Rapid Fire Reviews (2 Chainz, Maren Morris, Juice WRLD)

May 4, 2019May 4, 2019 / bensbeat / Leave a comment

2 Chainz – Rap Or Go To The League

Usually one of the most cartoonish and comedic faces in rap, 2 Chainz’s fifth studio album Rap Or Go To The League – apparently executive produced by basketball star LeBron James – sees him dial the punchline bars back and address some more serious issues, all while maintaining the vibrant personality we know him for. A lot of Chainz’s recent work has been seriously inconsistent, but this project is a huge improvement, showing sides of him that we’ve never seen before and varying his instrumentals a lot more. With the addition of a litany of great guests, there’s always something surprising around the corner on this project. It’s definitely his most well-rounded work yet, even if there are a couple moments where we’re reminded that 2 Chainz is far from the most technically gifted rapper out there.

The project opens with the lengthy and contemplative slow burner “Forgiven” which emphasizes the themes behind the album’s title, signifying to the listener that this isn’t exactly the same 2 Chainz we’ve gotten in the past. It opens with a recording of Chainz being announced in a basketball starting lineup before speaking from the perspective of his younger self reflecting on gun violence in his neighbourhood, even calling out multiple friends he’s lost by name, and thinking that the only way to make it out is to become a rapper or a basketball star. A spoken word piece emphasizes the way others view the value of black people before the track ends with a police siren and a gunshot. It’s an incredibly heavy start to a 2 Chainz album, and it’s certainly some very compelling material especially coming from the less rhythmic, more confessional delivery Chainz is known for. Chainz’s heavier material is concealed by some fun instrumentals as the project goes on, transitioning to the beautiful soul sample of “Threat 2 Society” that continues retelling his upbringing.

The opening run of 4 tracks is very strong, especially the celebratory “Money In The Way” that combines trap hi-hats with an OutKast-esque horn section. It’s essentially a giant flex that exists outside the more mature themes of the project, but the unbridled joy that can creep into 2 Chainz’s delivery at times is one of the greatest things about him – it’s great to hear him on these more soulful instrumentals after going full minimalist trap recently. Young Thug and Travis Scott actually show up on the next two tracks, but they’re easily some of the weakest here because 2 Chainz’s personality should never be restrained by a basic trap framework – “High Top Versace” and “Whip” fit in most with what’s going on at the moment, and I had been enjoying Chainz switching it up more until that point.

2 Chainz seriously went all-out with his guests on this project, and most of them seriously elevate these tracks. I’ve seen a lot of criticism for Kendrick Lamar’s lower-key appearance on the experimental and quirky trap banger “Momma I Hit a Lick”, but this has become my most played track on this project by far. I absolutely love how much these two switch up their flows and voices as the track goes on, it fits with just how weird that instrumental is. The track is such an exhilarating, trippy experience … when that unsettling extra synth comes in halfway through Lamar’s verse? Perfect. “Rule The World” with Ariana Grande is another excellent track, dropping right into Grande’s wheelhouse with a throwback 90s piano jam. Grande knocks the chorus out of the park and paves the way for Chainz to come in and complete the picture with some smooth bars as he dedicates the track to his wife, who he married last year. It’s great that these two have connected so well after the whole “7 Rings” controversy too – Chainz even introduces the track “I Said Me” with a sample of the original Sound of Music tune. We get a couple more great verses at the end from Lil Wayne and E-40 on the retro track “2 Dollar Bill” and even the odd combination of Chance the Rapper and Kodak Black on the track “I’m Not Crazy, Life Is” – even if that hook from Chainz drones on a bit.

Even with all the features, my favourite track of all on this project might be the solo track “NCAA”, which is essentially the perfect storm of goofy 2 Chainz lines, the themes of the album, and a huge adrenaline shot of an instrumental. “Who me?” 2 Chainz grins at the beginning. “I take this open beat”. Then it drops, and each line is more ridiculous – in a good way – than the last. The gang vocals of the chorus roar in, serving as both a criticism of the mentality Chainz introduces on the first track and the most genuinely thrilling moment on the whole project.

Rap Or Go To The League essentially brings together all the best things about 2 Chainz, and then adds a surprising degree of poignant political commentary on top of it all. There are certainly quite a few moments where his weaknesses as an actual rapper are exposed, but this is one of the most simultaneously fun and important rap projects in a while.

Favourite Tracks: NCAA, Momma I Hit A Lick, Money In The Way, Rule The World, Threat 2 Society

Least Favourite Track: High Top Versace

Score: 8/10

Maren Morris – GIRL

The latest female country star to embrace her pop crossover potential, Maren Morris’ sophomore album GIRL is here after breaking through to the mainstream with a Zedd collaboration. If Morris was going to pop, there were a lot of worse ways she could have done it. Superproducer Greg Kurstin shows up sporadically across this project, and someone like him knows exactly how to maximize the potential of Morris’ powerhouse vocals. She doesn’t abandon her country roots entirely either, with a couple of tracks still fully in that lane, but honestly Morris is most exciting here going in a pop/soul direction. Despite a few awkward lyrical shortcomings, GIRL for the most part evades the sophomore curse.

The opening title track is one of Kurstin’s, and it’s certainly a strong way to kick it off. Most of Morris’ instrumentation is still slightly twangy and guitar-driven, but the vocals on top of it are undeniably pop. We get a couple of pretty standard chord progressions here, but what we’re really being introduced here is the soulfulness in Morris’ vocals as she attacks some high notes and harmonies before dropping into an anthemic and uplifting chorus. It’s not reinventing the wheel, but there’s not a lot that voice couldn’t carry. The real crossover fun starts on the next track, “The Feels”, featuring an old-school bouncy country guitar riff and an electric finger-snap pattern that’s used perfectly when the instrumental drops out for a full two counts, Morris storming back to hit a huge note that kicks off the chorus with a rapid-fire swung delivery. It’s about as perfect of a marriage between her two styles while keeping her infectious and playful spirit that I could have imagined. “Gold Love” is another one that does it pretty well, mostly a catchy, somewhat soulful pop track, but it features a brief country breakdown where Morris drops her vocals down for a quick break that keeps it interesting.

Most of the greatest tracks here are actually Morris going full soulful R&B diva, however. She’s got the vocals to flit through some seriously impressive vocal runs and a full range that not a lot of her country contemporaries do, and when they’re applied to something as direct as a track like the doo-wop inspired “Make Out With Me”, it’s pretty moving. Morris is out here to take exactly what she wants, and you can hear it through the power and conviction in her vocals – she attacks her biggest notes with some country gravel! The best track of all is “RSVP”, hiding in the back half of the album. The track also plays into the more sensual side of Morris’ vocal tone, simultaneously assertive and inviting, but the energy provided by the trap hi-hats and that layered, harmonized chorus that shows off the best parts of her high range make it an easy standout.

Some of the most overtly country tracks on here do fit in well with Morris’ energy, but I can’t help agreeing with the pop producers who initiated this change in feeling that the tone of her voice was meant more for another style. Of course, as the “yeehaw agenda” creeps further and further into pop culture, it’s a lot of fun to hear Morris collaborate with the Brothers Osborne, who have just about the most traditional country vocals going right now, but their juxtaposition feels a little too far removed, and when Morris is given huge vocal moments that require the heavier country instrumentation to stop it feels like they’re trying to hard to mix genres – it works better just hearing her natural accent on a melody more suited to her vocal style.

There are quite a few tracks where Morris and her collaborators are embracing a more country-based singer-songwriter storytelling style of lyrics as well that feels somewhat inauthentic. Morris clearly has a lot of fun portraying the disruptive, flirtatious party girl, and hearing her sing something like the starry-eyed, acoustic “A Song for Everything” makes my eyes roll just a bit. Although “Common”, her duet with Brandi Carlile, is pretty fantastic! Their harmonies together give me goosebumps, Carlile’s natural ruggedness and emotion anchoring Morris’ cleaner high notes. On the other hand as well, a track like “Great Ones” is a nice track with more poetic lyrical content as well – for whatever reason, I always love when country artists take a lyrical concept that’s typical to their genre, usually religion for Morris, and use it in an entirely different context. The last couple tracks on the project are a nice calm-down, especially “To Hell & Back”, a well-written country pop melody that once again frames some great areas of Morris’ voice.

I’d love to see Morris work with an even wider range of more pop-oriented producers in the future, because this crossover is a pretty solid effort that could easily be expanded upon – I hope something from this project eventually catches on at pop radio! Morris’ soulful vocals are the shining centerpiece, with a couple outstanding tracks I’ll be returning to a lot.

Favourite Tracks: RSVP, The Feels, Make Out With Me, Common, To Hell & Back

Least Favourite Track: A Song For Everything

Score: 7/10

Juice WRLD – Death Race For Love

Juice WRLD, and the movement that he takes up de facto leadership of in the wake of some unfortunate losses, is undoubtedly one of the most interesting musical phenomena going on right now. His brand of melodic emo-trap, taking the energy and spirit of mid-2000s pop punk and funneling it into a modern hip-hop context, is a combination that I never could have anticipated having such a profound impact on so many listeners. After exploding into the mainstream with “Lucid Dreams”, Juice’s sophomore project is here – and apparently, he made it in only 4 days. With a length running well over an hour, I was dreading going into this project – more often than not, the melodramatics of the genre aren’t really for me – but Juice WRLD honestly pulls things off pretty well here. The album is still way too long and loaded with filler tracks and questionable lyrics, but Juice’s ear for melody and refreshing musical presence fills out Death Race for Love with more hits than misses.

The project opens with one of its strongest, “Empty” – Juice is honestly at his best when he leans furthest into the pop-punk direction his delivery is so clearly lovingly inspired by, rather than coming at it trying to make a hip-hop or a trap song first and foremost. We get this somber piano loop and a rather subdued section of hi-hats as Juice drops this catchy but overwhelmingly dark chorus on top, nailing that emo inflection in the process and just making me marvel at how well this collision of genres works. “I was put here to lead the lost souls”, he sings, and judging by the way people have received his work, he’s not too far off. These young artists who drop lyrics like Juice does have found a unique way to connect with people and open up about depression in an eye-opening and vivid way. The only track that does this pop-punk-with-a-trap-beat thing better might be the single “Robbery”, where Juice drops his catchiest and most heart-wrenchingly emotional delivery chorus yet over a legitimately beautiful twinkling piano instrumental. This genuinely could have been something like a Simple Plan song from the early 2000s, and it’s so fascinating to hear.

“Fast” is another one that people immediately gravitated to when this dropped, and it absolutely sounds like a smash hit. There’s a kind of glossy sheen on it that makes it sound like an inescapable Post Malone track, but Juice’s softer singing voice is honestly really nice to hear. I also really appreciate how Juice opts to switch things up a bit, it would have been easy to fall into one sound across a long and boring hour and 12 minutes, but there are a couple surprises like the tracks “Syphilis” and “Ring Ring” along the way. The former sounds like an XXXTENTACION tribute, Juice pulling off the hyper-aggressive scream-rap style a lot better than I would have expected, while the latter teams up with electronic artist Rvssian for a bass-heavy and filtered track with crunchy guitars and another great hook.

There’s a lot about Juice that might be a bit of an acquired taste, but I think I’ve listened to “Lucid Dreams” enough at this point to get it. Quite a few of these songs open and seem a little disjointed and messy, but then something about the melody Juice sings, or his cadence, or just how earnest about it he is, clicks together and sticks in your brain. A song like “HeMotions” (awful title aside) seems like an obvious skip at the start with his spacey and awkward “muddy emotions” hook that features an emoji reference in the first of a line of pretty bad lyrics across the whole project, but it seriously sneaks up on you as the beat adapts to fit it by the end of the track.

With a largely improvisational and overlong hip-hop album, there was bound to be quite a lot that falls completely flat. “Big” is the first huge miss on the project, and really makes it clear that a lot of this project was improvised on the spot while not completely sober. There are a lot of videos where Juice makes it clear just how impressive of a freestyler he is, but on these looser tracks his melodies go out the window, killing his biggest strength of all. He essentially becomes a below-average Auto-Tuned mumble rapper with a couple awkward moments trying to shoehorn too many words into a bar. Juice sometimes has a tendency to put some of his most off-putting lyrics directly in his choruses, and elongating that “gorgeous” in “Flaws & Sins” so much he sounds almost country is probably the worst offender here. Most of the 2^nd half of the album is considerably weaker, with more than a few tracks where the charm that’s barely holding things together finally gives out and Juice’s lack of musical ability is really revealed – tracks like “Desire”, “10 Feet” and “Rider” are pretty headache-inducing and could easily have been cut.

Juice is a young and inconsistent artist still trying to find his footing, but its undeniable how many people he’s able to genuinely reach out to and comfort. It’s really looking like his is the next major wave in music going forward, and I’m sure he’ll only improve with time.

Favourite Tracks: Robbery, Empty, Fast, Ring Ring

Least Favourite Track: 10 Feet

Score: 6/10

Rapid Fire Reviews (Wiz Khalifa/Curren$y, Avril Lavigne, Betty Who)

April 19, 2019April 19, 2019 / bensbeat / Leave a comment

Image result for Wiz Khalifa/Curren$y - 2009 Wiz Khalifa/Curren$y – 2009

Pittsburgh rapper Wiz Khalifa has been seriously prolific coming out with projects over the past couple of years, and he’s back in a team-up with veteran rapper Curren$y. The two previously joined forces for one of the best songs on Khalifa’s last album Rolling Papers 2. The dynamic between the two still holds up here, but 2009 mostly falls victim to the curse most rap collaboration tapes do. Most of the project sounds like it was conceived rather quickly, the song lengths rather short and ending before they really get going. Khalifa is charming as ever at times and Curren$y brings a surprise amount of technical skill, but can we stop with the trend of these rushed hip-hop collaboration projects?

The project opens with the track “Garage Talk”, and I’m starting to be very convinced over the last couple projects that Wiz Khalifa is at his best when he’s pulling from older-school techniques – he drops a great, animated verse on the 90s-influenced track “The Life” as well – There’s something about his slower flow, blunt delivery, and personality-infused bars that doesn’t fit in with the pretending-not-to-care generation of new school SoundCloud rappers – though he tries to a lot more often than he should. The beat here is an endlessly fun boom-bap loop that Wiz and Curren$y both play pretty straight as they tap into that bounce. And then of course we immediately drop off a cliff into the hazy smoke clouds of “10 Piece”, Curren$y opening the slowly creeping instrumental slurring his words a little off the beat. Khalifa fares a little better, but the instrumental doesn’t fit his livelier mic presence. A lot of the project unfortunately falls into this lower-key vibe, and I guess I should come to expect it from them at this point. When the subject matter essentially revolves around one thing, can I blame the two for adapting their sound to a chilled-out smoke session? For everyone else, though, it’s not enough to be compelling or exciting. The next track, “Benz Boys”, is similar, misusing a Ty Dolla $ign feature as he fades into the background.

It’s unfortunate as well that most of the best tracks on this project are also some of the shortest. Curren$y isn’t on top of his game for most of this project, but he definitely finds his groove on the beat of “Eastside”, which livens up the contemplative synth lines with a quicker hi-hat pattern, though each rapper only drops a single, short verse. The next track “From The Start” is even shorter, and it’s easily the best instrumental on the whole project, calling back to the G-funk era with a rubbery bassline and some soulful female vocals thrown into the mix. Why did they give so much more time to their sluggish weed raps? Wiz Khalifa exists in such a strange place for me – Curren$y at least knows his role, but Khalifa’s delivery seems so much better suited for goofy rap tracks that don’t take themselves too seriously. If he doesn’t know where his true strengths lie, why does he always drop these tiny moments displaying them?

Most of the tracks at the end of the project don’t do much to surprise either – the track “Getting Loose” is probably one of the closest attempts to a modern-sounding rap track here, but the hook from Problem is delivered like he’s half-asleep, offsetting the one time across this whole project Curren$y actually sounds like he’s trying, while “Stoned Gentleman” is just as lethargic as you might expect. “First Or Last”, yet another fun old-school track that references Ricky Bobby and complements Khalifa’s best sensibilities, is the highlight as the album winds down.

I essentially stole my rating system from Anthony Fantano, and if this was one of his videos I would probably slap that huge red NOT GOOD across the screen for when there’s not even enough substance to the album that he can even bother to give it a score. Too many of these ideas don’t come together, or are simply too sleepy to be interesting. Get fun again, Wiz!

Favourite Tracks: Garage Talk, From The Start, First Or Last

Least Favourite Track: 10 Piece

Score: 3/10

Image result for avril lavigne head above water cover Avril Lavigne – Head Above Water

The quintessential Canadian pop-rock singer, Avril Lavigne has released her first album in 6 years after being absolutely memed to death for some of her past material and going through a struggle with Lyme disease. Seeing this album perform so well commercially was a nice sight to see after all that Lavigne has been through over the years, but is it any good? Lead single “Head Above Water” was met with a lot of pleasant surprise online, and most of the project follows a similar, more subdued singer-songwriter angle. While some of the lyrics relating to her real-life health struggles can be genuinely moving and emotional, past a couple particularly inspired tracks most of the album unfortunately falls back into awkward songwriting and bland and outdated instrumentation.

Let’s talk about that lead single, though! “Head Above Water” is a dramatic and emotional ballad with high stakes that Lavigne absolutely sells with her genuine delivery – it’s clear that this was written in the midst of a seriously terrifying time for her. The way the orchestral aspects swell in make the track very reminiscent of something like Kesha’s comeback single “Praying”, another singer mostly written off as a joke that comes back with a knockout ballad about a difficult subject. The track found a lot of success on Christian radio, Lavigne calling out to the divine to save her from an early death. Some of those lyrics are incredibly harrowing. While most of the rest of the tracks on the album follow a similar overall vibe, many of them also introduce a lot more elements of traditional pop music and sound like they’re stuck in the past. We immediately transition to the track “Birdie” after this, which sounds similar except for the introduction of these Imagine Dragons-esque booming drums and a shimmering synth line that sounds like it’s straight out of 2009. It’s almost as if hearing what Lavigne is capable of on the opening track it feels wrong hearing her on some more dumbed down material. It sounds like the track refers to similar events, but refers to it in much more ambiguous terms and a caged bird metaphor we’ve heard in endless pop tracks.

Then of course we get to the track “Dumb Blonde” with Nicki Minaj … yikes. I have no idea how this got approved in 2019, and she even released it as a single recently. Featuring one of those obnoxious shouted chants of a chorus that was fun for a little bit 15 years ago (including Lavigne just … fully enunciating the words “I am a freaking cherry bomb”), the drumline percussion and brass section bring to mind another time entirely. Why is someone trying to remake “Hollaback Girl” in 2019? I don’t understand. I can’t help but think this might have been a lot better as an EP, especially when the back half of the project falls into older pop tropes like the “yeah-yeah”s on “Souvenir” and some seriously terrible lyrics on tracks like “Goddess” and “Bigger Wow”.

There are quite a few moments here where it’s clear that Lavigne’s producers were trying their hardest to bring back an older star and insert her into the current musical landscape as well, but those don’t quite work either, being too derivative of other works. “Tell Me It’s Over” is a pretty well-written song and should work relatively well as a doo-wop/soul pop ballad – Lavigne’s vocals are seriously soulful! – but the instrumental is just far too close to Rihanna’s “Love On The Brain” to ignore, and the trap beat that they shoehorned in there is pretty laughable and doesn’t fit the tone at all.

The greatest strength of this project is the constant reminders we get of how impressive a singer Lavigne actually is after the years of … whatever she was doing in the early parts of the decade. Quite a few of these tracks have this beautiful layering effect where her high notes are at the forefront, but a supporting vocal a full octave down is mixed in pretty perfectly as support. The tracl “I Fell in Love with The Devil” is a great example of the vocal showcase, and the bridge where the layers become more evident and get chopped up is one of the best moments on the project. “It Was In Me” is another track that breaks through emotionally despite its datedness – it really sounds like Lavigne’s older track “Keep Holding On”, but it really works as a kind of career retrospective, speaking about finding little fulfillment from the fame and fortune and learning to believe in herself and her musical abilities through the tough times.

A lot of these tracks really do have aspects of something great, just held back by one different misguided thing on each one of them. If nothing else, it’s great to hear Lavigne sounding so good after all this time, but in terms of the current musical conversation it doesn’t really fit.

Favourite Tracks: Head Above Water, I Fell In Love With The Devil, It Was In Me

Least Favourite Track: Dumb Blonde

Score: 4/10

Betty Who – Betty

Synthpop artist Betty Who’s 3^rd studio album and first since departing from RCA Records, wanting to release music at a faster pace than the label deal would let her, mostly brings back the same personnel that made The Valley so great and delivers another solid project full of upbeat and sugary, if not the most innovative, pop tracks. She’s been releasing singles since January 2018, but the final product here is pretty cohesive and meets expectations of the sheer sense of fun that her pure pop approach has delivered in the past – it just sounds almost a little too similar to her previous work.

The shorter track “Old Me” kicks things off and drops us directly back into Betty Who’s world, following a tried-and-true yet undeniably joyous and funky twist on traditional pop formulas. A bouncy bassline slinks around some higher-pitched synths and Who’s harmonized and summery vocals before the 90s piano chords kick in and the synths cascade for the chorus. I wish this track was so much longer, but its an absolutely excellent way to draw listeners in as it transitions to “Do With It”, as Who finally succumbs to the trends and puts some trap hi-hats on her song. She has enough of a unique approach to make it a lot of fun though, her excellent ear for harmonies appearing again in the build-up to the chorus, the music cutting out and featuring her a cappella harmonized chords. In a world where genres are quickly becoming a thing of the past, there aren’t many artists left who are so obviously gifted for making retro-pop but Who is certainly one of them. It’s a nostalgic feeling that makes it hard to legitimately criticize since it’s almost formulaically engineered to put a carefree smile on your face.

Continuing with the strong start, “Just Thought You Should Know” sees another angle that we haven’t really seen from her – she’s got the 90s high-octane dance tracks down, but this sounds just like those slower, passionate boy band tracks that still manage to hit the same kind of pop euphoria, and she pulls it off pretty perfectly complete with the retro percussion sounds in the mix. Later in the tracklisting we get some more of the slight innovations that keep the project interesting. I really enjoy what she’s going for on “Language”, a much lower-key track that coasts on the strength of Who’s rhythmic delivery more than a sparkly, distracting instrumental, presenting a quieter tropical vibe instead. “All This Woman” is another one that easily stands out for being unique, sounding like an old Justin Timberlake track with its Spanish guitar picking and jazzier harmonies – oh yeah, and that bridge that completely rips off “Cry Me A River”. Oops. It’s a compelling track regardless, even if the Timberlake similarities are pretty impossible to ignore on later track “The One” as well. “Between You & Me” is another standout, taking a similar 90s pop chord progression but coming at it with acoustics instead, showing off the sweeter parts of Who’s voice.

There are a couple moments where it falls just slightly short of what Who achieved on The Valley – particularly a few tracks where the instrumentals start to feel tiring listening to 13 straight songs of breakneck tempos. They’re still a lot of fun, but when Who doesn’t come as hard with her vocal delivery the high-speed and energetic feel of the track doesn’t feel as earned. On “I Remember” she goes for a breathier, seductive angle but the click-clack of the percussion is going by at warp speed and it doesn’t really fit. “Marry Me” kind of feels like a filler track only 5 songs in as well, it feels like we got the same kind of syncopated piano chords on a better structured song only a few songs ago. Most of these tracks would work fantastic on their own regardless, it’s just in the album format that they fall flat. Once we get to tracks like “Ignore Me” and “Whisper” at the end, the similarities start to show.

Betty is another strong project from the Australian singer that’s only really held back by listening to all of the songs in a row. Really, there’s not many more people with a better ear for pop music right now.

Favourite Tracks: Just Thought You Should Know, Old Me, All This Woman, Language, Do With It

Least Favourite Track: I Remember

Score: 7/10

Rapid Fire Reviews (Anderson .Paak, 6ix9ine, Mariah Carey)

December 10, 2018December 10, 2018 / bensbeat / Leave a comment

Image result for anderson paak oxnard Anderson .Paak – Oxnard

Anderson .Paak’s highly anticipated third studio album Oxnard, executive produced by Dr. Dre himself, sees the James Brown-esque rising funk star continue to exude charisma and mic presence like no other, even if his style is a little less immediately unique and personal. Dre spins the album more towards his own musical world of 90s G-funk, meaning the album is more hip-hop oriented than Paak has ever been as he explores some darker sounds for the first time. Part of what I loved so much about him in the past was his exuberant soulful delivery and boundless musicality – he’s far too talented to be just a rapper. So, although it took a while to grow on me, there’s still a lot to love about this project. Paak is one of the most exciting artists out right now.

Once again opening with the sounds of the beach, “The Chase” is an incredibly cinematic way to draw us into the album, continuing with Paak’s previous themes of drawing from the Blaxploitation-era sound as the mostly-instrumental track and accompanying sound effects makes you envision a car chase, some angelic and soulful backing vocals reminding us of the funk space Paak occupies. Especially as it transitions into the additionally vehicle-centric themes of the tracks “Headlow” and “Tints”, you can tell that the album is structured deliberately and it makes me especially appreciate a single like “Tints” even more in the context of the story Paak paints here. Easily one of my most listened-to songs of the year, a collaboration between Paak and Kendrick Lamar is all that I could have ever dreamed of. I love the complexity of the layered funk instrumental, especially as the chorus drops and Paak starts interlocking a couple of catchy hooks on separate vocal tracks – the harmonized female voices on the outro is such a cool moment as well. Both of these two just ooze charisma, dropping some humorous quotables.

Things take a turn for the political on “6 Summers”, a rollercoaster of a track that switches from inflammatory rapped jabs at the President to a more contemplative R&B section that sees Paak’s singing voice at its most beautiful as he wonders how to deal with the pain. He gets pretty explicit about his concerns here, dropping some lines about a lack of gun control reform. That lyrical flip is brilliant – the track will “bang” at least 6 summers, but so will the guns for the duration of the presidency. The back half is full of big-name features, one of the best coming from Pusha T on “Brother’s Keeper”, sinister as ever over some explosive bluesy guitar chords embellished with the most subtle of trap beats. The two are a surprisingly great match, Paak serving as the emotion Push would never show. “Cheers”, with Q-Tip, is a beautiful way to close the album out as well, as the two pay tribute to departed friends Mac Miller and Phife Dawg over one of the most upbeat and prominent instrumentals here – the whole track sounds like a celebration.

One of the main things I think I’m missing here from Paak is the prominence of soul samples in the mix, mostly from his collaboration project Yes Lawd! While there are still definitely elements of the genre in the mix at all times here, quite a few times it feels like it’s taking a backseat to a more West Coast hip-hop flair courtesy of Dre. “Headlow” is one of those tracks that adheres to the breezy sounds of the coast, but Paak’s lower-key approach to the track as the percussion knocks feels like he’s holding back from what he’s really capable of – he has one of the most expressive voices I’ve ever heard (it pops up briefly on “Smile/Petty”), and maybe it’s because of the lyrical themes of the track as he tries to keep quiet, but it comes across as a little low-effort. “Mansa Musa” is a heavy rap track that features Dre himself, but it feels a lot more rhythmically straightforward than a Paak song ever should be, sticking to some rap clichés. “Who R U?” is perhaps Paak’s most through-and-through hip-hop track ever, consisting of little more than a heavy drumbeat. Still, even when the funk is the most missed, Paak manages to impress, delivering some surprisingly technical bars and saving it with his personality.

I honestly think Paak’s previous projects were so spectacular that I had set my expectations for this one far too high, disappointment being inevitable. Oxnard is far from being a bad project, it’s just not what I expected from him. Paak still has one of the most unique and diverse skillsets in the game, and a project this great being his worst is the sign of a great artist.

Favourite Tracks: Cheers, Tints, Brother’s Keeper, 6 Summers, Saviers Road

Least Favourite Track: Headlow

Score: 8/10

Image result for 6ix9ine dummy boy 6ix9ine – Dummy Boy

We weren’t sure we were actually going to get this album at all. 6ix9ine, the controversial rapper and walking meme, is still embroiled in court hearings and facing life in prison after being charged for racketeering a few days before its scheduled release. Officially his first studio album after dropping the Day69 mixtape early this year, DUMMY BOY was released without fanfare a couple days after the scheduled release date. Loaded with high-profile features, it sees 6ix9ine tone down his abrasive and energetic vocal delivery for a few tracks, venturing into a more pop and even Latin-oriented space. There’s almost nothing that can match the pure shot of energy 6ix9ine can give you when he’s on his game, and that does give him a lot of credit here, but most of these tracks seem rushed, the features inconsistent.

As much as it’s easy to hate on 6ix9ine, you can’t deny how exhilarating opening track “STOOPID” is. Over a Tay Keith beat that sounds like a ringing alarm, when it hits at the end of that line of chopped up “dumb-d-dumb”s is one of the most energetic moments of the hear. One of the main reasons 6ix9ine immediately occupied such a huge space in the public consciousness (other than his rainbow hair of course) is that there was such a void for this style of hardcore, gangsta-oriented material that 6ix9ine’s voice is so well-suited for. It’s also why so many of these tracks that see him taking the gravel out of his voice, seemingly for more pop appeal, are so disappointing – he shouldn’t be holding that machine-gun of a voice back. “FEFE”, his biggest hit so far with Nicki Minaj, feels so much emptier than a 6ix9ine song ever should, the main hook a sluggish crawl. Nicki shows up later on “MAMA” with Kanye West, a track that let me down for how much hype it’s gotten since release. The instrumental and 6ix9ine’s hook are pretty basic trap material, while the slower pace of the track isn’t quite enough to accommodate the huge personalities of the two guests. I want to hear a more powerful instrumental behind those supercharged “Maaaan, oh my god”s from Kanye!

Quite a few of these tracks are taken over by their guests, 6ix9ine almost an afterthought on his own album. “WAKA” is almost entirely dedicated to A Boogie wit da Hoodie’s awful singing voice, while the engaging guitar-driven beat of “TIC TOC” is squandered by Lil Baby’s low-effort flow. Most of the final few songs seem like they might have been manufactured last-minute, giving too much mic time to his videographer TrifeDrew’s struggle raps on “DUMMY”, while “WONDO” sounds like a track that was left off the already-messy Day69 for not being complete enough of an idea.

“KIKA”, on the other hand, is pretty incredible. Featuring a carefree hook from Tory Lanez over a steel-drum instrumental, we’re reminded that 6ix9ine is actually capable of switching up his flows and finding himself in a rhythmic pocket, which is all the more exciting when he’s nearly blowing his vocal chords out – the track reminds me of why I enjoyed previous one “KOODA” so much. At this point 6ix9ine’s mere presence on a track is enough for virality, but it actually seems like he’s trying here. Latin pop track “BEBE” is way too sugary and fun to hate as well – I’m surprised it wasn’t a bigger hit, that synth tone is such an earworm. “KANGA”, another track with Kanye, is the peak of both of these artists’ meme potential. Featuring ridiculously over-the-top and juvenile lyrics and a playground chant of a flow, it’s one of those tracks that’s so bad it’s amazing.

If this is really the end of 6ix9ine’s musical career, it’s safe to say that he’ll be remembered more for his antics and social media presence than the actual music itself. For a one-trick pony, his one trick is pretty great and succeeded at drawing attention towards him, but so much of his material seems like an afterthought.

Favourite Tracks: KIKA, STOOPID, BEBE

Least Favourite Track: WONDO

Score: 4/10

Image result for mariah carey caution Mariah Carey – Caution

15 studio albums in and her iconic Christmas classic once again shooting up the charts, Mariah Carey’s Caution proves that she’s still got something to offer – even if it’s not quite the same thing as before. We’ve all seen the internet criticism that her voice isn’t what it used to be, and while that’s all been exaggerated it’s easy to tell that the full power of one of the greatest vocalists of all time isn’t being utilized here. Carey tones down her vocals to a more subdued purr rather than the full belt here, which works fine fitting into the modern, more chill landscape of R&B anyway. Recruiting a few excellent collaborators, Caution is a mostly engaging 10-track breeze.

Lead single “With You”, a collaboration with DJ Mustard, is easily the best song here and shows just how captivating Carey can be even with her breathier vocals here. Reminding me a lot of why we’re all so captivated with Ella Mai this year, this is the kind of music that we’ve been missing, with some classic 90s R&B piano chords and a finger-snap beat. When she drops down to her more powerful lower register in the chorus, it’s just a very warm sound overall. Her vocal technique is still pretty unmatched, running through some impressive riffs and jazzy minor notes with ease. She even delivers some of those classic Carey whistle tones briefly as the song fades to a close. Transitioning into the title track “Caution”, she taps into her hip-hop side once again with a more aggressive faster flow in the verses and a hi-hat-embellished beat. With one of the catchiest melodies here, the track settles into a solid groove, Carey her flawless and flippant self as she warns her man about disloyalty.

She links up with the always-versatile Ty Dolla $ign on “The Distance”, another pretty classic-sounding track with a prominent rubbery bassline that kicks off with a cheerleading chant that’s smartly woven into the fabric of the track by its end. Ty holds his own with a legend, his lower tone laying the foundation for Carey’s trademark vocal acrobatics as the track closes. Blood Orange’s spacey, experimental style takes over for the 6-minute “Giving Me Life”, which also somehow features lauded rapper Slick Rick. The track never feels long, Carey’s newfound tone playing off of the icy piano notes – it’s almost hypnotic. The final two tracks are a good way to close it out, “Stay Long Love You” a dynamic upbeat pop track with an explosive and bubbling synth line and “Portrait” the best showcase for Carey’s voice here, a slower ballad.

There are definitely a couple weird decisions across the board here as well – I was surprised that promo single “GTFO” was on the album at all, but it’s actually the opening track here. After “With You” came out Carey herself was proclaiming how much better it was, referring to the former as just something fun she recorded – it’s a very awkwardly structured song, the rhythmic delivery in the chorus not landing well with me and the whole song staying rather one-note and not picking up in energy for 3 and a half minutes until a fadeout. “A No No” is similarly underwritten, the tempo almost too upbeat for Carey’s calmer vocals as the strangely staccato chorus drops, Carey simply repeating “no” throughout most of the song. The lazily rapped sample and the diversion into French at the end of the track just add to the confusion. Tracks like “One Mo’ Gen” and “8^th Grade” still recapture the spirit of 90s R&B well enough, but at the end of the tracklisting they sound a little too similar to counterparts earlier in the album and have me wishing Carey still had more variation in her vocal delivery.

Caution is just about the best album I could have expected from 2018 Mariah Carey, still finding ways to surprise me almost 30 years into her career. While there are certainly a few inconsistencies here and there, this is a fully enjoyable R&B project.

Favourite Tracks: With You, Caution, The Distance, Giving Me Life, Stay Long Love You

Least Favourite Track: GTFO

Score: 7/10

RL Grime – Nova

August 3, 2018August 3, 2018 / bensbeat / Leave a comment

Image result for rl grime nova Electronic musician RL Grime, fluent in the sounds of future bass, drum ‘n’ bass, and of course grime, defies most EDM artists’ approach to drop a well thought out and cohesive project rather than sporadic singles. Nova is his second full-length, following 2014’s Void, and runs through a high-energy and endlessly fun selection of different sounds and genres, recruiting a great selection of guests as well. Most of these tracks are shell-shockingly heavy with bass and other dominant, flaring synths, and puts RL Grime in a category all on his own by sheer virtue of his ability to craft these tailor-made party tracks that still include a selection of sounds so distinctive and distracting. The transitions and clear album structure, as well, make the usually taxing task of listening to an EDM album, almost an hour straight of one-note dance tracks, much more engaging – though at 15 songs it still does fall victim to a few pitfalls of almost every electronic full-length.

RL Grime has always incorporated elements of trap music into his work, even before the huge boom in popularity of the genre, so he makes an easier transition than most in keeping his brand of EDM relevant to the musical conversation as the mid-2010s brostep wave dies out. The focus on it isn’t huge here, Grime maintaining what makes him unique, but the familiar hi-hats serve as the foundation that Grime builds his dynamic soundscapes on to a successful degree, tracks where hip-hop artists show up some of the best here. “Feel Free” is a great instrumental intro that displays his musicality as it relates to the wonky, perfectly arrhythmic future bass sound – the track is a nice introduction to the rest of his work here, being pretty abrasive immediately but dynamic and experimental enough to surprise the listener as it breaks from formula. I always love when the 2^nd drop switches up the sound rather than looping the first half of the song once again.

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As the tracklisting continues, Grime really does show his diversity in running through a lot of different styles here, the album rarely boring to listen to. “Shrine” re-introduces some of his older elements of high-speed drum ‘n’ bass, while “Light Me Up” brings both Miguel and Julia Michaels aboard for a bouncy, tropical pop track, Michaels’ soft and seductive vocals contrasting surprisingly well with the pounding synth line in the chorus.

The following run of 3 hip-hop influenced tracks is where the album hits its experimental and euphoric stride, however. Jeremih’s delivery on “Undo” is intoxicating, flowing smoothly over a traditional rap instrumental before Grime unexpectedly drops a quirky, jagged synth melody that sends the track into an energetic overdrive. “Take It Away” is a track that really shocked me, however. Featuring (2018 MVP?) Ty Dolla $ign, it’s one of the biggest musical sensory overloads I’ve ever experienced. The chorus features these gargantuan sliding synths, elevating upwards like some kind of twisted carnival ride, eerie yet completely celebratory and triumphant, alternating with complete silence as the undeniable effortless cool of Ty holds it all together. The same kind of euphoric, top-of-the world feeling is replicated on “Reims” – something about it just makes you feel powerful. The wailing, distorted vocal sample underscores what can only be described as a strobe light in sound form, a completely in-your-face oscillating synth line. “Pressure” is another great instrumental track, a slightly menacing bassline building to the kind of trademark off-kilter future-bass chorus Grime is known for.

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As is to be expected with an EDM project, a few of these tracks have too many similarities to exist on the same tracklisting together, although I do appreciate how Grime tries to make it appear more than rinse-and-repeat with his transitions. There’s only so much pummelling my senses into submission that I can take in one sitting! Actually though, some of my least favourite tracks on this project are when Grime opts to tone it down a bit. “OMG” is an upbeat and fun track, but it pales in comparison to the previous two similar tracks with hip-hop artists, Joji’s laid back delivery not fitting in as well. “Shoulda” introduces a run of instrumental tracks with a more atmospheric sound bordering on chillwave that takes too long to get to its higher-energy conclusion and doesn’t align with his greatest strengths. “I Wanna Know”, featuring Daya, and “UCLA”, featuring rapper 24hrs, feel out of place tacked onto the end of the tracklisting as well farther away from their counterparts.

Nova is one of the most consistently engaging EDM projects I’ve heard in a while, due to RL Grime’s ability to switch up his style all the while inserting himself in the current musical conversation. It’s easy to see why he’s had staying power over quite a few of his contemporaries who started around the same time, and his creativity and adaptability across the board here make him stand out. I’m sure I’d like it even more in a live setting.

Favourite Tracks: Take It Away, Reims, Pressure, Undo, Feel Free

Least Favourite Track: Shoulda

Score: 8/10

Wiz Khalifa – Rolling Papers 2

July 21, 2018 / bensbeat / Leave a comment

Not to be outdone by Drake’s smash hit Scorpion, Wiz Khalifa’s sixth studio album Rolling Papers 2 has arrived in the similar form of a 25-track album by a rapper who sounds like he’d rather be anywhere else most of the time, save for some infrequent bursts of the charm we’ve come to love from them in the past. Khalifa’s latest certainly falls victim to loading an album with filler to benefit in the streaming game, especially when Khalifa’s subject matter or delivery has never been the most varied, slowing most of these tracks down with his sluggish flow. Still, there are a surprising amount of hits here all the same – Khalifa stands out when he’s audibly having fun, bringing to mind the joys of his older material.

“Hot Now” and “Ocean” are two pretty weak opening tracks that preview most of the material here – Khalifa was never meant to be an autotuned trap-rapper, but everyone seemingly adapts to this mold nowadays regardless. The sung hooks here sound so much less exuberant than the more natural, fun ones on a classic track like “Roll Up”. His flow on these tracks and many others here leaves a lot to be desired as well, leaving a lot of empty space without the technical skill to elevate the moodier trap instrumentals that are in fashion at the moment. Khalifa’s detached and slightly off-kilter flow doesn’t line up on most occasions here, but when the tracks get more energetic he does demonstrate abilities that can exceed even his guest features here – he delivers easily the best verse on “Blue Hunnids”, speeding up his flow and injecting his delivery with more emotion, I’m just left wondering why he doesn’t come as hard on most of these songs. Image result for wiz khalifa

The same goes for his lyrics – on tracks like “Rolling Papers 2” and “B Ok”, we get some of the most personal and compelling lyrics we’ve ever heard from Wiz, speaking about his strategies to avoid getting caught up in the extravagance of fame and even opening up about the heavy emotional toll of his relationship with Amber Rose and the death of his transgender sister on the latter. However, on the vast majority of songs here we get repetitive and redundant hooks and the same old punchlines and subject material regarding Khalifa’s drug of choice – he’s got the potential to be so much more than an average party rapper. I definitely understand why Khalifa does go in this direction, I just wish there was more balance, especially on an album so long. “Late Night Messages” might be the most egregious example of all these negative aspects colliding, as Khalifa attempts to layer his Auto-Tuned vocals on the hook, the result being pretty unlistenable since there isn’t an actual harmony there. Khalifa is at his best at his most authentic – we’ve always been able to get a pretty good idea of who he is, for better or for worse, but seeing him chase trends so hard is disappointing since he’s not exactly one of the more talented or innovative rappers out there, losing the one aspect that makes him interesting.

Of course, on 25 tracks, some things have to connect and we do get moments of all of Khalifa’s best aspects, and sometimes the best parts of the track do come from the many features. Relatively unknown identical twin duo THEMXXNLIGHT deliver a great hook on “Mr. Williams/Where Is the Love” that also has a technically skilled verse from Curren$y that makes Khalifa’s slurred vocals sound laughably out of place. This transitions into the best track here, “Penthouse”, where Khalifa and Snoop Dogg reignite their undeniable chemistry over a looped, minor-key piano instrumental and fun trap instrumental that accommodates Khalifa’s hook and an absolutely hilarious verse from Snoop well. The two are intentionally goofy on the track. Snoop says “wheeee!” in a high-pitched voice as an ad-lib. Hearing the two have fun is what sells it.

Image result for wiz khalifa live 2018

“Hopeless Romantic” is essentially just a Swae Lee song, but his catchy, childlike melodies over the Young Chop beat and a better-than-average verse from Khalifa where he shows off his triplet flows make the track a standout. Khalifa’s always sounded like he belongs more to an older era of rap music, and his old-school sing-song flow on a song like “Karate/Never Hesitate” and G-Funk homage on the excellent “Gin and Drugs” stand out amongst the endlessly repetitive trap instrumentals here. “King” is one of the best solo tracks here for similar reasons I mentioned earlier – Khalifa delivers a fun and quotable hook and turns up the technical skill for the 2^nd verse.

Rolling Papers 2 might have been a legitimately good album if it was cut down significantly by a Khalifa who had a better understanding of where his greatest strengths lie. In it’s current format, it’s quite the chore to get through at times despite the moments where he does what he does best and gives us these endearingly goofy and fun rap tracks, but Khalifa’s adherence to trends that don’t fit him here bring the project way down.

Favourite Tracks: Penthouse, Gin and Drugs, Hopeless Romantic

Least Favourite Track: Late Night Messages

Score: 4/10

Drake – Scorpion

July 4, 2018July 4, 2018 / bensbeat / Leave a comment

Canadian singer, rapper, walking meme, marketing genius, and – gasp – FATHER, Drake, only 16 months removed from his previous project More Life, releases yet another bloated project where the biggest artist in the world sees fit to deliver the bare minimum, attempting to coast through on charm. Scorpion certainly has more highs than More Life did, largely thanks to the production work from primary OVO sound man Noah “40” Shebib and some experienced classic hip-hop producers that tap into an era of samples and sharp rhythms, but Drake himself is once again simply going through the motions of exactly what people expect from him. As he does, he drops the odd brilliant or terrible line or melody into the mix, often directly adjacent to each other, but for the most part Scorpion upholds Drake’s reputation as the guy who always stops at “good enough”. This is interspersed with some frustrating responses to Pusha T’s attempted career demolition where he contradicts himself – both trying to act tough and place himself above the situation on differing tracks. But, of course, it’s so hard not to like the guy when he’s on his game.

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Scorpion is divided into two equally inconsistent sides, one leaning more hip-hop and the other R&B. The hip-hop side opens with some pretty standard Drake fare, “Survival” and “Nonstop” both featuring his monotoned, disinterested voice over some dark, moody instrumentals. The latter is clearly supposed to be a hype track, but it only appears so because Drake punctuates his low-effort delivery with even sleepier ad-libs – which I think is the opposite of what an ad-lib is supposed to do. He turns into an accidental caricature of himself on the whiny “I’m Upset”, complaining about trivial issues in an uninteresting way. The first half works better when Drake combines his strengths, improving on an otherwise bland instrumental on a track “Elevate” by alternating between raps and a catchy sing-song flow.

The producers steal the show here, however. Of course, before the two camps were sending shots at each other, Drake was once a young Kanye West fan and many of these beats sound more like “Old Kanye” than ever. “Emotionless” is an absolute standout, Drake rapping over a chopped vocal sample of Mariah Carey’s classic “Emotions” and gospel piano chords from the legendary No ID, some energy creeping back into his voice as he acknowledges his son for the first time on an album clearly updated with additional discussion on the subject. Drake pulls a Taylor Swift marketing move, flipping the narrative, embracing the role he’s been given, and expanding on his position. Boi-1da drops a sample of some soulful Marvin Gaye chords onto “8 Out of 10”, Drake’s sing-song, syncopated flow sounding like it’s directly off of Graduation. Another Boi-1da beat, “Mob Ties”, despite some pretty terrible punchline bars, continues to show that Drake can excel when people other than his team of yes men come around – the eerie, high-tempo synth stabs and very prominent hi-hats are conducive to the erratic, threatening persona he presents. Never staying consistent though, tracks like “Can’t Take A Joke” and “Is There More” that close out the first side bring it back down to the basic hip-hop beats and straightforward, phoned-in delivery.

Side B is a bit less structured, and it honestly works better for him – it’s fun to hear Drake messing around a bit in the studio, his R&B vocals calling back to the endearing cheesiness of male R&B in the 90s. Single “Nice For What” has always been a great blend of Lauryn Hill and New Orleans bounce, and it shows that Drake’s ear for a catchy melody might be his greatest asset. The track “In My Feelings” is pretty ridiculous in concept, Drake naming a different girl in each chorus as he calls out to them “do you love me?”, but that melody never leaves your head, and eventually, it just becomes hilarious and you can’t help but love it. The genuine comedy continues on “After Dark”, a tribute to slow jams of the 90s that features a smooth feature from Ty Dolla $ign and Drake absolutely selling the sleazy ladies’ man angle over some dreamy acoustic noodling.

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The side also features some interesting new sonic directions from Drake, which is very welcomed on an album with so much filler. “Summer Games” features some of Drake’s warmest vocals over a persistent, throbbing synth line and a steadily building tribal percussion rhythm that shows the versatility of his instrument … if he so chose to use it. The side still isn’t without it’s shortcomings – tracks like “Peak” and “Ratchet Happy Birthday” don’t quite click, Drake’s meandering melodies not lining up with much, both punctuated with too-prominent annoying effects – a synth line, or Drake’s “BRRRRR”. “Jaded” is boring in comparison, while “Don’t Matter To Me” throws aside the creation of an enjoyable, coherent song for the sole purpose of proving that Drake has the money to throw at the acquisition of previously unheard Michael Jackson material.

Scorpion is Drake’s best album since he decided to go the route of bloated projects for the sole purpose of increasing his streaming numbers with 2016’s Views. The duality between the sides keeps the listener engaged as Drake steps into his fatherly role with some compelling tales. Still, the glimpses of just how much more it could have been remain pretty infuriating. Drake’s inconsistency continues, but if that scathing Pusha T diss track couldn’t deter his continued rise, I’m sure he won’t mind what I have to say.

Favourite Tracks: Nice For What, After Dark, Emotionless, Talk Up

Least Favourite Track: Is There More

Score: 6/10

Rapid Fire Reviews (Shawn Mendes, Father John Misty, Kanye West)

June 14, 2018June 14, 2018 / bensbeat / Leave a comment

Shawn Mendes – Shawn Mendes

Shawn Mendes releases his third self-titled studio album at the age of only 19, expanding his musical influences to explore genres past his trends of safe, acoustic pop balladry. Working with a high-profile set of collaborators, Mendes delivers a solid set of pop tracks that splits about half and half with working what he knows and trying his hand at more upbeat pop tracks or venturing into more of an R&B The experimentation works out for him more often than not, the tracklisting weighed down by just a bit too much of what we’ve already heard from him – or someone like him (looking at you once again, Ryan Tedder).

Single “In My Blood” opens the album, and it’s probably the strongest single Mendes has ever released, transcending the cheesy and derivative pop tracks for a more rock-leaning song featuring live instrumentation and a nice build-up to a passionately sung chorus, his trademark crackles creeping into his delivery – those huge drums in the background are a nice break from the trap hi-hats we hear everywhere. The opening run of the album contains it’s best tracks, two of them co-written by the frequently outstanding Julia Michaels: “Nervous” is an R&B-funk adventure with a quickly delivered falsetto chorus and persistent bassline, and it’s the first time I could ever imagine a Mendes song on a dancefloor. Michaels actually sings on quiet acoustic duet “Like To Be You”, and they blend together shockingly well for two artists with very distinct voices. Mendes is surprisingly believable as an R&B vocalist, stating that he drew inspiration from artists like Justin Timberlake. “Where Were You in The Morning?” is his most obvious draw from the Man of the Woods, some lazy guitar chords and the slightest hint of a trap beat framing Mendes’ smoothest vocal yet, sounding much older than his age. Ed Sheeran lends his reliable hand to “Fallin’ All In You”, which sounds like a huge hit, blending his old and new styles impressively with the hint of a doo-wop bassline and Sheeran’s tendency to pack in as many syllables as possible.

The main problems with this project come when, standing at 14 tracks, Mendes and his collaborators can’t help but exercise a few tried and true ideas that edge closer to the slower, minimalist ballads that don’t capture my attention quite as easily. Other than “Perfectly Wrong”, a track where Mendes’ songwriting shines above the less showy instrumental with some heartbreaking commentary on forcing himself out of a toxic relationship he desperately wanted to save, tracks like “Youth”, a duet with similarly minded artist Khalid, and “Because I Had You”, itself a complete rip-off of Justin Bieber’s hit “Love Yourself” never really pick themselves off the ground. The notoriously unoriginal Ryan Tedder also contributes to “Particular Taste”, which lifts a few too many elements from Prince’s catalogue – someone else has already delivered the word “particular” like that in an iconic fashion. Most of the back half of the project feels too similar to its counterparts and I feel like the tracklist easily could have been shortened. “Why” shows potential with an extravagant, dreamlike instrumental, but as Mendes reaches up into his falsetto the breaks in the instrumental reveal a few awkward transitionary places in his range.

Mendes’ steps towards risk-taking on this project easily make it his best collection of songs – still very young, he’s showing a definite upward trajectory and is beginning to understand where his greatest strengths lie. For now, Shawn Mendes exists as a pleasant surprise that shows his potential despite a few of his old ways still sticking around.

Favourite Tracks: Fallin All In You, Where Were You In The Morning?, Perfectly Wrong, Nervous

Least Favourite Track: Love Yourself, uh, I mean Because I Had You

Score: 6/10

Image result for god's favorite customer Father John Misty – God’s Favorite Customer

Master songwriter Father John Misty’s fourth narrows his focus on his fourth studio album, dialing back the wide range of topics he addressed on his sprawling breakthrough Pure Comedy, a satirical takedown of politics, religion and everything under the sun. While he does return to some similar musical themes across this project, his trademark blunt and darkly humorous songwriting makes his tales of his mental health and familial relations just as compelling.

“Hangout at the Gallows” introduces listeners to the kind of material that will be featured on the album well, Tillman in complete command of a piano rock instrumental that previews the darker thoughts of suicide and paranoia he brings up over the course of the project. Tillman makes this kind of thing work perfectly for him, like a modern-day, extremely cynical Elton John. “Mr. Tillman” is a hilarious track spoken from the perspective of a worker at the front desk of a hotel, observing Tillman’s clear signs of a mental breakdown while he sings in a cheerful melodic loop intended to be just a little obnoxious. It’s not the only moment where Tillman picks up another character on the album, the incredible “Please Don’t Die” being sung from the position of his wife. It’s just as bluntly, beautifully Tillman as the track suggests, as it turns into something of a country ballad, a slide guitar twanging in the background as he softens his voice and expresses concern that Tillman might kill himself with some somber, falsetto harmonies.

Tillman has one of the most poignantly expressive vocal deliveries I’ve ever heard, capable of delivering raw emotion believably even when he doesn’t have much of an instrumental to support him. “God’s Favorite Customer”, the title track, continues his troubled relationship with religion, turning back to a faith he stopped believing in long ago in his time of mental instability. His knowingly futile calls to an angel on the stark chorus is just another example of his brilliant songwriting ability.

The instrumentals on this project are largely similar to what we’ve heard from Tillman in the past, potentially even sparser and more minimal on this one than something like Pure Comedy as he shows a clear focus on the clear delivery of his lyrical content. Without issues so enormous and pressing to offer his philosophical thoughts on, a few of these tracks with little more than a slow piano accompaniment aren’t carried by Tillman’s thoughts alone. “Just Dumb Enough To Try” is a pretty straightforward love song that rides on a very familiar acoustic strumming chord progression without much of the hilarious turns of phrase we’re used to, while the closer “We’re Only People (And There’s Not Much Anyone Can Do About That)” is one of the first times I’ve ever felt like Tillman tried to make a huge statement and didn’t actually manage to say anything, offering baseline analysis while I wait for the twisted joke to land.

It’s clear that Tillman decided to play it safe a bit coming down from such an ambitious project released only last year, but he has the skills that even that elevates him over most singer-songwriters of his kind. He’s certainly the only person that can deliver the lyric “Last night I wrote a poem, man, I must have been in the poem zone” with as much genuine emotional weight as he does.

Favourite Tracks: Please Don’t Die, God’s Favorite Customer, Mr. Tillman, Hangout at the Gallows, Disappointing Diamonds Are the Rarest of Them All

Least Favourite Track: Just Dumb Enough To Try

Score: 8/10

Kanye West – ye

Innovative rapper Kanye West’s eighth studio album is the second of five he plans to produce this summer, a brief 7 tracks like its predecessor DAYTONA. Supposedly completed in a matter of a couple weeks after the originally planned Love Everyone was scrapped due to controversy, ye is a journey through everything we’ve come to love about West’s music over the course of his entire career. Although I have come to expect West to completely reinvent the wheel on every project he releases, ye utilizing old themes of industrial beats and soul samples, the production is still on a level no other artist comes close to touching.

ye sees West at perhaps his most introspective and confessional in his whole career, revealing his inner thoughts on his troubled years post-Saint Pablo Tour with his bipolar diagnosis and opioid addiction. The album opens with “I Thought About Killing You”, West delivering a spoken-word intro over some beautiful Francis & The Lights Prismizer work where he details his need to speak his mind freely to exorcise demons, even his darkest thoughts concerning suicide, directing threats at himself in second person emphasizing his bipolarity. The first half of the project resembles Yeezus more than anything, as the opener explodes into a chilling scream and knocking industrial beat. “All Mine” is an aggressive and minimalist grinding carnal track, eerie, breathy vocal samples and crashing percussion framing West’s hilariously blunt lyrics, while “Yikes” is the most immediately commercially viable song here. Pi’erre Bourne assists with the production as West delivers his best flow on the project and a great melodic hook – “find help, sometimes I scare myself”.

The back half, on the other hand, reverts back to the soulful “Old Kanye” sound that troll song “Lift Yourself” hinted might return. “Wouldn’t Leave” is a touching track dedicated to his famous wife’s loyalty despite his many mistakes, thanking her for remaining by his side in the wake of a breakdown about her own career repercussions and West himself suggesting she leave if she needed to. Harmonized soulful backing vocals from Ty Dolla $ign, an uncharacteristically passionate PARTYNEXTDOOR hook, and somber synth-piano chords complete the emotional track. The love is affirmed with a triumphant Charlie Wilson hook on “No Mistakes”, West’s flow coming a little unhinged but coasting through on a fun, rhythmic gospel sample from Edwin Hawkins. The best track is the emotional peak of “Ghost Town”, however, featuring a shimmering, soulful organ sample and Kid Cudi getting so into the hook he falls off the pitch in his usual endearing way. West’s verse is the best singing (no Auto-Tune!) he’s done in a long time, but new G.O.O.D. Music signee 070 Shake steals the show, turning the second half into a repeated anthemic mantra, the music cutting down to an enormous stomp-clap. I can’t wait to sing it in a huge crowd. It’s great to hear more adept lyricism from West after Yeezus and Pablo as well, acting as an adorably overprotective father towards his daughters on “Violent Crimes” and delivering some of his best wordplay in a while on “Wouldn’t Leave”.

Since the project was so quickly assembled and West’s favourite subject material in his lyrics is, of course, himself, many of the current topical references to his life that happened mere weeks or days before its release makes the project feel less larger-than-life than his past albums, his quotables becoming law, or at least Instagram captions. Referencing things like G.O.O.D. Music’s war with Drake on “No Mistakes” or drawing specific attention to that fateful TMZ interview, regardless of how interesting a light he paints on the intrapersonal repercussions of his actions, on “Wouldn’t Leave” will end up sounding extremely dated in comparison to something like The College Dropout, which still resonates 14 years later.

West hasn’t made a perfect album since My Beautiful Dark Twisted Fantasy, but he’s getting a lot better at finding beauty in the chaos. Although the album could use a little more polish, his artistry is still unquestioned and a closer look into his psyche and personal life is appreciated for the 9-year old in me who overplayed “Gold Digger” to death.

Favourite Tracks: Ghost Town, Yikes, All Mine, Wouldn’t Leave

Least Favourite Track: No Mistakes

Score: 8/10

Rapid Fire Reviews (Post Malone, Janelle Monae, Leon Bridges)

June 2, 2018June 2, 2018 / bensbeat / Leave a comment

Post Malone – Beerbongs & Bentleys

Breakout artist of the year Post Malone plays it safe on his first album since exploding into the mainstream, offering over an hour of the same admittedly very addictive and fun formula that made “Rockstar” one of the year’s biggest hits. Malone is a master at making the kind of bland, inoffensive music that can be played in the background at almost any kind of function due to it’s ability to transcend genres. For this reason, it’s almost impossible to hate. However, listening to a full project, the formulae begin to make themselves far too clear, and while Malone does offer some surprises in terms of the strength of his singing voice and hooks that are too much fun to ignore, Beerbongs and Bentleys is a bit of a chore to get all the way through.

Despite being frequently grouped amongst the hip-hop community, I see Post Malone as more of a singer with pop and even country elements that uses the popularized structure – and vernacular – of trap music in order to attracted a widespread audience, situating himself perfectly in the middle of multiple diverse worlds. It’s a pretty respectable business plan, and the hooks across the board here show that Malone has more of a grasp on how to write a catchy, marketable chorus than anyone. Someone who has risen to popularity this quickly and completely has to be doing something right. With producers like Frank Dukes and even Scott Storch on board, Malone’s team help him as much as they can, allowing his melodic instincts to shine. Dukes’ “Rich & Sad” is built over a bed of plaintive, falsetto human vocal samples and synth-bass that make his repetitive hook work. Repetition works when the grasp of melodic ability is so strong – “Psycho” is somehow a great track despite it containing little more than two alternating musical phrases.

Quite a few of these songs go a bit too far into the territory of being catchy, inoffensive background music and never really pick themselves off the ground, the instrumentals too empty. A track like “Spoil My Night”, laughable lyrical content aside, has lost all of its energy in the middle of the Swae Lee feature, the trap hi-hats dropping out in favour of the moody, watery creeping synth instrumentals that dominate most of Malone’s sad trap cowboy routine. The lyrical content ultimately wears thin on an 18-track album, Malone delivering the same generic lines about partying with some ridiculous metaphors and references. It also reveals that Malone doesn’t have much artistic ambition of his own, existing as the most readily available amalgamation of all the current trends across the music industry. None of this music forces itself to the forefront of the listener’s consciousness. Listening to song after song of hooks built to be the soundtrack designed to keep a party going and nothing more gets exhausting. The album could easily have been cut at the surprisingly decent ballad “Stay”, the 12^th track – there are 6 more afterwards consisting of the same ideas that we’ve heard expressed elsewhere with so much more musicianship, polish and charisma.

It’s tough to talk about individual tracks across this album, because there is almost nothing that distinguishes each instrumental from the next, Malone singing a different, intoxicating and repetitive hook over each one. And while this works incredibly, impressively well in the right situation, an album length just reveals Malone’s lack of ambition.

Favourite Tracks: Better Now, Psycho, Rich & Sad, Stay

Least Favourite Track: Over Now

Score: 5/10

Janelle Monae – Dirty Computer

R&B artist Janelle Monae takes a detour away from her android character Cindi Mayweather and the Metropolis Suite album series in order to drop a poppy and poignant look at the plight of minorities through the lens of technology that she is so fond of using. With a slew of great collaborators and Monae’s exuberant declarations of self-assertion in her lyrical content, juxtaposed with instrumentals that would make mentor Prince proud, Dirty Computer is sure to be one of the year’s – or the decade’s – greatest albums.

The album is introduced to us with the opening title track, featuring Monae’s calm and smooth alto tone introducing the concept of the album with backing harmonies and instrumentation from the master of harmonies himself, Brian Wilson. The accompanying “emotion picture” depicts a society in which minority groups’ identities are seen as a computer virus, their memories removed and “cleaned” up. The majority of the album consists of tracks depicting experiences that needed to be removed from Monae’s memory, a full-out celebration of all the things that make her unique in an embrace of her blackness, femininity and pansexuality through an exuberant funk-pop shimmer. Monae has said she was very influenced by Prince, who she knew well, across this project and it definitely shows – especially on lead single “Make Me Feel” that lifts the same funk guitar chords from his hit “Kiss”. Many of these tracks are carried by rattling hi-hats and a funk bassline, Monae applying her very capable vocal abilities in a completely unapologetic shout, usually dropping at least one rap verse onto each song.

Dirty Computer is an extremely sexual album in a world that suppresses it, especially for someone like Monae, and her matter-of-fact statements on its unavoidable presence and importance on tracks like “Pynk” are just as confidence-inducing as her braggadocious rap track “Django Jane” where she runs through her many achievements and declares herself the greatest of all time. “Screwed” is an absolute show-stopper of a song, fuelled by handclaps and shiny guitar riffs that sound like a double-time HAIM track. It’s the most immediately catchy melody and the most overtly political song here, using the title as a double entendre calling for a final party before the bomb drops – “everything is sex, except sex, which is power”. The album itself feels like this party at times, not letting the listener take a breath once as it continues to deliver high-octane pop tracks with an overarching message of universal love.

Many of the instrumentals’ funk elements here remind me of Pharrell Williams’ early work, and Williams shows up on the rap track “I Got The Juice”, Monae’s delivery at an all-out energetic scream as the hi-hats crash into each other perfectly, her chopped vocals in the background. My favourite track of all might be “I Like That” however, one of the calmer ones here that lets us hear the prettier side of Monae’s singing voice, carried by an incredibly catchy musical phrase looped by backing vocals as she speaks on her intentional diversion from the norm. “I’m the random minor notes you hear in major songs, and I like that” has to be one of my all-time favourite lyrics. The whole thing culminates in “Americans”, a gospel-influenced track that sees Monae slip into the character of various individuals blindly dedicated to outdated ideals of the what the American flag signifies before the bouncy, singalong chorus simply declares “Love me for who I am” with some beautiful harmonies. As the refrain echoes, a reverend’s voice starts a speech calling for the rights of various marginalized groups, some that Monae belongs to and some she does not.

Dirty Computer and its accompanying visual are incredibly powerful, brilliantly conceptual stuff, and it might be the most important sociopolitical message delivered through music next to “This Is America” this year. I’ll be surprised if anything comes out this year that knocks this from my top spot.

Favourite Tracks: I Like That, Screwed, Make Me Feel, Americans, I Got The Juice

Least Favourite Track: Take A Byte…? I guess?

Score: 10/10

Image result for leon bridges good thing Leon Bridges – Good Thing

Texas retro-soul and blues singer Leon Bridges takes a bit of a step back from his triumphant debut Coming Home, falling prey to the sophomore jinx and turning to pop producer Ricky Reed for the majority of the album. As a result, the poppier tracks here are actually the album’s best, Reed losing his way at producing the classic sounds that Bridges’ smooth vocals fit so cleanly over. Still, even if many of these tracks don’t stick as well as many of his past endeavours, it’s always a delight to hear a voice like Bridges’ – there aren’t many people making albums this popular that sound like him, and his simple love songs call back to an earlier era of songwriting.

The opening track “Bet Ain’t Worth The Hand” is the kind of music that bridges should be making all the time, the opening flurry of sound almost like a montage transporting us back in time like a cinematic flashback. The song places his vocals front and center, strings echoing in the background as he hits the best part of his upper register in the chorus, the slight rasp that makes his vocals distinctive complemented by some great high harmonies. The majority of the tracklist makes it all too clear that this was an album produced by a guy who has worked with people like DNCE and Maroon 5 recently. Quite a few of these tracks are loose, upbeat tracks where Reed attempts to replicate the vibe of a blues or jazz song, instrumental solos often taking up the empty space, but eliminates the complexity often found in the instrumentals for a straightforward rhythmic pattern that makes the music more accessible for the many people who made this the top-selling album of the week. It becomes less about Bridges in complete command of his element, and it makes his more subdued style of delivery less likely to stand out on tracks like “Bad Bad News” and “Beyond”. Bridges excels when the instrumental molds to his direction, rather than the other way around.

“Shy” is another great track that sees the return of the vocal harmonies and jazzier chords that aren’t as present elsewhere, Bridges slowing the track down and commanding attention with his dynamic vocal presence and charisma. Of course, Reed is still one of the better mainstream pop producers, and this shows on the danceable, all-out pop tracks “If It Feels Good (Then It Must Be)” and “You Don’t Know”. Bridges’ voice is versatile enough to be believable as a John Legend-esque pop vocalist, sounding like the GOOD Music artist on the former especially, vocoder harmonies backing him up on the kind of early guitar-funk pop bounce that’s quickly becoming popularized. The problem lies when these poppier elements aren’t mixed as well with elements from Bridges’ musical territory, awkwardly shoehorning in modern sounds where they shouldn’t be, like the percussion on a track like “Forgive You” that clashes with the acoustic guitars.

Bridges is a great vocalist that’s always a breath of fresh air in the landscape of what’s popular right now, but the team up with Reed here doesn’t make much sense and holds it back from being a truly great project – I trust he’ll be back with a vengeance on his next.

Favourite Tracks: Bet Ain’t Worth The Hand, Shy, You Don’t Know, If It Feels Good (Then It Must Be), Mrs.

Least Favourite Track: Bad Bad News

Score: 7/10

Rapid Fire Reviews (Tinashe, J. Cole, Bishop Briggs)

May 27, 2018May 27, 2018 / bensbeat / Leave a comment

Tinashe – Joyride

Joyride is a project that frequently underrated R&B artist Tinashe has been promoting since 2015, delayed multiple times as it was apparently held back by label deman 2016’s Nightride album was a catchy, ethereal teaser, but it may have ended up being better than the final product. The label intervention is evident across this project, Tinashe’s quieter style frequently offset by obvious attempts to land her another radio hit with awkward rap features (one fittingly being Offset himself) and production from pop hitmakers like Stargate. The album is a directionless mixed bag, but she still manages to shine in the few occasions where she’s allowed to do what she wants here.

Tinashe has always been at her best on more throwback production styles, rather than the more marketable and upbeat party tracks that take up most of the space on this album. Sometimes the two styles are mixed together and the juxtaposition is too much, like on title track “Joyride”, which places a loud “la-la-la” melody and huge beat overtop of the orchestral and spacey synths and strings that she is more known for, which fail to accommodate the constant high energy of the rest of the track. The pure pop tracks fare a little bit better – I’m not going to lie and say “No Drama” doesn’t get stuck in my head for days at a time – but it’s far from the artist I know she can be, she’s a better singer than this basic melody over a trap beat. “Me So Bad” is the most blatant attempt at a trend-riding track that never would have made it onto a Tinashe project with creative freedom, the lyrics doing little more than pointing to her looks with a pretty inexcusable French Montana feature and a beat that manages to take the worst elements of both the tropical and dancehall trends at the same time. The last few tracks on the album never quite come together, the scores of writers in the credits becoming evident as the commercial aspect overrides artistry, the hint of a trap hi-hat echoing on even the slowest tracks. What in the world is that disjointed Future verse??

It would be a much different story if the whole album was filled with tracks like “He Don’t Want It”, the closest thing we get to the highlights of Nightride like “C’est La Vie” and “Ghetto Boy”. Tinashe uses both ends of her vocal register, the breathy falsetto verse introducing the more powerful chorus. I love when most of the elements of the track are made of Tinashe’s dynamic vocal abilities, and the ethereal backing harmonies complete the picture here. It’s great to hear elements of a trap beat without the same rhythms we’re all familiar with from all-star hip-hop producer T-Minus as well. Follow-up “Ooh La La” is an homage to the early-2000s R&B that Tinashe would have thrived in, with a pretty fun flip of a sample from Nelly’s “Dilemma” and calmly picked guitar melody reminiscent of “Suga Suga”, while an unexpected collaboration with Little Dragon on “Stuck With Me” is a fantastic surprise, Tinashe and Yukimi Nagano’s voices occupying that perfect space of having a similar tone that’s just distinct enough to distinguish the individuals.

The way Tinashe’s career has been handled is one of the most consistently depressing things about the music in Here’s hoping she goes independent and drops some old-school R&B gems on us.

Favourite Tracks: He Don’t Want It, Stuck With Me, Ooh La La, No Drama

Least Favourite Track: Joyride

Score: 5/10

J. Cole – KOD

North Carolina rapper J. Cole bounces back in a huge way after 2016’s disappointing 4 Your Eyez Only with his 5^th studio album KOD, a concept album of sorts that sees him discouraging forms of substance abuse that have affected him and those he observed in the past by through some Kendrick Lamar-esque play with the embodiment of opposing characters and points of view. While Cole doesn’t really do anything groundbreaking here musically, he escapes criticism by tying it perfectly into the theme of the album, stating that the addictive, repetitive hooks and trap beats resemble the drugs he speaks of. Plus, what I was really missing from Cole was the fire in his delivery, and that’s fully returned with this more modern, upbeat style.

“There are many ways to deal with pain … Choose wisely”, echoes a voice throughout the album. The tracklist is divided about half and half, sometimes on the same song, as Cole portrays either himself making the wise choices in the present or a character addicted to or dependent on one of the many “drugs” he describes, both literal and more abstract, like money, power or love. Opening track “KOD” lets listeners know early that Cole has snapped out of the trance that dominated his previous album, offering a rapid-fire triplet flow and booming bassline. The popularized Migos flow shows up quite a bit across this project, but it’s still great to hear Cole’s take on it since his voice and delivery can be one of the most engaging in the industry when he wants it to, always with a sarcastic wink and a jovial bounce. Cole produced nearly all of the beats on this project without any assistance, raising the impressiveness again. My favourite beat of all though is attributed to T-Minus, on standout track “Kevin’s Heart”. Cole makes his dexterous flow sound easy mainly due to the chilled out, 8-bit video game-style instrumental that makes everything sound more impressive on an intoxicating half-time tempo.

Perhaps the fact that I’m so drawn to Cole’s repetitive tracks like “Motiv8” and “ATM”, where he portrays a character dependent on an unstable source of income, proves his point. These cheap thrills really are easy to turn to, rather than paying attention to what he’s saying on the more lyrical tracks. While they do veer a bit into the same sluggish tempos he employed earlier, tracks like “Brackets” and “Once an Addict” revive Cole’s elite storytelling ability to tell some tales of how his community and his own life are affected by what he describes. Cole’s advice across the board is never preachy because he is quick to acknowledge that he himself had fallen prey to it as well – he tells a heartbreaking tale of both he and his mother turning to drugs and alcohol to deal with the abusive stepfather that has turned up in many tracks across his career, offering genuine advice to personal friends and younger rappers on “Friends” and “1985” about falling prey to all the various drugs of life, admitting his message isn’t “the coolest” in an endearing way.

One of the main themes that frequently seem to hold a Cole album back is his singing, which he almost always relies on more than he should. It makes a few hooks here more awkward than they should be, such as on “Photograph” where he never quite clicks into the beat perfectly. His Kill Edward character’s pitch shifted delivery also muddles his words and throws the pitch off on tracks like “The Cut Off”, but it still adds to the message of the song, the addicted Edward sounding lost and troubled, out of step with the rest of reality.

KOD delivers an important message in a very smart way, Cole bringing back his relatable character and storytelling ability to spread awaren Luckily, by exploring characters Cole can do this and deliver some upbeat, fun tracks at the same time. He boasts about his versatility contributing to his longevity over trend-hoppers on closer “1985”, and KOD backs up his point.

Favourite Tracks: Kevin’s Heart, ATM, FRIENDS, KOD, BRACKETS

Least Favourite Track: The Cut Off

Score: 8/10

Bishop Briggs – Church of Scars

British alt-pop musician Bishop Briggs’ debut studio album Church of Scars comes in the wake of the success of her 2016 single “River” on alternative and rock radio due to her trademark growl and heavier approach to poppier melodies. Her songs have been used in commercials, also contributing to her steady rise, and this album makes it easy to see why. Her formula across these brief 10 tracks becomes incredibly evident and safe, reminding me of Imagine Dragons’ latest project Evolve in terms of the build-up to an explosive chorus over some soul chords that she employs in every song. While her vocal power is undeniable, Church of Scars loses its element of surprise immediately.

Briggs blends elements of the past and present across the whole album to varying degrees of success, mixing rock and blues instrumentation with modern trends of pop music such as electronic synthlines and hip-hop influenced percussion, a computerized water-droplet beat quickly snapping the old-soul sound of Briggs’ vocal delivery into the more modern era in opening track “Tempt My Trouble”. While this track serves as one of the most immediately catchy offerings, even it falls into the repetitive techniques that plague most of the tracklisting. Briggs’ voice really does have a lot of potential, and I could see her imbuing it with the genuine emotion that the power behind it deserves to make some powerful content, but she settles for Chainsmokers-style thematic lyricism around a seemingly randomly generated noun and melodies that stay in a safe position in order to build up to the reveal of the only trick she has – the overriding of a vaguely electronic blues-rock template with her growling, explosive vocal wails.

Her blends of styles often come across as trying too hard. I feel like I write the word “trap” in every review I write nowadays, but the plaintive acoustic background of a song like “Lyin’” sounds ridiculous with those persistent hi-hats at a time when we hear them everywhere, and whoever did the backing vocals doesn’t help the track much either, sounding too anthemic and angry for the instrumental since an explosive rendition of the chorus is apparently a necessity for each and every track regardless. “White Flag” shows that the vitriol she spits into every syllable doesn’t work as well with rapidly delivered vocals, the rhythm of the chorus lagging behind. As the album goes on, we lose any hope of being moved by Briggs’ power, since we expect her to be yelling at us by the end of every song, knowing not to trust the quieter acoustic introduction.

There really are quite a few promising elements here, such as the industrial and menacing horn section on “Wild Horses”, but an attempt at an EDM-style chorus breakdown changes the tempo in such a miniscule way that it becomes irritating, throwing off my rhythm. It all comes together best on “Hallowed Ground”, which incorporates a gospel organ and horn section breakdown that switches things up instrumentally for a break in the monotony.

Briggs has a lot of raw talent, but she relies much too heavily on a formula attempting to place her in the modern musical context that she doesn’t really need. With a better team around her, I hope she can convert the energy she possesses into more creative, well-structured song material.

Favourite Tracks: Hallowed Ground, River, Tempt My Trouble

Least Favourite Track: The Fire

Score: 4/10

Ben's Beat – Music Reviews

In-depth looks at the merits of the latest albums

Ty Dolla $ign

Rapid Fire Reviews (2 Chainz, Maren Morris, Juice WRLD)

Rapid Fire Reviews (Wiz Khalifa/Curren$y, Avril Lavigne, Betty Who)

Rapid Fire Reviews (Anderson .Paak, 6ix9ine, Mariah Carey)

RL Grime – Nova

Wiz Khalifa – Rolling Papers 2

Drake – Scorpion

Rapid Fire Reviews (Shawn Mendes, Father John Misty, Kanye West)

Rapid Fire Reviews (Post Malone, Janelle Monae, Leon Bridges)

Rapid Fire Reviews (Tinashe, J. Cole, Bishop Briggs)