Hip-Hop

Week 12: Playboi Carti- Music

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Five years. That’s how long fans apparently waited, their anticipation growing for a new Playboi Carti album—five years of hope for a groundbreaking release. Yet, what they got was a sonic mess that feels more like a collection of unfinished demos hastily put together for the TikTok generation than a cohesive artistic statement.

Honestly, I never understood the hype. Carti’s music has always struck me as repetitive and simplistic, leaning heavily on mumbled vocals and repetitive beats. But even with low expectations, this new record managed to disappoint. It’s a sloppy, autotune-drenched affair designed for fleeting moments rather than sustained listening.

The most significant issue is the lack of substance. The tracks, with their repetitive phrases and simplistic melodies, often feel more like sonic wallpaper than carefully constructed songs. They lack the complexity and depth that would engage a discerning listener. This is music for a generation with the attention span of a sugar-addled toddler in a sweet shop, always searching for the next sugar rush.And let’s talk about the autotune. While its strategic use can add a unique texture and flavour to a track, here it feels like a crutch, masking vocal inadequacies and blurring any sense of genuine expression. It’s so pervasive that it becomes distracting, creating a homogenous soundscape devoid of personality.

What’s truly baffling is the inclusion of heavyweight features like Kendrick Lamar and Skepta. These are artists known for their lyrical prowess and innovative approaches to hip-hop. To hear them diluted within this autotune-heavy swamp is frankly disheartening. Their contributions feel out of place, like trying to add a gourmet meal to a plate of fast food. It’s as if their unique style clashes with the direction of this project, leading to a lack of cohesion. Their talent is wasted on this project.

Maybe some will argue that I “don’t get it.”. But this album feels lazy and derivative, a clear indication of prioritising trends over artistry, so in other words, I find it fucking shit and ear bleeding. After five years of waiting, fans deserved something more substantial, something more memorable, something that justified the anticipation. Instead, they got noise that will likely be forgotten as quickly as the next TikTok trend. Ultimately, this record confirms my long-held suspicion: the emperor has no clothes, and in this case, he also has a broken autotune machine.

Week 5: Central Cee- Can’t Rush Greatness

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The only tracks that didn’t quite hit the mark for me were the ones that featured American or American-based artists , 21 Savage, Lil Durk, and Lil Baby. While these collaborations were undoubtedly high-profile, they seemed to lack the raw authenticity and personal storytelling that Central Cee brings to his solo tracks. That aside, the rest of Central Cee’s debut is excellent. Cench has been making waves for a while now. So much so that he is now in his mid-twenties, which is hard to believe. Of course, the lad from West London talks a lot about his journey from Shepherds Bush, living a stone’s throw away from Loftus Road, where Queens Park Rangers reside, to international fame.

Central Cee has been a Drill artist I have always respected because he doesn’t talk shit about killing people. He talks about the pitfalls of that lifestyle. Cench has always worked well with Suntan Dave, as shown with ‘Sprinter’, and the pair collaborate once again for ‘CRG’. This track certainly is chart-friendly and gives off an African vibe. It could be Afrobeat, but I tend not to listen to much of that due to the artists’ insistence on using autotune excessively. I especially love Cench’s delivery here as he goes slow, choppy, to rapid in an instant.

The album’s production, which is done by an army, needs a special mention. It is more relaxed and uses rimshots and hi-hats over the subs and kicks associated with Drill. Of course, the producers were wise to go with this option because it makes it more appealing to the mainstream.

What I particularly like about “Can’t Rush Greatness” is the stark contrast Cench presents between his past and present. Despite moving on and buying the luxuries he could only dream of growing up, he remains grounded. He has moved away from the grimy streets of West London but still doesn’t forget where he came from. Cench has achieved this by talking about the journey out of the ends, a journey that was not always easy, with very little about his life of luxury now. He confessed feeling apprehensive about talking about where he is from because things have changed a lot. He didn’t want to be perceived as a hypocrite.

‘Don’t Know Anymore’, which closes the records, chronicles his transformation from poverty to wealth. He reminisces about the days when he and his siblings depended on free school meals. His journey from cutting the mould off the loaf of bread to his current success is a source of pride. His lyricism and flow, with each listen, evoke a sense of admiration for his growth.

Cench, in his own words, admits he’s not the best songwriter, often choosing to freestyle over an instrumental. Yet, this approach, born out of his self-awareness, works effectively. Whether he constructs a song like that honestly, I can’t say. But if he does indeed write songs, he’s doing himself a disservice because his lyricism is nothing short of phenomenal. He’s not just self-aware, but also impressively savvy with pop culture, and wears his heart on his sleeve. As I mentioned, only three tracks fall short, but the rest of it is excellent. A marvellous debut.

Tracks to avoid: ‘GBP’, ‘Truth in the Lies’, ‘Band4Band’

8/10

Week 48: Kendrick Lamar- GNX

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I have been a fan of Kendrick’s since I first heard him back in 2019. His flow and lyricism impressed me. He also seldom uses autotune, which is always a good thing. He doesn’t chat a lot of shit that most of the modern rappers talk about. You can see why 2pac is his idol. Like his idol, he also talks less about materialistic things and focuses on political and everyday matters. Fuck what you might have heard from stuck-up journalists snarling at this album because it is brilliant. Of course, there is a trio of tracks that utilise autotune, but the rest of the record is great apart from that.

What I also like about Kendrick’s albums is they are the same as his idol. Creative and original from their predecessors. Lamar includes old-school soul, old-school RnB, violins, Spanish guitars, trap drums and flirts with rhythms. There is also the sample of 2pac’s ‘Made Ni**az ’. It’s a personal favourite of my 2pac songs. 2pac’s influence on Kendrick’s music is undeniable, and this is evident in his sampling of ‘Made Ni *az ‘. However, my only complaint with sampling it for ‘Reincarnated’ is that he seems to be emulating Pac’s style rather than expressing originality. I can still tell it’s Kendrick because of the flow, but he seems to be trying to deliver the same as Pac did on ‘Made Ni*az’. The video is also the same. I am unsure if Kendrick is in it because the one I saw was the original with Pac, or as he was known on that track, Makaveli Tha Don.

As you’re aware, Kendrick has recently experimented with a pop element in his music, a move that added a unique twist to his Drake diss track, ‘Not Like Us’. It’s a bit disheartening that this wasn’t part of the album, as I was quite taken with how he dismantled Drake with undeniable truths. However, a similar vibe can be found in ‘tv off’, a track featuring lefty gunplay. While it may not be a diss track, the production bears a striking resemblance. ‘Not Like Us’ was brought to life by Mustard, and Kendrick has once again enlisted his services for this particular track, which is a real bop.

Aside from ‘Reincarnated’, my favourite track for obvious reasons, my other favourite is the captivating ‘Heart pt. 6’. It’s one of those tracks that hooks you in with its production within seconds, and then enthralls you with its lyricism and delivery within a minute. His delivery, in particular, has a unique blend that reminds me of the Ying-Yang Twins with a hint of Q-Tip. But let’s not get too distracted. This is a track that you’ll find yourself drawn to, wanting to hear it again and again.

Another reason to admire ‘heart pt.6’ is Kendrick Lamar’s unwavering respect for 2pac. He once again outshines Drake with his lyricism and undeniable facts. It’s about time that the truth about Drake was revealed. It’s reassuring to see a 2pac fan like Kendrick Lamar stepping up. Drake’s recent insult to Pac , by using his rapping on one of his many subpar tracks , didn’t sit well with Kendrick. He made sure to let the fake rapper know exactly how Pac fans felt about it.

My final favourite is also the final track featuring SZA, ‘Gloria’. This is Kendrick’s version of Makaveli Tha Don’s ‘Me and My Girlfriend’, except that ‘Gloria’ is a girl rather than a gun. It also mirrors the middle, similar to ‘My and My Girlfriend’.

Although you can hear that Kendrick is heavily inspired by 2pac/Makaveli Tha Don, the entire album is a nod to the West Coast Rap scene and its legends—another reason to like the record. While the bitter cold starts to set in, this album is a ray of sunshine with uptempo production to lift your spirits. The lyricism is also on point; you can see why he is highly regarded. I look forward to the follow-up.

Song recommendations: ‘Reincarnated’, ‘heart pt.6’, ‘Gloria’

9/10

Week 47: Linkin Park- From Zero

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When I was in college, back in the early-2000s, people listened to Linkin Park a lot: them and Papa Roach. I didn’t get into the band until the 2010s and could appreciate the late Chester Bennington’s vocal range. I was young and naïve, so I saw him as “The singer who screams down the microphone”. When I listened to the band properly, I grew to appreciate their lyrics and, as mentioned, Chester’s singing. As we all know, Chester passed on over seven years ago. Whether you believe in the narrative or conspiracy theories is another thing. I have more than shared my opinion on Chester’s passing among friends and social media. I will leave my opinions aside for the review. The band has had various guest vocalists since his passing while they have performed and finally settled on former Dead Sara vocalist Emily Armstrong, who has proved a hit with the fans during the live shows. She joins with co-vocalist/rapper Mike Shinoda and new drummer Colin Brittain. Although Emily proved to be a hit when the band performed live, the reaction to her taking Chester’s place was mixed. I believe his estate was none too pleased with this decision. I wasn’t sure at first because this is like Metallica without James Hetfield or Lars Ulrich. It usually ends in a disaster because it isn’t the same without the heartbeat. I can understand people’s reservations about Emily becoming a full member, but to me, she reminds me of a female version of Chester.

I hope she is given time to grow. She is a fantastic vocalist, but it is hard to see past Chester’s legacy. Should the band have packed up and started a new project? Hmmm…I don’t know. It probably would have been a better idea, but the band’s decision to carry on is one that we, as fans and critics, should understand and respect. It’s not an easy path, but it’s one they’ve chosen to take.

What I’ve noticed about “From Zero’ is, well, nothing. This sounds like the Linkin Park we all know and love. The only difference is a female taking over vocal duties. It hasn’t tread any new ground, but is now really the time to be experimental? I’d say no. They need to stick to a tried and tested formula while they make this transition. And it’s crucial for us, the fans, to be a part of this journey. It also needs to be this way to see how people react to hearing the first album without Chester. Unfortunately, this record will always be based on what it was then and what it is now.

My highlights were ‘IGYEIH’, ‘Over Each Other’, and ‘Good Things Go’. Emily especially stands out with her angst-ridden vocals. As for the rest, my concentration wavered, and I felt they lacked that energy I usually see from the band. The majority of the tracks are too short. They don’t get a chance to get going before they are over. This album might be ideal for those with a short attention span, but I personally prefer a record that keeps my interest with longer, more elaborate songs, with at least 4-5 verses.

I wanted to like this album, and I have listened to it a few times, but I can’t get into it. Yes, it treads familiar ground, but the tracks are far too short, as mentioned. I don’t want to hear songs that are ideal for TikTok. I prefer longer songs that have more substance.

I’m afraid I will have to give “From Zero’ a low mark. It just doesn’t do it for me and has nothing to do with Emily. I thought she was excellent. Despite that, those who review it will all be guilty of measuring it against the former guise of the band, and I am no different. It isn’t fair, but you can’t help doing it. As mentioned earlier, when a band loses such a key member, it seldom feels the same or works out. Queen probably being the only exception. I hope the band continue as Linkin Park regardless and gives everyone time to transition. Their live shows have been amazing with Emily, so I am sure this will work out. You can’t really measure them on this record. Let them be more experimental on what follows. Then, we will know if the legacy remains intact, and I believe they have the potential to do so. And on a final note, why was the album so short? It lasted almost 32 minutes. They might as well have released this over 4 EPs.

Song recommendations: ‘IGYEIH’, ‘Over Each Other’, ‘Good Things Go’

5/10

Week 44: Tyler the Creator- Chromakopia

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I first heard Tyler the Creator in 2011, when he did ‘Trouble on My Mind’ with Pusha T. I liked what I heard from both. Since then, I have been following Tyler’s career closely. I especially like his live shows and his on-the-bone lyrics. I enjoyed his last album, “Call Me if You Get Lost”, for his flow over great instrumentals. “Chromakopia” sounds like the previous record, but Tyler is showing more of a human side rather than the usual “I don’t give a fuck” we associate with him. The sleeve, where he wears a mask, represents this new phase in his life. He tackles various subjects, including multiple people in a relationship and how material items are more important than spiritual ones.

The opener ‘St. Chroma’ should set the tone for most of the album, but it sadly drops off badly as we reach the halfway point. He tries his best with originality on ‘Darling I’ and ‘Jude Judy’, trying to recapture the essence of 2019’s “Igor” but falls short. However, he finds that on songs like ‘Noid’ and ‘I Killed You’.Unfortunately, I found most collaborations to be lacking, with the exception of Daniel Caesar on ‘St. Chroma’, and Lola Young on ‘Like Him’. These are the only tracks with features that don’t rely on autotune. While Tyler the Creator attempts to explore more diverse themes, he seems to struggle at times. However, there’s no denying his delivery and passion. The bonus track ‘Mother’ stands out as my personal favourite. It’s a deeply personal ode to his mother, a heartfelt narrative of the trials and tribulations she’s faced. This track, more than any other, showcases Tyler’s caring nature.

Tyler is excellent, as always, with his flow and delivery. Where it falls is on the production. “Chromakopia” isn’t a bad album because Tyler makes the most of it. Although, as I have mentioned, the production isn’t all that great, the listen still flies by.

Song recommendations: ‘Mother’, ‘St. Chroma’, ‘Like Him’

7/10

Week 29: Eminem- The Death of Slim Shady (Coupe de Grâce)

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He titled it “The Death of Slim Shady” perhaps because he anticipates his alter ego will face repercussions for the controversial content of his latest album. 

Eminem is like marmite. You either love him or hate him. I am in the former category. I believe he has retained the same magic he had in his prime. He had a period of lull until 2010, when the fire in his belly reignited, and he stopped catering to mainstream pop.

His blend of dark lyrics and infectious choruses has always been his strength, especially on “Marshall Mathers LP 2,” which resembled its predecessor and the 2011 album he made with Bad Meets Evil.

Comparing to his previous record, “Music to be Murdered By”, one can’t help but notice Em’s shift in focus. He seems to be more determined to be the fastest rapper around, a departure from his previous style that many fans have come to love.

I may have mentioned in the earlier review that Slim Shady was making a comeback, but this album definitely solidifies that statement. This record embodies his alter ego from his early days, where he simply doesn’t give a fuck who he offends and goes after those who have pissed him off.

Who didn’t love Slim Shady? His alter ego was a breath of fresh air for rap and music in general at the time. Suddenly, we had an artist who was wicked, heartless, and offensive, yet with a hint of comedy. Everytime his words hit the microphone,  he caused controversy.

Eminem knows that his early records would be considered controversial in today’s culture. With “The Death of Slim Shady”, it seems like he is attempting to address that by revisiting his past and reflecting on the most controversial aspects of Eminem and Slim Shady.

No one is off-limits on this record. Em takes shots at and mocks a variety of individuals and groups, including trans, disabled, and dwarfs, as well as politicians, fellow musicians, and the late Christopher Reeves. Eminem challenges Slim Shady, the alter ego, on why he targets these individuals and groups. He reminds Em that his controversial nature initially propelled him to success.

Eminem questions why he was so controversial, and now, as a man in his early fifties, he is also in turmoil over whether to remain that way or be a bit more sympathetic. 

As the album reaches halfway , Eminem confronts Slim Shady and shoots and kills his evil alter ego. The question of whether it is all in jest remains, as he vows revenge for those he has annihilated on wax in the past. His lack of mercy for Machine Gun Kelly is evident, taking him out without hesitation. But beyond the personal drama, this album has a significant impact on the music industry. It’s a moment that will be remembered, a turning point in Eminem’s career. Therefore, I do not believe that his alter ego is six feet under.

My favorite is ‘Evil’. This is not for the faint-hearted. It showcases Slim Shady at his peak with controversial verses and impressive delivery.This is Slim Shady at his peak with his delivery and controversial verses.

In the song ‘Lucifer,’ Slim Shady is once again courting controversy by comparing himself to Satan. The song begins with Eminem realising that he needs to eliminate his alter ego because that aspect of his personality will not be suitable for his career in today’s world.

Guilty Conscience 2’ is where Em will kill Slim Shady because he has had enough of him and realises he is bad for his career. Slim Shady,a persona created by Eminem, goads him in the track, reminding him that through Slim, he had the power to say what was on his mind without thinking about the consequences. This relationship between Eminem and Slim Shady is complex, with Slim Shady representing Eminem’s darker, more controversial side. Angered by the constant goading, Em shoots and kills Slim. However, he then wakes up to realise it was just a dream. From here on out, the rest of the record was Em taking control and the end of Slim Shady. Returning to an earlier paragraph, is this the end of Slim Shady and a more caring side of Eminem? I do not think so. Expect Slim Shady to return on the next album.

I love that his personas haven’t spared snowflakes and Generation Z. We need some refreshing attitude to return to society. Of course, racism, fascism, and insulting people with disabilities are a bit far, but Eminem and Slim Shady have always been controversial. We need more controversial and outspoken artists in the current industry. If you didn’t like this record and were offended, then hahaha, too bad, Snowflake.

Song recommendations: ‘Evil’, ‘Lucifer’, ‘Guilty Conscience 2’

7/10

Week 28: Kasabian- Happenings

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The band nearly had their secret show at Glastonbury this year exposed by a social media post. Frontman and guitarist Serge Pizzorno was alerted by a plumber about the post after he was asked about the show. The band has been touring with their new frontman Serge, playing songs from their debut album( Under Serge, anyway.)as well as their classic hits since 2022. Last year, they released the lead single “Algorithms” from their upcoming album, so fans have been eagerly anticipating new developments.

Unlike some, I’ve found the band’s transition after Tom Meighan’s departure to be seamless. While Serge’s new material may be more influenced by hip-hop and rap, his stage presence is truly captivating. As the previous album review highlighted, Serge is a natural frontman, exuding energy and connecting with the crowd. This, in my view, has significantly enhanced the quality of the shows. I also admired the band’s willingness to explore new musical territories with the previous record, particularly Serge’s take on hip-hop and grime.

We start with ‘Darkest Lullaby’, and it’s a start that’s bound to catch your attention. A captivating groove, rich with funk, instantly transports you back to the disco-funk era of the 1970s. But here’s the twist- this isn’t the hip-hop-infused track we might have expected under Serge’s leadership. It’s a refreshing departure that’s sure to intrigue you.

This is followed by the second single off the record, ‘Call’, which has been out since February, so the fans will be familiar with it. I cannot wait to hear how this one does in a live show because there is a chant there, which Serge will encourage the crowd to join in with. It also makes you want to get up and dance. A short, punchy track, ‘How Far Will You Go,’ follows; it is just under two minutes and is the ideal track for you to upload on TikTok and join the fun. The tempo is then brought down for the serene ‘Coming Back to Me Good.’ 

The album maintains a mellower pace with ‘G.O.A.T’. This track, inspired by Serge’s solo material, SLP, is a potential game-changer for Kasabian’s sound. Whether it is embraced or not, this influence is likely to be felt. The track also carries a darker vibe towards the end.

The track “Passengers” by Kasabian has a vintage feel. It includes a strong rhythm section with Ian Matthews on drums and Chris Edwards on bass. Additionally, it features great guitar work by Tim Carter and Serge’s trademark harmonies.

We then move on to “Hell of it”. All there is to say is that it’s vintage Kasabian, featuring the audience participation chorus.

The penultimate track ‘Bird in a Cage’ is simliar to ‘G.O.A.T’- Mellow yet dark.

The album closes with the leading single, as mentioned in the first paragraph. It is simply an uplifting track. It complements the whole record in a nutshell. My only complaint is that I feel Serge has been bullied into abandoning the new Kasabian we heard on “The Alchemist’s Euphoria”. This one seems to have taken a backward step and is more vintage Kasabian, reminiscent of their earlier, more rock-oriented sound. That isn’t bad, but I’d rather Serge steer the band with his vision rather than what the purists want. I also found it underwhelmingly short, with the album lasting just 28 minutes. Most of these songs could easily fit into an extended play.

Song recommendations: ‘Call’, ‘G.O.A.T’, ‘Passengers’

7/10

Week 3: D-Block Europe- Rolling Stone

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Where do I even begin with this? It was utterly unlistenable. I was expecting so much after what RAYE said, but I am not a fan of autotuned hip-hop, and every single track had autotune. That, unfortunately, leads to me pressing skip frequently. I am sure the lads from Lewisham are talented, but refrain from using autotune- it ruins the music. As for you, Jadakiss, you signed them and came from a time before autotune, so why do you not have a word? Hip-hop was brilliant back then without it. Do better.

No rating

Week 40: Drake- For All the Dogs

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Oh dear. Yet another Drake album, which is hackneyed, hits the top spot? Seriously, what are people listening to? Once again, it is shite. The biggest surprise was that ‘8am in Charlotte’ had no autotune to spoil it like the rest of the record, so I enjoyed that once I got over the shock.

Song recommendations: ‘8am in Charlotte’

1/10

Week 30: Travis Scott- UTOPIA

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I have heard so much hyperbole surrounding Travis Scott, and he has been featured on some songs by other artists/bands I am fond of. Unfortunately, this was utterly shit. I liked ‘Modern Jam’ because it resembled the hip-hop I heard in the 90s. It was nice and chill, and there was no autotune in sight. Unfortunately, be it Travis, or the collaborators, autotune was used excessively. I hate it. It ruins music and makes an album with so many songs unlistenable. Why do producers still like to incorporate it into the artist’s music? Please stop it. Stop listening to these little idiots, who do not even make music, but think it’s “Edgy” and “Cool” to listen to autotune music. It’s shit

No rating