Weekly Fix #40 ('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 where you can find the music. The bottom section will be devoted to projects that have Bandcamp or online webstore links, to give a greater highlight to those artists who you can support directly. Click here to see a list of previous Fixes.

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Let’s get into this shit, because there’s a lot to go over.

We had a lot of albums this week, a strange week because it seems like most of the albums that came out were HUGE, long-awaited, or sudden and unexpected blockbusters (or a combination of the three). Westside Gunn made his Shady debut, 21 Savage brings Metro Boomin out of his studio for a follow up to the acclaimed Savage Mode, Bryson Tiller FINALLY DROPS AGAIN, Flee Lord drops his 9th project of 2020, and Hus Kingpin drops his second project in as many week. Like I said, a lot to fucking go over.

And there were even a shitton of good singles to talk about: I won’t go into detail again over here on the Fix (other than to say that Fivio track is still a bop), but go over to my recent Singles post (linked down below, and right here, fuck it) to get the run-down of all the loose tracks that dropped last week. Those singles, and three tracks from every album I talk about today, are all put into nice playlists made by myself, which you can find on my Playlists posts (again, linked below, and here, because fuck it).

Next week, we’re looking at another Grand Slam the likes of which Denny’s can only dream of. Reason is finally getting another album coming off of teaser after teaser, Headie One is dropping his lastest tape, we got Papoose, Trippie Redd (allegedly), and what will surely be a brutal collaborative album between Finn, Futurewave, & Saipher Soze. Keep tabs on all of these new releases over on my Upcoming Heat page, which is a nifty little calendar/list I created to help y’all stay on track with all of this new music coming out.

For all of my new readers: HELLO. For all of my old readers: PEACE. For everyone, old and new: THANK YOU, AND PEACE.

Here’s a link to the Week #40 (’20) Playlists

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Here’s a link to the Week #40 (‘20) Singles

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Here’s a link to the Week #40 (’20) Art Appreciation post

-----STREAMING PROJECTS-----

Westside Gunn – WHO MADE THE SUNSHINE

Cover Artist: Westside Pootie

This is Gunn’s third project this year, Griselda’s like tenth or some shit like that, and I am happy to report (as if there was any other outcome) that this album extends Griselda’s reign of terror yet another week. This is the FLYGOD’s debut album on Shady Records, which is exciting given that an album like this is able to pass the scrutiny of a major label, namely in the samples department. Daringer and Beat Butcha are credited on a majority of songs on here, so it’s safe to assume that, like wwcd, this project is mostly sample-free, an incredible feat given how old and antique this album sounds at times. Dusty, vintage, and rough loops make this experience like most other Westside Gunn projects sonically, but there are a few tracks that standout to me as some truly new territory. First, we have a Just Blaze beat that closes out the project, and it sounds exactly like I would have guessed Just Blaze would approach a Griselda beat, with the 90’s sensibility mixing well with his energetic and dramatic instruments. But the star of this show, and quite possibly the Griselda star-beat this year, is motherfucking Frank Murphy; Conductor Williams (who is the future of Griselda, or at least he should be) creates a complete monster of a beat on this one, a drunken, degenerate, and piercing beat, completely free of drums or anything else that would tether you to reality. You now the drill: Westside Gunn is not a lyricist, but his strength is in curating a team of guests that keep you fed with lyrics. Boldy James, the two other Griselda boys, Busta Rhymes, BLACK THOUGHT, FUCKING SLICK RICK BRO; and that doesn’t even touch the gauntlet of emcees that kill it on Frank Murphy, with Stove God Cooks, Estee Nack, Elcamino, Flee Lord, and Smoke DZA elevating that track to GOD status. All of this being said, for all of the positives, I think, personally, I liked Pray For Paris more, and will probably place that album higher in my year-end lists. But WHO MADE THE SUNSHINE is still incredible, and if Westside Gunn is truly ending his rap career after 2020 then this is a hell of a way to send it off… now we’ll see if that Madlib project ever comes out.

Spotify/YouTube/Apple Music

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21 Savage & Metro Boomin – Savage Mode II

Cover Artist: John Cannon

Metro’s absence in the past few years has been sorely missed in mainstream hip-hop. There is just something about the attention to detail and CRISP production methods that he uses that very few people out there who make trap music can match (maybe I missed the whole producer tag thing too). The original Savage Mode (which at the time was a hit on the ground, but was trashed by people who didn’t quite get the appeal) is a fucking bop, with some of Metro’s most disgustingly grimy beats to date, an aesthetic that he hasn’t even attempted to match with any other artist (besides maybe his Without Warning tape with both 21 and Offset, but even then it doesn’t touch that original tape). But since 2017, the Metro content, which was once a flowing stream, halted to trickles, broken by his debut solo project in 2018, but then again ceased. Savage Mode II is the first name-brand project from the producer in almost two years, and the growth I see here is absolutely astounding. The sequencing, the clarity, the ability to excel in several different sounds, some of which are much older than expected, and the overall vibe that binds the album together is reflective of the true genius of the man, a producer who’s “voice” is so necessary in telling the world where Trap music is in 2020. 21 Savage is obviously a natural fit in this regard, growing with Metro on a similar timeline; his topics are varied, his wordplay is much sharper and humorous than his early career, and the wisdom in his voice as a street gangster is visible in every bar he spits. This project feels like the most album-like project that Metro has ever put out (21 still has i am>i was to hang his hat on), with the Morgan Freeman skits (which are so legendary, I’m glad to now know the difference between snitches and rats, thanks Morgan) and the old-school throwbacks, and is a truly high watermark in his career. Listen to this shit if you’ve ever listened to come trap music and just wished there was… more. This alum has that “more” you’re looking for.

Spotify/YouTube/Apple Music

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YG – My Life 4Hunnid

Cover Artist: [Unknown]

While I acknowledge that this sound is totally not what people are going to coming to YG for these days, I can’t deny that the songs found on this project are really great pop-rap songs, showing that YG has a very clear understanding of the modern hip-hop landscape. The first few tracks and the last few tracks are sort of reminiscent of his earlier career, playing more into off-kilter beats and his irreverent and kinda goofy flows; there’s even some political posturing with FTP (fuck the police, I’m giving you both the name of the song and my position on the matter) like you would find on his Still Brazy project, but it’s by no means reflective of the entire project. While I think tracks like Blood Walk and SWAG fit nicely into the YG canon, it’s the tracks where he embraces those clean and sexy sounds of the kids of today that come through with the most compelling sounds. YG isn’t the best singer, but that is what he’s doing on a very large portion of the album, which can either be awkward (like on War Scars) or surprisingly emotional and stunning (like on Hate on Me), but no matter how it comes across I can tell he’s actually trying to make different music that speaks to him. While his pen game is about the same, having some fun bars in there in his straight-forward and no-nonsense delivery, it needs to be bulked up by some guest features, and My Life 4Hunnid definitely delivers in that regard. Lil Wayne and D3szn kill it on Blood Walk, and Tyga is surprisingly nimble on his appearance on here. Most of the features are on singing duty, with great appearances from Lil Mosey and Calboy (though the song pretty much sounds like a Calboy track with YG featuring), Ty Dolla and Gunna, and what is probably my favorite Lil Tjay appearance… ever. Hate on Me is up there with my favorite YG tracks, with a perfect feature, excellent vocal production, and perfectly repeatable length. Overall, after a couple albums that weren’t quite my cup of tea, this was a welcome return to great music from the West-Coast veteran, although it may not be the sound people are going to be looking for.

Spotify/YouTube/Apple Music

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Yung Gravy – Gasanova

Cover Artist: [Unknown]

A string of singles that all garnered my love led us into this album right here, and I’m damn close to calling Gravy the best comedy/rapper boi in the game right now. On the ground level: the man has flow, he has funny bars, he can even convincingly pull off some singing, he has an ear for great hooks. Almost every song here seems like it weas written to be catchy, with every hook and chorus having something that has me coming back hankering for more. The beat selection is both hilarious and comically hard, like the Always Sunny theme on the opener and the ridiculous banjo-trap on Tampa Bay Bustdown. For everything about Gravy that suggests he’s a meme rapper, these beats are the most genuine parts of his bit, because they actually slap like a motherfucker. The guests on here are perfect, with Chief Keef and Ski Mask the Slump God able to be their normal memey selves while still feeling like they totally fit on these tracks. Even Young Dolph, who is a much more serious-faced rapper usually, doesn’t feel out of place on here amongst all of the madness. If you want a rapper that is actually giving you funny bars without being cringy (I will say this until my dying day, and utilize any opportunity I am presented to express this: fuck Lil Dicky.), who comes with killer beats, and is accompanied by guests that make sense and don’t take things too seriously, then this is for you. Give it a chance, I promise it’s not as cringy as you might think.

Spotify/YouTube/Apple Music

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Willie the Kid – Capital Gains

Cover Artist: TCP // SHK

High-class, refined, no-fucks-given hip-hop, that stays squarely in the luxury and sample-driven underground sphere that Willie has been a huge part of in the past decade. There’s something about his brags and his boasts (because this album can be classified entirely as braggadocio) that feel so genuine, like whenever Jay-Z says some shit you just accept it because, well, he’s Jay-fucking-Z. Willie the Kid has that same energy, rapping not from the perspective of someone waiting to get into the top echelons of hip-hop, but someone who has been there for years, and is loving and relishing in every minute of it. The champagne, yachts, fine women, exotic dishes, and luxury locales, all come together to paint a picture of wealth that few rappers can touch. Despite all that, WTK’s voice still has that sense of the underdog, someone that, despite rapping like he has everything possible, you can’t help but root for him to have even more. The people he brings in on Capital Gains are the perfect members to indulge in his cocktail party of an album, with Action Bronson and Roc Marciano completing that triangle of bougie-rap that grew from the early 2010’s. Great beats too, not too flashy as to distract from Willie’s words, but that have that right amount of darkness, intrigue, or mystery to them to keep you going throughout the project. With only 25 minutes of runtime, you have a pretty airtight project, with no misses and some great replayability being found here.

Spotify/YouTube/Apple Music

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Bryson Tiller – A N N I V E R S S A R Y

Cover Artist: [Unknown]

We’ve been waiting a long time for this one. Five whole years for this one. You might say “well what about his True To Self album??”, but let’s be real, while that album has gems it is not even *close* to the quality we got on T R A P S O U L, which is a certified Trap/R&B classic. While this newest project still isn’t on that same level as his debut (which I totally expected, I can’t reasonably expect anyone to top that project), it is MUCH closer to hitting that mark than his sophomore album ever was. A large part of the appeal of the initial project is how intertwined Bryson and the instrumental could be: he would let it breathe, hit it with some sick melodies, maybe a solid rap-verse, then let that ambiance return. That is largely back here, with tracks like Inhale and Next to You reveling in the genius of the beats, which are like chopped/slopped R&B cuts from back in the day with some slap to it. Tiller doesn’t come with the rap flows nearly as much as he did before, and maybe he lets the instrumentals breathe a little *too* much at times, but the vibes are still on point, and the melodies are still as solid as they have ever been (the guy literally sounds exactly the same despite the five year gap). There are some cool moments in the first half of the record, but after the Timeless Interlude is when the album really starts to get into its groove, so I recommend sticking around for the entire thing before dipping. We’re even treated to a lone feature on here, something that the original project did not have, and it comes from none other than Drake. I’m torn, because while I like his appearance, there is pretty much no chemistry or collaboration between the two; the track pretty much sounds like a Drake track and Bryson track spliced together, good, but a bit underwhelming. This is a good project, and a solid follow-up to T R A P S O U L, and if you’re looking to get in your feelings a bit this week give this album a listen.

Spotify/YouTube/Apple Music

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Flee Lord – Lord Talk Trilogy

Cover Artist: Manuel “Cep” Concepcion

I’m going to get the only negative out of the way first: while I appreciate the clips of various radio interviews and other bits of context, I think they last entirely too long, and that affects my willingness to sit through the whole album. If you’re skits are over 30 seconds, cut that shit onto it’s own track. OTHERWISE, this is another solid project that really only serves to reinforce how 2020 is Flee’s year to shine, taking things back to the beginning with Godblessbeats on the production exactly like the previous two Lord Talk were. Flee Lord will do what Flee Lord always does, and that is rap serviceable and menacingly over great production, and this album is pretty much giving you what you already expected. I’ll admit that Pray for the Evil 2 and Loyalty And Trust 2 are higher in my ranking than this project by a hefty margin, but I do like how much more electric and dramatic a lot of these beats sound, and the features are, as they always are on Flee’s projects, fire as fuck. Eto has already shown how in-sync he is with the Lord, TF has made a great set of appearances on these projects recently, and Ransom… jeeeeeez this dude is a rapping robot, with crazy wordplay on his appearance here that left me stunned. We’re in the middle of history in the making people: Flee Lord says he’s going to release 12 projects in 12 months, and he’s 3/4ths of the way there already. Let’s just sit back and enjoy what we have, and eagerly anticipate what is yet to come.

Spotify/YouTube/Apple Music

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Larry June & Harry Fraud – Keep Going

Cover Artist: [Unknown]

I was actually unfamiliar familiar with Larry June at all before this project; I looked back and I have him on a healthy number of features in my library but he had never stuck with me like he did on this project. I’m not sure if singing is his entire angle or not, but he is super unique to my ears with his incredibly deep voice trying to hit these notes. It never quite hits, but it’s enjoyable all the same; imagine that Ice Cube or Snoop Dogg came out with a melodic album (the latter definitely already has, but still). He reminds me a lot of Virginia’s Monday Night, with the same sort of player-pimp energy behind his voice that is both west-coast and east-coast in a way. I love a lot of June’s work on this project, but it’s Harry Fraud that steals the show on this shit, imbuing his beats with soul and passion with skills that get sharper with each album he drops. Harry is so talented, been around for so long, and has collaborated with so many people, that the fact that he’s able to come through with beats that still surprise me is impressive. Let’s Got to New Orleans, Sunday Morning Drive, and Orange Juice in Vancouver are all stellar sampled cuts, mixed perfectly and utilizing such powerful samples that don’t override the emcees. This dude’s loop game is amazing, and his name really should come up more often whenever talking about the great producers of today. Jay Worthy (another person who I think June takes a lot of notes from, and who also has been given the Harry Fraud treatment this year), Curren$y (Harry Fraud treatment, twice), and Dom Kennedy all lend their voices to make this project even doper. If you like riding music, like true sunset driving music, then this is for you.

Spotify/YouTube/Apple Music

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ALLBLACK – No Shame 3

Cover Artist: [Unknown]

This dude entered my consciousness last year after he teamed up with Offset Jim to release one of my favorite projects of 2019: 22nd Ways. Jim had the gangsta aura, and ALLBLACK had the Wildman aggression, and together they were unstoppable over the Bay area slappers. By himself, ALLBLACK is still able to maintain attention on the shorter tracks, with his lyrics bouncing between the actions of an out-of-pocket pimp and a savage murderer, with some pop-culture references to keep you on your toes. I’ll tell it to you straight: the man is a goofy motherfucker, and he’s won’t ever come out you with anything conscious or “deep”, playing more into the history of San Francisco and maintaining the irreverent comedy-gangster aesthetic of the greats like E-40. Front to back (with a few lulls given it’s 42 minutes, maybe a bit too long) the beats are great, but there are some that clearly rise above the others. Anything by DJ Fresh is a fucking banger, P-LO is a beast on here, and Helluva Beats is become a staple of the area in supreme fashion. No Sleep is craaazzzy detailed with the watery synths and hard drumkicks, and Never is a straight throwback with the ugly guitar samples and 90’s drum pattern. A track like Chevron 2, which turns the BPM up to UNSTABLE levels, basically fits a 5 minute song into 3 minutes, with the verses on here being fiery and furious. The guests are another huge W for this record, with killer appearances from Jim, Cash Kidd, and Lil Bean. Too $hort on Never is special, because this really feels like a pinnacle moment for ALLBLACK as a artist who directly comes from the sounds that $hort basically created all those decades ago. But the MVP goes to DaBoii, the SOBxRBE emcee (which may or may not still be a thing?) whose skills on the mic is totally unrivaled by anyone on this album and otherwise in the larger Bay area, just an incredible talent. It’s difficult to keep up with this scene for me, but whenever something rises through the cracks, I’m always struck by how fire it is; give this project a shot of you like straight pimp music.

Spotify/YouTube/Apple Music

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-------SOUP’S HOT DEALS-------

Hus Kingpin & Roc C – The Hidden Painting

Investment: $20.00

Cover Artist: badblackli & producedbydani

Hus and Roc have a lot of similarities to each other, something that leads this short EP to feel a lot more collaborative in nature than a lot of projects in this same vein. They are both very loose and esoteric emcees, sort of rambling about various sexual and odd topics, throwing in some flexes every now and then to demonstrate how much cooler they are than all the other rappers out there (and I mean, hey, who can argue that with two guys who are among the legends of the underground genre). Hus postures as the leader here, grimy and smoky in his nasally voice, but Roc brings that real bass to the voice of the duo, low and hollow like the dead eyes of a dude who is actually about to murder you. The beats and features are surprisingly high-caliber, with production weight from the likes of The Alchemist, Stu Bangas, and MADLIB, with Fashawn and Kurupt (who brings an absolutely filthy energy to his verse) rounding out the guest appearances. It’s short at 18 minutes, but it divides itself nicely over five meaty tracks. Two EP’s back-to-back from Wavo was pretty much exactly what I needed; I’m glad to see he used his time in LA to give us some heat.

==> Wavo’s Website <==

Spotify/YouTube/Apple Music

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Lord Goat & Stu Bangas – Final Expenses

Investment: $10.99

Cover Artist: [Unknown]

Another person who I’ve seen their name thrown around, but I never knew how deep in the game Lord Goat was (who usually goes by Goretex) until I did some research and saw that this guy has been making music for over 20 years. Deeply collaborative with artists like Necro, Ill Bill, and DJ Eclipse, Lord Goat has as plethora of albums, mixtapes, and dozens of features under his belt in his vast career. With that context in mind, I went into this project expecting a person entirely comfortable with their craft, and that’s pretty much what I got. There seems to have always been a horrorcore slant to Goat’s music, but I was surprised to hear the deep boom-bap influence in the beats on the project, which I’m not sure if it’s just my unfamiliarity with Goat or the distinct influence of Stu Bangas behind the scenes. I’ll say that Goat is a pretty grossly talented emcee, with bars have this biting edge to them and a flow that is simple yet effective. He sounds like an emcee that knows exactly what he’s good at and doubles down on those elements. I’m definitely hip to Stu, who has done a few albums this year already, from his own solo project to an entire album with Recognize Ali, and his performance here on Final Expenses is a lot darker than I’m used to from him. He’s always had this comic-book cheeky slant to his boom-bap, but that seems to be replaced with a blackness behind the sample choices. Which leaves us with the features, which are pretty much exactly what one would expect from an album like this: Nems, Ill Bill, Vinnie Paz, Recognize Ali. The biggest impact is made by Apathy, who actually murders the fuck out of his verse. A very cohesive and brisk project, unflinching in it’s dedication to seedy hip-hop. Highly recommend for fans of Jedi Mind Tricks and Immortal Technique.

Spotify/YouTube/Apple Music

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Smoke DZA – Homegrown

Investment: $7.99

Cover Artist: shotbycones, BusyRivera, & Dominique Falcone

DZA has absolutely nothing to prove at this point; the dude has been around forever, a staple among the weed-rap communities and underground hip-hop at large, who’s skills on the microphone are matched only by the quality of his kush (alright I’m capping a bit I don’t smoke, but I ASSUME someone called the “Kushed God” would have some good weed). Pretty much any time this guy comes out with a project or a feature these days it sounds like a victory lap, and I think Homegrown is pinnacle of this attitude given the varied production styles and the huge number of features on here. A lot like a Westside Gunn project, the strength in a project like this (aside from DZA’s fantastic rapping) are the connections that he has made in his long career, and this album showcases that in spades. Production from 183rd Street, Girl Talk, Hit-Boy, and The Alchemist, a pretty diverse list for someone who operates under the surface of hip-hop. Features from pretty much everyone from New York legends (Jim Jones, Cam’ron, Jadakiss), youthful 2020 energy (Flipp Dinero, Jack Harlow), fellow weed moguls (Wiz Khalifa, Curren$y), and Jayy Grams, who is probably one of the most criminally underrated emcees in the underground right now. Just a very solid offering full of spectacle and excitement, and a reassuring gesture from someone who, given all of his other ventures, doesn’t really *need* to make music anymore: he does it because he loves it, and the music shows.

Spotify/YouTube/Apple Music

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