Weekly Fix #29 ('20)
Welcome to the Weekly Fix, where I go over everything that I’ve listened to that has come out within the past week. I’ll give a little blurb about the project/single with my feelings on it thrown in there, throw some descriptors and other artists names to give you an idea what the project/single is like, and link to all applicable streaming services/online stores where you can find the music. Click here to see a list of previous Fixes.
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Couldn’t have asked for a better soundtrack to my birthday weekend: great week, lots of quality albums to dig our teeth into from guys who haven’t dropped in a long time. KYLE following up Light of Mine gives me a great feeling, I’m excited to finally come around on listening to a Blu and Exile LP, and Joey Bada$$ drops a solo project for the first time since his All-Amerikkkan Bada$$ album back in 2017. Add in a return from the reclusive Rejjie Snow (and MF DOOM for that matter) and *two* Drake tracks and we have a solid week of hip-hop on our hands.
Finishing up my first write-up in well over a month, and it feels like I’ve accomplished something huge; I still can’t believe I used to write two of these motherfuckers a week and didn’t die from exhaustion. Maybe back then my real job was easier…
I want to speak a little on this whole situation we have going on with Kanye at the moment. Kanye West has always been a divisive figure, but he seems to be the most newsworthy whenever he has an album coming out. For years it’s been assumed he’s manipulating the headlines to drive sales and attention towards his newest ventures, but here recently it’s becoming increasingly clear that, while an album release might be a sort of trigger, the man is mentally unwell in the strongest sentiment. The things he’s been talking over the past few days have been… sobering, to say the least, and has me reflecting on the fragility of the brain and how commonplace these problems and breaks happen in our society. I’m not here to police the memes (I admit, I’ve laughed at a few of them), but I ask everyone to try and see the situation with Kanye West through an eye of sympathy rather than ridicule. One of the greatest figures in hip-hop deserves to go out better than through manic rants on Twitter and losing his family. Just some food for thought; let the memes continue.
Of course, musically, the possibility of Kanye actually dropping his next album (possibly titled DONDA?) this upcoming Friday is on everyone’s mind; like every post-The Life of Pablo release, I’ll believe it when it’s in my iTunes. In terms of stuff that is actually coming out (and some stuff that’s already dropped and I’m digging into as we speak), we have a new Boldy James LP with jazzy Sterling Toles, Gunna is dropping a deluxe version of one of my albums of the year WUNNA, and Curren$y has a new tape with Harry Fraud. Oh yeah and Logic is retiring or something. Check out all of this stuff, and what’s coming in the far-beyond, over on my Upcoming Heat page.
Here’s a link to the Week #29 Playlist (’20) for y’all
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Here’s a link to the Week #29 (’20) Art Appreciation post
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Joey Bada$$ – The Light Pack
It’s not going all the way back to 1999 like a lot of people were hoping, but it is a significant step towards that result. There are no attempts at mainstream trap, no weird inspirational anthems, and no singing. This is hip-hop in the vein of rappers like Jay-Z and Pusha T; the beats have a dusty-fresh feeling to them, with boom-bap elements being present but not the focus. While this is definitely a step in the right direction, I think that Joey’s lyrics are an even more impressive breath of fresh air, with a focus on well-written bars and topical one-liners that I haven’t seen from Joey in a while (aside from the occasional feature). There are only three songs on this EP, it’s less than 10 minutes overall, so I don’t have much more to say other than this is solid hip-hop. I’ll say that my favorite part was that Pusha T feature; although I don’t think the beat complemented the vocals from either of the two gentlemen, I’m always ready to hear what Push has to say about anything. Again, Jay-Z and Pusha T are natural beginnings to explore after this, and if you like other artists like Ab-Soul, Jay Electronica, and Nas, you’ll definitely like this.
Spotify/YouTube/Apple Music
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KYLE – See You When I am Famous!!!!!!!!!!!!
While it doesn’t nearly reach the heights that his last album, Light of Mine, was able to reach, I think this album is a solid enough edition to KYLE’s discography. I think the length is an issue: y’all know that normally I’m all for shorter albums, but KYLE has such good ideas for songs and his presence is so enjoyable that I don’t mind solo tracks and a longer runtime. It’s just that not only is the album so short, but he brings in a crazy number of features, so that in the end you feel like you’ve actually only heard KYLE for a few minutes. It doesn’t help that there is an interlude track that takes up even more space. Still, the actual content is fantastic: KYLE is as funny, heartfelt, and bubbly as ever, and the beats range from whimsical to emotionally reflective. A lot of people say that KYLE is just all positive, but what I think I like most about KYLE is that, yes, he’ll tell you how much he loves his life and his art, but he’ll also give you doses of his loneliness and his need for validation. I mean hell, the name of the album is a dig at all of the people who thought he was never going to be shit, showing that he craves that recognition. It goes beyond being a Chance the Rapper-esque character, and more than anything I think KYLE sounds human. Lots of great song topics on here, a great (if not a little overwhelming) spread of features, and standout melodic performances from KYLE make this an easy, fun, and quick listen for anyone who likes clean pop-rap. I get some heavy Post Malone vibes on this album, but Chance the Rapper, Kota the Friend, old Lil Yachty, and DRAM are all good comparisons as well, the difference being is that KYLE can sing very well. So if you like any of those guys you’ll like this.
Spotify/YouTube/Apple Music
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Blu & Exile – Miles
What a wonderful and delightful romp down classic boom-bap lane, with wonderfully luscious production and A-tier DJ scratching. I feel like less of a hip-hop scholar saying this, but I have never listened to Blu and Exile’s original album Below the Heavens, having started my listening of these two with this previous EP True and Livin’ (two of the three tracks on that EP find their way onto this album too). I absolutely loved that EP, and knew that if and when the album came I would probably love that too; you should have seen my face when I saw 20 tracks and an hour and thirty-five minute runtime. If you know me, you know that I think there is only one double-album in history that hasn’t overstayed it’s welcome (hint: it starts with “W” and ends with “utang Forever”), but by the end you don’t feel like Miles was taking too much of your time; the main reason why the album is as long as it is comes down to a select few tracks that really reach up there in runtime, with 5-9 minute tracks not being uncommon. However, all of the nitpicks with the lengths are overshadowed by the content on this record, a massive statement from Blu as a rapper and Exile as a producer on why their voices are crucial to hip-hop today. A clear, substantial link to jazz is always something the genre needs to relive every once in a while, and Exile gives every single beat and idea the attention it deserves. The writing on this thing, from the individual bars to the song topics at large, is actually astonishingly good, with some of the motifs (such as the color blue and Miles Davis’ life itself) spanning across the entire record tastefully. It’s going to take me a lot more time than usual to digest this project, but I can say this is one of the most substantial records this year. A Tribe Called Quest, Madlib, Thundercat, Black Star, Statik Selektah, and that underground energy and wit of MF DOOM make their impressions felt here, and if you like any of those artists you need to listen to this; just give it a little bit of patience.
Spotify/YouTube/Apple Music
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Sheff G – Just 4 Yall - EP
Short, lots of collaboration, and each track being solid gives me the impression of a pack of singles, which is a great look to put forward for someone on the come-up like Sheff G. People like Sheff G and Sleepy Hallow are great artists because they are providing a great bridge between this new Drill movement going around New York (now mainstream with Pop Smoke’s album doing as well as it did) and more traditional pop-trap that’s been wider-spread in America here for a while now. There is enough of an exotic feel to these beats to know that they are different and fresh sound for the United States, but they still have that familiarity to their structures and snares that will bring in new listeners. It’s a great middle ground between the pure progression of Pop Smoke and Fivio Foreign and music that’s popular here. Sheff G has a great flow, can be both heartfelt and bloodthirsty in his delivery and melodies, and knows a lot of people that are reliable for solid features that really build out the sense of “scene” out in New York. You get A Boogie, Sleepy Hallow, and Jay Critch on here repping NY, with some others in there that show how Drill is spreading through modern trap like King Von and Rich The Kid. I’d say Rich The Kid and the whole Rich Forever movement is a great comparison, so if you like pop-trap that is vaguely familiar to that sound then I think you’ll love this. It’s only five tracks, and all five tracks could be solid singles for an upcoming Sheff project, so you know you’re getting quality.
Spotify/YouTube/Apple Music
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UFO Fev & Termanology – From El Barrio, With Love
I’ve always known that UFO Fev had it in him to put out a truly great project that reflected the wholeness of his talent on the microphone, and I think it took Termanology to unlock that potential in him. Don’t get me wrong, I love the last project that Fev put out with Statik Selektah, but I think the tone that Statik was going for didn’t complement UFO as deeply as this newest project does; Statik was sunny and nostalgic, throwing in the occasional dark wrench into the program to spice it up, but Term fits these beats to UFO like a glove, giving us a more cinematic and gangsta feel. UFO isn’t a mafia don like Raekwon or Ghostface would be, but he is a straight-shooter lyrically, his no-bullshit approach to his rapping is complemented by the darker and more nuanced beats. I don’t know why I never noticed how amazing of a rapper he is before this point, but I think it has to do with how fantastic these beats are, elevating the entire project from the floor to the ceiling. I still can’t believe that Termanology came through with a spread of beats as amazing as these; it reminds me a lot of whenever I found out that 38 Spesh makes beats, and as opposed to many rappers-turned-producer types, the results are surprisingly ill as fuck. Amazing sampling work and superb layering of complementary instruments give the LP this feel of consecutive movie scenes, with different ideas and unique samples brought on each new track. A+ effort from everyone involved here (big ups to the featured Styles P and Mia Jae), and consider me a massive UFO Fev fan after this one.
Spotify/YouTube/Apple Music/Bandcamp
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Nomad Carlos & The Artivist – The Psyche
Carlos is different from a lot of other rappers you’ve heard, I can guarantee it. There are rappers that maintain a level head while still rapping out the life of a drug kingpin, but Nomad Carlos is uniquely cool as a cucumber pretty much all of the time, which is lowkey fascinating to hear play out over a full project. It’s unlike anything you’re used to if you fuck with the Griseldas/Roc Marcianos of the underground; it’s threatening, but you never feel like you’re in danger, violent but it feels… wise? It’s difficult to describe, but there is just this latent authority in this man’s voice that you can’t help but just nod and say “that’s the way of things”. There’s a GZA-ness to his wordplay, Masta Killa-like lethargy, and a standout accent that derives from his native Kingston. I had just recently gotten on to this guy, but I was hella surprised to see that shortly after I was put on he announced his next project would be produced by none other than New York’s The Artivist, who left a massive impression on me following his album with Rome Streetz at the tail end of last year. I think Artivist tailors his beat selection perfectly for Nomad Carlos’ laidback nature; where the beats were more boisterous and grimy on Joyeria, there’s more breathing room on these instrumentals, more reflection time, which Carlos taps into beautifully. Nomad went from some guy I’d heard of to a must-watch artist for me very quick, and y’all better get on this.
Spotify/YouTube/Apple Music/Bandcamp
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NoCap – Steel Human
While containing some average filler, I think the highs on this record outshine a lot of other artists in his lane. The flows are here, the heavy accent is here (an Alabama kid rather than ATL or New Orleans), and the melodies are definitely here. Whenever the beats hit upon a good instrumental, NoCap always takes advantage and makes the songs memorable, which is a good trait for someone like him to have. I’ll say that the features on this record go a long way towards making this album more of a statement than what I’ve heard from him before; usually kids like YoungBoy and Quando Rondo will forgo features and extend out the tracklist with solo songs, but NoCap breaks up the album with neatly placed features that keep you engaged throughout. If you like the modern trap vibes of NBA and Quando, the overdramatic piano and trap beats of people like Polo G and G Herbo, and a little bit of edge like some older Kodak Black, then I think you’ll enjoy this record just fine.
Spotify/YouTube/Apple Music
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Jay Worthy & Shlohmo – Till The Morning
I’m not sure who Shlohmo is as a producer, but I don’t think I’ve heard a more hands-off West-Coast producer in a long-ass time. You can tell that his skills reach out farther than hip-hop, with the way he layers his sounds being so much more in depth than I think an album of this aesthetic usually receives. It’s slow, cloudy, with a low undercurrent of synths slowly moving us along through the album. Despite the short runtime, these beats make it feel so much larger and fantastical than other EPs, with the molasses-like instrumentals keeping us suspended in time. Jay Worthy, that nasally and accented man he is, cuts through the instrumentals a bit sharper than I expected, but he still takes it slow to reflect the mood: more singing (which is hilariously off-pitch, but endearing), moans and drones, and lyrics that range a bit more widely than his usually pimp-fare. Probably my only negative thing I have to say about the album is this: I would have liked to have seen some more features on here. Still, if you like your music easygoing and slow, but still want some faint West-Coast umph, give this album a shot.
Spotify/YouTube/Apple Music
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-------SINGLES-------
Rejjie Snow (Feat. MF DOOM & Cam O’bi) – Cookie Chips
Dear Annie was an album that I liked a lot whenever it came out, but didn’t have much staying power with me outside of the tracks with features. This new single from Rejjie plays to a lot of the same themes and strengths of that LP, with his very understated and sleepy delivery being brought to life by a cute Wes-Anderson-type-beat and great performances from skilled guests. I’m not saying that I don’t like Rejjie, but often he’s so quiet and unassuming that it’s easy to just let the track roll over you. However, when framed between a killer Cam O’bi hook, and bookended by an awesome MF DOOM verse, the track demands attention in a way that a Rejjie Snow track rarely does. This track is so happy, positive, and sunny, sweet in the ways the melodies of the hook melt into the dreaminess of the instrumental. Does MF DOOM really fit on a track like this though? Does he really fit in anywhere? It’s an odd pairing to be sure, but everyone out there needs to feel blessed for even getting a new DOOM verse in 2020. I think if you like emcees and singers like Mick Jenkins, Smino, Noname, and Saba, you’ll feel right at home here on Cookie Chips. Especially from the production standpoint, sounding lifted right out of the Chicago scene, give this a listen.
Spotify/YouTube/Apple Music
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DJ Khaled (Feat. Drake) – POPSTAR
Now this is a fucking banger, top to bottom, with a beat that bumps like a motherfucker and a Drake slithering evilly and charismatically in a way that he only reserves for the hits. Could the lyrics have been sharper? Yeah, Drake is known for better, but this is a mindless banger that works on the strength of it’s one-liners and slaps, and in that department you have plenty to love. The beat is quick and detailed trap, with the hi-hat/snare factor off the charts. Drake himself has a lot of quotable lines on this one too (“cops pulling up like I’m giving drugs out / nah nah I’m a popstar not a doctor”…. Come on y’all that’s funny), and his flow, while being one that we’ve heard from him before for sure, still hits all the right notes for an enjoyably energetic trap banger. Any fan of Drake will like this, as well as guys like Big Sean for those interested. The best part though? Despite it being a Khaled track, he yells his name once and dips, which as a godsend in comparison to him adlibbing through the entire track like he usually does. I’m hoping to the hip-hop gods DJ Khaled’s next album (which is worryingly called KHALED KHALED… yikes) is good; I know he’s capable of some heat, and more solid tracks like this one can build a solid project.
Spotify/YouTube/Apple Music
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Problem (Feat. Freddie Gibbs & Snoop Dogg) – Don’t Be Mad At Me (Remix)
Lots of strange songs this week, and this one here from Problem might take the cake. You have three emcees, with three completely different approaches and styles vying for ultimate supremacy on this track, and it creates a solid competitive environment where everyone is coming out the gate swinging. Problem does the hook in his trademark monotone, where things aren’t necessarily flat as much as they are uncaring and aloof; the man is a pimp in his bones, and that apathy comes across perfectly in the way he mockingly tells his women “don’t be mad at me”. However, in the face of two of the most distinct voices in rap, Problem had a lot to prove on this track. Snoop Dogg comes through with his own brand of coolness. Snoop has never been one for knocking it out of the park on features, banking more on his unique and unmistakable personality to coast through an appearance, but he does great over this kind of instrumental. Speaking of the instrumental, I think it makes a cases for being the strangest thing here: you get the sharp synths and rubbery bassline that’s hallmark West-Coast, but it’s backed by this right loop of some sort of lone choir-boy melody? It’s lowkey goofy as hell, sounding like an instrumental E-40 would gladly hop on nowadays, but the relative simplicity and minimality of the beat gives it this edge as well. At least the beat is simple to my ears, but Freddie Gibbs is hell-bent on filling all of that empty space with words, because he demolishes this beat with an unstoppable flow and crazy intricate rhyme schemes. Freddie Gibbs sunning Snoop Dogg on a track is something only 2020 could have came up with. West-Coast lovers unite under this song, you’ll enjoy it as much as I did I’m sure of it.
Spotify/YouTube/Apple Music
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DJ Khaled (Feat. Drake) – GREECE
I’m not really sure what to make of this track if I’m being honest with y’all. The beat is a quick-tempo’d trap banger (similar to the other Drake/Khaled single from this week), excellently brisk hi-hats and crisp snares that is incredibly satisfying to hear rolling along. I’m loving the warbly synths and little spits of synth the track gives you, and as the track goes on the elevated keyboard drones and chipmunked vocal samples impart this serious vibe. Everything about the track is very stone-faced… except for Drake’s vocals. “Strange” doesn’t even begin to cover how to describe what Drizzy does to his voice here, taking pages directly out of the books of Carti, XO artists like 88GLAM and The Weeknd, maybe even some Bryson Tiller? The up-pitched vocals work with the moodiness of the instrumental, but I kind of never want to hear Drake do this again; it’s gimmicky and hard for the moment (which Drake has never been shy about partaking in), but I can see it getting cringy. Anyone who likes super processed trap music with a sheen on it you can see from space, then you’ll enjoy this.
Spotify/YouTube/Apple Music
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TyFontaine (Feat. Lil Keed) – Duse N Juice
You may have a difficult time telling the difference between Ty and Keed (at least until Keed comes in and you’re like “now *that’s* definitely Keed”), but I think both artists are cool enough to live with the redundancy. You’re pretty much getting some very energetic and squeaky Young Thug-inspired hip-hop, with the vocal inflections and high-ass unhittable notes following very closely in the footsteps of Thugger. It’s like taking the most outlandish deliveries from across Thug’s catalog, the chirps and the screeches, and distilling them into a single. You hear TyFontaine on the first leg of the track and think that this shit is totally insane, but it’s Lil Keed that actually comes through with the most animated delivery on the track, sounding more unhinged than I think I’ve ever heard him. This shit sounds like straight up goblins rapping their asses off, with tons of quotable bars and quotable… sounds?? Like some of the screams on here are just so funny to me I can’t help by laugh my ass off while listening. The beat helps fit the boisterous vibe with punchy sub-bass, cool chirpy wood-wind bleeps, and crisp hi-hats. While I don’t think it’s the most differentiating and unique material out there, I’ll be sure to check out whatever Ty has coming out on the future (since Lil Keed doesn’t seem to want to be as prolific as his brother Lil Gotit is).
Spotify/YouTube/Apple Music
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Tyla Yaweh (Feat. DaBaby) – Stuntin’ On You
People have been comparing this guy to Post Malone a lot, and while I can see the similarities in vocal tone (especially on the hook here, it’s pretty dead on) I think the actual substance of the verses is very stylistically different from Post in pretty much every way. Tyla experiments more with his flow, is more of a debauched partier, and gives more attention to the technical aspects of his rapping than Post does. In a lot of ways it reminds me more of a Chris Brown or a Trey Songz, where the singing and melody is definitely a strong suit, but whenever he comes through with a great verse you aren’t surprised by the skill shown. It’s great that Yaweh comes out as hot as he does, because DaBaby definitely gave him a run for his money on this bitch: fast and aggressive flows (what he’s pretty much known for, besides pulling up and hopping out), great sense of technique and memorable lines make this a quality feature from DaBaby. I’m loving the shortness, replayability, strong hook (maybe it repeats once or twice too many), good verses, and even a quality beat that reminds me of some old-school New Orleans or Florida hip-hop with it’s short synths and fast-paced percussion. While not sounding like Post Malone, I think fans of him will like this, as well as all of you Young Thug fans.
Spotify/YouTube/Apple Music
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Lund (Feat. Lil Skies & Noah Cyrus) – Broken
I’ve never heard of this Lund guy before, but I was curious to see how a track with Lil Skies and Noah Cyrus would turn out, and I’ve got to say I fell in love with the track and it’s whole vibe and aesthetic. What I’m hearing is a compellingly dark and moody trappy/emo kid with a lot of skill in creating a vibe. I love the seductive darkness behind his voice, smooth as hell while he delivers some admittedly cliché lyrics. Is it as angsty as someone like Lil Peep or XXXTENTACION? No, and in fact in comparison to some of the other kids in the same lane Lund is surprisingly more mature and reserved, with some Cobain energy flowing heavy here. He’s only on the hook, which is slightly disappointing (I guess this song may have had some verses back when it was released back in 2016 but I never went back and listened to that one), but I think the meat of the track being made up of Skies and Noah makes for some great material. Skies goes way harder on the beat than I thought he was going to given the vibe here, but he kills his verse with an entertaining flow that doesn’t let up. Noah is much more in line with the track’s instrumental (which is a great looped guitar sample); a lot like a billie eilish performance, but it fits the track perfectly. If you like a bit more grounded and adult Lil Peep music, maybe some more Grungy and shoegazy rock music, then you’ll get a kick out of this too.
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