Slipknot – Iowa Review

Iowa‘, Slipknot’s second studio album is a dark, nihilistic, hectic, violent and multi-textured album.

With a group as large as Slipknot (9 musicians), it could go either way for what each member of the group brings to each individual song as well as the project as a whole.


From the beginning on ‘(515)’ with the distorted screaming of Sid Wilson to the crashing drum kicks and blaring symbols being smashed on the appropriately titled ‘People = Shit‘, the album already has a quick pace and an extremely aggressive tone.

As the tone of the album is set by the first full-length track, we also get that particularly gripping head-banging track, ‘Disasterpiece‘. From the start with the guitar chords to the build up of the drums, when lead singer, Corey Taylor, finally enters, bellowing out ‘I want to slit your throat, and fuck the wound’ and continues this technique which isn’t exactly rapping or screaming, but what I like to call S-Rap (Scream Rap). As the track continues with the ad-libs provided by Shawn and Chris, we get around 2:30 when the track really shows itself off. Joey Jordinson provides a demonic drum kick, which you can’t help but throw your self back and forth to.


As the album continues and we get the menacing ‘My Plague‘, with a great chorus from Taylor, singing in a lighter tone, which is actually quite pleasing to hear him do. Although, whenever I hear Corey start screaming onto a track, I can’t help but get hyped.

Highlights off the album and tracks which should be celebrated more are the incredibly horror-movie-like theme song, ‘Skin Ticket‘, which could’ve ended up on a Rob Zombie soundtrack with the un-nerving lyric – “Come see my cage, built in my grave”. As well as that is the heavy ‘The Shape’, which sees Corey reflecting on a broken relationship, which he not only compares to the typical ‘humane’ emotional connection we have to others, but that when someone we need in our life or is removed, we just become another shape to them. It would be like comparing the everyday human to the expanse of our universe.


The album is supported minimally by Sid’s turntables, although, when they do become evident and are heard, they provide a part of the song which may not have been able to accomplish with the other instruments and adds to the diverse sonic sound which they portray.

In overall, the album is exploding with a lot of the same themes on all the songs, however, each song has its own diverse sound, which only that song can be compared to. Comparing the track ‘Eyeless’ on their debut Self-Titled album would be pointless; although it could’ve easily been included on ‘Iowa’, as it is a heavier and more experimental sound.


Kendrick Lamar – To Pimp a Butterfly Review

After the release of Kendrick’s first studio album, ‘Good Kid, M.A.A.D City‘, fans of the Compton lyricist and critics alike began to get withdrawal symptoms; we were all wondering, ‘when will we get a new Kendrick Lamar album?’ Although three years passed and very little light was shined on what to expect from the new studio album, the odd K.Dot feature appeared now and then – ‘1Train‘ by A$AP Rocky, ‘Love Game‘ by Eminem and ‘Really Be (Smokin’ and Drinkin’)‘ by YG – but the joy of having a full LP from the King of Compton is what we all wanted.

However, as March 2015 came quietly and tension between TDE  boss, Anthony Tiffith and Kendrick’s major label Interscope arose, in general music enthusiasts and Hip-Hop heads could tell that the release of a new Kendrick Lamar album was imminent.

March 15th came round, 8 days earlier than the anticipated album release and from there, Kendrick had made Hip-Hop history.

The album plays out like a movie that has been scored, written, produced and directed by the L.A native and the first time listening to the album, I couldn’t have been more happy.

From the introductory track, ‘Wesley’s Theory‘, a track depicting and shedding light on how ‘Uncle Sam’, a formal name for Kendrick’s interpretation of The Devil. As well as this, he also depicts how a black male from areas governed by gang-run communities, will take the first opportunity given to them to break out of the bracket that says they’ll be dead by 21. So, they take this step, to ‘become rich’ not knowing the ins and outs of the contract they are taking with their labels or managers. To put it simply, Kendrick Lamar and Kant would’ve gotten on quite well knowing that the majority of people will use you “As a means to an end”. The means being the individual who will make the already rich people richer and the individual poorer than they already were.

This is a running theme throughout the album, as well as institutionalised racism within modern America, police brutality, sexual relations, slavery and empowering the black man to reach out and achieve what they thought could never be achieved.


As the tracklist continues and tracks such as ‘For Free‘, a 2-minute interlude comparing how black men were treated over a 400 year period and still to this day in a derogatory manner –

“I need forty acres and a mule, Not a forty ounce and a pit bull” – Kendrick Lamar

These bars pulled from ‘For Free’ and a continuation of the metaphor rapped on the first track of the album is Kendrick speaking out against White America. He doesn’t want to be an idea of the black man that’s been conceived by the media and portrayed in movies, he wants to be able to live a life without connotations and be respected as an artist who paved a lane for themselves, without having to owe ‘The White Man’ anything.

Institutionalised‘ is another incredible track off the album and standout from Kendrick’s discography,  featuring the Long Beach OG, Snoop Dogg and Soul artist, Bilal. Kendrick talks about how black men are dragged into a life of violence and death because they aren’t given legitimate opportunities by the American government to show off their full potential. Bilal uses his vocals as a voice of reasoning on the chorus, where he sings “Shit don’t change until you get up and wash yo ass, nigga”. While Snoop has two interludes on the track, both of them differentiating from each other. While the first is about a young male going to a show where Kendrick is blasting gang culture, the second Snoop verse accurately depicts how difficult it is for black men in these environments to get out and live a life that isn’t full of death yet still keeping some elements of ones personality ‘hood’.


Moving on, other highlights off the album are the heart-wrenching ‘u‘, which Kendrick discusses battling alcohol dependency, struggling with depression since a teen due to living in a corrupt and blasphemous city that struggles with motivating the black youth. As well as this, the production on this track, compared to others on the album is a lot moodier, darker and experimental. Before the second part of the song with a hotel-room interlude which uses the production technique panning magnificently to put you in the mind of the forever unpredictable Kendrick Lamar.

Tracks like ‘Momma‘ and ‘Hood Politics‘ which discuss Kendrick’s influence on a international level by reconnecting with his homeland, South Africa and meeting young Africans who look up to him as a role model, while the latter track is a complete opposite. Kendrick speaks about imprisonment of friends, authenticity in the rap game and having rappers, such as Killer Mike, being more appreciated instead of underrated.

In overall, ‘To Pimp a Butterfly‘ is a revolutionary Hip-Hop album. Not only does it follow the regular rap album efforts by including songs about the typical rap topics, women, drugs, guns and money, Kendrick shows a darker side that only he could’ve commercially put out without criticism. If it wasn’t for the release of TPAB and the events surrounding its release, the death of Sandra Bland, Alton Sterling and multiple other black men and women murdered for misrepresentation of their skin colour, would Hip-Hop be as it is now? Would conscious rap be as big as it is?

While Kendrick’s TDE label mates aren’t seen or heard from on the album, apart from Ab-Soul’s non-credited ad-libs at the beginning of ‘Momma’, this is one of my favourite albums ever. It can’t be considered the typical Rap or Hip-Hop album and whenever I listen to it, I feel like I’m listening to it for the first time again.


Danny Brown – XXX Review

Released in the summer of 2011, Danny Brown’s first major project, ‘XXX’, released via Fool’s Gold, is a project ranging from the filthiest selection of hardcore Hip-Hop beats to silky, depressing instrumentals which show a side of Danny which some fans still can’t get a grip on.

While it is titled an ‘album’ and is available on streaming services, it still appears on the always reliable free mixtape-hosting site, Datpiff.


Anyway, ‘XXX’ is unlike the majority of contemporary Hip-Hop/Rap projects. While most rappers you either like or dislike from hearing one song (Drake fans), Danny is a required taste. While most tracks Danny spits in a childish-high pitch voice, typically for the more turnt tracks on the album, he also brings his voice down to a more grittier and realistic tone. However, when his tone of voice is deeper, it is because he wants you to be listening to him! Not every Danny track is in his crazy-Ol’ Dirty Bastard tone, bragging about how many women he’s fucking or what drugs he’s doing.

The album is split into three sections. From the opening track ‘XXX’, which has a monotone synth humming in the background, random guitar strums and jazzy piano keys throughout, rapping about his rise to success and issues he’s had to deal with. We also get for the first part of the album the trippy-Outkast-electronic vibes, which are particularly present on ‘Die Like a Rockstar’. As the album progresses and Danny’s tone becomes higher, we begin the second part of the album. Although Danny never fails to provide ratchet-let’s-get-fucked-up-tunes, one of the highlights off this section of the album is the especially explicit cut ‘I Will’, which is undoubtedly one of Danny’s smoothest yet dirtiest ‘romance’ songs to date.


As the album continues into the third section, Danny’s ‘Party All the Time’ is one of his best conscious songs to date. Rapping about a girl he either knew or didn’t, who would abuse ‘party’ drugs such as ecstasy and cocaine to get through her life. One of the saddest but realest bars from Danny come on this track –

“Skip semester, classes have passed, Say she going back, but she ain’t going back, Cause time ain’t waiting for a future on hold, At glass tables, on her knees sniffing coke, Tell her get a hold, grip on life, Rather fill her cup up, liquor with no ice”

Danny visually describes the life this girl is living and how materialistic and mentally corrupting activities can rundown and ruin an individuals life.

Highlights off the album have to be the abruptly mosh-pit-vibes track, ‘Lie4’, the-ear-to-mind visually twisting ‘Monopoly’, which contains one of Danny’s funniest bars –

“And still fucking with them freak hoes, Stank pussy smelling like Cool Ranch Doritos”

As well as the sporadic production on ‘Outer Space’ and the minimalistic drum pattern and sample on ‘Adderall Admiral’.


When I first heard this album, I was a Danny Brown-virgin. I had no idea what to expect, who he was or what kind of content he’d be pushing out. Over time, I was more intrigued and enjoyed the dirtier, upbeat tracks. Yet, as I got older, the deeper, more emotional tracks shined out to me more as there is more to rap than flashy cars, bragging about the amount of women you’ve slept with and whether you’re ‘real or not’.

Alike to many independent Hip-Hop artists, their music and art is constantly overseen. Danny is one of these artists, and if you ask me, ‘XXX’ is a must-have Hip-Hop album for contemporary Hip-Hop fans.






Frank Ocean – Blond Review

To say ‘waiting for Frank Ocean’s album was easy’ is an utter lie. After Frank blessed the Universe and his fans with his extremely brightly coloured debut studio album, ‘Channel ORANGE‘, he disappeared with little to no social media or anything presence.

As the four years went by, with very minimal Frank being released or spoken about, 2016 was a blessing in the grey, as they’d say. Screenshots of Frank Ocean and Rich the Kid popped up around social media, Frank appeared in a picture with Chance The Rapper as well as appearing on writing credits for James Blake’s recent studio album and a very minuscule feature on Kanye West’s ‘The Life of Pablo‘.

In July of this year, a subliminal post was put up on Frank’s Tumblr account with a slew of dates; one of which being in July, which all thirsty Frank fans (including myself), were eagerly anticipating the date for.

I was in the middle of Wales, with little to no WiFi, scrolling through Google aggressively on the supposed release date, looking for any information of an album release. Nothing. Frank at that time still had his unreleased album titled ‘Boys Don’t Cry’ and I can, with a hand over my heart, say that that is BULLSHIT. (I cried a little bit)

Anyway, fast-forward to 20/8/16 and we finally receive the most anticipated album of the year, ‘Blond‘.


‘Blond’ was surrounded by controversy at first (because streaming services are ruining the music industry, but that’s for a later post). Although we had the weird, visual album by Frank titled ‘Endless‘, which can also be found just in audio, Frank also released ‘Blond’ as a free agent to opt out of a deal with Jay-Z’s Roc Nation (I don’t blame him).

Before I lose anyone else’s interest, let’s actually get to the review.

Firstly, ‘Blond’ is an emotional album and follows up with a majority of the same topics he spoke about on ‘Channel ORANGE’. However, instead of multi-textured instrumentals filled with psychedelic pianos, Rock-like guitars and the following the format to include the incredibly vivid 9-minute ‘Pyramids‘, ‘Blond’ is nothing alike. The instrumentals on this album are minimalistic, only having three or four instruments playing against one another, sometimes, not even evident unless you have headphones on! Frank’s voice however, is the real instrument on this album. On every song (minus the interludes), Frank uses his voice like sugar and baking powder; the complete track is the cake, but without Frank, you’d have nothing like the finished product.

On the first track of the album, ‘Nikes‘, featuring Japanese rapper, KOHH, we hear Frank singing in a ‘Alvin and the Chipmunks’ pitch, behind summer-like hi-hats and a synth that just breaths the coolest breeze. The track is showing that in today’s society, all the people really want are materialistic objects with a name on the product to make themselves look cool.

“Having money has allowed people who are extremely uncool to think that they’re ‘cool’ and carry it like that.” – Kanye West

As the album continues and we get the heartbreaking ballad ‘Ivy‘ which has a slight Nirvana ‘In Utero‘ vibe to it and the beautiful ‘Pink+White‘ with Béyonce harmonising gloriously in the background, the vibe of the album and overall content starts to become darker. While on ‘Solo‘, Frank raps over the most simplistic keyboard about a past relationship which frank would ‘Bring trees to blow through’ but would have no one to smoke with him. (Insert crying emoji and hit me up, Frank if you ever want a light night sesh!)

Highlights from the album though have to be the instrumental for ‘Skyline To‘ with Kendrick Lamar providing the occasional ad-lib, the cool, guitar-strum lead ‘Self Control‘, which is one of the best vocal performances from Frank as well as the religious and melancholy lyrical delivery and contains one of my favourite lines ever; ‘I came to visit, but you see me like a UFO.’

As well as this, is the night-walk soundtrack ‘Nights‘. The track is probably one of the more ‘louder’ instrumentals with looped guitar chords and thumping bass, however, the track is arguably one of his best tracks. He talks about friends who ‘you can’t break the law with’ and trying to bring a ‘dead’ relationship back to life.


Lastly, there’s ‘Seigfried‘. With loads of strings and a minimal bassline, Frank truly shows himself as a songwriter and vocalist on this track. The track is exploding with emotions of isolation (‘I’d rather live outside, I’d rather chip my pride than lose my mind out here’) and the societal pressure of being a man.

In overall, the album, minus the skits and ‘Futura Free‘ is flawless. It is more and exceeded what I wanted from Frank. Instead of following the herd and releasing another typical ‘pop’ album, (not saying ‘Channel ORANGE’ is!) Frank decided to flip the idea of contemporary-pop music on its head and give his idea of a ‘typical’ pop album. If anything, Frank has improved as a musician since the release of his previous album and is most likely going to be hibernating now until I’m in my thirties, yet, I think (I probably won’t) I’ll be able to last the next couple of years without a Frank album.





Young Thug – Slime Season 3 Review

Before the anticipated release of the final entry of the ‘Slime Season’ mixtapes, Young Thug had already garnered a loyal fan base. With the breakout single ‘Stoner’, collaborations with Gucci Mane on ‘Any Thing’ and ‘She a Soldier’. Not only does it seem that Thugger took a page out of Kanye’s book by releasing an LP with a very limited tracklist, but also provided ad-libs to Kanye West’s most recent studio album cut, ‘Highlights‘ and has reportedly got more in the safe with Yeezus. it is safe to say that Thugger is rising to the top and building a lane that will only let him drive on it.

Before the release of ‘Slime Season 3’ the ATLien dropped the surprise mixtape ‘I’m Up’, which included features from Offset & Lil Durk.


Moving on and keeping this review positive, ‘Slime Season 3‘ is a perfect project to describe Thug but the intimate production provided by close producer such as LondonOnDaTrack, Mike WiLL Made It, Allen Ritter(!!!) Ricky Racks and Issac Flame also put Thugger in this psychedelic, trap sound, which he tackles very well. The absence of Metro Boomin, one of Thuggers closest go-to-producers is one of the only criticisms of the album I have.

As the album plays out, it shouldn’t be a surprise to hear the same subjects from the Trap prince, yet, it also shows development in how he pitches his voice as well as unforgettable flows on the stellar standout ‘Drippin’’ which has Thug flowing and harmonising over a heavy baseline and bouncy synths. There also some great quotes to catch like, “If I wanna see some titties, yeah I’ll eat at hooters”, “OG off codeine, need more lean, need more weed, to proceed” and “yeah I can be your teacher, I got a ruler”. Other highlights off the album come from ‘Memo’ which LondonOnDaTrack murders with fast clapping hi-hats, glistening synths and a pounding drum kick; Thugger glides over the beat.


The only track which isn’t worth any interest to me and my last criticism but a typical add to Thug’s continuously building discography, is ‘Worth It. A ballad about his partner and to-be wifey, Jerrika Karlae. Thug’s singing is at this point, painful to listen to and is worth the skip.

Altogether, the project is consistent and shows that Young Thug may necessarily not be a GOAT, it proves that he is too stay and that more weird, alien-like trap is still too be released.


FLATBUSH ZOMBiES – BetterOffDead Review

Erick Arc Elliott, ZOMBiE Juice and Meechy Darko make up the incredible trio of what we call the Rap group; FLATBUSH ZOMBiES.

First thing to say about everyone’s favourite living ZOMBiES is that you can’t expect anything. Although their first mixtape, ‘D.R.U.G.S.‘ was a psychedelic, mind-boggling, too-smoked-out-to-do-anything-but-smoke vibes, ‘BetterOffDead‘ is completely and utterly different.

Released on the 12 year anniversary of 9/11, the project isn’t as much as an attack on ‘Murica, but more of a commemoration. A commemoration of what America used to be and what it is now.

On the Rock-inspired intro track ‘AmeriKKKan Pie’ produced by in-house ZOMBiE, Erick (The Architect), one of Meech’s opening bars is an exact sum of America now – “That fear a black man with tattoos and bandanas, But when a white man wear tattoos and bandanas, And joins a bike gang it’s all cool where the balance?’ In these three bars alone, Meech sets up a picture that is not only portrayed in a movie, but is also now a social issue in America.

As the tracklist continues, there isn’t for the most part a down moment. Erick produced the large part of the mixtape (shoulda been an album, if you ask me) with additional production from the always wavy beat-craftsman, Harry Fraud (insert wavy Emoji’s) on the ‘I JUST WANT TO MOSH’ track ‘LiveFromHell’ and Obey City on the solo Meech track ‘TP4’.

The second record, directly after ‘AmeriKKKan Pie’ is the track ‘Nephilim’, which is reminiscent of that off of Tech N9NE’s ‘Anghellic‘. On this track, both Meech and Juice display some of their most conscious and vigorous verses.

Meechy Darko – ‘You might have to keep you a Wesson, Aim at heads of presidents, That’ll make change in a second, Motherfuck your reverend, And all the lies that he telling’

ZOMBiE Juice – ‘Strap a gun and tell them, Put one in my lung, Shoot one through my heart, Rip my tongue apart, Never again to speak this art’. These bars from Juice, describing in the most physical way, the essential instruments he uses to make his music! Using his lungs for breath to flow, his heart where all the emotions of the tracks will come from and his tongue to put into form of vocal-to-visual like effect we hear.

As the mixtape progresses, we get a variety in sounds from Erick as well as content. The track ‘Bliss’ have all three rappers spitting some ferocious bars about people being more ignorant than they seem. We also receive the solo trippy-party cut ‘Thugnificense’ from Juice and the iiiiiincredibly smooth R&B cut ‘222’ from Erick. This track alone is a standout on the tape and from Erick. It displays that not only can he can rap on turnt-up and experimental production (‘Regular and Complex [GNB]) but that he can adapt his style and still make himself sound, dare I say…original.

Luckily, two features also pop up on the album. Firstly, we get the boom-bap-party-record ‘Club Soda’ featuring Action Bronson. Bronsolino provides a pretty turnt-down-waxed-out-verse that doesn’t disappoint. His flow is chilled and while it’s a lot slower compared to Jewice and Erick’s back and forth verses and Meech’s solo verse, however, Bronson always feeds his fans with delicious verses that you can go back to and enjoy.

Soon after, we get another Meech solo track (NOT COMPLAINING) featuring the always ‘Smokin and Drinkin’ Danny Brown. While Meech gives us what we always want; vigorous energy, great vocal delivery and a double-time flow, Danny parks up for the second verse and smashes it. Bragging about smoking Backwoods with wax and  how he’s a ‘Supa savage off them tablets’, Danny never fails to give the listener a show in a verse.

To conclude, FLATBUSH ZOMBiES second mixtape, ‘BetterOffDead’ is an outstanding and highly *underrated* Hip-Hop/Rap project in my opinion and of the current generation. It’s an aggressive project with some lighter vibes, noticeably on the stellar stoner track ‘Palm Trees’, which although sets the tone to just spark one up, sit back and relax; it is still swarming with conscious bars and is more  of an ode to all the people who said FLATBUSH would never be as successful as they are today!

‘Lions don’t lose sleep, Over the opinion of sheep’ – Fleezus Christ (Meechy Darko)

The project is overwhelming in content from views of religion, American corruption, racial profiling and ‘GNB’.



Flying Lotus – You’re Dead! Review

Flying Lotus’ latest LP, ‘You’re Dead‘, is a musical, cinematic mindfuck (to say the least). Starting off with the incredibly intense ‘Theme’, which has a variety of instruments and samples being used and smashed up against another that makes the beginning of the album seem as if this is what ‘it must sound like’ to be dying; the transitioning into death.

As the album continues, you have no idea where it may take you. FlyLo provides melancholy and trippy instrumentals which tell a minute part of the story that is progressing the story of the album. As well as this, after five solo instrumentals, all provided by FlyLo as well as legendary Jazz keyboardist, Herbie Hancock on the second track ‘Tesla’, veteran rapper, Snoop Dogg makes an appearance on the particularly trippy and bouncy cut, ‘Dead Man’s Tetris’, which has FlyLo’s alter-ego, Captain Murphy also making a ‘guest appearance’.

As the album continues and the beats get weirder, longer, and shorter and contain only ad-libs from label mate, Thundercat or previous collaborators, Angel Deradoorian and Niki Randa, it provides an insight into the mind of the genius electronic producer as well as how he sees death…from a musical point of view.

Tracks like ‘Never Catch Me’, which includes a fiery verse from Kendrick Lamar, a cool piano, jazzy drum, a beautiful base line and adlibs from Thundercat is a perfect example of the three kinds of artists who should get together more often. The song is dark yet shows a positive light on the topic of death. As well as this, there is the tear-jerking, ‘Coronus, The Terminator’, which has beautiful harmonies in the background yet the beat is so sad and doesn’t stop me from shedding a tear every time I hear it.

To conclude, Flying Lotus is a one-of-a-kind producer. He gathers a variety of instrumentals and collaborators to make music which you don’t sit down to and just vibe to, but you *listen* to. You can hear emotions, you can feel the pain on some songs that FlyLo is trying to push out for us to hear and understand. ‘Ready err Not’, probably the creepiest track on the album along with ‘The Boys Who Died in Their Sleep’ is also a great example of how FlyLo’s mind perceives the idea of transitioning into death and hearing how he wants it to be heard, making the songs on this album all that more interesting to listen to.

The album may be short in length, yet plays out a movie so visual in your head that once you’ve finished the album, you can’t help but think…is that it?


Da$h, Playboi Carti & Maxo Kream – Fetti (Single) Review

Each of these rappers are respectively in their own lane and although I would rarely review a single or a loosie, this track deserves its own post.

On the chorus is A$AP Mob and Awful Records affiliate (and recently signed Interscope signee?) Playboi Carti. While the track credits him as the primary artist of the song, with only being on chorus duty, Carti kills the chorus. Rapping over psychedelic and late night smoke session keys, thumping bass and the classic Kill Bill siren, Carti sets the tone for the smoked out track with lines like ‘lean in my cup, gas in my blunt’…you can tell this track is gonna be chill smoke vibes but hyped at the ‘Same Damn Time’. [Insert Future ad-libs]

Da$h, another A$AP Mob affiliate, who luckily appeared on multiple tracks on the A$AP Mob debut tape ‘Lords Never Worry’ gives listeners a slow as codeine flow. Rapping about his drug abuse, spending countless amounts of money on his grills and getting that ‘Fetti’. One of the standout bars from Da$h on the track is the Earl Sweatshirt/A$AP Rocky-esque ‘Converse with my addictions, don’t talk I just listen, five drugs that I’m mixing, money only thing on my vision’. Da$h’s flow is as hard as nails on this beat and on his project ’17 More Minutes’, the same grizzly sonic sound is displayed.

After another chorus, we get Maxo Kream, the latest rapper from Houston to be buzzing around the Hip-Hop world from his major breakout project ‘Maxo187’ and this year’s ‘The Persona Tape’. Maxo in no other words, eats this track up, spits it back out…and eats it again. While the first third of his verse is slow over that dreamy keyboard, the bass kicks back in and Maxo goes IN! Rapping about previous drug dealing, Maxo uses vivid imagery throughout his verse. Stellar standouts include; ‘Matte black on Rover, the Bat Mobile’, ‘My plug name is David’, ‘I’m short on my patience, I’m serving my patient, I’m very impatient’ and ‘three bitches run to me, that’s a perfect ratio’.

In overall, this track is a million fire emoji’s. It’s dark, druggy, and smoky but most of all lit. All three rappers bring their own to the track and should have honestly hooked up for more tracks between themselves. Smoke one.


Tyler, the Creator – WOLF Review

Before Odd Future fans received Tyler’s roller-coaster of a listen, ‘WOLF‘, we had heard ‘BASTARD‘ and ‘GOBLIN‘. What could have brought any artist to their knees from such critical reception, Tyler instead, paved a lane for his own take on contemporary Hip-Hop.

Both of the projects were produced entirely by Tyler himself, apart from some input from Left Brain, and had a very distinct sound to both of them. While ‘BASTARD’ was sloppy on production and vocal mixes and ‘GOBLIN’ leaving fans wondering where Tyler would go next with his luxurious instrumentals and ‘FUCK THE WORLD’ persona, an album that would play out like a movie in your ears was nowhere in mind.

The beginning of the album, which starts off with a breeze of keys and a harmony from Tyler leading into the word ‘FUCK’ being repeated over an over again until we transition into the Hodgy Beats featured cut ‘Jamba’.

The album plays out like a comic book only Tyler could’ve drawn. It is filled with a variety of instrumentals; from the hateful ‘IFHY’ featuring Pharrell, the horror-movie-like ‘Pigs’ with the ‘check over your shoulder’ police siren sample playing throughout and the summer breeze tune ‘Treehome95’ featuring Coco O and the always feature-pleasing miss Erykah Badu.

As the album progresses, listeners will be able to tell that Tyler’s previous albums somehow fit into the story line of ‘WOLF’. Although it isn’t as violent or creepy as ‘GOBLIN’, the albums atmosphere is dense with emotion. Heartbreak, depression, mistrust, love and all the other emotions one thought Tyler didn’t have, were ultimately proved wrong.

As well as this, Tyler’s production also sounded clearer. Although the beats were simple, he had elements of Jazz, Rock, Heavy Metal and Hip-Hop influences flying around like crazy.

However, there is no doubt that the album holds a plethora of various topics from the last moments he spent with his grandma, sitting around a GOLF WANG campfire and (fictionally) selling drugs on one of the standout tracks ’48’, which has Frank Ocean singing in the background. (No Frank Ocean feature is a bad Frank Ocean feature)

To conclude, ‘WOLF’ is a breaking point for Tyler. It shows that he is capable of mixing various genres together through only one or two instruments, that he is a great and vivid storyteller and a Hip-Hop artist who makes Hip-Hop the way they want it to sound.



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