Gucci Mane – Evil Genius

Image result for gucci mane evil geniusAtlanta rapper Gucci Mane’s output since being relased from jail in 2016 has been so prolific that the timespan of just under a full year since his last project is an unusually long gap for him. It’s certainly given him some of his best sales in a while. He’s stated that he was trying to link up with the best personnel he could and make one of his “best projects ever”, but I’m not sure he accomplished that despite the time off. Evil Genius is one of the safest and by-the-numbers rap albums I’ve heard all year, Gucci toning down the more comical and cartoonish sides of his lyrics and delivery to fit into more of a generic trap mold. Across 17 tracks, it’s pretty difficult to tell most of them apart. One of the things that is most appealing to me about Gucci, especially on his features, is his effortless charisma and mic presence – most of that is lost here.

One of the reasons Gucci works so well as a feature is how different from most rappers his delivery actually is, adding to the variation in approaches on any given track – across this project, as usual he’s more laid back and yet possesses this kind of 21 Savage-esque coldness. One of my favourite Gucci tracks is actually his “Finesse The Plug Interlude”, where he delivers threats with a kind of cheerful shrug and high intonation. But carrying a full project by himself, his somewhat sleepy tone gets a little boring – especially when there’s no interesting instrumentals to keep him afloat.

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The two opening tracks “Off The Boat” and “By Myself” are pretty good examples of what’s wrong with this project – both of them have pretty every-day, bass-heavy and relatively empty trap instrumentals that you could hear anywhere else, and their lack of variation and relatively low energy make Gucci’s quieter flows blend in to the background and his sudden bursts of energy feel out of place. The latter ends with some comically over-enunciated words and a shouted playground chant of a flow over an incredibly minimal beat. My favourite track on here is actually “Father’s Day”, an interlude-length track with a spastic and upbeat instrumental from Metro Boomin where Gucci reaches his energetic peak on the chorus as he emphatically proclaims his status as the one who started a wave – just as I was getting into it on my first listen, it ended.

As expected, some of the features here add spice to what Gucci brings to the table and contribute to some of the better tracks. “BiPolar” is enlivened by some quicker hi-hats than usual from OG Parker, but especially Quavo’s melodic interjections on the chorus to enhance Gucci’s more static flow and keep the rhythm afloat. Kevin Gates’ in-your-face presence and quicker flow on the track “I’m Not Goin’” is a welcome addition, especially in comparison to Gucci’s awful singing voice on the chorus, and Youngboy NBA fulfills a similar role on the track “Cold Shoulder”, where Gucci actually gives a pretty great performance to match – the addition of a quick triplet at the end of a couple lines in the chorus is something that I could only expect from someone like him. This is one of the best beats on the project as well, some creeping low synth tones raising the stakes. Single “Wake Up In The Sky” with Bruno Mars and Kodak Black is Gucci’s peak aesthetic, and a fun enough track even if I wanted Mars to show off a little more. An effortlessly cool, laid-back track, all three artists dial their voice back to a too-cool-to-care, relaxed cadence and completely sell it.

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Most of these tracks feel like filler when they’re so short, Gucci rattling off one or two repetitive choruses with some low-effort verses in between before we immediately move on to another half-baked idea. The run from “On God” to “Lost Y’all Mind” gives me whiplash from how quickly these ideas are created and abandoned before anything is developed properly. Most of these tracks honestly aren’t too bad – “Lost Y’all Mind” might be my favourite track in the middle with that glitchy, melodic beat – but the fact that they sound so similar and end quickly like a couple focus groups went through a checklist and each presented their own version of a Gucci song makes me wish there was a little more variety and innovation across the board here. By the time we get to the end of the tracklisting I’m seriously tired of the excessive number of tracks with the same skillset being presented – tracks like “This the Night”, “Mad Russian”, and “Lord” are seriously uninspired and could easily have been cut.

There’s been a few average rap albums as the year comes to a close and it looks like there’s still going to be a few more – the genre’s seriously taken the year over, with high-profile releases coming almost every week. Evil Genius doesn’t do enough to make the personality of one of the most personality-driven rappers stand out from the rest, and it’s pretty disappointing as a result.

Favourite Tracks: Father’s Day, Lost Y’all Mind, Wake Up In The Sky

Least Favourite Track: By Myself

Score: 3/10

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Quavo – Quavo Huncho

QuavoHuncho.pngIronically named rap label Quality Control continues to drop overlong project after project, and Migos star Quavo’s debut kicks off what is apparently the first of 3 solo albums from the members of the group to be released in rapid succession. It’s been easy recently to get burnt out on the Migos sound and formula, and Quavo more or less adheres to it here. Surprisingly, there are still a couple fun moments to wring out of it here: Migos have developed into rap superstars for a reason, and it’s because they really know what they’re doing. If they hadn’t oversaturated the market, I might enjoy this project a lot more than I do. While many pegged Quavo as the breakout star from the group due to his more versatile, melodic flow, it’s become a lot clearer to me over the years that he’s easily the least talented of the group both rhythmically and lyrically. A solo project without the other two members to spice things up had me worried, and while most of this 19-track project is uninspired filler as expected, there are still a couple of enjoyable moments scattered here and there where Quavo holds his own more than you’d think.

The opening track “Biggest Alley Oop” might actually be the album’s best, built on an eerie, slightly distorted choral vocal sample of ‘la-la-la’s and some kind of woodwind instrument with an element of Middle Eastern flair – it’s definitely a sound we haven’t heard them use before, and producer 30 Roc takes a few opportunities to break up the straightforward trap rhythms as well with some well-placed moments where the music cuts out. Quavo’s flow over the track honestly sounds more like one of his fellow Migos here with some speedy triplets, and his off-the-wall ad-libs are always fun. From there, we kind of fall off a cliff until the album’s second half. Less than a minute into the next track “Pass Out”, Quavo has literally resorted to bars full of nothing but “skrt” and moaning “grandmaaaaa….” in his background Auto-Crooned vocals. The production is honestly still pretty great on the track and on most of them here, but Quavo sounds unenthused most of the time here, like he’s putting this out as a contractual obligation.

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Quavo’s flow has always been more sparse than his groupmates, and on the more empty instrumentals here there just isn’t enough to carry the track here without the other huge personalities to play off of – “Give It To Em” is a huge example of this, as Quavo leaves way too much empty space over a somber piano instrumental. Most of these tracks are a shorter track without a fully fleshed out concept, Quavo bringing the bare minimum to the table lyrically and doing the same flows we’ve heard elsewhere. Most of the project’s most enjoyable moments are provided by guests, but even some of these tracks feel kind of unfinished, like they put together a random Quavo verse and a leftover verse a featured artist sent over. Drake looked to continue his feature hot streak on “Flip The Switch”, but one of his lower-key deliveries is juxtaposed with one of the most crowded trap instrumentals here, and Quavo’s final verse brings the quality way down.

Tracks like “F**k 12”, “Keep That S**t” (despite how unintentionally hilarious his matter-of-fact delivery on the track is) and single “Workin Me” are painfully repetitive without enough of a new twist on the trap instrumental that we can sometimes expect from a Migos track to keep my interest. There are simply far too many tracks here that serve no distinctive purpose from each other – it’s hard to even pick out the worst ones, they’re just simply … there. “Swing” and “Big Bro” are two examples where trying to do something different didn’t really work, the former another tired dancehall cut that features ex-Fifth Harmony member Normani and Nigerian artist Davido that goes on for far too long and the latter a truly strange and contradictory track where Quavo tries to position himself as a knowledgeable J. Cole-esque figure that doles out advice on the irresponsible lifestyles he romanticizes on every other track on the album here.

Most of the appeal of Migos is these three enormous personalities playing off of each other, and some of that still manages to shine through here, especially when he’s helped out by some of the better moments from behind the boards here. Tay Keith provides a pretty fun beat on the track “Shine” as Quavo’s sung hook complements the shimmering synth chords well. Some of the weirder experiments here really pay off as well, like the track “Champagne Rosé” that legitimately features Madonna (and a disjointed, brief verse from Cardi B for some reason). The Queen of Pop’s vocals are high-pitched and heavily Auto-Tuned, and she sounds like some kind of robotic doll on the track – but the fact that something like this exists is so crazy that it actually works. Her hook is maddeningly catchy all the same. Pharrell and Migos have proved a great combination in the past, and they link up again. for the erratic party track “Go All The Way”, which sounds like some early 90s dance crew material with Quavo’s filtered, repeated “NO CAP” ad-lib and Pharrell’s video-game inspired bleeps and bloops – it’s a complete anomaly which stands out in the tracklisting.

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Some other highlights are Travis Scott’s melodic hook on the psychedelic track “Rerun”, which really elevates the whole song, and “Lamb Talk”, one of Quavo’s most hilariously over-the-top moments on here where he delivers some energized ad-libs on a track dedicated to his car.

Essentially, Quavo Huncho is exactly what you’d expect it to be. We still get moments where we’re reminded just why he was pegged to be the breakout star from the beginning, and an overwhelming amount of content that just isn’t as exciting as it used to be. I hope the more technical Takeoff and Offset can deliver some more interesting solo projects.

Favourite Tracks: Biggest Alley Oop, Rerun, Go All The Way, Champagne Rosé

Least Favourite Track: Give It To Em

Score: 5/10

The Carters – EVERYTHING IS LOVE

Image result for EVERYTHING IS LOVE coverGlobal superstar and woman of many talents Beyonce goes the route of surprise drop with no promotion once again, linking up with her famous husband Jay-Z to deliver a satisfying conclusion to the narrative of their familial drama outlined on respective projects Lemonade and 4:44. While EVERYTHING IS LOVE doesn’t quite measure up to either of their recent grand artistic statements, it comes close just coasting on how much fun the interplay between the two is. The couple celebrates emerging on the other side of a hardship having been made stronger for it with a series of boastful tracks that lean a lot closer to Jay-Z’s realm of hip-hop, with a modern trap-influenced edge. Is it any surprise that Beyonce can more than keep up with him as a rapper? Her decade-spanning career continues to impress.

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Opening track “SUMMER” feels like a continuation of Lemonade, sounding tonally similar to its closer “All Night” where Beyonce finally forgives Jay-Z. Produced by legendary hip-hop producers Cool & Dre, it’s one of the only times when Beyonce really gets to remind us just how timeless her vocal abilities are, making her runs and embellishments sound effortless while singing about summer romance over a funk bassline and reggae-influenced instrumental meant for blasting on a beach. This immediately transitions into the harder sound of the remainder of the album with the Migos-assisted “APESH*T”, wisely selected as a single. Jay-Z steps in with his speediest flow in years to deliver some clever zoological references and (accurately) assert that he’s bigger than the Grammys and the Super Bowl – “tell the NFL we playing stadiums too”, but it’s Beyonce who dominates the track’s hyperactive tempo and rapid percussion. She steps easily into the triplet flows and delivers a knockout third verse in a menacing lower tone. She gives everything she has into her delivery here.

The album’s opening run is pretty incredible, continuing with “BOSS”, translating the marching-band vibes Beyonce has been exhibiting in her live shows to horn section-assisted braggadocio over a looped choral harmony … “My great-great-grandchildren already rich” is the flex of the year. Jay-Z takes more of a starring role on the Pharrell-produced “NICE”, offering a catchy and repetitive hook over distorted piano chords while Beyonce hilariously brings back daughter Blue Ivy’s immediately iconic “ceiling” freestyle line from 4:44. Jay-Z’s full-voiced New York accent translates well to this celebration of the Carters’ excellence, belting out swaggering hooks and turning tracks like “BLACK EFFECT” into classic entries in his canon. The song is immediately arena-ready, Jay instructing hands up and inserting satisfied “hm”s when the knocking trap beat cuts out. He’s been a master at navigating around vocal samples since Kanye West was producing them for him, and the soulful background vocal complements his thunderous raps well here. The Carters additionally pay respect to their hip-hop backgrounds on the more rap-heavy album, interpolating the hooks to Notorious B.I.G. and Dr. Dre classics on “HEARD ABOUT US” and “713” respectively.

The album sags a bit in the middle section, showing that these artists are still at their best when creating fully fleshed-out conceptual stories, less time clearly going into the creation of this project. “713” strangely places a very pronounced Auto-Tune effect on Beyonce’s vocals, the looped piano beat not containing enough nuance for Jay-Z to work his characteristically complex flows over and ending a little abruptly – that beat-switch where Beyonce starts singing backup is great though. “FRIENDS” has a great message outlining that the Carters didn’t reach this position without a lot of help from others, but their take on modern alt-R&B with a slower-paced moody instrumental and basic trap beat doesn’t have the same energy over its nearly 6-minute runtime.

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The love for each other and admiration for each others’ talents is evident across the whole project – you can hear it when Jay-Z introduces his wife with a stunned “oh my God” on “HEARD ABOUT US” – but closing track “LOVEHAPPY” is a perfect way to wrap up the whole trilogy, the two artists on the same level as they trade bars and put everything that’s transpired in the past – but not before Beyonce sends one last infuriated shot at the famous Becky that prompts a “Yo, chill” from Jay. Beyonce’s R&B vocals return on the harmonized hook where she sweetly sings “We’re flawed but we’re still perfect for each other” and shows appreciation for Jay’s efforts to change.

EVERYTHING IS LOVE continues to offer us glimpses into the ups and downs in the relationship of the original power couple. Musically, they’ve been playing off of each other for 15 years now and know just what buttons to press. Beyonce is idolized to such a degree for a reason, and Jay-Z’s flows returned in a huge way ever since 4:44. It’s certainly no Lemonade, but it’s a very satisfying conclusion.

Favourite Tracks: SUMMER, APESH*T, BLACK EFFECT, BOSS, LOVEHAPPY

Least Favourite Track: FRIENDS

Score: 8/10

Rapid Fire Reviews (Cardi B, Kali Uchis, Pentatonix)

Cardi B - Invasion of Privacy.pngCardi B – Invasion of Privacy

2017’s breakout star Cardi B finally releases her debut studio album, and while it certainly isn’t anything groundbreaking, she delivers 13 very solid tracks loaded with the hilarious personality we’ve come to love, a bevy of great guest spots and some surprisingly impressive technical skill. Invasion of Privacy is just about the best debut album I could have expected Cardi to make – she continuously defies her status as a meme or a one hit wonder.

Cardi’s biggest strength – likely the reason she blew up as quickly as she did – is her unapologetic, honest personality and she is just what you expect on this project, being open about her rags-to-riches upbringing on opening track “Get Up 10” and being brutally honest about her feelings towards a certain member of the Migos. There’s something strangely empowering about hearing Cardi deliver lyrics that can be incredibly explicit, confident or carefree that most others wouldn’t dare. She builds herself up in the most hilarious ways, channelling the self-aggrandizing energy she injected into that iconic “Bodak Yellow” hook with tracks like “I Do”, featuring a celebratory SZA speaking on the pair’s many successes, and “Money Bag”. Even though the latter is all but a carbon copy of Cardi’s biggest hit, her lyrics still make it incredibly fun – her abrasive New York accent puts an extra, percussive, vitriolic punch onto every one of her boasts. The album does actually contain some sonic diversity as well.

“I Like It”, a Latin trap banger, is the most fun song here and features the two biggest artists in the genre in J Balvin and Bad Bunny. The interpolation of the Pete Rodriguez classic track on the sample with such an aggressive trap beat was creative enough to make it an instant hit. “Ring” and “Thru Your Phone” see the instrumental take calmer, more R&B direction, but the fire doesn’t leave Cardi’s voice as she speaks about her partner’s infidelity. Kehlani’s hook on “Ring” is absolutely beautiful, and Cardi’s delivery makes her sound believably deeply hurt. We are getting Cardi with no filter across this project. For all the people writing Cardi off as a joke act due to her ridiculous persona, her technical skill always impresses me. To hit every word of these faster tracks while pregnant in her Coachella performance solidified Cardi as someone who deserves all of the successes she has. She keeps up with Takeoff’s incredible verse on “Drip”, while the chorus of “Bartier Cardi” is an absolute tongue-twister of lyrics.

To pull off the album as well as she did is something of a surprise since, well, one of the main reasons we love Cardi is her embrace of her flaws – polish isn’t her strong suit. There are a few tracks on here that could have been improved with a bit more work, but the idea is there. “Be Careful” is a track that certainly grew on me from my first listen, with a catchy Lauryn Hill interpolation, but Cardi’s flow leaves a bit to be desired. As well, Chance the Rapper’s characteristically adorably happy feature on “Best Life” doesn’t really fit at all – it’s the song with the least punch on the project, with more of a melodic and meandering instrumental that doesn’t really accommodate the assault on the mic from Cardi.

There’s something inexplicably magical about the injection of confidence that Cardi’s music provides, even when I don’t come from anywhere close to the same walk of life as her. The success couldn’t be happening to someone more genuine, and Invasion of Privacy proves that.

Favourite Tracks: Bodak Yellow, I Like It, I Do, Ring, Money Bag

Least Favourite Track: Best Life

Score: 8/10

Kali Uchis - Isolation.pngKali Uchis – Isolation

Rapidly rising Colombian star Kali Uchis recruits one of the most impressive lists of collaborators I’ve ever seen for her debut album Isolation, blending her voice suited for contemporary R&B with her own cultural elements of reggaetón and bossa nova. Although Uchis’ vocals are not always the strongest or most distinctive, Isolation is an album that is built through complex and dynamic instrumentals featuring numerous instruments and a full orchestral sound, Uchis’ pleasing and airy tone just a universal complement that allows her many star producers to easily build a great track of any genre around. Appearing across the album are Thundercat, DJ Dahi, Brockhampton’s Romil, Steve Lacy, Sounwave, Gorillaz, Tame Impala’s Kevin Parker, Greg Kurstin, BadBadNotGood and more.

The albums’ opening two tracks introduce the listener into Uchis’ unique musical niche perfectly, the intro “Body Language” a calmer track with a samba bassline transitioning into “Miami”, the site where this traditional sound becomes modernized with some trap hi-hats complementing the reggaetón guitar chords. Uchis obliterates people’s misconceptions of her in the track, stating that despite her appearance she can be a powerful, dangerous figure capable of achieving her aims. Uchis’ team not only provide her with lush instrumentals, but some seriously catchy melodies as well. Steve Lacy’s hot streak continues with “Just A Stranger”, Uchis and Lacy himself layering their vocals to create an anthemic and rhythmically sound chorus over a fun funk instrumental. Uchis is at her best when she taps into her Colombian roots, singing in Spanish on “Nuestro Planeta” and breezes through upbeat, danceable Latin instrumentals on “Your Teeth In My Neck” and “Tyrant”. It’s great to hear such a modern take on a style that isn’t incredibly prominent in popular music, despite the recent explosion of Spanish music into the mainstream. The melodies here are strangely familiar, keeping in line with their reggaetón roots, yet at the same time they’re nowhere else to be found in 2018.

Uchis’ greatest vocal showcase comes on the track “Flight 22”, a downtempo track that veers closer to bedroom pop with dreamy, twinkling keys and a string section backing up her impressive range. Her sensual vocal inflections remind me of Amy Winehouse, named as a large inspiration behind the track. More often, however, Uchis’ vocal tone is best utilized as the smooth, malleable aspect to fit over any style of instrumental. “Dead To Me” is the most chaotic track here, featuring cascading electronic blips and a high-speed breakbeat over the omnipresent funk bassline, Uchis’ calm tone making it seem as if she handles the complex musical world with ease – and she’s confident and assertive enough in her delivery that she doesn’t need to go all out to make her point. I always love albums that make the most out of their sequencing to tell a story, and the albums’ later interludes “Gotta Get Up” and “Coming Home” serve as transitional pieces, completing the gaps between the surrounding tracks and completing a full narrative. Gorillaz’ manic track “In My Dreams”, where Uchis runs through a whimsical dreamscape before waking up to negative realities, and the Tyler, The Creator-featuring single “After The Storm” shine in the latter half.

The main takeaway from this album is Uchis’ incredible consistency. It’s not always this difficult to pick out a least favourite track. Her command of some seriously complex instrumentals seems effortless at all times, and we could be witnessing the start of something very exciting.

Favourite Tracks: Flight 22, Dead To Me, Tomorrow, After The Storm, Just A Stranger

Least Favourite Track: Killer

Score: 9/10

Pentatonix - Top Pop Vol 1.jpgPentatonix – PTX Presents: Top Pop, Vol. I

A cappella success story Pentatonix returns to their roots of covering some of the most popular songs of the year after a switch in members saw them acquire a new bass vocalist. While it can get rather easy to grow tired of the group with their quantity over quality approach, many of their arrangements utilizing the same tricks despite their torrid release pace, it’s pretty impressive that they can breathe new life into something like a “Despacito” / “Shape of You” mashup. This kind of material is what made them famous in the first place, and there are still a few flashes of greatness here to remind us why.

We open with Charlie Puth’s “Attention”, a track that was basically meant for a cappella from the beginning that showcases new bass Matt Sallee prominently early on. The extra syncopated melody that doesn’t exist in the original added to the 2nd verse is a great touch, and the half-time section and jazz chords that close the arrangement make for their most ambitious exploits across the whole project. The two mashups on this project are both highlights, showing that the group is at their best when at their most creative. It’s tough to make an album of covers of extremely played out songs and continue to hold interest. Their combination of “New Rules” with Aaliyah’s “Are You That Somebody” works shockingly well, and the first three notes, each vocal part building on the next, that hit in the breakdown get me every time. Kirstie Maldonado sounds fantastic singing in her more comfortable language on “Despacito x Shape Of You”, even switching a few lyrics in Sheeran’s hit to Spanish. Maldonado is the strong suit across the board, carrying a lead vocal of Julia Michaels’ “Issues” pretty flawlessly. Songs like “Issues” and Kesha’s “Praying” are pretty impossible to do badly regardless, and the group rise to the occasion covering these great tracks.

Too often, the group doesn’t do much to alter the structure of the original song, thinking that the tricks that we’ve heard before will suffice. “Finesse” is basically a carbon copy of a song that was already pretty sparse instrumentally due to its new jack swing influence – more interesting vocal percussion acrobatics might have been interesting here, while their approach to Ed Sheeran’s “Perfect” adds in Kevin Olusola’s cello yet again, losing the spirit of a cappella as they structure in a huge, empowering build-up in the same way they’ve done in the past. The other thing that annoys me about Pentatonix studio albums recently is that they’ve stopped trying to hide how much of these finalized studio arrangements aren’t performed live, adding in layering and other computer-generated processes in post-production. “Stay”, a predominantly electronic song, features the same loop of Alessia Cara’s pitch-shifted vocal run that would be impossible for a human voice to replicate. It’s harder to tell for sure judging by Mitch Grassi’s shockingly high vocal, but I think I was able to distinguish Maldonado singing underneath her lead vocal as well.

Pentatonix are obviously ridiculously talented, but I still think that their album of original music was their best work yet. The novelty of these A-list covers has worn off over time, and I want to hear what they are able to do without the constraints – the mashups here prove their creative ability.

Favourite Tracks: Attention, Issues, New Rules x Are You That Somebody?, Despacito x Shape Of You

Least Favourite Track: Feel It Still

Score: 6/10

Migos – Culture II

Culture II.pngAtlanta rap trio Migos return with the sequel to the album that catapulted them to superstardom, which extends to a gargantuan hour and 45 minutes in length and recruits some high-profile guests as they flex their newfound muscles in the industry in the way only they can.

While the project is very excessive, not varying as much as it certainly should for such a long runtime, the album frequently surprises you by how much the Migos still have a firm grip on the sound that they helped popularize, their technical skill elevating them to another level amongst the scores of trap-rappers today and still finding ways to surprise the listener despite the oversaturation of the group and its individual members. Sure, the album is a chore to get through, but Culture II is full of sure-fire hit singles.

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Can we just talk about “Narcos” for a second? This might be my favourite song associated with the rap trio yet, displaying their ridiculous personalities and quotable lyrics (“Magnifico!”), technical skill and a more innovative beat than usual all in the same place. I’ll be surprised if this one doesn’t explode – it’s set over a great Latin-sounding guitar sample that actually originates from Haiti, Offset settling into that chorus perfectly while Quavo provides the melodic hook and Takeoff absolutely demolishes the final verse in a technical showcase. This is the interplay between the trio’s strengths working at its absolute finest.

Speaking of innovative instrumentals, Migos are at their best on this project when they deviate from their formula and still succeed at displaying their chokehold on the pulse of current hip-hop music. They recruit Pharrell on single “Stir Fry”, apparently a leftover beat from T.I. in his prime, and demonstrate their versatility on the more Neptunes-esque production, adapting their flows to more of a swung tempo for a rare moment of deviation from the norm. Also, none other than Kanye West appears on the 21 Savage-featuring “BBO”, which still has a trap beat provided by co-producers – but West’s flipped brass section sample is still refreshing for the group.

Although we’ve heard the least from Takeoff since the Migos takeover, he is the star of this project, often trusted with the final verse and displaying some serious technical skill. We’ve heard everything the other two can do at this point, and the increased role for Takeoff is still giving us some new surprises. There’s too much content on this album to fit into a short review, but some other highlights include Post Malone’s hook on “Notice Me”, and the great piano instrumental, actually produced by Quavo himself, on “Crown The Kings”.

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Major production contributor DJ Durel recently confirmed that Migos only spend 45 minutes at most on each song – and you can tell that they’re basically on autopilot here (They even have a song with that title on this project!). When you’ve defined an entire cultural movement, this isn’t necessarily the worst thing in the world, but listening to 24 tracks straight is tiring, especially when you begin to recognize the same tricks they use on many tracks. The lyrical themes become increasingly thin and repeated, a chorus of repeated lines such as the disappointing Drake-featuring “Walk It Talk It” or a carbon copy of an earlier song like the “Deadz”-emulating “Open It Up” leaving me wondering why the album wasn’t cut down to the pristine effect of the trap masterpiece that was the original Culture.

There are far too many filler tracks on here to proclaim the successes of the project’s highest highs – I will never listen to this album in full again, simply picking out my favourite tracks and forgetting about the rest. Not that the album doesn’t go as hard as you’d expect it to at all times, but for so many tracks, when the beat or the hook is just a bit subpar in comparison to its counterparts, songs quickly become expendable.

Maybe it’s my fault for expecting something that even closely resembled an album after the nearly endless stream of Migos content we’ve received since “Bad and Boujee” hit #1, but in comparison to the original Culture this plays as more of a mixtape quality project. It’s not enjoyable as an album at all, but it’s still absolutely impossible to deny that Migos energy and the interplay between the members that sparked the whole resurgence of a genre. Culture II is just fun enough throughout.

Favourite Tracks: Narcos, Stir Fry, Notice Me, Crown The Kings

Least Favourite Track: Flooded

Score: 6/10

Travis Scott/Quavo – Huncho Jack, Jack Huncho

Image result for huncho jack jack hunchoIn yet another rap collab that dropped as 2017 came to a close, not to be upstaged by fellow Migos member Offset, Quavo recruits a kindred spirit in Travis Scott for a solid but unsurprising effort. The two stick to exactly what they know and exactly what they’ve been doing for the rest of the year, and since they are more similar in terms of artistry than many collaborative projects over the course of the year, it seems like the album doesn’t have much to offer that we haven’t already heard before.

While I personally wanted to hear more bars and less mumbled, autotuned crooning that the two have become known for, Huncho Jack, Jack Huncho shows two artists who are as understanding of their audience as they possibly could be, delivering a select few great moments in a sea of mediocrity.

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The project opens with its most immediately catchy song in “Modern Slavery”, which features a more energetic trap beat than most of the generic offerings on the rest of the project and features Quavo “shaking his demons off” and then “dipping his dreams in sauce”. The shorter length of the track, as well as the multiple delays on the project, makes me think that the logistics of the project did not come together as well as most, since this album basically exists solely due to internet hype on Twitter. I wish it had gone on for longer.

The only features on the project come from fellow Migos members Takeoff and Offset, and it really speaks volumes to how well Migos work as a trio, since the distinct voices they bring to their respective tracks really breaks up the monotony here. Scott and Quavo are almost indistinguishable here, not playing off of each other at all or complementing each others’ strengths because they essentially do very similar things on each track.

The tracks “Dubai Sh*t” and “Best Man” stand out as well, the former demonstrating the quotable, goofier side of their respective rap personas (if you can ignore the similarities to Drake’s More Life highlight “Gyalchester”) while the album closer “Best Man” offers something a little different from the trap sensibilities and rhythmic adherence to rather straightforward beats. The collaborators express their brotherhood and tell some stories of their early friendship over Young Thug producer Wheezy’s more spacey, ambient beat that accommodates their melodies better.

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Scott and Quavo’s more freeform, flowing style doesn’t contrast as well with more dynamic beats, since almost all of the energy of the track is lost when a beat calms down due to the rappers not explicitly sticking to a solid rhythmic pattern. While there is certainly appeal in the style, as evidenced by the two rappers’ enormous popularity, after a slew of collaborative projects that only served to amplify artistic aspects that weren’t as prominent on solo work, the safe approach to this project didn’t sit as well with me. Too much of the project sounds like an amalgamation of just about every track Travis and Quavo appeared on over the course of 2017, using the same flows, same beats, same adlibs and same lyrical content and even some of the same punchlines.

Quavo’s voice is the hip-hop universal solvent at this point, and Travis Scott at his most energetic can be truly invigorating, but it is clear that there wasn’t a high degree of effort put into this project, not wanting to delay its release to 2018. There are certainly moments to enjoy here – these two have exploded into the public eye recently as they continue to shape exactly what modern hip-hop sounds like, and this can be partially credited to the strength of their prolific collaborations – but usually, their presence is a welcome juxtaposition and different perspective to a track by someone with a completely different approach. These artists aren’t as one-dimensional as this project makes them seem.

Favourite Tracks: Modern Slavery, Moon Rock, Best Man

Least Favourite Track: How U Feel

Score: 4/10

BensBeat Top 50 Songs of 2017

2017 saw a lot of music spin in a political direction, and while we didn’t necessarily receive the high-concept masterpiece I’d been waiting for after last year’s Lemonade and Blonde, we still bore witness to a lot of pretty incredible firsts. Here are my top 50 songs that got us through the tumultuous year:

Honourable Mentions:

  • Charli XCX – 3AM (Pull Up) [Ft. MØ]
  • Ed Sheeran – Perfect
  • Demi Lovato – Daddy Issues
  • St. Vincent – Smoking Section
  • blackbear – chateau
  • Galantis – Love On Me (Ft. Hook n Sling)
  • Bleachers – Goodmorning
  • Lil Yachty – Better (Ft. Stefflon Don)
  • Halsey – Eyes Closed
  • HAIM – Little Of Your Love

50. Gorillaz – Saturnz Barz (Ft. Popcaan)

Image result for gorillaz humanzGorillaz try their hand at dancehall, Damon Albarn’s softer tones bouncing off Popcaan’s patois over an instrumental that sounds like it’s fresh from an eerie carnival ride.

49. Bonobo – Surface (Ft. Nicole Miglis)

Image result for bonobo migrationThe downtempo EDM DJ brings Hundred Waters’ Nicole Miglis aboard, her beautiful, folksy voice carrying the atmospheric track.

48. Fifth Harmony – Deliver

Image result for FIFTH harmonyThe band shows they’re still capable of making great music as a quartet, imbuing this classic R&B track with a retro flair and bouncy piano instrumental.

47. 21 Savage – Bank Account

Image result for issa albumOver the course of the year I’ve come to appreciate 21 Savage as a comedic presence, and I’ll never forget the crowded bus I broke out laughing upon the first time I heard him count up how many M’s he had in his bank account in his deadpan voice.

46. Kelela – LMK

Image result for kelela take me apartKelela brings her electronic take on alt-R&B and impressive lower vocals to a more laidback track from her album.

45. Lana Del Rey – Lust For Life (Ft. The Weeknd)

Image result for lust for lifeThe 2 nihilistic stars fire up their perfect collaborative partnership once again, contemplating the things that make life worthwhile as they sit perched on the edge of the Hollywood sign, deciding not to jump off.

44. Tove Lo – shivering gold

Image result for blue lipsThe Swedish songstress finally reaches the level of pop euphoria we knew she had in her, her voice soaring to new limits as the punchy synths explode behind her.

43. Kelly Clarkson – Cruel

Image result for meaning of life kellyClarkson wanted her latest project to return to her R&B/Soul roots, and no track shows more of what she’s capable of than this one. Sounding like a classic Motown record as the horns blare, she shows her impressive range, singing the chorus in 2 different octaves.

42. Miguel – City of Angels

Image result for miguel war and leisureThe most creative song concept of the year, Miguel sings this heartfelt ballad to his lost romance when LA was destroyed by bombs while he was away from his girl in Venice Beach.

41. N.E.R.D. – Lemon (Ft. Rihanna)

Image result for no one ever really diesHearing Rihanna deliver such a flawless rap verse over Neptunes-style production in the year 2017 was something never could have anticipated, but I’m so glad N.E.R.D. are back with their take on experimental hip-hop.

40. Kehlani – Piece of Mind

Image result for sweetsexysavageKehlani’s harmonies are at their absolute best on this breezy R&B track that sees her putting the negative feelings she had regarding her self-image in the past, taking some time for herself.

39. Poppy – Let’s Make A Video

Image result for poppy computer albumThe best manifestation of the mysterious Poppy character, taking on the role of a bubbly vlogger with a darker undercurrent. And oh yeah, the song is pretty good too.

38. Alvvays – Dreams Tonite

Image result for antisocialitesThe indie-pop quartet goes back in time for a vintage sound on this project, mastering the slow build with this track. Frontwoman Molly Rankin’s vocals progressively layer as she envisions romance with a passing stranger.

37. Camila Cabello – Havana (Ft. Young Thug)

Camila (Official Album Cover) by Camila Cabello.pngI knew this would be a hit as soon as I heard it, the ex-Fifth Harmony member bringing her authentic Cuban flair to Frank Dukes’ intoxicating and sensual instrumental. The upcoming album sounds promising.

36. SZA – The Weekend

Image result for sza ctrlOne of the biggest growers of the year, SZA brings us into relatively unexplored territory with this bluntly honest song from the position of a side girl treating romance like a timeshare.

35. ODESZA – Boy

Image result for odesza a moment apartElectronic duo ODESZA puts listeners in a trance with their shimmering instrumentals that inexplicably give off this sense of wonderment, and do so at their best on this more upbeat track from A Moment Apart.

34. Tennis – Fields Of Blue

Image result for tennis yours conditionallyAlaina Moore’s gentle, soothing vocals are irresistible on this blissful ode to romance. Her husband’s catchy guitar pattern backs her up as she harmonizes with herself perfectly.

33. Chris Stapleton – Last Thing I Needed, First Thing This Morning

Image result for from a room volume 1The country/soul vocal powerhouse offers his stripped-back cover of a Willie Nelson song, letting the emotion in his voice tell the whole story in the most heartbreaking song of the year.

32. Kendrick Lamar – FEAR.

Image result for damnThe nearly 8-minute centerpiece of Lamar’s album DAMN. explaining the concept behind the single-word, high-concept track titles, he delivers three powerful verses here detailing his fears at ages 7, 17 and 27.

31. Harry Styles – Sign Of The Times

Image result for harry styles albumThe expansive, cinematic rock ballad from the former OneDirection member shocked the world with its quality – I love a slow build, and this is one of the best I’ve ever heard. The emotion at the end gets me every time.

30. St. Vincent – Pills

Image result for masseductionSt. Vincent calls on actress and ex-girlfriend Cara Delevingne to deliver a singsong, nursery rhyme chorus about over-reliance on medication to get through the day, the distorted instrumental produced by none other than TDE’s Sounwave.

29. Paramore – Hard Times

Image result for after laughterThe first we heard of Paramore’s shift in sound, the lead single perfectly encapsulates the 80s-pop revival they mastered across the project as soon as those first tropical chords hit.

28. Jhene Aiko – Overstimulated

Image result for trip jheneWhile it’s tough to pick out individual tracks from such an interconnected musical journey like Jhene Aiko’s Trip, this track offers the most immediately memorable melody, delivered in the dreamy, psychedelic way only Aiko can.

27. Ed Sheeran – Galway Girl

Image result for divide edCreatively interpolating some traditional Irish fiddle melodies into a beat more grounded in the world of hip-hop, Sheeran’s rapid-fire delivery and constant ability to write an inescapable chorus make this a standout on ÷.

26. Kesha – Praying

Image result for rainbow keshaOne of the most powerful pieces of songwriting this year, Kesha aims this track at producer Dr. Luke, relishing in proving him wrong through her success – all while displaying the incredible vocal talent we never saw in the past.

25. Billie Eilish – my boy

Image result for don't smile at meDon’t let her playful tone fool you – this menacing track sees 15-year old Eilish telling some hapless soul to “go trip over a knife”. That initial beat switch is incredible.

24. Miguel – Pineapple Skies

Image result for miguel war and leisureDedicated to Prince, this track sees Miguel step into a long line of sensual soul men with ease, dancing across the surface of the track that samples Marvin Gaye’s “Sexual Healing”.

23. Lana Del Rey – Tomorrow Never Came (Ft. Sean Ono Lennon)

Image result for lust for lifeIn a duet with John Lennon’s son, playing the instrumental on one of his father’s vintage instruments, Lana Del Rey taps into her old soul persona and delivers a heartbreaking ballad that could easily pass for a classic Beatles song.

22. Jay-Z – 4:44

Image result for 4:44The best apology Jay-Z could have ever hoped to make. This response to the allegations of infidelity in Beyonce’s Lemonade shows Jay-Z stripping back the confident rap persona to deliver some conversational, confessional lines on just how much he messed up.

21. Lorde – Perfect Places

Image result for melodramaThe closing track to the expansive Melodrama sees Lorde continue to perfectly sum up the experience of those close to her in age, as she’s done throughout her career. The track offers a takedown of the modern party, criticizing those who see it as some kind of mystical haven where anything might happen.

20. Charli XCX – Dreamer (Ft. Starrah & Raye)

Image result for number 1 angelOne of the most confident tracks of the year, Charli XCX opens her first project of the year with a commanding strength of the trap-influenced instrumental, her vocalizations possessing a percussive quality that just helps the track as a whole hit you like a freight train.

19. Mura Masa – 1 Night (Ft. Charli XCX)

Image result for mura masa coverCharli had a great year, and here she assists one of the most promising young talents in the EDM scene with a catchy and carefree chorus over his trademark chime instrumentals and tropical flavour.

18. Jidenna – Bambi

Image result for jidenna the chiefLike if you threw a trap beat on an old standard. Jidenna embraces his Nigerian heritage by paying homage to the popular highlife genre and speaking from the perspective of a polygamous chief who really only wants one of them.

17. Kendrick Lamar – LUST.

Image result for damnOne of Lamar’s most unnerving tracks, the creeping guitar pattern and almost monotone delivery of his verses fits the track’s overarching theme well. DJ Dahi’s reversed instrumental and Lamar’s trademark shifts in perspective make this a standout on DAMN.

16. N.E.R.D. – 1000 (Ft. Future)

Image result for no one ever really diesPharrell summoned some kind of ancient, mystical energy here. This song makes me want to set something on fire. The skittering breakbeat, distorted synth bass, and frenzied rallying cries to start a riot, with a pretty great Future verse thrown into the mix, caps one of the most experimental songs of the year.

15. Future – Mask Off (Ft. Kendrick Lamar)

Image result for future album coverI’ll never forget the first time I heard the beat drop on this flute instrumental – I felt like I was levitating. Producer Metro Boomin puts you in a trance with this one, and the remix featuring Kendrick Lamar just revs up the energy of the track even more with a spectacular verse where he declares “I am Prince”.

14. Demi Lovato – Cry Baby

Image result for tell me you love me album coverWith her recent, poppier output before this album dropped, I almost forgot that Lovato is one of the greatest vocalists in the music industry right now. Returning to her powerhouse R&B ballads, “Cry Baby” is the biggest vocal clinic of the year.

13. Carly Rae Jepsen – Cut To The Feeling

Image result for cut to the feelingAnother year without an album release, and another of the year’s best tracks regardless. This movie-soundtrack gem was another cut from her outstanding E•MO•TION, and that soaring chorus is just another exercise in Jepsen pop escapism – it fits the formula too, LOOK IT UP, NO I’M NOT A CARLY RAE CONSPIRACY THEORIST!!!

12. SZA – Drew Barrymore

Image result for sza ctrlOne of the biggest vocal moments on SZA’s confessional Ctrl, the chorus is introduced with some quick drum strikes before she explodes into that beautiful high note on “Warm enough for ya?” The rhythmic guitar pattern behind it never leaves your head either.

11. Tyler, the Creator – 911/Mr. Lonely (Ft. Frank Ocean & Steve Lacy)

Scum Fuck Flower Boy cover.jpgTyler continues to deal with the realization of his sexuality in the most Tyler way possible on this track – with a series of complex metaphors and tortured internal monologues. He details his compensation for his loneliness and confusion with some disheartening lines on filling the void with materialism, answered by a crowd yelling “OHHHH” like he just dropped the bar of the year. It’s a beautiful analysis of the trouble with assumptions and expectations.

10. Paramore – Rose-Colored Boy

Image result for after laughterIn addition to that infectious bassline, this song turns all the focus to Hayley Williams. Her vocal command of this track is impressive, showing just as much – if not more – power when she chooses to turn up the intensity by being quiet rather than delivering a huge note. I awarded my favourite musical second of the year to Childish Gambino last year, and this year it is the moment where Williams unexpectedly drops down to that quieter lower harmony at a crucial moment in the final chorus.

9. Julia Michaels – Issues

Image result for julia michaels nervous systemOne of the most incredible new voices of the year, I fell in love with former superstar pop songwriter Michaels’ quirky vocal inflections and surprisingly dark lyrical content. Another great slow build, that beautiful string instrumental is ultimately complemented by a distorted bassline and stratospheric harmonies. Despite its popularity, this track still gives me chills.

8. Father John Misty – Pure Comedy

Image result for pure comedyThe title track of folk artist Father John Misty’s satirical, sarcastic takedown of everything 2017 – politics, religion, reliance on technology, nothing is left unscathed by Father John Misty’s hideously dark sense of humour on this track. By the end, he proclaims the doom of humanity while laughing at the ridiculousness and irony concealed in the ways we tore our own civilization apart. He concludes “I hate to say it, but each other’s all we got”. Indeed.

7. Rina Sawayama – Cyber Stockholm Syndrome

Image result for rina sawayama rinaThis brilliant callback to the sound of early 2000s pop music delivers the catchiest chorus of the year while being the most successful experiment in the experimental pop genre. Sawayama sings of the futility of romance in the digital age, while the sheer volume of producer Clarence Clarity’s twinkling, layered synths make you feel like you’ve entered another dimension where nothing matters but the sound you’ve been completely immersed in. “Flying high speed across the distant galaxy”, she sings in the most chaotic segment, and that’s basically the effect.

6. Calvin Harris – Slide (Ft. Frank Ocean & Migos)

Image result for funk wav bounces vol 1Has any song ever sounded more like summer? Calvin Harris’ latebreaking foray into funk instrumentals was a resounding success, and inviting the nonchalant delivery of Frank Ocean onto such a sunny, bright instrumental was the best feature he could have grabbed. Offset’s verse is absolutely ridiculous on here, his triplet flow at its bounciest before conceding the track back to Frank for its final chorus where Harris introduces another layer of guitar that sends it into maximum joyous overdrive. It’s even more impressive that every instrumental aspect of the track was played by Harris himself!

5. Cardi B – Bodak Yellow

Image result for bodakThis track dropped on us like a bomb, and no end-of-year list would be complete without it. The Love and Hip Hop star’s abrasive New York accent and confident lyrics absolutely obliterating her foes are the best thing to happen to hip-hop in a long time, and she achieved the first solo number one hit by a female rapper since the inimitable Lauryn Hill. If you’ve never yelled the chorus to this song at the top of your lungs, preferably in the midst of a large crowd of people, I’m quite confident in saying you haven’t lived your life to the fullest. The best part is, Cardi B is surprisingly technically proficient – you need some serious ability to deliver that 2nd verse!

4. Lorde – Liability

Image result for melodramaThis stark piano ballad is easily the most emotional song of the year, and it doesn’t even clock in at 3 minutes. Lorde reaches all the way down to the bottom of her range, her voice breaking and crackling for maximum emotional effect as she sings of her inability to maintain relationships with others due to her fame and all that is associated with it, unable to enjoy the joy that she finds with people while it lasts because she’s already anticipating the pattern that will lead to its end. Producer Jack Antonoff knew just the right chords to capture this vulnerability, and their live performances where they sit back to back on the piano bench are something to behold.

3. Kendrick Lamar – DNA.

Image result for damnLamar’s delivery is more urgent than ever on the hardest beat he’s ever rapped over. I wish I could go back and hear the beat switch as the track shifts into its second half for the first time again – I absolutely lost my mind as his performance shifts into a second gear as his delivery speeds up and his tone becomes angrier. Partially a shot at Fox News, partially a celebration of the prestige of his kingly ancestral heritage, this song is just 3 solid minutes of Lamar demonstrating why he’s the best rapper alive with the technical performance of the year. To keep the beat over such an unconventional and sparse instrumental in the track’s second half is nothing short of superhuman.

2. Billie Eilish – idontwannabeyouanymore

Image result for don't smile at meThis is a perfect storm of things I’m a complete sucker for in a single song – the juxtaposition of innocent-sounding vocals with darker subject matter, a 3/4 time signature, soaring soprano harmonies and vocal layering – it’s all here. The emotional depth Eilish shows at 15 speaking about her personal insecurities, told with such sweet-sounding vocals as she examines the problems that make things so difficult for women in this regard, is one of the most moving listening experiences of the year. The resignation in her voice as she delivers her final lines to the mirror, “I don’t wanna be you anymore”, shows a promising future ahead for the young songwriter.

1. Tennis – In The Morning I’ll Be Better

Image result for tennis yours conditionallyThe perfect exercise in simplicity this year, lo-fi dreampop duo Tennis continue to pay homage to 70s pop music with this harmonized and softer-toned track in which Alaina Moore sings about sublimating the energy contained in romantic passion into spiritual betterment of oneself. Like their inspirations, Tennis revolves more around musicality than lyricism, delivering the purest essence of simple human emotions with just a few words, but Moore’s voice is what truly draws you into the track. Soft and unassuming yet playful and inviting, she is the perfect fit for this style of music, and she demonstrates her impressive range on this track in particular, pleadingly delivering the song’s title in the song’s climactic outro as she reaches for the higher end. The bass guitar riff and twinkling piano melody complete the year’s best song.

Check out the list on Spotify below!

https://open.spotify.com/embed/user/22c72yrohsaragcu6c43zj6fa/playlist/7gvb5F1jj6tWpXsKIt2JKi

A$AP Ferg – Still Striving

aRap’s court jester A$AP Ferg returns with the follow-up to last year’s underwhelming Always Strive and Prosper album, which featured some questionable collaborations and stylistic diversions that never really worked for him. Still Striving is a return to the form that enabled Ferg to call himself a Trap Lord back in 2013, and with the increased prominence of the genre Ferg is back to reign supreme.

Ferg’s appeal has always been his ecstatic delivery and infectiously ignorant personality, and this combination contributes to an improved, but still very inconsistent project here. Still Striving plays into Ferg’s unique skill set very well at times, as he displays a surprisingly impressive flow, but too often falls back into disjointedness and trap cliches.

The project starts strong, as “Trap And A Dream” hits on everything that Ferg does best. He one-ups Migos on the triplet flow, going completely all-out and never stopping to take a breath. Perhaps his closest contemporary in Meek Mill appears to deliver some energetic bars alongside him. The two are both keeping the antiquated art of punchline rap alive, and they drop some pretty good ones here. The beat is provided by relative unknown Frankie P, but it is easily the best on the whole project, with two separate rhythms overlapping and intersecting overtop of what sounds like Drake’s “Energy” melody on steroids.

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Ferg can drop some lines that are very funny, but not in a conventional sense. There’s something about his delivery and unique choices in what he references that he can make anything sound quotable. Why is it that I smile when he puts emphasis on the wrong syllables in “Rubber Band Man”, with a gleeful “Running this s**t, you can call me u-SAIN Bolt”? I’ll never know.

Ferg’s flow is a lot better than you would expect on quite a few occasions, effortless flipping between triplets and standard flow for some pretty complex rhythms. His voice is almost like a human hi-hat, providing those oscillating trap rhythms himself. He quickly drops two completely different flows on his first two lines on “Aww Yeah”, smoothly dropping in and announcing his presence.

“Plain Jane” is another standout track, as Ferg turns his sing-song flow to the maximum and offers some nice multisyllabic rhymes. Plus, I can always appreciate a good Get Out reference. “One Night Savage” is great for the same reasons, and it just makes me wish Ferg played to his strengths more often on this project.

Still Striving is very reliant on features, and almost none of them try to steal any spotlight from Ferg. There’s a reason why “Plain Jane”, one of only 3 featureless tracks, stands out as one of the best. Ferg is so far in his own lane that there are quite a few people who are hard-pressed to complement his style well. The inclusion of someone like Lil Yachty on “Aww Yeah” just kills the energy, as his laidback style clashes with the more boisterous beat.

It seems like Ferg is aiming for some trendier features here that don’t really work – Playboi Carti’s contribution to “Mad Man” is so empty and antithetical to what Ferg does that I’m surprised it wasn’t cut. There is certainly an increasing trend of presenting ambivalence in trap music, and appearances from these individuals as well as people like Nav and MadeinTYO don’t do any favours, frequently just making the tracks a lot more boring than they need to be.

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Lyrics can often be a downfall as well, which just shows a need to cut the album down a bit more. Ferg has more than enough ability to craft engaging lyrics for the entire duration of an album, but as it stretches on and he starts relying more on shock value and unnecessarily vulgar lyrics you can feel him running out of ideas. There are a few too many tracks here that don’t turn up the energy as much as a Ferg track really should, and it draws more attention to these lyrical discrepancies.

This lack of polish is quite evident over the course of the whole project, and it starts to make me wonder whether most of these are throwaways that didn’t make the similarly titled parent album. On tracks like “Nasty (Who Dat)”, the hook seems to be tacked on as an afterthought. Ferg’s Auto-Tuned wails might have been better left in the hands of Quavo, who is right there on the same track, and they just kill all the rest of the track’s potential due to how awkward they sound.

Ferg has been an inconsistent figure for a while now, whose genuine talents can be dragged down by his facade of ignorance. It makes for some spectacular feature verses on others’ work, but improvements are still necessary to carry a full album. The potential is there.

Favourite Tracks: Trap And A Dream, Plain Jane, One Night Savage, Rubber Band Man

Least Favourite Track: Nasty (Who Dat)

Score: 6/10

Calvin Harris – Funk Wav Bounces Vol. 1

Funk Wav Bounces 1.jpgVersatile DJ and frequent hitmaker Calvin Harris’ 5th studio album is a reinvention of sorts. While he has frequently incorporated some aspects of funk and hip-hop into his music in the past, he has never attempted to make this much of a fully-focused and cohesive project. Harris abandons the formulaic dance drops here, instead turning his attention to the creation of a compact, star-studded 10-track affair full of breezy synth-funk instrumentals. Harris has all but succeeded at making the perfect summer album here.

Although some of the logistics of the project leave a few things to be desired, most of the fun of Funk Wav Bounces Vol. 1 comes from letting loose and not caring about them. Harris said it best himself in a tweet – this isn’t “feel good music”, this is “feel INCREDIBLE music”.

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As soon as you hear those opening piano chords on “Slide”, you know that what you’re about to experience is going to be a lot more musically complex than your typical Calvin Harris album. Harris has always been one of the more talented mainstream DJs, a multi-instrumentalist who plays all the piano and guitar parts on his albums among other things, but the many interlocking aspects of a funk album helps you understand just how difficult his job here was, more than in his previous work.

Harris may have assembled the most impressive guest list of the year here, recruiting legitimate superstars from the worlds of pop, R&B and hip-hop on every track. We have legitimate superstars like Nicki Minaj, Katy Perry and Ariana Grande, rap heavyweights like Migos, Future and Young Thug and R&B stars both indie and mainsteam like Frank Ocean, Kehlani and Khalid all on the same project.

Many of these instrumentals sound rather similar, but the tracks are easily distinguishable due to the diverse roster of guests. The whole album flows well into each other, and Harris makes the most out of some collaborations that you never could have imagined. We have three excellent songs on this project in “Cash Out”, “Holiday” and “Feels” that feature artists that you could have never imagined in the same universe. ScHoolboy Q, PARTYNEXTDOOR and D.R.A.M. combine their three completely different takes on urban music into one beautifully oiled machine on “Cash Out” – ScHoolboy calms down a bit and channels his inner Snoop Dogg to glide over the bouncy, G-Funk inspired instrumental. The Dogg himself appears later on “Holiday” and sounds more comfortable and confident than he has in years.

The overall essence of the project is just so much fun. At one point as the song is fading out, Harris punctuates a critical beat intersection of “Prayers Up” with a loon sound effect. It’s the goofy, carefree spirit of a move like this that pervades the album as a whole. Ariana Grande and Pharrell Williams sound like they’re recording the chorus of “Heatstroke” while reclining on a huge flotation device in a pool.

Image result for calvin harris live 2017

Pharrell’s more prominent turn on “Feels” is another standout moment, bringing to mind some of the better tracks on his similarly funky 2014 album, G I R L. Harris’ bassline is punctuated with guitar stabs on beats 2 and 4 that give the track somewhat of a reggae flair. Pharrell’s light vocals transition to a chorus from Katy Perry, whose frequently forced quirky persona finally fits in this environment, and we close with a beat switch and a characteristically relaxed Big Sean entering with an eye-roll and a “God damn”. If you’re looking for crowd-pleasing hits, this album really is an embarrassment of riches.

A few of these guests are simply not suited to this style of instrumental, and don’t really try all that hard to fit in either. Harris went all-out to land these features, but Future’s appearance on “Rollin”, flexing his characteristically disjointed flow over a pounding funk bassline, is completely misplaced. The appearance of other mumble rappers like Travis Scott and Lil Yachty don’t go over much better. Despite the detractions coming from vocal delivery on more than one occasion, the instrumentals are often enjoyable enough to overlook them. Nicki Minaj’s Auto-Tune drenched cadence on “Skrt On Me” is a little excessive, but the melody associated with it is so catchy that it doesn’t really matter either.

Trust me, when you roll down the windows and blast these tracks, the little nitpicks I’m making here aren’t going to make you turn it down. Harris has tapped into summer vibes perfectly and I’m going to be nodding my head to these bouncy funk instrumentals all summer and beyond. It’s far from perfect, but it’s the most fun album of the year.

Favourite Tracks: Slide, Feels, Heatstroke, Cash Out, Holiday

Least Favourite Track: Rollin … if I had to choose …

Score: 8/10

Katy Perry – Witness

Witness artworkIn a world where the idea of the “pop girl” is holding less and less weight, the mainstream sound shifting to a more urban area, trend-setter and record-breaker Katy Perry drops her fifth studio album, Witness. It is her first in nearly four years, surprising fans with her new appearance, politically geared messages and new ventures in sound on singles like “Bon Appetit” and “Swish Swish”. Perry certainly takes a lot of risks on Witness, and seeing her venture out of her comfort zone is very welcome, even if a few of them are more successful in concept than in execution.

Unfortunately, the other half of the album is weighed down by bland, filler pop tracks that sound like they were recorded years ago. We couldn’t expect Perry to be completely experimental now, could we? Still, this album ends up being better than I anticipated, and there are some standout tracks which rise far above the rest.

Image result for katy perry 2017

Perry ventures down more of an EDM path over the course of this album than she has in the past, often letting synth piano hooks or pounding basslines dictate the flow of the track in the chorus rather than her vocal melodies. She does recruit some interesting collaborators to bring these aspects out – Trip-hop duo Purity Ring appears on more than one occasion, standout track “Swish Swish” was masterminded by deep house DJ Duke Dumont, and the closing track is credited to indietronica band “Hot Chip”. Of course, it wouldn’t be a Perry album without Swedish pop wizard Max Martin, who is in charge of about half of the tracks here.

There are a lot of misguided decisions on this project, to be sure, but when Perry hits, she hits hard. I never thought a Katy Perry song would give me chills, but here is “Roulette”. A dancefloor synth bassline slowly creeps in behind a breakbeat building up to a perfectly structured chorus. Perry’s range is in its sweet spot here, and the little alterations made along the way, like cutting out the music for a bit on the second chorus, only make it better. This actually kicks off a fantastic three-track run: “Roulette” is followed up by “Swish Swish”, which might be the best single of Perry’s career, and eerie ballad “Deja Vu”.

Really though, how much fun is “Swish Swish”? That SNL performance, with the dancing backpack kid, really brings out the insane energy of this track visually. Dumont’s deep house instrumental, Perry ruthlessly dishing out shots and Nicki Minaj delivering a hilarious, characteristically incredibly feature verse complete the dance floor banger. When Perry’s voice hits its emotional peak, her songs come across better, which is why it is unfortunate how disingenuous her current era seems. Some of the later tracks stand out as well for this reason: “Save As Draft”, in particular. It is one of the slowest tracks on the album, EDM influence being removed while Perry convincingly emotes about her inability to communicate in her relationship.

“Hey Hey Hey” is the biggest manifestation of the problems which affect the album as a whole. Perry has always attempted to have some sort of quirky edge to her lyrics, making outdated references or strange similes and metaphors to fit her fun-loving persona. It’s rarely worked, and I’m not sure why it continues here. All it does is make her look like an out-of-touch aging act trying to fit in with today’s culture. “You think that I am fragile like a Fabergé”? God…

The instrumentals of quite a few of these tracks don’t help rid her of that image much either. Some of the EDM aspects are simply completely outdated – the enormous breakbeat and wobble bass that backs “Power” hearkens back to the days when dubstep was inescapable, and the distortion on Perry’s vocals detracts from the song even further. “Mind Maze” is another inexplicable decision, as she is coated with excessive Auto-Tune for seemingly no artistic or meaningful reason.

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“Bon Appetit” as a whole is pretty inexcusable. Much like rival Taylor Swift’s track “Bad Blood”, it sounds almost as if the melody of its chorus was made up on the spot. The completely blatant and pervasive food metaphors and puns running throughout and repetitive instrumental only make things worse. There are so many times over the course of this album where Perry still opted to play it safe, which is confusing given how successful her artistic reaches on tracks like “Roulette” and “Swish Swish” were on the same album. Much of the second half- tracks like “Tsunami” and “Pendulum” – just devolve into the same tired pop tropes she’s been trying to push for her whole career.

And just as a final, weird nitpick – Perry tends to write lyrics so that she needs to emphasize the wrong syllable of a word in order to fit with the song’s rhythm. This persists here, infuriatingly.

Witness is ultimately an uneven and oftentimes contradictory compilation of tracks that shows promise to be so much more. Perry has a lot of people on her side, and it’s not like she isn’t a talented singer. Something better really should have come together here.

Favourite Tracks: Swish Swish, Roulette, Deja Vu, Save As Draft

Least Favourite Track: Mind Maze

Score: 5/10