Will Thugger's new mixtape-album tip the scales in his favor, finally? Probably not.
Review: Earl Sweatshirt's "I Don't Like Shit, I Don't Go Outside" Mar 29, 2015 at 03:42pm 19,598 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.
After 2013’s wildly successful good kid, m.A.A.d city, Kendrick Lamar had an opportunity that very few artists ever receive. For his third album, he could have continued to make tracks like the wavy “Bitch Don’t Kill My Vibe”, the hook-laden “Fuckin’ Problem", or the festival-banging “m.A.A.d city”, and still had a top-selling album.
"Playing with your parts hopping in and out the friendzone..." Father really ain’t shit, y'all. He went on tour, dropped this chill ass 12-track album appropriately titled Who's Gonna Get Fucked First? on the interwebs last week, and did not run any of this by me...'cause we were totes besties back in two years from now.
In many ways, the early 2000s belonged to Ludacris. Within that time, the rapper was able to cross multiple platforms, making palatable music for varying tastes tinged with his trademark Dirty South sound. He would drop cheeky hit after cheeky hit, with a self serious flow delivered through a cheshire grin - and we all loved him for it.
When Drake released his newest mixtape, If You're Reading This It's Too Late, a few days ago, it took the internet by storm. Falling in line with Jay Z, Kanye and Beyoncé before him, he dropped it almost completely out of the blue, with no real warning.
Fabolous has always done a solid job at blending in with his environment. Whether he’s cutting with DJ Clue and The Neptunes in 2001 or jiving with Rich Homie Quan in 2015, he’s done a phenomenal job at adapting to change and staying relevant, something that is easier said than done.
2014 may be remembered as one of the weakest years for rap in recent memory, but there were, however, some definite highlights, especially when it came to newcomers. Bobby Shmurda had one of last year’s biggest rap records, DeJ Loaf had one of last year’s most remixed rap records and Young Thug was one of last year’s most talked about rap artists (even if for all of the wrong reasons).
Game doesn't quite get the respect he deserves. Sometimes things like his habitual name dropping and controversy divert attention from the fact that he has been one of the most consistent rappers over the last decade.
Every rapper that can be considered in the G.O.A.T. debate eventually hits a wall. This drop-off point comes for everyone and leads their stans to add qualifiers to their respective "best all time" arguments, "Of course, I'm talking about Jay-Z from Reasonable Doubt to Black Album, Eminem pre-Encore, etc."
Critics are always fighting conflicting urges. On the one hand, there's the need to be objective and evaluate each work on its own merits. On the other, there's the desire to fit each new release from an artist into an over-arcing career narrative. The trick is to find a balance between the two.
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.
Lupe Fiasco has been in a battle with Atlantic records for what seems to be forever. We all know about his discontent with Lasers and on his mixtape Friend of the People he made it clear that he wanted off the label. He did not get his wish before this album dropped, and that almost prevented us from hearing this album entirely.
Ludacris is a veteran in the game. Lyrics, beats, hit songs, a unique style; over his 10-plus year career he has obviously shown why he has been one of the most respected and successful stars in hip hop.
Fifteen years of Shady Records represents an unusual time for rap music, transitioning out of the shiny suit era and into a bubble featuring new names. Aside from D12 and Obie Trice releases, the label’s existence was mostly tied to Eminem signing a certain Queens MC.
Joey Bada$$ is a young Brooklyn emcee who was influenced by those who came before him from his region, the same way most young rappers from any region show clear influence from those who came before them in their region.
T-Pain dropped his new mixtape at the end of last week. After keeping busy with three mixtapes and four studio records in less than a decade, T-Pain went dark with no releases since 2012, until now.
Last year in March, Kid Ink reached a big milestone for a new artist: his single “Show Me” featuring Chris Brown went double Platinum.
The first Luca Brasi Story, released last February, put Kevin Gates on the map. Soon after, he quietly inked a partnership with Atlantic and a management deal with Young Money. He put out another excellent mixtape, Stranger Than Fiction, months later, and he’s had a similar 2014 in terms of output: two mixtapes, both excellent.
Releasing two full length albums in one year is a rare feat most rappers will never accomplish, but in a sense, it's really nothing new for Rick Ross, who yesterday released Hood Billionaire, his second solo album of the year. The rapper has been dropping albums, along with mixtapes that have been considered to be as good as albums, within months of each other for years now.
You can feel Cozz's hunger when listening to his music. It's easy to understand why J. Cole would want the youngster out of LA on his Dreamville/Interscope Label. Cozz has the lyrical trappings of a rapstar in the making.
The most gratifying events in music are the moments where you can literally hear the construction in the artist’s mind, the building onto the promise of greatness. While not a guarantee, Days Before Rodeo provides the listener with the glimpses of the incredible, long-ranging capabilities of Travi$ Scott.
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.
Sir Robert Bryson Hall II even sounds like future royalty. Professionally known as Logic, the massively talented Maryland MC has that potential. He’s also an interesting meta case study of multiple perspectives. Surface level, his racial background paints a ready-made perception, fair or not.
Part of Future’s appeal lies in a musically indefinable existence. While both Pluto (and the 3D version) and Honest became somewhat of a set template for artists like Travi$ Scott, Future himself is a blend of the past, some not so distant.
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