive this checkered manner of the record’s track listing to be an attractive and engaging quality, providing soothing excursions for producer-focused tracks. Admittedly, however, these are indeed some of the weaker tracks presented, with the audibly uninspired and directionless “I Be Doin Too Much (Interlude)” acting as an invariable skip. The smooth, warming singing of Orion Sun on the track “Forever” plays in beautiful contrast to the trap-focused, cowbell-enlisting production of the song. The most exciting track is the one which introduced me to the project itself, “Lock It Up” featuring DUCKWRTH and Saba. Being a huge fan of Saba’s incredibly introspective and personal 2018 album CARE FOR ME, I’ve followed his releases and features closely in anticipation of his next record. The progressions in production as well as first-rate execution by both DUCKWRTH and Saba on the track creates a recipe for one of my favorite songs to be released all year. Many of the rest of the songs are great chill songs, such as “Straight Forward.” The track “Caught Up” featuring Hamzaa, however, presents perhaps the most admirable and alluring singing throughout the album. Hamzaa’s tone of being unable to steer clear of toxic relationship partners (and feeling helpless as a result) carries weight, effectively serving as a message to listeners that may feel alone in thinking the same things. All in all, this project is excellent in previewing the skills and qualities of many performing artists, most notably of which is Nascent. Here’s to hoping that this project as well as notoriety from producing SZA’s “Good Days” will help Nascent become more recognized in the hip-hop community. Choice tracks from this album include “Lock It Up,” “Caught Up,” and “Forever.” |
AuthorEnrique Cardenas III Archives
November 2021
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