Migos – C U L T U R E

Image result for migos cultureSouthern rap trio Migos release their second full-length studio album, seizing the moment in a big way after the meteoric rise to popularity prompted by unorthodox #1 hit single “Bad and Boujee”. Donald Glover dubbed the track “the best song ever” at the Golden Globes, and the three men behind it “the Beatles of this generation”. While I wouldn’t go quite that far, the interplay between Quavo, Takeoff and Offset and their trademark style of triplet flows and call and response lyrics are certainly an extremely fun time to listen to.

The album never really differentiates in terms of sound and themes at all, but did you really expect it to after “Bad and Boujee”? Migos have a specific purpose in this world, and their formula is working better than anyone else in their genre right now. You’d think 13 songs of triplet flow and talk of racks, Uzis and lean would get old, but somehow, it doesn’t. CULTURE is an hour-long party from front to back. The trio recruit a team of some of the most prominent trap producers in the industry to provide their soundtrack, including Metro Boomin, Zaytoven, Cardo and Buddah Blessed, the rising producer behind 2 Chainz’ “Big Amount”. Zaytoven’s extravagent string arrangements work especially well here.

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The album also features a slew of expected features such as Gucci Mane, Travis Scott and Chainz himself, all of whom are welcome but none of which quite measure up to the delivery of any one Migo. Although when DJ Khaled shows up on the intro to deliver Khaledisms like “For all you f**kboys that ever doubted the Migos – you played yourself!”, it’s still hilarious – and accurate.

If you’ve been on the Internet recently, you’ve surely heard “Bad And Boujee” an ungodly amount of times, and I still want to talk about it. It’s truly a perfect trap song. Like many great trap songs, it’s hard to say what exactly makes it stand out from the pack of similar songs, but there’s a certain way the trademark Migos flow and the slightly creepy instrumental intersect to make you feel on top of the world. I even love the much-maligned Lil Uzi Vert verse – “Met her today / She talked to me like she knew me / Go to sleep in a Jacuzzi” is the most quotable set of lines in a long time.

Migos are really the only group who are able to use nothing but ad-libs as the opening line of a verse and still have it work. Their charisma and chemistry is insane and more than makes up for the formulaic lyrics – even the expectation of a delightfully nonsensical punchline comes across as a positive because of the confidence you know they’ll deliver it with. It’s incredible how catchy their unique style of delivery is, and even more incredibly that not many other people are emulating it. In the trap world, Migos are about as original as you can get despite the uniformity of the genre – their rapid-fire and sharply punctuated syllables represent the firing of the Uzis and Dracos that make their way into every song. Although, interestingly, the best verse on the project might be Takeoff on “Get Right Witcha”, perhaps the only moment when he breaks from the typical Migos flow for a minute.

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Despite Quavo’s slew of stellar feature verses, I think he is clearly weaker than his two counterparts on an album like this. Perhaps it’s simply because the trap beats they use here are some of the hardest they can find and Quavo’s more auto-tuned, melodic and slowed-down style works better on woozier songs like Travis Scott’s “Pick Up The Phone”, but compared to the all-out attack in terms of both technical skill and mic presence the other two unleash, it sounds like he cares less.

Many of these songs tend to go on for about a minute more than they should. Migos is great for a brief shot of energy but they don’t typically hold your attention past the 4-minute mark when the style of thr song doesn’t really switch up. The album is very repetitive in subject matter and sound but the album format is not really what songs like this are for. A single like “Bad And Boujee” would still dominate across all formats without one.

The album is titled C U L T U R E and it really is for the culture. Mainstream hip-hop is moving in a very exciting direction right now, with not only “Bad and Boujee” but Rae Sremmurd’s “Black Beatles” breaking into the public consciousness in a major way and hitting #1 on the Billboard charts. The culture is shifting. If you were expecting something profound from the Migos, you were searching in the wrong place. Enjoy the fun that comes from a masterfully crafted trap song while it’s in the spotlight.

Favourite Tracks: Bad And Boujee, Get Right Witcha, T-Shirt, Call Casting, Brown Paper Bag

Least Favourite Track: Kelly Price

Score: 8/10

John Mayer – The Search For Everything – Wave One

Image result for john mayer the search for everythingThis is really the last week before interesting projects are going to start dropping in rapid succession once again, so forgive me for reviewing a 4-song EP this week – the picking are very slim and the story behind its release is quite interesting indeed. Ubiquitous singer-songwriter and impressive guitarist John Mayer is back for the first time since 2013’s Paradise Valley, continuing to do what he does best although he hasn’t had a truly large hit in close to a decade. As artists continue to find new ways to alter the conventions of releasing music, Mayer has announced that he will release 4 new songs every month of the year, giving us many albums’ worth of material by the year’s end. While that much Mayer might sound incredibly unnecessary to a few people, there are a number of things to enjoy about this EP, especially concerning the frequent reminders at just how fantastic he is with his guitar. There’s not much new here, but the veteran artist knows which buttons to press.

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The overall sound of the EP is very laid-back, a style that has always fit with his famous vocal delivery that is easily identifiable and defining by now. He strips back the percussion and lets the guitar take over as the driving force of the majority of these tracks – as it should. The tracks begin to sound more like they came from early on in his career as a result, generating some very melodic and bluesy sounds. Despite the running themes, the four tracks are actually quite different and showcase aspects of the many approaches to his music he’s taken over the years. Of course, some of these styles (like the bluesier aspects of the opening track) have always worked better for him than others — saccharine and introspective pop song “Changing” is as dull as his other songs in the same category, for example. “Love On The Weekend” takes more of a folk route, and the album closes out with a sentimental ballad.

Intro “Moving On And Getting Over” is fantastic – an upbeat and incredibly catchy song filled to the brim with pure musicianship. The ever-changing guitar scales and melodies that run throughout the entire track are its true centerpiece, as Mayer’s voice is layered in octaves singing a breezy and pleasant melody that accompanies the carefree, freeform guitar well. The guitar work across the entire EP is an extremely strong suit – even “Changing” is picked up by a guitar solo that comes out of left field and energizes the percussion section along with it, displaying a sound that we really don’t hear in many places in this genre anymore and is deeply missed. The harmonies featured on most tracks are nice, built especially for his soothing voice which offers a calming presence. It makes elements of a very simple, stripped back song like “You’re Gonna Live Forever In Me” work very well.

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The lyrics on the project are cheesy and formulaic in typical Mayer fashion. He has always thought he is way deeper than he ever actually ends up being, and is decidedly a much more talented musician than a lyricist. If you were as annoyed as I was at the inescapability of a song like “Waiting On The World To Change”, maybe skip “Changing”. While the project opens very strong, there’s not much about the other three tracks that manage to stand out very much. They are all passable songs with underlying pop sensibilities. While “You’re Gonna Live Forever In Me” possesses a sweet and simple melody that is actually quite well written, Mayer is just the type of guy to think a song like that should be accompanied by prominent whistling. “Love On The Weekend” was the single released beforehand, and its adherence to a basic folk guitar strumming structure and attempt at a brief and catchy piano line for the hook, plus the lyrics that were probably written in an hour, makes it sound like it came off of an assembly line.

Mayer’s release strategy is an interesting one indeed, and the rest of the year will show if it is a smart career move to release an overabundance of music slowly over a long period of time. Depending how the next few installments in the series go, the interest in 12 Mayer EPs will adjust accordingly. Hopefully he embraces his blues roots and guitar-playing ability rather than his pop songwriting.

Best Track: Moving On And Getting Over

Worst Track: Changing

Score: 6/10

Bonobo – Migration

Image result for bonobo migrationVeteran electronic artist Bonobo expands his horizons on his sixth studio album, building on his atmospheric landscapes of sound to feature the human voice prominently through samples and well-chosen collaborators. As the lengthy album moves across multiple dimensions of sound, all tied together with the DJ’s signature melodic and downtempo style, it is easy to become lost in these long, winding tracks, some of which extend to 7-8 minutes. The combinations of calming instrumentals and intense live drum instrumentation on nearly every track contribute to a genre-defying and ambitious project that could truly be enjoyed by anyone.

The music is very immersive and while not overly complex, features a select few interlocking elements working very well together that was clearly painstakingly thought through. The project goes everywhere at once, running through eclectic trip-hop beats, African-influenced tribal music, and R&B-style electronica from featured artists like Rhye. I could see this music being played at a club, but somehow at the same time it sounds like a soundtrack accompanying someone gazing out over an expansive wilderness and contemplating existence.

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To display the wide range of genres further, in addition to Rhye the project features folk band Hundred Waters’ frontwoman Nicole Miglis, and Nick Murphy – formerly known as Chet Faker, the man who seamlessly blends Bonobo’s type of instrumentals with his emotive soul voice, who each knock their guest spots out of the park. Bonobo’s firm grasp of his own style and strengths easily shows here as he manages to make this wide range of sounds all sound obviously like him – and the adaptation of his style to accommodate his guests works incredibly well.

“Surface”, the Nicole Miglis track, is absolutely beautiful, alternating from steadily ascending and oscillating serene synth lines to a huge drumbeat and a harmonized, catchy chorus from the soft-spoken Miglis. Her voice is packed with so much character and inflection and is a stellar centerpiece to the world Bonobo has created. The percussion is the all-around strong suit of the album — it is mostly done live and serves to make the beauty of the quieter backgrounds more noticeable than sleepy and trance-like when standing on their own. Standing in contrast to the smoother tones, the beats make them pop. A track like “Second Sun”, the album’s most stripped down which displays the classic Bonobo high-pitched and calming synths, is great but it’s not engaging enough without any of the other aspects he also does well.

“Bambro Koyo Ganda”, featuring Moroccan band Innov Gnawa, is a huge risk and show of creativity, as it blends tribal-sounding music, complete with chanting and handclaps, with a pulsating club-ready techno beat. Bonobo’s diversity truly cannot be understated. The way these songs tend to shift and change over the course of their runtime is another highlight – “Outlier” is very long, and in the middle drops this catchy techno loop that becomes the base for its second half to build upon, whereas “Kerala” starts out slow and later surprises with a snappy electronic beat and chopped-up sample of singer Brandy’s voice.

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While this would be a great album to put on in the background of any social event, the key word is background. The music is very chilled-out, frequently undemanding of attention or hitting the emotional highs and lows of a typical album. It is a constant atmosphere to get lost in for an hour, but can tend to fade back into the recesses of your mind. Bonobo likes to build the sprawling world of his tracks around a central motif, and when they are less interesting the tracks can really suffer, especially because many of them are so lengthy and drawn-out. The moaning and low-pitched female voice on “Grains”, for example, gets a bit grating, and while it may have served well sparingly, as it is a truly interesting and unique sound, it shouldn’t be placed at the forefront of a pretty slow track.

Bonobo is deep enough into his career to know exactly what he is doing, and since breaking further into the public eye than ever before with his previous album, 2013’s The North Borders, went bigger and better to great success on Migration. The grasp of artistry displayed here is pretty incredible, and even if it is a bit indulgent, people this good have the right to be.

Favourite Tracks: Surface, Bambro Koyo Ganda, Break Apart, Kerala, Migration

Least Favourite Track: Grains

Score: 8/10

The xx – I See You

Image result for the xx i see youAfter the success and widespread critical acclaim of producer Jamie xx’s 2015 solo album In Colour, British trio The xx are back together as a band for the first time since 2012 and continue their indie-pop stylings with an electronic edge. Oliver Sim and Romy Madley Croft’s harmonies are as sharp and Jamie’s beats as engaging and dynamic as ever, delivering a product far better than I expected after their recent subpar performance on the Saturday Night Live stage. But this is the kind of music that is so complex that playing it live to the same effect gets difficult.

Croft takes more of a leading role on this album, taking sole writing credit on a few songs that feature her vocals alone, and her soft tones are a welcome addition throughout. While the slower songs tend to drag a bit, the band provides enough innovation in these brief 10 tracks to deliver what might not be the first great album of 2017, but it’s certainly the best one so far.

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The structure of the band is truly original — the vocalists sound like they belong to an acoustic folk duo of some sort, resembling a band like Of Monsters and Men in their inflections. However, the instrumental that accompanies them is glitchy, ambient and experimental electronic music provided by turntablist Jamie xx. Their live performance is an indication of the qualities of the music they aim for — the singers stare blankly ahead as if transfixed at something in the distance, hypnotizing and haunting the audience and making everything stop for a brief moment. These tracks have the same effect, usually for the better but sometimes the lack of stimulating musical moments on the slower tracks make me snap out of the trance for a minute.

Jamie xx’s production is spectacular throughout, but it truly shines when he adds vocal samples on a small handful of these tracks. “Say Something Loving” is introduced by a desperate tenor voice echoing “Before it slips away…”, while the chamber choir sounding vocals on “Lips” are an inspired choice. Single “On Hold” is the most energetic song on the tracklist and easily stands out as its best, the two vocalists trading lines and wondering where it all went wrong before a massive drop into a chopped up sample of Hall and Oates’ number one hit “I Can’t Go For That (No Can Do)”.

The duo works very well together, but instead of the voices serving as a contrast and finding beauty in their difference like many vocal duos do, both singers are very subdued and breathy. They are so eerily similar that they blend together perfectly and this contrast isn’t needed to make it interesting, two sides of a twisted love story coming together unified. The best part about both of their voices, and the way they interact, is the emotion and pain that weighs heavily on each trill and vocal inflection. Many of these songs refer to frustrated romantic desires, and their delivery is a punch to the gut. Some tracks are even heavier because they refer to a concrete real-life situation, such as “Brave For You”, Croft’s message to her late parents — “When I’m scared/I imagine you’re there/telling me to be brave/so I will be brave for you”.

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Croft’s solo songs, “Performance” and “Brave For You”, left me wanting Oliver Sim’s deeper tones to balance them out as well, especially because they are slower and more drawn out. The latter, however, is a true showcase for her impressive voice and stands up on its own better due to the thunderous percussion from Jamie. Despite the creative production sonically, I wish more than one song was as upbeat as “On Hold” — the sounds are different and engaging, but they align with the vocals in their somber and creeping quality and on the slower songs can get sleepy, especially when the loops get too repetitive. The band cannot rely on their hypnotic, trancelike quality alone — some songs, mainly “A Violent Noise”, are quite underwritten and leave too much empty space that needs to be filled. Despite the compelling pain behind the lyrics, the content gets repetitive as well and could be improved.

Ultimately, The xx is a winning intersection of sounds that really shouldn’t work as well as they do together. The three are all clearly very talented musicians with a knowledge of how to use their strengths effectively, but having a bit more fun couldn’t hurt.

Favourite Tracks: On Hold, I Dare You, Brave For You, Say Something Loving

Least Favourite Track: A Violent Noise

Score: 7/10

You Me At Six – Night People

YMAS-Night People.jpgBritish rock band You Me At Six are now on their fifth studio album and well into their careers, altering their sound and somehow moving in two different directions at once. From their quieter, more melodic past that focused mainly on the strength of frontman Josh Franceschi’s traditional rock and roll powerhouse vocals, they alter both aspects of their music to fall on two different spectrums, to varying results. While the instrumentals get heavier and draw more focus, the melodies get more radio-friendly. It is an interesting mix that frequently works better than it should, and if nothing else, Night People is full from front to back of the kind of buzzing energy you can only get from the enduring art form of the hard rock band in its most basic structure.

The project presents a selection of very upbeat songs, featuring a driving and incessant drumbeat and huge, smartly written choruses that were clearly created to be played to as big an audience as possible — but sometimes the degree of catering to this area becomes too evident. Still, this is a play by the band a decade into their career for expanding themselves to larger crowds that will likely be very effective due to the strength of their writing and the power to draw people in that charismatic frontman Franceschi has.

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Franceschi’s voice is the frequent highlight, capable of going from breathy and haunting (often accompanied by some vocal effects to enhance this feeling) to a full-throated rock and roll belt that extends high into the tenor range. This louder side really works with the new, more powerful guitar instrumentals and heavy chords, making the songs larger than life. Ever since 2014’s single “Lived A Lie” got the band a lot more recognition, they’ve shown that the one thing they really know how to do is write a chorus, and you can already picture a huge crowd of people at a festival singing alog to songs like the title track, featuring a repetitive but effective chorus with some easily followed whoa-oh-ohs. The heavier sound was a great idea, in moments when we are hit with the wall of sound of deafening guitars in a chorus like “Swear”, it is impossible not to get caught up in the pounding vortex and become more engaged in the song.

A lot of the tracks are very similar in structure, built around a catchy guitar riff and quieter vocals before exploding into a very heavy chorus — the songs are still all quite good as the formula works well for the band, but when the music is this in-your-face it becomes tiresome even on a brief 10-track album like this one. While not many people are doing this anymore and it’s great to hear just for the classic sound persisting in 2017, when it comes down to it nothing new is tried at all – almost every song on here is just a tired combination of a basic drumbeat, repetitive guitar loop and pop-leaning hook of a chorus that could be by 80% of alt-rock bands out there. Still, a lot of the time, Franceschi’s voice is excellent enough to save it from being completely boring.

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Really the only time they break from formula a bit is highlight “Can’t Hold Back”, which features forays into harmonies and a drumbeat that – miracle of miracles – isn’t the commonly known “rock beat” and clicks and clacks to enhance the song’s driving power even further. When the songs get slower, like out-of-place ballad “Take On The World”, the music drifts too close to being an everyday pop record like the watered-down folk bands that dominated the early decade’s radio waves.

While often lacking in personality, the blend of sounds that the band attempts to achieve on Night People is admirable, and when the 35-minute album inexplicably begins to drag despite its brief runtime the quality of a tried-and-true rock and roll voice like Franceschi’s saves it. If You Me At Six really put some time into making something completely their own, they might be unstoppable. For now, it’s alright.

Favourite Tracks: Give, Swear, Can’t Hold Back, Night People

Least Favourite Track: Take On The World

Score: 6/10

Austin Mahone – For Me+You

Image result for austin mahone for me + youDue to the dearth of notable albums released in early January, I reluctantly hit play on the fourth short project preceding an album from former Justin Bieber clone Austin Mahone, and was honestly pleasantly surprised. Now signed to Lil Wayne’s Young Money label, he attracts prominent collaborators that can push his decent singing voice to newer heights. The project features some very catchy pop sensibilities in the production and song structure, resembling the new and more mature direction Bieber himself has taken lately. Of course, there are still the kinds of songs on here that rappers like Pitbull tend to make their presence known on, bringing down the overall enjoyment, but there are still some serious surprises for an artist discovered in the way Mahone was.

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The better songs here are following some of the positive trends of current pop music, while the worst present some that are rapidly becoming outdated and ineffective. A track like “Pretty Amd Young” is alright enough before its jarring drop into a dance break that is too big and bass-boosted for the understated pop song that precedes it. However, when he delves into the tropical-leaning Bieber “Sorry”-style tracks his voice shines and the playful production in the background matches the carefree, summery melody. The rap features from Juicy J and 2 Chainz actually complement their respective songs quite well, giving Mahone’s new grown-up talk some legitimacy, while Pitbull, expectedly, is Pitbull.

“Love At Night”, the opening track, shocked me. It is a quintessential example of the breezy, dreamy pop music that plays in your head while relaxing on a beach. Its production is structured somewhat like a hip-hop song, with frequent interjections from featured artist Juicy J and a rapid-fire, skittering beat that serves as a foundation for slower chords. The simple melody that Mahone’s smooth voice provides over the bass-heavy beat brings to mind what makes a song like R. Kelly’s classic “Ignition” so successful. “Better With You” is similarly great, opening with 20 seconds of nothing but a cheerful marimba melody and accompanying snaps. Mahone wakes up on Saturday morning and eases into the track before twinkling instrumentation comes in for a huge falsetto chorus.

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On the other side of the spectrum, the songwriting across the board comes across as a much weaker point and is fraught with pop cliches. It is exactly what you might expect from an artist who was discovered at a very young age and is now 20 years old, and as we’ve seen with so many, is really trying too hard to sell it. As well, without the extra creative mile that some of these beats provide, it is too much of the same to be an engaging listen. Mahone’s voice is good, even beautifully understated at times, but it’s not spectacular enough to make the run-of-the-mill acoustic ballad or four-on-the-floor dance number stand out from the pack on its own. “Wait Around”, clearly an attempt of capturing the magic of “Love Yourself”, is sluggish and boring, its 4:15 runtime actually significantly longer than many of the tracks here. “Lady”, a eurobeat-style dance-pop track, is straight out of a bad party in the early 2000s.

For Me+You is very derivative, but on the odd occasion that isn’t necessarily a bad thing. As an emerging pop star, Mahone certainly has potential to eventually inhabit the kind of mold that the catalyst for his discovery, Mr. Bieber himself, inhabits right now. With the right influences and collaborators — in other words, not Pitbull please — the unevenness of this project could be trimmed and he could deliver some great pop tracks.

Favourite Tracks: Better With You, Love At Night, Shake It For Me

Least Favourite Track: Lady

Score: 6/10

Run The Jewels – Run The Jewels 3

Image result for run the jewels 3All-star rap duo Run The Jewels (Killer Mike and rapper/producer El-P) return with their third in a series of albums that continue to deliver. While the form is still largely the same, they once again deviate in content here. Their chemistry has already put them among the great rap duos and groups of all time and they use it primarily here, like many other artists have, to speak on the world in the wake of the US Election and Killer Mike’s diehard support of candidate Bernie Sanders. Run The Jewels has always had an element of this biting political edge, but it rises completely to the forefront here with new personal anecdotes of how it has affected them personally that extend past Mike’s chilling imagined scenario of police brutality on RTJ2’s “Early”. Of course, El-P’s beats are still as creative and mindblowing as ever, and their technical skill and interplay is unmatched in rap’s current landscape. You start to wonder if this match made in heaven will ever slow down.

The formula is basically the same as before, but the same is never truly the same with RTJ. The album is loud and abrasive, featuring rapid-fire flows, edgy lyrics containing biting satire and hilarious punchlines, and interesting and dynamic beats with an industrial sound — all the aspects that we’ve come to love and expect from the duo at this point. However, instead of building themselves – and each other – up as they usually do, they turn away from each other and face forward to unleash a full-out attack on the nonsense and evils of the world.

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The collaborators, some old and some new, are all perfectly chosen. These are the kind of insane beats that Danny Brown can get behind and he serves as a great contrast on “Hey Kids (Bumaye)”. Master saxophonist Kamasi Washington of To Pimp A Butterfly fame just adds another level of insanity to El-P’s grinding beat. Zack De La Rocha, former frontman of Rage Against the Machine, shows up once again on the closing and most political track “A Report To The Shareholders/Kill Your Masters”, and shows just how well RTJ is carrying on the legacy of bands like his. The pure energy and revolutionary potential of De La Rocha yelling “F**k you I won’t do what you tell me!” repeatedly over roaring guitars on the band’s biggest hit has been captured and spread over a trilogy of albums.

El-P dubs himself the “Son of Rick Rubin” on “Talk To Me”, and he’s not wrong. Like Rubin, who was a prominent producer in hip-hop but was very successful in other genres as well, all of El-P’s sounds are stadium sized and come from all over the musical map – not the typical hip-hop instrumental. And yet, he makes hip-hop beats that hit harder than any other. “Call Ticketron”, featuring a woozy synth line and rapid-fire hi-hats, is something else.

Their lyricism is frequently amazing is well, both when they’re talking about politics and when they’re coming up with increasingly ridiculous ways to describe how awesome they are.These guys can knowingly be blissfully immature and come across as hilarious on the lighter tracks — El-P opening “Everybody Stay Calm” with a blunt “Excusez-moi, b*tches” genuinely made me laugh out loud — and then drop truth bombs justifying their rage like “You talk clean and bomb hospitals/So I speak with the foulest mouth possible” (“Shareholders/Masters”). Killer Mike uses a quote from Martin Luther King Jr. to openly call for a riot on “Thieves! (Screamed the Ghost” and means it when he calls for the assassination of billionaires.

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Speaking of Mike, I feel like I haven’t been talking about him nearly enough – his technical ability is absolutely spectacular on the project, completely unapologetic as he harnesses El-P’s out-of-control beats. His final verse on “Call Ticketron” deservedly set the Internet ablaze. In fact, for the first time on a Run The Jewels project I’d even say that El-P’s verses are weaker overall across the entire project for the first time, as they are usually on an equal playing field. This isn’t a case of El-P getting worse, he might have even gotten better. Mike just steps his game up to another level entirely here.

Another small criticism is that the hooks are a little underdeveloped and underwritten, but that’s never really been what Run The Jewels is about. We’re here for the beats that shake us senseless and the bars that make us ask “Did they just say that?” before realizing their truth. Sometimes, a chorus of children screaming “Bumaye!” (“Kill him!”) is effective enough as a hook.

The same song, “Hey Kids (Bumaye)”, begins with a child proclaiming in a high-pitched voice “This is so crazy!” He concludes the track, “You made my eardrums bleed”. This is basically how I feel about this album. Run The Jewels have been out for blood since the beginning, and while the music may not hit quite as hard as the full-blown assault on the senses that was RTJ2, their words are what do the taking this time.

Favourite Tracks: Call Ticketron, Legend Has It, Everybody Stay Calm, Hey Kids (Bumaye), Talk To Me

Least Favourite Track: Oh Mama

Score: 9/10