Gucci Mane's "Woptober" is an excellent, back-to-basics counterpoint to "Everybody Looking."
Everybody Looking was an almost perfectly-executed comeback album. Everything about it, from its quick turnaround, to Mike Will Made It's elephantine stomp, to the clear changes in Gucci Mane's voice and rhymes, to his triumphant posture on the cover, painted it as a triumphant return of mythological proportions.
Since blowing up with XXX in 2011, Danny Brown's enjoyed an odd sort of fame. He's become a huge mainstay in the summer music festival circuit thanks to turnt anthems like "Blunt After Blunt," "I Will," and the second half of Old, which was entirely composed of EDM-adjacent bangers.
Nothing is as it seems with Mick Jenkins, the 25-year old ginger ale-loving, water enthusiast hailing from the Southside of Chicago.
For as many amazing concept and/or narrative-driven albums hip hop has produced, there are just as many that boldly proclaim ambitious themes but find it hard to stay on-topic.
If you had told me five years ago that one day, Mac Miller would be making expansive jazz-rap concept albums about dating one of the country's most talented and attractive pop stars, I would have either called you crazy or offed myself before I arrived in a future that held such a terrifying prospect.
It's all too perfect that, amidst a turbulent month for generational debates in hip hop, Isaiah Rashad dropped an album that's interspersed with skits delivered by an old head.
If there's one thing Travis Scott excels at, it's sounding cool. There was the grungy glam sound he lent to Yeezus tracks "New Slaves" and "Guilt Trip," his first introduction to many of us, and his defining moment in the Kanye West think tank spotlight.
Some artists pay homage to their idols with covers albums, Young Thug does it with No, My Name Is Jeffery, an album that actually features two of the heroes he names, but not on the tracks named after them.
Vince Staples' music has always been jarring and arresting, but that's usually thanks to his voice and his words more than any of the instrumentals he chooses. Sure, 2014's "Blue Suede" is built around a synth line that sounds like an air-raid siren, but is that more hair-raising than hearing a 21-year-old rap the line, "Hope I outlive the red roses"?
"Boys do cry, but I don’t think I shed a tear for a good chunk of my teenage years. It’s surprisingly my favorite part of my life so far. Surprising, to me, because the current phase is what I was asking the cosmos for when I was a kid. Maybe that part had it’s rough stretches too, but in my rearview mirror it’s getting small enough to convince myself it was all good.
With last Friday's release of his debut album I Told You, 24-year-old Tory Lanez has arrived at a crossroads after years of expanding his following and evolving his sound.
Whether you like him or not, Drake and his music has had a distinct sound, feel, vibe or lane, whatever you want to call it. And when an artist who sound like him emerges (e.g. Kirko Bangz, Tory Lanez, Bryson Tiller), instantly Drake becomes measured against them as some sort of standard.
When Rae Sremmurd emerged with "No Flex Zone" about two and a half years ago, they sounded like the newest and youngest thing on the block.
Were Lil Uzi Vert's last three mixtapes planned as a trilogy? That much is unclear, but the connections between them are.
All along, it seems like “Summer Sixteen,” Drake’s first single of the year, not included on VIEWS, was designed to be his heated opener during his tour of the same name, which hit Madison Square Garden last night for the first of four shows at the elite Manhattan arena.
When reviewing DJ Khaled's last album, I Changed A Lot, a mere nine months ago, I wondered how much longer the We The Best titan could keep up his album formula of "bright, of-the-moment beats, song titles that could double as all-caps Instagram captions and featured artist pairings that are awards show-level weird." The rap game Oprah ("You get a verse, you get a ver
I didn't listen to each and every one of the 32 projects Gucci Mane released during his three year stint in federal prison, but I can say that of the 15 or so I am familiar with, none have anything approaching how heavy the majority of his first post-prison release is.
Any conversation about 21 Savage has to begin with talking about his voice. It's a just-woke-up-but-haven't-cleared-my-throat-yet croak whose closest analog is probably Lucki Ecks' rasp or Father's monotone mumble, but unlike those guys' avant-druggy styles, 21's operating at the most violent end of Atlanta's trap spectrum.
"Every album I was dropping from Setbacks, to Habits, to Oxy, everybody was like, 'What's the album about?' It's like bruh, can I drop it first?"
Last year, Toronto's Roy Woods emerged with an immediately identifiable voice that stood out in his hometown's foggy-sounding R&B scene despite usually being paired with instrumentals that could've appeared on any OVO release.
If you, like me, weren't one of the couple thousand people who had pressed play on the Soundcloud link Desiigner's "Panda" by the time you sat down to watch Kanye West's Life Of Pablo livestream this February, you were most likely among the millions who first assumed that the teenaged, "Broads in Atlanta"-touting Brooklyn rapper was actually Future. That's a pretty huge hole from wh
Two years ago, My Krazy Life surprised everyone. It was a debut album made by someone whose biggest claim to fame was novelty club smash "Toot It And Boot It," but somehow, it had the scope and consistency of a select few L.A. classics-- The Chronic, Doggystyle, and more recently, good kid, m.A.A.d city.
Last summer, in what seemed like an oddly coordinated effort, hip hop listeners began solidifying the first-string lineup for the next generation of trap stars. Migos had been around the block, Kevin Gates was well on his way to a huge debut album, and hell, even Young Thug was enough of an established star that he no longer seemed as foreign as he used to.
It's pretty strange to think that Vic Mensa's new EP, There's Alot Going On, is his first project in three years. Since 2013, when he broke into public consciousness, first with an appearance on Chance The Rapper's "Cocoa Butter Kisses," then with his own Innanetape, Vic's status has continued to rise at a rate uncommon for a guy with one tape and a few loosies to his name.
“SEVERE WEATHER ALERT: A storm is expected to hit between 6:00pm – 7:30pm. For your safety, please seek shelter in your vehicles.” Thus began Summer Jam 2016.
The current landscape of streaming equivalent-inclusive sales numbers and streaming corporation-backed releases has considerably muddled our perception of commercial success in hip hop this year.
As we learned last year with "White Iverson," then "Too Young," Post Malone is really good at writing and delivering hooks. He's got a way of sounding so effortless yet impassioned-- the way his voice suddenly rises and then abruptly cuts words short, takes melodies to unexpected places-- it's nothing short of refreshing in a trap scene now so awash with half-assed singing performances.
Save for a cluster of Chance The Rapper's most dedicated fans, I imagine that everyone has considered him corny at least once.
In the spoken word interlude that follows Konnichiwa's third track, "Corn On The Curb," North London MC Chip attempts to cheer up a tired and confused-sounding Skepta, at one point saying, "We ain't seen nothing like this happen before.
Born and raised in the county of Dade, Denzel Curry has rapidly emerged as one of hip hop's most promising young talents. 21 years old, he has already released three projects: his thrilling debut Nostalgic 64, his wavy, slightly uncomfortable double EP 32 Zel / Planet Shrooms, and his most recent album, the explosive Imperial.