The Best Albums of 2024
Autotune Karaoke's MVP didn't plan on making a rap album. The Fuck-It-We-Ball nature is not just a phrase but a lifestyle for this one(BALLING OUT OF SPITE). In a conversation with Zay, he told me it started from "Me being a dickhead like, I can do this type of music too." Even though he acknowledges no one doubted him forreal, it was more of a personal point to prove.
You might find he holds his inspirations close to his heart with him being a "Music Head," The NorCal rapper whose triumph started when he was only 9 years old and got a piano keyboard for Christmas. In 5th grade, when he was 10, he became passionate about sample-based music from the 70's love for Pi'erre Bourne. Sample rap led him to drop singles like "Boy (V)," the rapper who you can often see cameo in other work around la autotune but can occasionally catch on Instagram live perfecting his craft.
I first saw his genius in his stardom from his KWAMZAY production with a rap duo Kwame Adu but also his SoundCloud remixes of Tyler, The Creator's songs and MF DOOM’s accordion and even some djswagalog101 remixes (his alter ego). N.O.T.Y> Finalists is one of my favorite songs of '24. It's polished, real rap, stardom, and he's hooping. Zay finds pleasure in getting bars off that you probably wouldn't hear if not from him.. you'll listen to him saying shit like, "I'm too nice wit the sword, nigga, I'm a swordfish," just silly. Singing, "360Jeezy the way imma spin." If you like this, check out "MINE!!" and the single BESTIE (TOKYO).
Backstage Raver - Joanne Robertson & Dean Blunt
Linwood, New Jersey's own Michael Gordon, stage name Mk.gee has decided to debut his first studio album, Two Star & The Dream Police." Mk.gee has been a force in the industry since 2017, Releasing his debut single "I Know How You Get" and then moving on to two EPs, "Fool" and "Pronounced McGee," and then his debut mixtape "Museum of a Contradiction.
Despite his often indecipherable lyrics, in his own work, his lyrics are a strong point of what makes him so great. Some of the lines that we rave over. I'll proudly mumble the incoherent lyrics of one of the greatest songwriters of our time. "I'm not your hero, but I got his desire," he flaunts; this is just one of his many striking lines. He's really magic.
But he isn't just a great songwriter; sonically, this is everything you didn't know u needed, or maybe you knew it all along. This time warp of an album is what Mk.gee describes as a "Liminal Storybook." An alien obsession, he ditches the feeling of humanity in this album with the sound he created. with themes of minimal strange familiarity. In a Radio One interview, he talked about liminal spaces, and you can tell he’s achieved that goal/ vision with this album. I think one song he perfected that idea was Breakthespell, and I believe Mk.gee does the least while doing the most. transmutes it into his own, and while feeling familiar, you get originality. He's pinpointed what this album sounds like, familiar but far.
you aight white boy.
In a generation where nerds are obsessed with The Crying Nudes and mark william lewis, an ungodly allegiance to frequent collaborators Dean Blunt and Joanne Robertson will follow. A soundtrack for the miserable (but seriously). It's only 4 years after dropping a few gems together on "ZUSHI," A Dean Blunt Project. Dean Blunt's melancholic dream-like production, accompanied by Joanne Robertson’s vocals, scratches a part in my brain that I can’t discern. It is almost Like the soundtrack to some lost media that you can only recall vivid images of in your brain but never remember the name. Inconsistent in length and content, some songs have a chorus, others don't; I think the focal point of these songs is based on feeling rather than writing or structuring; there's a rawness to not overdoing it when you have an idea. Not everything; needs to be fleshed out or overturned, just vibe twin.
Joanne's solo work is what I liked to call dream-folk. It sounds like she is singing to you in an empty house from the other room (Check out Blue Car). Dean Blunt has made a name for himself in the past decade in underground, releasing many projects under the alias Babyfather, Blue Iverson, 1/2 off Hype Williams, and even getting mainstream artists' attention by collaborating with A$AP MOB, etc... Dean adds softs channeled drums and dramatic electric guitar strings to Joanne's once acoustic vibe. They fade into one another's ability like a trust fall or a ballroom dance.
Extra! Extra! Read all about it. Todd describes himself as the rockstar boyfriend, affectionate as ever; you can see his heart on his sleeve through your peripherals. This album tells us the imperfect love story of dating with his incoming fame and how his absence affects relationships. And how he’ll still miss you. I like how you can see that his music is the effect of post-Steve Lacy contemporary pop and funk, which gave us artists like Malcolm Todd, Biking with Francis, and songs like this from Taka. Malcolm has had a great start to his career, I first heard of him when Art House came out doom-scrolling away on the timeline, and voilà! Another eccentric white boy waltzing down the NYC streets, striking that damn guitar and being the crave of the month for teenage girls. Bedroom pop never left it exists in the crevices. This breakup album is more about understanding to me, understanding love and loss. With the up-tempo eupeptic vulnerability infused with funk influences, the sweet and sensual boy puts his twist on the Youve-heard-it-all-before content of young--rockstar--popstar's impending doom. He lowkey sounds like JMSN, at least for half a second during this. Favorite: Sore Throat. Eem Triplin being the only featured artist is random as hell, but it goes, they have the same ardor.
Sweet Boy - Malcolm Todd
Two Star & The Dream Police - Mk.gee
It's been three years since we heard a brand new Faye Webster album, and she wonders if you are "doing all the same things." The 27-year-old Atlanta musician's fifth EP was released on March 1, 2024. It is an essential album for me this year. Man, I can’t say I'll ever get tired of how she uses the pedal steel guitar throughout her work, combined with country, R&B, autotuned, and indie sounds that clash beautifully with her low and sweet vocals. The rich sound of Faye and her band's artistic decision to fill the silence with their playing instead of cogitated emotions about her situation--when there are not enough words to. Webster frames her more emotional lyrics behind the upbeat-sparkly-vocoder nature of her songs here. Many times through this album, it almost seems like we've interrupted a conversation between Faye and her thoughts. She says, "I thought that was weird, but I'm over it." She talks about her neighbors knowing her dog's name in "Feeling Good Today." "I wanna see you again/See, this is why I'm confusing."- Underdressed at the Symphony. And lastly, "But I'll keep my anonymity hidden/I just learned that word, I thought I'd use it" -eBay Purchase History. She's witty as hell.
Sarcasm is often her approach to referring to her bad habits as something she is "good" at. Faye wears her heart on her sleeve and isn't afraid of telling us how she feels. "I'm good at making shit negative," She softly avows on "Wanna Quit All The Time." She follows with, "I think I'll figure it out." This album kept the why of the breakup in the rearview but focused on the habits whilst in love and just thinking. But Especially when she says, "I want to fall asleep in your arms but not kiss." It's about being strong enough to set those boundaries, but she is still concerned post-split.
Faye Webster features Lil Yachty, her middle school buddy and once Awful Records affiliate, to join together, harmonizing on "Lego Ring." The song title is a euphemism for being hurt by a commitment to someone. She wants someone to showcase, no matter the cost. "I know what I need." It begins mellow and has a few tempo changes to become a rock-influenced-lo-fi rap. They take turns discussing this ring which hurts so damn good. Faye Webster did 77 shows this year and still found time to hop into impromptu symphony sessions, often underdressed. Nonetheless, if you like Faye Webster you should give this one a spin, she is doing great shit even taking up bass roles in a local band Upchuck.
26-year Asheville native preaches to the choir in catholic living and searches for self-acceptance. The Wednesday band member, Mj Lenderman, released his fifth solo album, Indie Rock-Country, with post-punk-inspired riffs and lyrics that deliver some stab-in-the-heart feelings. Manning Fireworks reminded me of how it first felt to listen to Pavement. I couldn't tell you if it's the rawness or tone of the vocals, but I do know that his voice is the main instrument--main attraction to me. On the title track, Manning Fireworks, MJ (Mark Jacob) dwells on growing up and having no one else to blame for his fate. "You’re manning fireworks close to the pyre," signifying bearing the weight of your past decisions. Lenderman knows he is the sole figure in the shadow of blame for existing so passively. "So you say I've wasted my life away/ well, I got a beach home in Buffalo." He often catches himself only calling to God when it's convenient for him to ditch the idea of Catholicism shortly after. " You've opened the bible in a public place, you've opened the bible to the very first page, and one of these days, you're tired approach to the original sin." I wouldn't be in the seminary if I could be with you." There are so many metaphors for his drunken behavior. "Rudolph waking up in the road dew dripping off his red nose," and Mark is not afraid to reference some of his favorite pieces of work as well, "You Don't Know The Shape I'm In" is named after the song by The Band. Fans believe there are a few references to Bob Dylan and others, and he also name-drops Clapton on She's Leaving You. Rudolph is definitely the theme-bearing baby on this project. It's short, but it's so intense. On Bark at the Moon, he takes away with an eerie 6-minute outro. MJ dropped a timeless cigarette-holes-in-my-threadbare-hoodie album, a classic album I look forward to spinning 20 years from now. "wherever you find me, I'll be on my knees" through prayer, pleasure, or puke is MJ is there. "and I'm speaking in tongues, Those hiccups don't quit/ I had a thought, but I forgot/ Like a train on a burning bridge."
The Nomad Jonah Yano, 24 years old, Born in Hiroshima, Japan, raised in Vancouver, British Columbia, & based in Montreal, Quebec, presents us with this alternative jazz record easing his way through the language barrier. That ends with one of the longest outros I’ve ever heard, a piece that is closer to the formation of an idea than it is one. In Romance ESL, a few lines go, "This Is Romance In A Second Language, but there's no chance I'm getting tongue-tied tonight. It's just handfuls and handfuls of intimation." he possesses such a cautious approach here and in his art.
I heard "Concentrate" one random day and was like wow "this is the greatest shit ever" a tad hyperbolic, I might add, but I felt that way off at first hearing. Concentrate starts as this soft, faint// gentle intimacy track at the midpoint. We hear "I need you" as it moves onto this more instrumentation and crashing-down sound. It sounds like some scene in the movie where he’s riding a bike through the city on an overcast day, facing the most gut-wrenching news of your life. The Album feels like the world is crashing & falling and trying to run away from the gentle ruins. The lyrics accompany some of the best saxophone, piano madness, and distorted guitar. "Snowpath" is perfect for Clairo, as they spent some time in the studio. Not to be cliche, but this is where she shines. Her voice does remind me of snow, a comforting coldness; she and Yano mix well.
"Devotion, it never has an arc, it's a continuous spark." - Devotion, Jonah Yano.
The Haitian New Jersey rapper Mach-Hommy is adamant about the preservation and perseverance of his art and his people in the heart of adversity. And pushing the notion of freedom from capitalism. Many folks may have a particular disdain towards his vinyl pricing and his premeditated approach to not uploading lyrics. On the contrary, it makes you pay attention to his skill. Mach is like a magician; the way he makes shit flow right in front of your eyes is only comparable to such. And well-placed bars, I find myself questioning if this nigga is punching in or not at times cause his flow is deadass like an inside pocket-- it's tucked away, you gotta see it to see it. Those who care enough to learn will catch on; this is not spoon-fed art. He wants the audience to engage in a meaningful, ethical way. I think he’s capable of maintaining that audience, he’s that good. Mach-Hommy is a master of sliding on whatever he sees fit, so seeing him on a bouncy Kaytranda beat with a 03 Greedo feature made so much sense. #RICHAXXHAITIAN had me going around saying Sak Pase 'n shit. I caught myself asking my Haitian friends for translation. A rapper that can cross barriers other than social, racial, and language barriers isn't something we get so often so strong. That's what hip-hop is about--unity.
TDE Artist Tampa Flordia, born and raised Doechii, is the gem in the swamp. Alligator bites never heal (mixtape). She has that 90s rap style reminiscent of Busta Rhymes in the beginning half of the release. On the bottom half, it's more electric, airy, and pop, similar to what she's done on persuasive and just a look into what it’s like being DOECHII a feature from kunt fetish on the album and production from Monte Booker, Kal Banx, & childish major. But like she's rapping as if she knew a Grammy was imminent-- no, it was needed. The production through is the definition of cunt and queer, house influences, ballroom, mixed with rap brought into this new light. This is more than a rap//pop project. It's theatrical as well. Doechii Touches on struggles being taken seriously and feeling pressured by label expectations on "PROFIT" & "BOOM BAP" despite her work ethic. I think this is an almost flawless attempt at executing her previously introduced aesthetics, and sounds like fruitcake, swamp bitches, and persuasive all sound like the babies of alligator bites never heal. Doechii has sharpened her sound and is ready to cut into the game. She’s had that sauce, tho, don’t get me wrong. FIREFLIES favorite. Lauryn Hill is cited as one the main influences in Doechii's works, one of her inspirations for the album, and you can hear that it flows so eloquently with real hip-hop tracks on touchy subjects and more R&B-like songs. The bars are crazy; her ability to transfigure her flow and cadence, I think, is unmatched in today's rap. I think she's one of those ones; I didn't always enjoy this album as much as I did today. I thought the first half couldn't hold a candle to that run toward the bottom, but boy, was I wrong. I mean, not only is she having fun with the dialogue with herself through the album, which feels like an ode to Issa Rae's character in Insecure.
PROFIT:
They don't make statues of critics, they don't make statues of fans. I'm not a poli-matician, I can't be shaking hands with them.
Two years after becoming the love of my life with her release "Hypnos." 25-year-old Ravyn Lanae whipped something up for us From Scratch. She is braver this time around. Ravyn says Bird's Eye is the product of feeling free from the pressure and expectations she had during Hypnos. Her soft-spoken voice that could only remind one of walking through the park & hearing birds fluttering in spring— I think she’s perfected this springtime sound. I need her to cover a Minnie Riperton song immediately. Ravyn aimed to step away from the more R&B-sounding songs this time around, saying she did not want it to sound “Too R&B." You can hear her limberly navigating her way through this soulful, dreamy, pop, and reggae genre bend project she made it fly the way she wanted, and we have DJ Dahi to thank as well. I love the windup that transitions into this robotic beeping in “1 of 1” it just feels as though we’re the midst of entertaining hyperspace on a spaceship. We’re getting a bird's eye view throughout our listening experience here, backtracking her love life, viewing her life— reflecting—on decisions from different periods, and gaining perspective on what made her the artist we know. Ravyn's intent is clear & concise. In “Love is Blind,” she’s asking questions to a partner who seems to forget she’s there. The relationship isn’t moving in the traditional co-dependent sense as it should be— but she’s blind— love is blind. She’ll end up staying due to being so far devoted to their passion. At Some point, she finds herself inquiring, “How can you love me and leave me behind?” preluded by these four lines: “How am I giving you room in my mind?” “This is goodnight for me,” “You can see me in your dreams,” “I'll end up giving you all of my life."
Claire Cottrill, the 26-year-old from Atlanta, GA. "You know me" Well, obviously, these niggas weren’t familiar with her game. Claire’s junior album is not too far off, but it's not like her others; her pen has flourished, and the production of songs is more intricate. She had these crazy, soulful-alternative, indie, poppy elements. Claire says this album is about adulthood and love and she wasn't lying, the more and more I listen I get it more and more every damn spin. Charm is such a fitting name because it feels just like that. It is sonically chic. She has taken a gigantic leap from being that viral bedroom-pop girl on Instagram who loved Cheetos a bit too much. She's switched producers (co-produced by Leon Michaels) and had a more orchestral approach using Wurlitzer synths + older similar synths, and had less creative control this time around, too, so you can tell this reinvention thing wasn't necessarily a spur-of-the-moment sort of thing. At the same time, people may comment on her quiet yet soft voice (I Agree). I think she evokes a feeling similar to feeling the sun's warmth on a cloudy; it's present, just not overbearing. This album is like being serenaded by an Italian girl at a French sorbet parlor in Brooklyn. The baby's all grown up and full of Charm, and it is doubtful if her efforts at romance are futile.
'Thank You"
When I walk away, it always comes in threes
We don't get on, can't make you laugh, personality
But I don't invest the way I'd prefer...
When I met you, I knew it
I'd thank you for your time.
Mikey Taylor, the Dragon Ball Fanatic and rapper-producer better known as Prettifun, dropped two killer albums this year, "Pretti" and "FunHouse," but the self-titled album by the 19-year-old from Charlotte, NC, stood out to me the most. In an era where teens gravitate towards art, especially rap, as self-expression, Pretti delivers this authenticity that isn't reeking of cash-grab-rap. It's no laughing matter. He wasn't always Prettifun tho, initially, he went by Mikey and just produced behind the scenes for 6 years before he started rapping. There are some gems on SC that I like, "Everystep," "Low Funds & "Air Pretti," and you can feel as if he was digging for gold before he achieved this song like he was fumbling on his carabiner, trying to find the right key. We can't forget his placements with Che "Miley Cyrus" & "Pizza Time," which furthered his existing momentum. Mikey and Che are growing and nurturing sounds they can call their own, but it's not so often that we get such fun displays of talent in this format. He treats FL Studio stock plugins like a challenge-- his zany is unmatched. The music feels like a sugar rush, and the way he raps is euphoric and prettifun. He transitions from song to as if he couldn't wait to tell you about it. He often alludes to the next track, almost teasing you with lyrics, titles, and subtle beat elements. The distortion-overload-filled songs have melodies that disguise his creative and heartfelt lyrics in this pandemonium, " bitches call, riches call, love you so much I can't get my heart involved." In a UGS interview, Prettifun stated he wanted to bring some "light" to the scene and get niggas dancing again. He took cover art inspiration from Lil Uzi Vert's "Luv Is Rage 2" & his niece's child-like ambitions, like obsession with the love of colors. Pi'erre and lilcandypaint influenced a new wave of generational talent. If you're down for rainbow-like upbeat music with cute little sound effects and high-pitched vocals that scratch the right part of your brain, give him a listen.
Chicago producer Nascent dropped his sophomore album, which went under the radar this year. Nascent spent the time since he was a teenager building up his portfolio-- getting beat placement from 50 Cent when he was 18 to now working with some of the biggest names in the industry. He produced Sza’s single "Good Days", Noname's "afro futurism", Jordan Ward's "FORWARD", "Trust" for Brent Faiyaz, and "Hurricane' for Kanye West. This album features artists we may know and love, such as Saba, Duckwrth, Maxo Kream, Orion Sun, Childish Major, the Chicago kid Jordan Ward, and Rizz Capolatti. It's jazz, soul, dance, RnB, and rap. “Minus All the Bullshit Life's Great (2021).
This album has its harder-hitting songs with BashfortheWorld's "Plata O Plomo (Remix)" and "Spinnin These Blocks" with Paul Wall, Maxo Kream, and BJ the Chicago Kid. Still, these ethereal sounds push the narrative that growing up isn't always painful; we see that in songs like "Big Brown Eyes." And especially in "He Got the Gas" with Jordan Ward & Rizz Capolatti, it sounds fantastic together because of the dissimilarities. "Jordan comes onto the hook "We bringing light into the dark... You gotta see it through," and then Rizz's Verse is "Burglaries turn white t-shirts burgundy "& "Thank my ho for her services, Reinvent the wheel while I'm swerving it" There's a clash of greatness in your eardrums, that I would hate for anyone to miss out on. R&B songs with rap verses seldom miss. It's like sweet and sour sauce. The Album Touches on the struggles with relationships, money, and drugs through the optics of growth. But more importantly, it's really about instilling that confidence in your mind as Mereba's "Baby, you're a star" commits to that theme. "Don't ever forget who you are," and "Run Me Back My Bread' featuring Saliorr. It allowed for an extra sense of vulnerability.
The Trance-like strings & keys paired with the poetic nature of the verses feel like speeches delivered straight from the ether; it's attention-grabbing. The artwork depicts a blue monster being beaten, referencing the infamous Muhammed Ali vs. Cleveland Williams Knockout, representing defeating his childhood trauma. Nascent and friends push the message of staying true to self, not rushing life, and not getting lost trying to find a purpose. They wanted to remind the youth to “don’t grow up too soon.”
sophomore album,
Shane Lavers, otherwise known as Chanel Beads, created a dreamscape. The New York City-based says his art transcended at age 26 when he realized he sucked at his life. And that’s exactly how this album feels, —being dazed off the wakeup- or a really intense dream that fills you with ambition. This album is one to remind us to keep pushing, you’ll never know when you'll find that thing for you.
Shane lavers was always a crate digger growing up but working his library job in Seattle shifted his outlook and took us to meet the artist we know as Chanel Beads. Your Day will Come is this sound collage/ dream pop filled piece. I like that I can listen to what is just like text-to-speech vocal quips plopped down onto the track. It’s innovative. I think it’s comforting for this to be his debut because it’s so intentional and full of purpose, from a personal standpoint this a how u reach a breakthrough. I believe the untechnicality of this style of music makes it unique—the idiosyncrasies of the art invokes a greater connection. But Shane and bandmates keep this album tasteful and full of pockets of creativity. Lavers values the connection of performance through art. He feels that if he can’t force you to nod your head or at least notice there’s something special in what you hear. he’s failed.
“Focus on the love in your heart,” he, too, had a unifying thought. “You owe it to yourself.”
Orion, like the constellation. Orion Sun is our light for those of us who can only so but gaze at the stars and not touch them. The 28-year-old Alternative R&B singer from South Jersey uses art as a tool to navigate the heart. Atop the dreamy-indie synth-dominated beats, she realized that through bluntness and honesty, there comes the first to healing. A comforting tactic because love is not, love is never "one thing," Orion told an interviewer recently. Love is capable of things you can’t begin to fathom. Love’s a tool for lessons— it will show you things that u couldn’t have imagined— being blunt when it comes to love is real as fuck.
Orion describes it all as understandable. At least, that's my interpretation. She packs it so that it's digestible. Being truthful will only set you free. Being so bound on things like love and drugs and feeling she’s what she needed to hear, she presented that to us. There's somewhere deep inside where part of you knows how to deal with the complicatedness, but you need a push; Orion's method is acceptance. Orion is an image of seeing the inside of Orion's head, the city being her thoughts, and the hair being fog coming to take over. I read that Orion Views life as a lesson; the world will show her if she doesn't know. So, to me, it's like she is putting herself in the earth's shoes and taking on the form of this divine.
When did the Earth stop spinning? When did the Front door become so far away? When did we become so different?
Questions that seem to appear through the song "Already Gone," a dreary yearning display about losing the center of your universe, permeated with Orion's resonant humming. It's a song about love loss and not seeing that you've already lost your partner way sooner than you realized. "I was gonna meet you outside by the waterfront/ but you were already gone."It's an effective way to shield us from the lyricism, but there's even more emotion behind that.
Sun talks about addiction as if she could physically touch it. " Even through the piercing poeticism, therein "Mary Jane' is a love song scaped to her addiction or relationship with marijuana. She personifies it, making it appear as an intimate relationship. There is depth in there. "Live not to survive the cold." She wants to find a healthy outlet and not a temporary resolution. More metaphors arrive via "Sweet," where she says, "Was addicted like I'm on nicotine. "Lame excuse, I don't need closure. I know it's over, I know we're through."
454 from Orlando, Florida, isn't afraid. The rapper-producer dropped this one on a whim and released cassettes that fans instantly purchased instantly, not knowing what they were getting into. And, of course, his cult-like following scrambled and raved about it over on Reddit and Twitter (now known as x). I mean... I get it; ever since I became obsessed, I've seen the number 454 everywhere for the past few years. I heard of 454 when Frank Ocean cosigned him on the Homer website, plastering his work from "4 REAL "in 2022. I also learned that he produced "YUNGXANHOE" by Playboicarti.
454 makes chromesthesia asteroid racing music, and it is crazy fitting that "Gushers & GoKarts" sounds like something that you'd hear while playing Mario Kart. His love of cars is one of his more proudly flexed upon attributes, whether through artwork, lyrics or even his name, which originated from the engine block his dad brought for a car. The music feels like watching your dad blow the subwoofers out in his car with no care in the world for your adolescent eardrums, Omly to continue the tradition of mindlessly zooming down the E-way, windows down. Lmaoo, wait, nah, this shit sounds like what a power-up in any retro game. Like Mario Kart, Galaga, SegaSonic, Speed Racer — I mean, I could go on, but I know 454 would fuck with Yoshi, Ludwig, or Drybones., I could go on,
In the title track, around the midpoint, the rapper-producer channeled his inner Lil Baby, but he does it way better in a short time frame, too; the flow there is like crack. You can tell the Orlando-New York transplant isn’t bound by state lines in his art because there are times when his music is Florida as hell, but then he’s on Memphis beats, dnb, trap, rnb, & pluggnb. One thing about 454 is that he loves his rnb samples. One thing I like about his music is that it almost feels like loading screens are taking you to the next level.
We’ve been issued the 454-mandated- Pig the Gemini & tutu features this time. I think the softer feminine aspects that come with the tutu collaboration are also crazy because even with how hard the drums may hit on some tracks, it doesn’t strip away from that sweetness. "Common Denominator," featuring tutu, she references a track from Fast Trax 3 where 454 says, "She mix the drip up with Robert Cavalli." She then, in turn, says, "My man bought me Cavalli" (I just put two and two together. It is a song about being fulfilled and quite literally being all that; she got 454 singing to match the vibe. "Extraordinaire" with Pig the Gemini exists as if it is on the conditions of a competition to see who can have the better verse; every listen is something different to appreciate. A Pig and Gator is an unlikely duo in the wild, but it's just right here. 454 is a vibrant new mind, talented and dedicated. Don't miss him while he's zooming past in the 3rd lane. ififjh
A MIKE and Tony Seltzer album was something I never knew I needed. Mike is a significant risk taker, never one to conform to normality, always one to shock. Mike has always had an ear and crazy beat selection, even performing with some of the best-hidden stars in the underground, so I'm not surprised. Pinball came shortly after Burning Desire, while simultaneously working on them both. At the same time, it took Mike through the test of improving his pen. He reflects on gangster topics, grief, love, confidence, & toting lethal weapons. Mike is skilled at saying a lot with such few words. This time, the only difference is that it's on trap-driven beats and fun hooks with synth melodies, whereas he ditches his usual style.
"Damn, not my fans bullying me into thinking I could only do one style of rapping.” Mike Said in a Rolling Stone interview. I agree with him. Often, you won't see an artist (especially of this genre) receive support through changes and experiments. Mike's direction is entertaining, and I knew he could achieve such heights. Mike Comes off a bit muddy and undiscernible to the average listener. There is an allure to the vocals. When I first heard "Wheredeyat???" & "Atl Freestyle," and then he moved on to surf gang beats; I could tell that he was practicing for something much more grand in his foreseeable future. Even with the verses lacking in length, they make up in strength. His homies push him those extra 10k miles; he's been moving away from tradition in recent years. It’s fun to see niggas enjoying rap and not being confined. It's challenging once you’ve been defined as a "one-thing" rapper from the fans' perception, it was apparent that he could do this.
I "R&B" is like a piece of sexy thug music, "On god" seems like a byproduct of Mike's Young World 3, Earl Sweatshirt popped out with a 1-song performance of "Making The Band" instantly commencing mosh, legendary shit. This song is an encapsulation of the energy in that moment. MIKE, Earl, and Tony Shhhnow exchange affirmations on “On God.” It is effortless swag. Mike said, " I Milly Rocked when I saw the deposit," Earl said, " I feel like Uzi Vert, all my friends in the dirt."
Tony Seltzer's "Hey Tony" album was when I first heard of him on the song "One Minute" feat LUCK. Shortly after hearing Mavi on "Wyd," I tuned into the album. I don't know what force on any planet made that nigga put Eartheater on THAT beat specifically, but that shit was revolutionary to me. Now whenever I hear that "Hey Tony!" tag, I'll be expecting an "I love how it smell when it break down" by Niontay right after it. Stop selling them phones that's wired to the federal government that's what imma tell you.
Skaiwater. The Queen of England. Queen Elizabeth passed the torch and gave it to her. They’re consistently developing their sound. Skaiwater bridges a lot together in their music. I remember hearing of them in 2022 on "Ten Racks" by Israyl. And then seeing them move to Jersey/Philly beats a few months after with "#Miles," shortly after receiving a feature from Lil Uzi Vert. But now, when I hear that signature ground riveting,--distorted 808 paired with quirky-pitched vocals, it's instantaneous eargasm.
Skaiwater gets extremely vulnerable when talking about the complications of love. It's cute how the British Accent pokes out at times. Even with being across the pond, Skaiwater still references American sounds or ideas. There are ballroom- New Orleans- Trap, and other queer influences throughout #gigi; on "TWO CUPS / RUN" featuring Ms. Tee (not included on ("#gigi") and "Play," it's like-- New Orleans bounce--introspective and just a tad less freaky than usual. "Run" starts with this song on keys, about a partner's aggressiveness that ultimately corners and traps you. It transitions into a New Orleans bounce beat- which works for some odd reason. It's danceable. Beautiful-- to frame relationship struggles with such a beat selection. Self-produced, of course.
From the UK to L.A., Skaiwater is providing nonbinary representation, and if you can't see this star.. you're a bitch.
Omavi Pinder from Charlotte, NC, is boxing the unsatiable, unbodied, intangible, his own shadow. In a Beans + Bars interview, Mavi Pinder told the interviewer, “The worst parts of me are necessary.” Maintaining an image and keeping appearances up despite your struggle means so much to him and those who love and cherish him. When you're the king, who do you look to for advice? God. Before I even started writing about this, I said he speaks as if he's looking up, stary-eyed with an expression of despair wearing him. Mavi takes us through the forces at work behind the struggle. Showbox is a tale about fighting your own decisions.
There is a concordant theme or lesson from the somber affirmation monologue lows of "20,000 Leagues" to the reprise Of Mavi on " Latch," where he's as confident as ever. He's adjusted his stance on the problems that are occurring. "Niggas can't talk about poise without my mention/ just another poignant mind poisoned by addiction." Mavi glides through this album even though the process of this album being built had many different songs, and the album was arranged in different track lists until he found one that stuck. He’s stuck; he was rapping his current state.
The rapper explores his bad habits and wages war on sobriety to help him come to his senses. He's desperately stringing together what little sanity he has left to outsource help. Whether it was through a feasible temporary route such as alcoholism or through friends, women, drugs, or escapism, it all just wasn't enough. According to him, it's like chopping wood in the forest every day; there's still more work to do every day you breathe. S, solace was found through church and willing self-improvement. He needed a warm embrace, some support. When the solitude hit, he'd relapse; there had to be a way he could learn to live with himself, and that he did. There is a conversation about killing this demon, your shadow, but Mavi begins to understand that without his shadow, he is nothing; there is codependency.
A lot of shit flew over my head during these listens, he's crazy fucking good.
open waters:
I dip my cup into my blood, it's coming back gold
Though they won't budge, I fell in love with my lil shackles
Dwelling in the shadows
This is the music of liberation and solace. We upping it on all politicians. We taking back all our shit. Sideshow is taking back what's rightfully his. He raps about the genocide of his people (something few will even mention), trapping, shooting police, and the reclaiming of power via revolution. HaileMariam philosophies his life style and questions the likelihood of heaven and hell over the most flute-funshit-synth beats of all time. Some are just sample based beats and the others feel like dragging your feet along the concrete along with some hi-hit pattern, almost how the word "clipping" feels to me. His direction is crazy. His flow is unheard of, per this song.
Sideshow gained his respect for me in 2023, flaunting about sipping lean in the Louvre, you can tell the 10k-Tigrayan-DMV artist's frequent trips to Paris paid off. The first track features French artist Jweles, while i had no idea what he saying, i understand he’s flowing. Songs that aren’t bound by the borders of language are powerful and it’s a brave thing to do in an era of streaming with how fast things move, music becomes too revenue focused. This album is about self-righteousness & confidence. Slideshow is PROUD. We don't get enough albums that are—rich of the black experience. We need shit like this, we’ve allowed the culture to stray too far away from its intended purpose, but I digress.
Oh, he hates interviews and critics btw. And when he’s not rapping he’s doing graphic design work for other artists he’s close with and designing clothes. “I put my Arcteryx away, I’m tryna make my own puffer.” They might try to hold us down. Locked up but not locked out.
VILLIAN IN YOUR STORY (STILL UA):
I'm black and miserable, I'm not depressed, I'm oppressed
And, baby, my freedom the cure
I ain't part of no scene, I ain't part of no team
I'm a solider apart of a war
El Cousteau is at the point of his career where he doesn’t need ya opinion. He's already seeing co-signs from asap rocky. His quick rise in popularity in the underground scene could be from; touring with 10k, "Dirty Harry", or his insane feature run recently. His Confidence is everything in these albums; the first time I ever heard of him opening for MIKE was in 2023. He popped out to cities that didn't know his name, making us know precisely how to spell it right after.
Spunk.
This Album is like listening to a pimp's manifesto. He’s like an unconventional DC artist, but his energy is everything. He shines, and the vocalizations, wordplay, playful flow & adlibs are far from replicable. He talks about the pain & passions of life, living with this newfound fame, having to make sacrifices, & pimping. El Cousteau could make a run-on sentence sound good. He has a knack for getting words off in an informal manner over any beat, similar to a more lively version of Isaiah Rashad with lyrics of substance he is preaching to the masses. In "New Red," he screams out, "If I don't get signed den a nigga get robbed." its the confidence of being able to get bars off like that that gets us going, those bars that if you don't know any other lyrics is one you'll scream at the concert. MIKE coalesces with El Cousteau and takes us out with the album with a great feature on "brown paper bag." Insane replay value: you'll appreciate a different song for every spin.
Merci, Non Merci - El Cousteau
F.U.N. .T.O.Y. - Sideshow
Shadowbox - Mavi
#gigi - Skaiwater
Pinball - MIKE & Tony Seltzer
Imessage Platinum - ZAYALLCAPS
Jonah Yano & The Heavy Loop - Jonah Yano
#RICHAXXHAITIAN - Mach-Hommy
A Dog's Chance - Polo Perks / FearDorian / AyooLii
Alligator Bites Never Heal - Doechii
Bird's Eye - Ravyn Lenae
Charm - Clairo
DON'T GROW UP TOO SOON - Nascent
Pretti - Prettifun
Your Day Will Come - Chanel Beads
Orion - Orion Sun
CASTS OF A DREAMER - 454
Groovy Steppin Sh*t - Lisha G & Trini Viv
Space Cowgirl, 22-year-old Lisha G (get 'em) had been making her rounds on SoundCloud, strengthening her game and making a name for herself in the countryside of Camden, SC, recording her first efforts in a barn. It wasn’t until I heard Get Silly that it all clicked. Lisha is filled with aplomb--fun--simple. This collab album with the Groove-driven producer Aviv, known as Trini Viv elevated my view on this star. Listen to Fatal Attraction, simple, short, cute. Trini Viv's sound is like some funky sound wave 80s sci-fi movie shit like a crazy ass acid trip sound effects--shit that sounds like futuristic drills and lasers. This is probably what browsing the internet in the 90s felt like, synth shit over fun drums. The opening note, "What I Tell To You' reminds me of "30" by Tia Corine. Lisha's lyrical content may be a con for some, but the content is digestible and convivial. But with bars like "Do I love him do I not" she flipped the game with daises deciding if one loves you or not, but in this instance, she puts the power of her love into her own hands-- she owns this shit-- quite literally. "Won't see no opps up at no bank," no notes, tens all around. She's got it for me, and I think she creates leeway for other women to feel inspired. I love seeing Women come in and talk they shit, it's a renaissance. Men have gotten away with doing less, so please, I don't wanna see no stupid ass comments under her posts; she dropped a few anthems for me. Don't let hate blind you. She enters a flow state on "What I Said" over the pitter-patter hi-hit patterns. This album is like some shit I know Allen the Alien would listen to orbiting the solar system. They're synchronized-- Lisha's chill--laid-back schemes imbued with getting money and shooting guns, not giving-a-fuck authenticity with Trini's vivacity in his production.
“This shit started from new york ended up in Milwaukee..” One of the best short-listes of 2024. Ayolii stayed true to his Milwaukee roots, flowing over state-by-state fusion Milwaukee beats and creating hooks. In the penultimate track, he says, “Good gas hitting hard as fuck like muhammad ali,” and I’d label him as the finisher. The Former Surf Gang shot-creator Polo Perks rapped on screamo production transcended by ATL producer Feardorian. Even though all he do is use other niggas samples, their synergy is everything— Polo Perks comparing himself & Ayoolii to Cheech & Chong, they're so clear it's just like throwing alley-oop after oops. I doubt if I’ll ever another person get punchlines of this nature off over a teen suicide sample, but they did it and brought the energy. it’s idiotic how well the contrast works. The unlikely rap trio's infectious energy is a nice one to watch, ages range, different subgenres, different area codes, but damn good music. Turning midwestern emo Texas is the reason for an alt-rap track about breesh, and I love it. The facilitator, Feardorian, is responsible for the quaint nature of this album with his Midwest emo/screamo sampling. But even he had some words to say during the finale, “LEFT RIGHT.” I can’t lie.. this track grew on me and slowly became my favorite. "yeah, I like my bitches bossy, but really, I'm the catch," deadass, that's my favorite quotable, a vocal stim.
