Bensbeat is back for the summer and I’ll be catching back up to the present with a lot of these quicker posts.
6ix9ine – Day69
Controversial Brooklyn rapper 6ix9ine delivers a debut project infused with the unique scream-rap energy he brought to the singles that made him famous, but it lacks the lyrical content and adaptability to back him up over the course of a full-length project, even one that stands at only 29 minutes. Despite this, his production from some pretty unknown names (save for rising star Pi’erre Bourne on hit single “Gummo”) is frequently top-notch, riding a surprisingly melodic wave and adapting to a style that is distinctly 6ix9ine’s. The sheer blunt force and energy of some of these songs is hard to deny, but more often than not, there just isn’t enough here.
The album opens strong with the quick intro “Billy”, which is one of the most intense and cinematic beats on the whole project. The trap hi-hats and orchestral, almost operatic instrumental is such an interesting sonic playground to drop the unstoppable force of 6ix9ine’s vocal cords into, and it’s over before it even began. For some reason here, it works – he’s established himself as a quick jolt of energy and you can’t expect him to give much more as he pours everything into his delivery. I always preferred single “Kooda” to “Gummo” – the latter is a preview of where the remainder of the album can fall flat. Pi’erre’s beat is chilling, yet perhaps a little too reserved for 6ix9ine’s yelps. The repetitive songwriting found here persists throughout the project, some tracks like “Chocolaté” content to repeat the same lines for most of the track, and not in a fun, “Gucci Gang” way. The subject material never deviates from threats to others, references to his weaponry, and the like. When he switches up his flow on that delightfully melodic beat on Kooda – “You can talk hot on the Internet, boy!” – even that is enough of a distinct artistic choice to push the track over the edge. The track is a pure adrenaline rush. “93”, as well, features a great grinding, industrial instrumental that pummels the senses.
The tracks with features, “Rondo” and “Keke”, each try to fit three quite distinct artists into songs that barely exceed two minutes and make such a unique presence in 6ix9ine feel incredibly out of place. There’s nobody else in the realm of old-school hardcore rap he is trying to revive and artists like Young Thug and A Boogie wit da Hoodie are gone before you were even able to appreciate that they were there. The largely unrelated track names don’t help much with identifying the differences between the tracks in the back half of the project either – most of it blends together, 6ix9ine’s voice abrasive and threatening over instrumentals that never quite accommodate it.
Day69 is certainly a breath of fresh air – if 6ix9ine can incorporate more tracks like more recent single “Gotti”, where he introduces a more melodic vocal delivery, he might have a shot at outlasting his peers.
Favourite Tracks: KOODA, BILLY, 93, DOOWEE
Least Favourite Track: MOOKY
MGMT – Little Dark Age
The indie-pop duo returns with their fourth studio album, a pretty fun, occasionally humorous and surprisingly dark set of breezy, psychedelic synthpop tracks. The band offers some critiques of modern society disguised behind some maddeningly catchy pop hooks, pointing the finger not only at others but themselves as well. Working with Chairlift’s Patrick Wimberly, many of these tracks assert their slightly off-kilter position and somber lyrical content with the slightest uneasy twinges in the instrumental, revealing the lurking foreboding warnings underneath the shimmering pop veneer. Frontman Andrew VanWyngarden’s voice is as calm and soothing as ever.
We open with the hilarious “She Works Out Too Much”, which intersperses the happy yet disengaged voice of a workout tutorial instructor behind lyrics of a relationship not “working out”. The relationship in the song is described on the surface as legitimately failing because of the man’s disdain for exercise, but the catchy female voice delivering that hook contrasting with VanWyngarden’s existential crises in the verses reveals something else. “He didn’t work out” – his issues – “enough”. It’s a great build up to the chaotic conclusion, a frantic saxophone roaring in. These tracks are frequently driven by pulsating synth patterns, pushing themselves to the forefront ahead of the vocals. The title track delves into an area of synth-funk, snapping into a decisive minor chord at the end of the chorus as VanWyngarden delivers some confessional lyrics about depression.
I didn’t realize how dark the album really is until “When You Die”, which plays off this dichotomy perfectly. It’s genuinely shocking when you hear such a pleasant voice declare “Go f*ck yourself” in monotone, kickstarting a chorus where he contemplates suicide and happily declares “It’s permanently night” at the end. The track contains genuinely the most cheerful melody on the whole project. Later on, the band criticizes dedication to electronics and dives into political commentary with the beautiful closer “Hand It Over”, the closest thing we get to dreampop – “The joke’s worn thin, the king stepped in”, VanWyngarden sings, the track culminating in a gospel-tinged singalong repetition of the title. The band can still write a soaring chorus – a sparkly synth pad and backing vocals support the celebratory “Me and Michael”, changed from the original “my girl” for the sheer purpose of ambiguity.
The chillwave sound has died down a bit, and MGMT still proudly carries the torch. It’ll be tough to get any of these tracks out of your head. It’s a great return to form, coming closer to the joys of the late 2000s tracks that catapulted them into the mainstream.
Favourite Tracks: Hand It Over, She Works Out Too Much, Me and Michael, When You Die, Little Dark Age
Least Favourite Track: One Thing Left To Try
Nipsey Hussle – Victory Lap
The veteran West Coast rapper finally drops his debut studio album, abandoning his dedication to numerous mixtapes. He continues his partial revival of the G-funk sound on this project, bridging the gap to the modern era with some more trap-oriented sounds. Spanning over an hour, Hussle clearly had a lot to say saved for a debut project of this magnitude, but not all of it connects. His delivery and lyricism are his strong suits much more than his flow, and quite a few of these tracks can slip into filler territory by extending themselves past their welcome without much of a catchy, driving rhythm to keep them going. Hussle brings out some impressive guests in fellow Californians YG and Kendrick Lamar, even getting an appearance from Sean Combs himself. It’s a lot of content, but not enough of it sticks.
Production is handled mostly by underground west coast duo Mike & Keys, who broke out with a hit in G-Eazy’s “Him & I” this year and do a great job of emulating the old-school West Coast style despite the temptation to give into trends of today. “Last Time That I Checc’d” makes up for Hussle’s disinterested delivery with a bouncy synth bass instrumental that sounds like it could be a classic E-40 track. The homage to the past continues on “Hussle & Motivate”, one of the album’s best tracks, in which Hussle settles into the flow nicely over a slowed down sample of Jay-Z’s classic “Hard Knock Life” instrumental. The ordering of the album can be confusing, most of the weaker tracks present at its beginning. The back half meets expectations pretty consistently, Hussle sounding more urgent – “Status Symbol 3” is carried by a great melodic hook from Compton rapper Buddy and a harder-than-usual beat pattern that Hussle adapts to with a faster flow. Many of these tracks take the form of a long, winding story, Hussle speaking about his tumultuous upbringing and rise to the top, hence the title “Victory Lap”, and these streams of consciousness can be quite compelling.
Hussle doesn’t develop nearly enough of a distinct personality despite the expansive runtime he had to do so. When guests appear, especially Kendrick Lamar on “Dedication”, Hussle clearly attempts to emulate their styles in order to make the track sound more cohesive, but I really wanted to hear more of his own artistry in a world quickly becoming inundated with rap as its top genre. It’s a perfectly solid project without much obviously wrong with it, there’s just not enough to make me pay attention.
Favourite Tracks: Hussle & Motivate, Status Symbol 3, Keyz 2 The City 2, Dedication
Least Favourite Track: Succa Proof