Trey Songz sixth album brings the hits but leaves the substance at home.
To say Hopsin's third album is long overdue is like saying FEMA's response to Hurricane Katrina was slightly delayed. It's been three years since he dropped his critically acclaimed sophomore album Raw. Since then, he's toured the country extensively and landed a spot on XXL's 2013 Freshman list.
Review: Earl Sweatshirt's "I Don't Like Shit, I Don't Go Outside" Mar 29, 2015 at 03:42pm 21,365 Views
Earl Sweatshirt’s I Don’t Like Shit, I Don’t Get Outside is a short and moody album. It also happens to be a very focused, quality listen, and possibly the best output we’ve received from the California native. Through bummed-out stoned raps and shoegazing beats, Earl proves to be one of the most talented, albeit depressed, rappers in the game.
Tech N9ne has been in the rap game for well over two decades but he flew under mainstream’s radar for much of his career. Shooting off lyrics with the speed of an automatic weapon, he earned a legion of fans through relentless tours to small cities in the heartland of the country.
After a near-decade of hustling, Curren$y has finally landed his prominent role in the rap scene. It wasn’t easy work, but anyone who has watched the New Orleans-native go from Lil Wayne’s sidekick to stoner rap’s most consistent contributor will tell you that much.
Among Odd Future’s colorful cast, Earl Sweatshirt is almost reserved. Almost.
Immediately following Touchdown 2 Cause Hell’s introductory “Get Em Boosie”-- the aptly titled dizzying turn up track that unleashes Boosie Badazz loose on the rap game once again-- the bellows of an approaching storm crackles with doom. It’s an ominous sound byte, seeing as Lil Boosie has acted as the chief ambassador of Post-Katrina Louisiana gangster rap.
Action Bronson’s new album is a bid to be considered the funniest man in hip hop. A week after Kendrick Lamar’s album has the entire culture debating race, politics, and society, Mr. Wonderful reminds us that sometimes rap can also be about wicked-funny punch lines and ridiculous one-liners as much as it can attempt to impact culture itself.
Ladies and gentlemen, Joe Budden is back in Mood Muzik form. Early last year Joe released No Love Lost, which packaged club and radio songs along with some more personal tracks. That album left many of his longtime fans wanting more of the intimate feel they get from his darker projects. Almost two years later and Joey is back to documenting his turmoil in a way that only he can.
In line with the recent (and awesome) trend of surprise albums, Tyler, the Creator announced Cherry Bomb just a few days prior to its April 13th digital release. The album’s single, “Fucking Young,” along with its attached snippet of the record's opening track, “Deathcamp,” showed a Tyler who is wearing his N.E.R.D.
Studio albums have a way of working as a litmus test for hip-hop's up and comers. Mixtapes and guest appearances are one thing, but for an artist to prove that he/she can create a strong cohesive album while delivering on lyrics, beats, and bravado is another. Meek Mill seems capable of preforming this balancing act with Dreams & Nightmares, a
With Chief Keef, King L, Lil Reese and Lil Durk signing to major labels in 2013, Chicago's drill scene saw all of its major stars graduating to more commercial successes, leaving vacancies in the underground mixtape scene that the genre was born from.
Rick Ross and the Maybach Music Group have taken their time with Stalley. Signed in 2011, the same year as Meek Mill and Wale (who were almost immediately launched in to mainstream eyes), the MC is just getting a proper debut album released.
To say that the dawn of drill feels like yesterday would be generous at best. It's been roughly three years since Chicago's rap explosion took the world by storm, and now it feels like you're sifting through the rubble. So many promising talents have struggled to live up to the hype, gotten lost in the blogosphere, or become unrecognizable.
Dijon McFarlane, aka DJ Mustard, is a Los Angeles born and raised producer of seemingly all of the most important tracks you’ve heard over the past year. While that statement is obvious hyperbole, his influence on the rap stratosphere is not, and cannot be overstated.
On paper, stone cold gangster Freddie Gibbs and alt-hop producer Madlib have little in common. But after releasing several highly enjoyable EPs beginning in 2011, it quickly became apparent that the duo were capable of vibing off one another.
Only a handful of artists release as much content as Curren$y does. Some can match the quantity, but none can top the quality. Spitta Andretti is known for releasing album-quality mixtapes at a constant rate, giving fans all they can digest. 2013’s New Jet City was one of the hottest mixtapes of the year, and his latest offering The Drive In Theatre doesn’t disappoint either.
Right off the bat, YG’s fifth mixtape Just Re’d Up 2 illustrates just what the Californian rapper is all about. Starting bold from the second track with bumping 808’s and underscored by synthesizers, “Im 4Rm Brompton” really sets the tone for the mixtape’s high energy.
Mmmmaybach music. The heaviest group in hip-hop presents the third volume of their Self Made album series. Formulaically, the self-proclaimed untouchable Maybach empire haven't missed a step. Likewise previous installments in the series, Self Made Vol. 3 is packed with speaker-knocking beats driven by Rozay and company.
It's funny how music comes full circle. Tinashe was just eight years old when Aaliyah Haughton tragically died in a plane crash, causing the music world to mourn and R&B to be reconstructed in her wake.
It’s been hard to turn on the radio in the past year or so and not hear French Montana’s rich yet slurred delivery coming through the speakers. The Moroccan born, Bronx, NY bred rapper’s rise to the top may seem like it happened overnight but that’s far from the case.
On Dizzy Wright's second studio album The Growing Process, the 24-year old rapper makes an attempt at honing in his focus as an artist by establishing a moral constitution for his music to adhere to until further notice. For the most part, this is goal is met by the young upstart.
For some reason or another, my timeline has recently been bombarded with a ton of Tweets and Instagram posts claiming that the Migos are better than The Beatles. As most logical rap fans can attest, there are definitely better ways to champion the trio as leaders of this new school in rap than to compare them with arguably the greatest group in the history of popular music.
Is there anything more startling than hearing a 19 year old kid saying that he doesn't fear death because he's "happy for all the years [he] got to see"? Lil Herb's still around 57 years shy of the average male life expectancy in the U.S., but you don't need to be a super-sleuth to figure out why optimism isn't his strong suit. Hell, you barely even have to listen to his music.
In the hip-hop industry, there are four kinds of artists: those who have crossover appeal, those who don’t, those who choose not to, and those who shouldn’t. Slaughterhouse, as a collective and as solo members, simply shouldn’t.
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