The song starts off with a nice instrumental guitar and bass riff. The vocals could be louder against the mix as this song is about the lyrics. Nice voice on the rap though. I’ll have to listen again to truly get the lyrics. I really like the instrumental track underneath the vocals, but not your typical track to put under rap vocals, more of an Indie Pop type vibe here.

The vocals rhythmic timing fits nicely over the instrument track, though. The song is very well mixed and produced. I really like the background female and male vocals that come at the end of the lead vocalist’s rhymes. The song is about taking back the power. While the rhymes and vocal delivery in this song are presented very nicely, the song itself seems to lack a more complex or nuanced message.

But the song itself is very nicely produced, even if it will probably not get much radio play in its current Explicit state. Being a professional Radio DJ on commercial FM new music stations, I’d like to hear and suggest the Artist come up with a clean Radio edit version to get more radio play. Really nice track for his fans, though.

SCORE/Excellent: Koine Poetry delivers a bitchin’ sounding rap performance over a well-tailored Indie Pop styled instrumental track on which he played all the instruments. I love the modern sound of the instrumental track and really like the flow of the rap vocals and the word choices in the rhymes. Very well put together, and I’m sure this will get radio play if the Artist decides to put out a Radio Edit version. Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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So let’s have a listen …

The first track on the album Dub to Speed is a dub beat with clips from his prior songs interrupting the flow. Unfortunately, the clips are not mixed as well as the beat, so not sure this works as the artist intended. Would have liked to hear a vocal flow over the actual dub track. This track goes on too long at 4:50.

Worth the Wait starts with a shimmering electronic keyboard riff. Funk beat. I’m surprised I like the vocals so much. That’s always a good sign for a hip-hop album. And the rhymes reverberate. The sign of a teacher.  I really like this song. No wonder the artist chooses it as his featured track.

The Game features a sports theme, as the song’s title would imply. I like the rhymes in this song, which is all about athletes and sports. The Game. Nice flow to the vocals. I’m not bonding with the cheesy keyboard drum beat though.

The fourth track Now and Then features a soul type beat, loving the saxophone. The vocal flow is really nice, got to give props to the artist, has a nice voice for this type of music. The words compare the artist’s past life to his current family life. The music is very simple, but effective. I like the record skips used in this one.

Track five Globetrotter starts off with an airplane sound which leads into lyrics about airplanes. The vocal flow on all these songs has the same rhythm, I would have liked to hear a little more variability from the artist. I do think the lyrics, however, are really well-written. I like hip-hop that makes me think. You too?

SCORE/Good:  I really like the lyrics on this release. The voice sounds nice and that is a plus sign for this type of hip-hop album. I do think the songs employ the same vocal flow, just set to different rhythms. I also would prefer live drums to the programmed ones. Worth the Wait is a killer song, maybe should be released as a single. Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Rumors of Kendrick working on a new album have taken over the internet. Since the battle has slightly taken a backseat, Kendrick’s win has been cemented as people around the world followed this year’s rap anthem, “Not Like Us.” However, with the announcement of Kendrick headlining a Super Bowl performance, things took an interesting turn, sparking rumors of a new album even further.

As big as the Super Bowl event is, Kendrick’s candidacy was not met with universal agreement. Some argued that Lil Wayne should have been the lead performer, while others accused Lamar of exploiting his current dominance to promote himself even more.

Regardless, these rumors and debates became irrelevant when Kendrick officially dropped his sixth full-length album with no prior announcements or promotion.

So, ladies and gentlemen, let me introduce Kendrick Lamar’s new LP, GNX, which completely deviates from what we usually hear from him.

After hearing the snippet of what was supposed to be the teaser track, nicknamed by fans as “Broccoli” (later evolving into “squabble up”), I could already sense Kendrick’s direction as very different from what we heard on Mr. Morale & The Big Steppers. During the feud, Lamar ventured strongly into West Coast soundscapes with a big emphasis on trap and hardcore hip-hop. While not repeating the mainstream sound of DAMN., Kendrick’s new LP certainly feels like a victory lap, reminding everyone why he’s the best.

This album shines a light on a different side of K-dot, known here as Kung Fu Kenny, who fills tracks with aggressive inflections, raw energy, and boastful hooks that stick in your head. Kenny immerses you in cinematic, grandiose atmospheres like on “wacced out murals,” where Kendrick acknowledges his hard work, stating that he deserved the Super Bowl performance no less than Wayne.

The album leans heavily into trap-infused tracks, with songs like “hey now,” “squabble up,” “peekaboo,” and “tv off” showcasing Kendrick in a more vicious, hungry, and ambitious mode. GNX shows an MC still hungry for the crown, demonstrating a sharp contrast to the more grounded persona seen on his previous LP. This album acts as a testament to him being a deserving champion.

While Kendrick shifts focus to a trap-heavy sound, he doesn’t abandon his introspective style. On tracks like “man at the garden,” he steps away from the dynamic, boastful MVP themes to reflect on his journey:

“I deserve it all.”

Here, K-dot stays on topic but brings sincerity and vulnerability, reassuring himself that he and his family truly “deserve it all.”

Another lyrical highlight is “reincarnated,” where Kendrick samples 2Pac’s “Made N**az”* and dives into raw, introspective reflections on his childhood with unfiltered energy.

Beyond Kendrick’s lyrical prowess, the album’s more laid-back moments stand out as well. Tracks like “luther” and “gloria” shift the mood entirely. Featuring SZA’s starry vocals and dreamy soundscapes, these cuts nail the melodic aspects of the record. While the album lacks many such melodic tracks, when Kendrick ventures into this softer aesthetic, he excels with exceptional results.

A surprising element on GNX is Jack Antonoff’s production. While some tracks on albums curated by Jack like The Tortured Poets Department felt uninspired, Antonoff finds moments of brilliance here, adding textures that elevate Kendrick’s atmosphere.

Despite its concise runtime and focused tracklist, GNX doesn’t always hit the mark. Some songs, like “peekaboo” or “gnx,” feel less impactful, relying too heavily on hardcore West Coast beats. While standout heaters like “tv off” and “hey now” showcase Kendrick at his best, other cuts lack the freshness expected from a Kendrick project.

Score/Excellent: Is this Kendrick’s best album? Certainly not — and for me, it might even be his weakest. But that doesn’t make it bad. GNX takes Kendrick in a different direction, offering him space to reflect and have fun.While it may grow on me over time, for now, GNX is a solid record that just doesn’t have the same “BAM” as Kendrick’s previous classics.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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I’ve been a big Uzi fan since his Luv Is Rage 2, and I even consider him one of the biggest artists I was listening to while I was growing up. Although Pink Tape underwhelmed many, I saw it as showcasing Uzi’s uniqueness as an artist, emphasizing his passion.

It ranged from so many concepts, sounds, and ideas, allowing Uzi to explore his self-claimed “rockstar” persona. Whether it was the experimental rock, the mixture of rage and trap, or the influence of metal elements, it all somehow complimented his charismatic and playful persona. While not blown away by it, I could see Uzi’s vision, even if it lacked proper implementation. With this newly established route on Pink Tape, one would expect Lil Uzi to try to delve into it more and refine it further. Instead, with little to no roll-out, Uzi has announced his brand new album Eternal Atake 2, killing off every single expectation.

Right after the Pink Tape, Uzi teased 2 to 3 different mixtapes, whether it was his Barter 16 or Luv is Rage 3, though none of them have surfaced because of the leaks. But as of November 2024, with no of these “What If”, his newest release is Eternal Atake 2, serving as a sequel to Uzi’s 2nd most successful album — Eternal Atake.

So, without further ado, let’s delve into Uzi’s cosmic sequel.

From the first sight, Eternal Atake 2 doesn’t just seem like a random release but also feels this way. With a quite short track list for Uzi’s standards, you get a 40mins of commercial-free music which consists of Uzi’s most unmoving music yet.

The album feels half-made, rushed, and empty. The majority of the track list feels as if it has the production of the generic side from Pink Tape featuring a straightforward drum pattern with a quite predictable sequence. Just like on “Mr Chow” Lil Uzi simply sticks to the repetitive beat structure, and the monotonous, leaving the track feeling colorless.

Once you reach about halfway through the track list, a pattern in Uzi’s production choice on the album becomes apparent. It rarely surprises and instead comes across as a mediocre trap with a “rageful” tone. In some cases, Uzi jumps into the jersey club style, like on “Perky Sex,” which might be one of the best highs on the record thanks to its contrast with other songs.

Yet, the production is not the record’s main issue; the core problem is Uzi himself.

From the first track, he adopts the lazy mumbling style, which is the best Uzi can offer here. I have never heard him be as disinterested in his rapping as on this album. Uzi’s execution is purely narrow-minded, with a mixed vocal package that doesn’t benefit the deeper tone of his voice.

Even when compared to tracks like “Fire Alarm,” where his deeper voice shines atmospherically, his vocals on Eternal Atake 2 sound strained. On the “Paars In The Mars,” his voice feels as if he smoked 40 cigarettes in a row and has spoken since, creating a disastrous mix with deteriorating delivery.

Despite all the negativity surrounding him, it would be inaccurate to claim that Uzi has completely lost his talent. In “Light Years (Practice),” Uzi seizes the opportunity to create captivating songs and rap like the rent is due. With such passion and hunger, Lil Uzi fills you up with his contagious and charismatic energy. “Chill Bae” also stands as a more laid-back and atmospheric melodic track. It is quite weird to me that this album is capable of great production decisions and can deliver, but it rather does it in extremely minimal amounts.

I genuinely wanted to enjoy this record, hoping to see Uzi progress even more since his last full effort. Unfortunately, this album delivers to you a couple of songs that may be equal to Uzi standards that instantly lose their appeal within a largely disjointed effort.

Score/Mediocre: To summarise, Eternal Atake 2 has nothing from the original album beyond its name and falls short from the start with limited joyful moments.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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As for the track itself, David Boyle creates a vicious and menacing atmosphere, conveying the traumatic feelings E. Jean Carroll endured through the song’s sonic landscape. I found the instrumental and message compelling, with a very clear motive. I saw it more as a scream from the soul—a statement rather than just a song. Now, with his new single, Boyle delivers an even more intense dose of directness and passion.

The new track, “Donald Trump Is a Rapist,” hits even harder, with sharper lyrics and a beat that continues the path set by “E. Jean Carroll.” The relentless, haunting beat drives home the track’s intensity, completely dismantling Trump’s image. Boyle again brings up the fact of Trump’s assault, now touching on his other victims and racist bigotry toward Haitians.

Boyle’s anger and energy are palpable, and the dark, deteriorating beat grips the listener. Lyrically, Boyle uses Trump’s own words against him, twisting “Make America Great Again” into “You didn’t make America great again; you might make America raped again.”

From the track’s opening seconds, it’s clear Boyle aims to discourage Trump supporters in the current presidential race, stating, “So, don’t make America raped again / Don’t let Donald Trump rape again.” This is just one of many points where Boyle emphasizes how mistaken voting for Trump would be.

My favorite part of the track is the ending, where Boyle closes with, “Would you vote for Trump if he raped them or their wife or their daughter?” reminding listeners that such a decision is unconscionable. This line encapsulates Boyle’s angry, passionate critique.

With “Donald Trump Is a Rapist,” David Boyle encourages others to write songs that fearlessly confront such topics without sugarcoating.

Listen to “Donald Trump Is a Rapist”

Link to the song

Score/Good: To sum it up, “Donald Trump Is a Rapist” follows the path Boyle has set but now takes an even more direct approach. Boyle shifts from the perspective in “E. Jean Carroll,” addressing listeners and questioning why anyone would support Trump. His initiative to create tracks on such themes is commendable and stands as a significant step in the music industry.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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One of the most surprising yet eagerly anticipated albums of 2024 is CHROMAKOPIA. On October 16, Tyler shared the news of CHROMAKOPIA alongside the lead single, “Noid.” A series of CHROMAKOPIA world tour announcements and dates would soon follow. The night before the album’s release, a listening party in Los Angeles hosted by Tyler was held. It offered fans a unique opportunity to engage with the music at an accessible price of $5. The album officially dropped on October 28th at 6 AM, turning heads and igniting conversations among listeners.  

Featuring 14 tracks, the album showcases a stunning mix of collaborations. Guest artists like Doechii, Daniel Caesar, Teezo Touchdown, Childish Gambino, Schoolboy Q, Willow, GloRilla, Sexyy Red, and Lil Wayne contribute their styles, enriching Tyler’s vision. However, one standout aspect of CHROMAKOPIA is undoubtedly the voice of Tyler’s mother, who lends personal insights throughout the album.

24 hours after release, CHROMAKOPIA has already surpassed 85 million global Spotify streams. It is projected to have the largest Hip Hop debut of 2024.

Leading Guest Appearance – Tyler’s Mother

While the guest artists bring their flair, Tyler’s mom is undoubtedly one of the most memorable contributors to CHROMAKOPIA. Throughout the project, she shares insights on dating and life choices with her son.

Starting off “St. Chroma,” the album’s introduction, listeners hear her voice say, “You are the light, it’s not on you, it’s in you. Don’t you ever in your MF life dim your light for nobody.” This sets the mood for the album’s rich artistic expression and exceptional musicianship. It’s worth noting that Tyler writes, produces, and arranges all the tracks on this album, himself.  

Another poignant advice from his mother appears in “Darling, I.” She states, “Whatever you do, don’t ever tell no B*tch you love her. If you don’t mean it, Don’t tell her.” Tyler then dives into themes around the constraints of a monogamous lifestyle and long-term commitments in the subsequent verses.

In the track “Hey Jane,” she shares thoughts on safe practices, telling him, “Always, always, always wear a condom. Don’t trust them.” As the track progresses, he expresses his fears about fatherhood. In the second verse, he details the concerns surrounding a woman’s perspective on abortion. This song is among the most reflective and honest offerings on the album.

Themes Throughout the Album

One notably intricate song is “Take Your Mask Off.” It’s an emotionally layered piece that showcases both personal and universal struggles. Tyler emphasizes authenticity over appearances in this track. He confronts feelings of imposter syndrome in the first verse. While unraveling the interplay of sexuality within the Black church context and its ties to the down-low community, in the second verse. His third verse addresses postpartum depression and the regrets some women face concerning unachieved aspirations during early motherhood.  

‘Keep that sh*t 100 with you, with self. You don’t have to put on a costume. You ain’t ever gotta lie to kick it’-Tylers Mom speaks halfway through the song, echoing the overall theme. 

A rite of passage, CHROMAKOPIA examines Tyler’s growth as well as relationships with others whose lives contrast with his own. It encapsulates wisdom handed down by his mother alongside knowledge gained through years in the music industry as a creative individual and a partner in various relationships. Comparing this to his past work in “Call Me When You Get Lost,” one can truly appreciate Tyler’s evolution as an artist, man, and son.  

Tracks like “Rah Tah Tah” and “Sticky” bring a lively energy to the album. Meanwhile, both “Balloon” and “I Hope You Find Your Way Home,” the concluding track, feature stunning arrangements and instrumentals, beautifully wrapping up this artistic compilation.

In “I Hope You Find Your Way Home,” we hear Tyler’s mother expressing heartfelt emotions one last time. She acknowledged his journey and reinforced her pride in him as an artist, urging him to continue “shining.” Her heartfelt gratitude provides a fitting finish to this remarkable musical gift Tyler has presented to the world.  

Where to See Tyler Live

Fans who wish to experience Tyler live can sign up for the waitlist for Camp Flognaw’s 10-year Anniversary festival. Additionally, tickets for the CHROMAKOPIA World Tour will go on presale this week on Ticketmaster. The tour is set to kick off in St. Paul, MN, in February and wrap up in Newark, NJ, in July.

Genre- Hip Hop/Alternative Hip Hop/Funk

Track Ranking

St. Chroma-3

Rah Tah Tah-3

Noid-4

Darling, I-4

Hey Jane-4

I Killed You-3

Judge Judy-3

Sticky-4

Take Your Mask Off-4

Tomorrow-2

Thought I Was Dead-3

Like Him-3

Balloon-4

I Hope You Find Your Way Home-4

Score/Excellent: A master level of musicianship and production is evident throughout this very thoughtful body of work. With its beautiful musical arrangements, this album provokes deep thought and uncontainable joy. It will age incredibly well and will become a standout in Tyler’s already impressive portfolio. 

The post Tyler, The Creator – CHROMAKOPIA (Album Review) appeared first on Music Review World.

Future has repeatedly delivered the need for extra quality on his mixtapes, delivering an exceptional level of artistry and intensity that sometimes surpasses his studio record. Such instances could be the well-known mixtapes Monster, 56 Nights, Purple Reign, and Beast Mode, all released during 2014–2016 what is called to be Future’s 1st prime.

However, right now, Future is at the 2nd peak of his career, surpassing 60 million Spotify monthly listeners, achieving new unexplored heights. So my expectations for this record have been naturally pretty high as I have enjoyed both of the recent Future records.

However, I think I might have expected too much. In MIXTAPE PLUTO, Future once again embraces his alter ego, Pluto, which he hadn’t truly acknowledged since his collab tape with Lil Uzi Vert. So, the build-up to this record was more grandiose, as this is the first Future solo work from 2022. So without further ado, let’s see what MIXTAPE PLUTO got.

From the beginning of the record with “TEFLON DON,” Future already demonstrates to us the soundscape that is going to be dominant on the album. More or less regular trap production accompanied by famous trap producers like Southside, Wheezy, ATL Jacob, London on da Track, and others.

If at first hearing the Future on more aggressive and straightforward beats was slightly refreshing, after a while it becomes simply stale.
With Future’s work with Metro, they created a powerful artistic work around the record, but here Future himself acts like he does not want to be on this album.

I certainly feel that here as he just continuously hits us with repetitive production and a monotonous delivery that gets boring
pretty fast. There are several cases where Future changes things up, alongside his delivery on the more melodic parts of the album like
“OCEAN,” “SURFING A TSUNAMI,” and “LOST MY DOG.” I would probably say that “SURFING A TSUNAMI” is the best song on here, as you get the most interesting and captivating chorus that brings the ideal mix of the Future’s rapping and melodic production.

It is also worth mentioning that it feels like the entire album was done in one take, with several breaks between the freestyle sessions. On some tracks, Future runs out of things to say pretty fast, which leads to the track being shorter or having prolonged breaks in between the verses.

Here is the thing. I would say that there is no comparison here to something we heard on We Don’t Trust You or We Still Don’t Trust You. For example, We Don’t Trust You has given an incredible mix of bangers and cinematic performances, while We Still Don’t Trust You did a good job of showing us more of the melodic side of the Future. However, this one feels like it doesn’t have anything to offer at all.

The production incorporates usual synth melodies with plain 808 bass and soulless drums. Here, Future’s performances do not compensate lyrically or in their delivery for already weak production. Sometimes, he stirs his quite tedious flow up with something different, like on “PLUTOSKI” or “MJ”. On these tracks, Future explores a slower rhythm of his songs, making it seem as if he’s menacingly whispering to you. 

With “PLUTOSKI,” which had the potential to be one of the better cuts from the record, Future ruins the track with his sleepy moaning that serves as a chorus to the song. I must say that some ad-libs, or performances, might have been more explosive and interesting if not for the subpar mixing. Source: Future | Youtube

As an example, in the song “MADE MY HOE FAINT,” Future incorporates “The Hills” by The Weeknd as both the starting and ending melody. The drums, snares, and bass in the track are so chaotic and booming, which causes Future’s vocals to sound heavily distorted, resulting in a one-dimensional sound.

After the first listen, I did not even favor any of the songs, as they sounded more or less similar to me. This album does not have
particular standout elements for me. Yes, there is a “PLUTOSKI” that got into my head, and it just felt extremely memorable because of the unusual and repulsive chorus of this song.

Score/Poor: Overall, I feel like It might work better for a particular audience. However, I am not really enthusiastic about any of the cuts on the album, and rather, I experience severe disappointment.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Rapper and producer Vinnie-Dangerous, from Fayetteville in North Carolina, has always prided himself on presenting a genuine version of himself to listeners through emotionally complex lyrics revealing deep-rooted issues in society and the music industry or unveiling events and memories that affected the artist in his own life. ‘Dream ‘Til It’s Over’, the last album in the rapper’s ‘Dream Trilogy’ including 2016’s ‘Yes, I Am A Dreamer’ and 2018’s ‘Dream To Escape Hell’, is a self-confessed ode to his son and Vinnie’s former self. True to his word, the album is a poignant collection of high-energy bass-heavy rap tracks and expertly crafted slow-burn jams filled with a life lesson or two.

At the beginning of the album opener ‘Left Alone’, a chill hip-hop track featuring an unearthly piano sample underneath Vinnie-Dangerous’ smoothly delivered bars, the artist voices the sentiments “Don’t be afraid to take chances” and “Nobody’s legendary playing it safe” when looking back on his younger self. ‘Dream ‘Til It’s Over’ definitely expresses his desire sublimely, serving as an album both experimental and reflective.

Both the 2nd and 3rd tracks ‘Hell’s On Earth Pt. II’ and ‘Got Me F***ed Up (ft. Saint Pat)’ are bass-boosted hardcore tracks bursting with the rapper’s savagely unapologetic lyricism, with the former track expressing disdain and disgust at the current state of the world (“Buildings burning people screaming”). Vinnie sounds visceral and rage-filled on the latter track exclaiming “I’m really trying to be a better person” over an old-school hip-hop instrumental; the artist’s scathing social commentary sounding loud and clear in his struggle to do good in a world overwhelmed with evil.

‘Found My Way’ takes a different turn with its laidback even tempo and Vinnie’s undisturbed flow paving a steady path for colourful anecdotes and reminiscences surrounding his early life in the music industry. Revealing lyrics in the chorus (“Right from the start, I came from the heart, I came from the dark and I found my way”) document how years of perseverance translated into a successful music career. As a bonus, a slowed and reverb version of the track is also included in the album, allowing listeners to sink further into this song’s breezy ambience.

All these years of experience as a musician afford Vinnie-Dangerous the ability to call out fakers and wannabes in his usual outspoken way on ‘Out The Field (FT. Tracy Lamont)’; calling attention to the sacrifice it took to earn acclaim (“I remember when I was down and I couldn’t get a meal with you”). It’s unfiltered lyricism such as this that really boosts the artist’s appeal as someone down-to-earth and self-aware in the current climate of boasting and flaunting wealth. This messaging bleeds into ‘Kavòn’s Interlude (FT. Poetic Enlightener)’, which displays Vinnie’s inner conflict while pursuing his dreams (“How do you forgive yourself after self-desertion?”), the rapper’s candid delivery highlighting this in a sobering fashion.

‘Westside Dead’ and ‘Do right’ uncover more about the artist’s motivations – ‘Westside Dead’ discussing Vinnie’s humble beginnings and the realities of growing up in a corrupt and unforgiving world. ‘Do Right’ explores Vinnie’s moral dilemma trying to figure out “What’s really wrong or right anymore?” in a world full of contradictions. On both of these tracks Vinnie experiments with different beats and rhythms, showcasing his expert ability to change up his flow and diction to suit new vibes and ambiences.

‘I Love You So Much (ft. Jones Michael & Peanut)’ a sweet R&B jam, is written for and about the rapper’s young son, and contains touching lyrics such as “Never have I loved someone like this” that really overflow with the emotion and affection he has for his family. Sung in a smooth and gentle croon, the rapper professes his desire to protect and teach his child the meaning of life, while undoubtably inspiring him to reach for his dreams. ‘Stargazing (FT. Viridian and Eddie Lo)’ also tackles the theme of love, this time towards a partner. As well as championing Viridian’s dreamy vocals and Vinnie’s suave delivery, the track taps into an enjoyable retro-tinged R&B vibe.

Vinnie-Dangerous sounds as confident and self-assured as ever on ‘Momma’s Cutlass’ and ‘N****s Gonna Be Ok (ft. Kamus Leonardo)’, two groovy hip-hop bangers that suitably illustrate what Vinnie is all about: addictively gritty hooks, killer bars, introspective lyrics and a cool attitude. With the rounding off of the album with the slowed and reverb version of ‘Found My Way’, Vinnie-Dangerous succeeds in bringing his audience full circle through his inspirations and aspirations, while still promising there’s more to come.

Score/Excellent: Listeners should only expect the finest quality of songwriting and production when going into any Vinnie-Dangerous record, and ‘Dream ‘Til It’s Over’ is no exception. A deeply personal album that is worthy of being recognised for the hip-hop masterclass that it is.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Big Sean is a standout figure in today’s rap scene, renowned for his thoughtfulness and cultural relevance. His emphasis on intentionality and the weight of his words sets him apart from many of his contemporaries. With a purposeful approach that eschews carelessness, Big Sean delivers a refreshing earnestness that resonates deeply with listeners. His sixth studio album, Better Me Than You, is a testament to his commitment to meaningful lyrics and impactful storytelling, without sacrificing superior production.

Context and Anticipation

Better Me Than You arrives four years after his last album, Detroit 2, generating anticipation among fans worldwide. Despite having only six studio albums, Sean has been fairly consistent before this most recent gap, releasing four mixtapes between his major projects. His latest album features 21 tracks, including singles “Precision,” “Yes,” “On Up,” and “Together Forever.”

In the past four years, Sean has embarked on new ventures, including fatherhood and writing his first book set to release in Fall 2024. These experiences, along with the pandemic’s transformative effects, have lent depth to his lyrics, exploring themes like self-awareness, inner strength, and mental health—a critical but often neglected topic in rap.

Themes and Highlights

The 21 tracks on Better Me Than You delve into Sean’s introspections and experiences with a palpable sincerity. Standout tracks include “Iconic,” “Typecast,” “Who You Are,” “Superstar,” and “It Is What It Is” featuring Gunna. Particularly poignant are “Black Void” and “Together Forever,” which highlight his lyrical prowess and commitment to promoting emotional transparency.

But the album’s gems are “Apology” and “Something” featuring SYD, where Sean’s thoughtful reflections shine through. Though more collaborations with The Alchemist would have been a welcome addition, “Together Forever” stands out as their sole yet impactful collab. Sean also worked with HitBoy on “This N That” featuring Bryson Tiller and Kodak Black, and “Million Pieces” featuring Teyana Taylor, Larry June, and DJ Premier, further diversifying the album’s sonic palette.

Cultural Relevance and Responsibility

Big Sean’s conscientious approach makes him a rare figure in today’s rap landscape, which often favors a more carefree, sometimes reckless, lyrical style. His commitment to delivering messages that encourage positivity, even amidst life’s struggles, positions him as one of the genre’s most mindful veterans. His dedication to mental health awareness, both in his music and interviews, addresses a pressing yet frequently overlooked issue in hip-hop that is prevalent in humanity. 

Better Me Than You is more than just an album—it’s a reflection of Big Sean’s growth and the responsibilities he shoulders as a cultural figure. His ability to weave his personal experiences, lessons learned, and societal observations into affirming lyrics enriches the musical landscape. In a genre that often diverges into frivolousness, Sean’s purposeful artistry offers a necessary counterbalance, underscoring the enduring power of words and their impact on the world.

Genre-Rap

Tracklist Rating

Pressure (Intro)-2

Iconic-4

Typecast-4

Break The Cycle

Who You Are(Superstar)- 4

Yes-3

It Is What It Is-3

Apologize-4

Clarity (Skit)-2

On Up-4

Something-4

Black Void-3

This N That-2

Million Pieces-2

Get You Back-2

Certified-1

Focus (Skit)-1

Boundaries-1

Precision-2

My Life/Happiness (Skit)-1

Together Forever -4

Score/Excellent: Big Sean’s sixth album stands out as his best compilation yet. He has reached his peak as an artist in this collection. This album provides something unique for every fan, offering deep reflections and learning moments. This project isn’t packed with radio hits or TikTok sensations. Instead, consider it a discussion piece that will likely be seen as a classic in his collection, featuring top-notch production, meaningful lyrics, and flawless storytelling. A true piece of art for listeners to appreciate and treasure.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Let’s get into it.

The album starts off with an intro of the type you’d find in an interlude, which is strewn across this record. Overall, these interluding pieces are decent, though I won’t grade them as I do with the other songs.

The album starts with “ULTRA SHXT”. Off the rip, I figured that we were getting a different type of Denzel in this album. The song itself sets a certain tone that is very familiar to my ears as it is reminiscent of the South Florida rap scene from the 2010s. The beat itself is pretty good, reminding me of the type of production The Alchemist would use. I would say this track is good overall. Although, the thing that keeps me from giving this song a 4 is the vocal effects, which I didn’t find fitting.

That last sentence could act as a harbinger of what’s to come in this album, as it unfortunately does not get better than this one track.

The songs I’m going to mention in this paragraph have a few things in common, being that they’re not completely awful, but they have issues that are way below the caliber that Denzel should be working with. The first is “SET IT”, which follow the track prior. The song itself is completely unremarkable, including a generic beat, but it’s not offensive to the point where its worth overanalyzing. The feature from Maxo Kream wasn’t bad at all though. Right after it is “HOT ONE”, which does feature Denzel performing the way he’s supposed to, reminding me of earlier projects, on top of a very menacing beat. So what’s wrong with it? The features from Tia Corine and A$AP Ferg are horrendous, contributing nothing to the song and bringing it down a couple of notches. “GZ’ UP” is the second to last song. While it is pretty catchy, the chorus is atrocious to the point where it’s barely listenable.

“BLACK FLAG FREESTYLE”, right smack in the middle of the first half, might just be the worst song here. Forget the terrible lyricism, how did Denzel let himself get out-done by That Mexican OT on this song (whose feature wasn’t even that good, by the way)? It was at this point that began to wonder as to what happened between the making of MMESYF and this record. As I said, Denzel does have a history of putting out singles of poor quality, but he usually hits home runs when it comes to releasing an album.

“SKED” is going to be one of the few oases that you’ll find on this album. Denzel sounds like he’s returning to form (for now), with the features from Kenny Mason and Project Pat doing a good job this time. The beat is also pretty good, incorporating elements of a catchy deep bass line.

“COLE PIMP” is much like most of the song, being unremarkable overall. Of course, to no surprise, Ty Dolla $ign was just as lame as he was on Vultures 1. However, I will say Denzel have one of his better performances on this track. The opposite could be said of the next track, “WISHLIST”. The beat here is one of the best on the album, but I find Denzel’s performance very hard to appreciate. That being said, Armani’s feature was great, having a nice flow.

The next track, “HIT THE FLOOR”…Dear Lord….Why?

I will admit that the deep bass beat is quite tempting, slowly growing into a guilty pleasure. However, the interpolation of that classic track (which I’m not too fond of to begin with) is absolute cancer. And, of course, Ski-Mask sucks on this track, as he usually does.

In the last song, “HOODLUMZ”, we do get our final taste of classic Denzel. Overall, there’s not much I can really point out, but the beat is menacing and Denzel gives a very good performance, along with PlayThatBoiZay and A$AP ROCKY.

1. “KOTMS II Intro” – N/A
2. “ULTRA SHXT” – 3
3. “SET IT” – 2
4. “HOT ONE” – 2
5. “BLACK FLAG FREESTYLE” – 1
6. “HEADCRACK INTERLUDE” – N/A
7. “G’Z UP” – 2
8. “LUNATIC INTERLUDE” – N/A
9. “SKED” – 3
10. “CHOOSE WISELY INTERMISSION” – N/A
11. “COLE PIMP” – 2
12. “WISHLIST” – 3
13. “HIT THE FLOOR” – 1
14. “HOODLUMZ” – 3
15. “KMOTS OUTRO” – N/A

SCORE/Mediocre: I guess Billie Eilish won’t be the my biggest disappointment of the year. There isn’t much else I could say, at least nothing that would be new. Whether it’s the beat choices, some of Denzel’s performances, or having one of the worst rosters I’ve seen on an album, the record was barely able to hold itself up. Yet, the album was still able to give us some decent moments, although none of them are really worth going back to. Guess we’ll have to wait for next time.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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