Man, it’s been a while since I’ve last spoken about Electronic artists that have opened doors to distinct sounds that captivate the very fiber of my ear drums. So what better way to return than to talk about a musician/producer. I had the pleasure of having various conversations while witnessing his growth through the varying genre channels he has worked on since the mid-2010s, possibly longer. Whether it’s Hip-Hop or Electronic, Jack Davenport, better known as 10SecondBeats, has been able to dig into his soul and figure out how to weave distinguishably contextual sonic styles while retaining a sense of identity throughout. When we first met, we messed around and turned a piece of the score Saló into this fun Hip-Hop beat that captured the essence of its score, growing to something unique from one of the most random samples. It’s profound, letting the delicate nature of instrumental layering and sequencing boast each track unforgettable. I was left in awe by 10SecondBeats’ consistent output, where the music succeeds past the vibes, creating remarkable work that I had to write about it now.
Jack Davenport studied music, and it shows, especially in how he talks about the artists who have influenced his decadent style. In short, he may not be on the scale of commercial DJs/artists like HAAI, Nia Archives, or even Norah Van Elken – artists I’ve spoken about prior. But one thing is for sure – when tasked with creating music, there isn’t a route he can’t overcome, especially when shifting a sample from one genre to another or understanding context and tone for delivering auspicious work. It’s heard in the minimalist, but captivatingly first album, Long Week, which explores the musical gears churning in Jack’s brain, functioning differently depending on the day. It adds credence to this thematic element, where the motif revolves around daily vibes. The Hip-Hop is vibrant and the nostalgic overtones never feel much, further making pushing the music to higher plateaus.
We hear it on the albums Long Week III, which feels like Hip-Hop swam in the fountain of youth, and the Jazzy, experimental nature of his beats are reminiscent of the 90s boom-bap era. Except for Jack Davenport, he brings modern twists that let you hear how similar-minded influences Madlib, J Dilla, and Four Tet have shaped his intuitive viscosity track to track. You can hear my conversation with Jack on J Dilla on The Twin Geeks Music Show. Talking to him about Dilla gave me more insight into the Hip-Hop tracks Jack created, but his electronic juices have flowed in and out too, in between releases. Jack Davenport released an EP in 2016 called Blink, which laid out this lax vibe and never seemed to teeter toward hollowness, creating beautiful synergy between the sonic elements included, whether coming from the percussion, the synths, or the vocals, which get modulated to fit the aesthetic. Like it, Jack continues to push himself to keep themes poignant, which is harder to replicate fluidly through the various forms DJs perform and create.
Last year, Jack Davenport dropped Last Night Club On Earth. An album that imbued the performative aspects of club life, expanding to new horizons, like the beautifully radiant “Her Trembling Hands.” As 10SecondBeats, Jack harnesses the intimate details that coat the base layer and eloquently smooths them through a consistent flow of consciousness. We hear the varying strings and synths on “Her Trembling Hands” or the potent glitchiness of “No Smoking,” the range is fantastic. But there is only so much I can say until I start dissecting every individual track, so at this point, it’s up to you to take this journey through an up-and-comer’s catalog and experience the music yourself.
Time is a fascinating concept. As I get older, memories I’ve thought have vanished quickly creep back up, and those moments of awe and an innate fascination come back. A few weeks ago, it hit me that Get Rich or Die Tryin’ is turning 20 on February 6, 2023, and I got hit with this memory of being at my cousin’s house. We were in his room, and he was showing me something brand new; he consistently gifted new systems and tech, but he strived to achieve greatness; it was his reward. I was focused on cartoons and exploring the creative side of sketching pictures, though with limitations living in a religious household. I remember this one time I drew a werewolf, and they believed something was wrong with me for a few minutes; I was around 7. However, I digress. My cousin was flexing this newly acquired album from his uncle, Get Rich or Die Tryin’, and we began bumping from start to finish. As a young white Latino, I was enthralled, shifting toward 50’s vicious swagger as he beautifully produces smooth flows, especially in the song “Wanksta.” From there, I knew my heart belonged to New York Hip-Hop, despite having universal love for Hip-Hop from all regions.
There was no denying my love for hip-hop was growing swiftly, especially with what my cousins from New York City introduced me to during my youth; however, something about 50 Cent’s debut had stood with me throughout my years. Was there a slight bias because he was signed and pushed by Eminem? Slightly, but on his own, 50 Cent had an identity, and it exhumes powerfully. That’s what hit a young Kevin, listening to the album, but more importantly, “Wanksta.” The beat was smooth, and the chorus was catchy; it made me push to avoid being a wanksta, but I kept changing with the trends as a teen, so I failed. My failure aside, I was never perturbed from listening to it, not even the G-Unit/Game beef, considering Get Rich or Die Tryin’ and The Documentary are some of my favorite rap albums. But unlike the cold, gritty Gangster Rap/G-Funk from The Game, 50 Cent brought a lot of swagger, and it reigned supreme.
50 Cent’s swagger had an effervescent presence that came from songs like “High All the Time,” ‘Many Men (Death Wish),” “Bloodhound,” “Poor Lil Rich,” “P.I.M.P.,” “Like My Style,” and “Heat” made the content he’s rapping about more appealing to dissect. Whether violent or sensual, 50 Cent reflects on his life, never shying from the downs and allowing us to see how the mentality isn’t for everyone as the sound stays authentic to the musical direction. His lyrical prowess is a reason his music stayed on heavy rotation with my friends and me, listening to “Heat,” “Poor Lil Rich,” and “Many Men,” which was the commonly shared track appearing through our varying mixed CDs. “Many Men” is the true heart of the album. The visceral lyricism and direct coldness imbued by 50 Cent made this track killer. It was 50 boasting his status, literally and metaphorically; we hear him boasting how great he is while lambasting the shooters who couldn’t finish the job. 50 was supposed to release an album in 2000 titled Power of the Dollar – after his shooting, Columbia Records backed away from their deal. It adds depth to 50 Cent’s comeback, boasting the narrative that makes 50 seem tougher than expected. In retrospect, it adds layers to the other songs, as it boasts his near-death comeback narrative; he didn’t need it to have that coldness and swagger.
But now, 50 Cent is living, and through that, 50 breathes organically on every track while embroidering himself with lavish club-hip-hop and soulful down-tempo beats – apropos streetwise style of New York with creative overtures – and hardcore percussion-heavy beats containing drug noises. He’s creating gangster party tracks, emotional density as he speaks on love and survival, the hardships in slanging drugs, and boasting how hard he is, compared to most gangstas. 50 even has class as he casually name-drops Patti LaBelle as means of empowerment. The more radio-friendly singles, “In Da Club,” “If I Can’t,” “P.I.M.P.,” and “21 Questions,” established a foundation that never perturbed 50 from expressing his gangster alignments, like when he rapped: “Look homie, ain’t nothin’ changed: hoes down, G’s up/I see Xzibit in the cut, hey, nigga, roll that weed up! (Roll it!)/If you watch how I move, you’ll mistake me for a player or pimp.” He may be clubbing, but that doesn’t mean he lets his guard down with his enjoyment lyrically; he sees himself as top of the chain (“If I Can’t”), and that’s heard through his swagger and confidence. “21 Questions” gave us this tender look at 50 Cent breaking down and pondering his relationship through his incarnation, showing a sensitive side to a gangster. He isn’t a hollow person, and it lets him express a sense of vanity, a man who’s scared of loss – it gets reflected in “Gotta Make It To Heaven,” too. For “21 Questions,” we see it develop beautifully from start to finish, whether from the cadence in 50’s flow or the emotional depth instilled in the chorus. It’s stood the test of time as gangster’s love song that wasn’t overly hokey or derivative and instead more smooth and direct.
There’s no mystique to Get Rich or Die Tryin’; it eloquently (for Gangster Rap) tells us tales of survival, glamor, and success that sees 50 Cent describing the complex layers of a gangster (himself), specifically within his cultural ecosphere, aka the streets. It’s one smooth rollercoaster ride that boasts different elements between its lyrics and production; it flows with hunger as 50 Cent doesn’t let a moment come by with weak bars boasting the ferocity of his singles. It didn’t matter the content or style, whether “Many Men” or “In Da Club,” 50 came with the heat. It’s reminiscent of The Notorious B.I.G.’s lyrical strength–tenacity to keep the bars tight, no matter style with the singles getting released. For B.I.G. and Ready To Die, it went with the introspective smooth club banger, then the smooth braggadocio, and third the lyrical exercise that brings poignant depth with its themes of Death and Survival. It’s a loose comparison of the distribution of content. The main difference, 50 had more singles in the tank, all bolstered by incredible beats from Dr. Dre, Eminem, Mike Elizondo, Sha Money XL, Dirty Swift, Darrell “Digga” Branch, Mr. Porter, and Luis Resto.
Dr. Dre, Eminem, and Sha Money XL have their hands on most of the album, but the beats from other producers, like Rockwilder, Megahertz, and Mr. Porter, who produce “Like My Style” and “Gotta Make It To Heaven” and “P.I.M.P.,” respectively. The beats have eclectic percussion patterns, and 50 Cent attacks them naturally, giving us some smooth and hardcore flows. Whether straight and narrow like what he and Tony Yayo spit in “Like My Style” or introspective with the violent, humanistic depth of “Gotta Make It To Heaven,” there’s an enduring storytelling strength, which adds more layers to his persona. The former has swagger-filled percussion that takes form underneath darkly glimmering keys and hi-hats, but the latter brings the funk, soul, and jazz elements to its streetwise drum beats, making it feel grander than it seems. “P.I.M.P.” has a bottle-popping flavor with its snappy keys that overlay luscious, smooth drum beats. It’s this bravado creating replayable momentum – I can’t help but keep finding myself latched to Get Rich or Die Tryin’ in my school days. And that goes for all the beats on Get Rich or Die Tryin’, which are an eclectic blend of hardcore New York Street style, which focuses more on the drums, while the singles bring in more electric strings to add some flare, some character. For example, “P.I.M.P.” and its hypnotic bass grooves and snappy keyboard notes, aka the gin to the juice that is the central drum pattern.
There’s a lot to this album where it sounds timeliness, and it’s one of the predominant reasons for its heavy rotation throughout my years; well, that and the New York bias, having grown up an hour outside Manhattan. It’s rich in style and poignant with its gangster narrative, allowing his listeners to feel and understand the complexities of his character despite being seen as this masculine leader. 50 Cent made something profound, and I’m forever thankful. It kept the resurgence in New York Hip-Hop flowing in the early 2000s, and its potency keeps it moving without a moment of pause. It’s a classic through and through; unfortunately, 50 Cent hasn’t matched this greatness since, but it remain with me for years to come.
Though more relevant in the indie electronic music-sphere, HAAi has been delivering captivating performances (mixes) and beautifully conscious techno rhythms that shift the parameters of the dance floor vibe. Centered within techno, Haai brings this unique range of electronica and IDM (Intelligent Dance Music) sounds into the undercoating of hypnotic rhythms and enigmatic timbre tones of techno. The IDM is subtle; there’s the atmosphere that is ambient and intriguingly staticky; the low-tempo percussion, coming from varying drum notes influenced by the breakbeat aesthetic, just more tempered on the pace. But this is just me describing her debut album, Baby, We’re Ascending (2022). It doesn’t amount to varying styles she’s infused into her mixes, where she brought the heaters with her two Boiler Room sessions and fantastic, about 2-hour set for the Lot Radio (an independent radio station based out in Brooklyn, New York City).
HAAi has this antiquated energy with how she approaches the techno sound, seemingly incorporating the old with intriguing experimentations. It’s pertinent to her DJ and producer side, but equally, her choice of songs, whether smooth independent records, either original or remixed, adds a similar feeling when performing for a crowd. HAAi has given us a few performances through festivals, videos, and uploaded mixing sessions on streaming platforms. What makes these varying mixes unique is this constant desire to switch it up; tracks that carry over get placed in a different order to test the crowd’s vibes without sidestepping from the bombastic techno rhythms emboldening the ID tracks. It’s heard within her Boiler Room and MixMag sets; they aim to bring out the best of her style while leaving room for enough experimentation to keep those ears twitching with delight. Other mixes flesh out that unconscious danceability where you’re constantly hyped within the moment, taking in this beautiful mix of songs hidden behind the ID and grooving without realizing, taking your motions up a notch as the music gets injected into you.
HAAi may not be everyone’s cup of tea as she gets down to the nitty-gritty of the techno aesthetic, almost letting it explode from the fingers and mind and creating a boastful performance that never feels too long. Her hands seem to never pulsate toward implementing notions of pop, shooting for a vibe as opposed to melodic EDM-like vocals. She brings a finite start and end that keeps the tempo moving with consistency – at times, HAAi takes the rhythms to another level, elevating the timbre to work with the nuances from the drum machines. It’s even more captivating when you hear her set at the Movement Electronic Festival in Detroit. These audio versions of the sets aren’t as immersive as being there or seeing the scope on video, where the crowd’s energy brings you goosebumps as you might yearn to be there. However, as you listen to it, you get a better glimpse of someone who can select and excel without incorporating their own work into the fray.
It’s interesting how different it is. When I spoke about Nia Archives last week, I explored the intricacies of the genre, as it differs from the more recognized (comparatively) EDM and techno. For HAAi, she’s taking it to a different level, which may not seem as much at first, but you end up seeing the nuances of her craft. That’s how I latched on so swiftly to the music. You have this remarkable balance between the performance and studio, yet, there is so much more. I wasn’t as hyperactive with Electronic releases last year, but when I say HAAi’s debut is stellar, I’m not capping. But as I keep delving more into this world – beyond hitting play on a random mix – write-ups will continue.
Between live performances and singles, Skrillex has been floating around producing for artists, delivering these intrinsically riotous sounds, which continuously define his artistry as one of dubstep’s few hitmakers. We’ve heard his signature boastfulness in the bass when infusing varying percussion notes to create each beat. It’s recognizable, but Skrillex has been able to blend it with other genres, giving us luscious songs with artists like Don Tolliver, J Balvin, and Ty Dolla $ign. It’s been nearly a decade since Skrillex delivered an album of original work. Hopefully, 2023 will see that change, predominantly because of the hype his two new songs, “Rumble” and “Way Back,” brings. Though we’ve heard Skrillex create tracks within different electronic genres, like EDM and House, we hear this new evolution where drum-n-bass is slowly finding its influence in the mainstream (within EDM and Pop), and I’m all here for it!
The hype for Skrillex album, for me, is wild; maybe it’s why I’m giving this a lengthy post, but I digress. The last time we got a Skrillex album was in collaboration with Diplo as part of the duo collective Jack Ü in 2015. It was an open field for Skrillex to continue to grow beyond brostep, especially when there’s someone to balance a tenacity for slightly overindulgent drum drops and mid-leveled bass. With Jack Ü, it showed how well they complemented their expressive production styles, delivering a luscious whirlwind of sounds, shifting from their sonically spacious dubstep sounds to luscious House/Dancehall hybrids. As I grew, that negligence has since gotten tossed out, and as I’ve heard the range getting produced, there was no option but to return. It’s mainly potent when Skrillex gives us varying musical releases, like the luscious future bass sound of “Face My Fears, with Hikaru Utada or when given the space for the dubstep/drum-n-bass sounds to go nuts, like on “Killa” with Wiwek, a Dutch DJ, or “Mind” on the Jack Ü album.
Though he’s worked alongside different producers, he still tends to let some of the natural bombastic Brostep/Dubstep sound, which can get a little one-note. It can get heard on songs like “Take Ü There” and “Make It Bun Dem;” the latter feels like it never takes a chance to do anything beyond the shifty reggae-dubstep hybrid, while the former finds balance with Diplo’s house sensibilities. Sometimes Skrillex receives weaker outputs from the featured artists, but he can still fill the void with excellent production, like with “Don’t Go” and “In Da Ghetto” or vice versa with the track “Purple Lamborghini.” I’ve been following Skrillex’s career since the release of “Scary Monsters and Nice Sprites,” some duds early on, and since, we’ve gotten many fantastic collaborations. He teamed up with Game to release one of his best tracks of the 2010s with “El Chapo,” or the captivatingly starry “Butterflies” with Starrah and Four Tet, amongst others like the aforementioned “Killa” and his new singles, “Jungle” and “Way Back.”
2023 will be huge for Skrillex; his craft has beautifully evolved, now confidently using different electronic sonic complexions, like synths, to take it to new levels. Like some electronic songs that build luscious vibes, I can harp on length; for “Way Back,” featuring PinkPanteress and Trippie Redd, Skrillex beautifully produces smooth connectivity between Pantheress melodies, which are Jungle/EDM-influenced, and Trippie’s more hip-hop sing-flows, creating something mellow, comparatively, to dance along. It blends smooth House textures with crisp, low-level drums that emulate elements of breakbeat and drum-n-bass.
“Rumble” sees Skrillex, along with co-artists Fred Again and Flowdan, propelling the bass grooves, amplified to keep a consistent stream of consciousness as the percussion and synths create a wave for Flowdan to flow over. Though it’s bombastic and boisterous with the transition, you get that instant click in the ear drums that will make you keep this on a loop without realizing it. It’s crisp, riotous, smoothing over rough textures and letting the cornerstone aspects of Dubstep/Drum-N-Bass to envelop us and bring forth significant grooves. It definitely leaves this guy excited for his new album in 2023, which hopefully brings the best from everything he’s learned and made throughout the past decade.
I’ve always had an affinity for all electronic music. It’s been more of a personal love that lives rent-free in my head – hitting play on any given playlist – becoming entranced by the variety of sounds these artists create; it’s like finding yourself at a DJing venue, vibing while one’s close to the DJ. Often, when they come into my ear’s plane of existence, personal discography deep dives bring these beautifully enriching DJ Mixes, but more importantly, self-produced tracks that embolden their identity. Hearing and seeing the intimate and more focused live radio mixes to the more illustrious and fun curations by places like MIXMAG and The Boiler Room, it’s not hard to hear their talent, especially within the ID tracks or newly printed singles. I’ve spoken about Nora Van Elken and Telenovel in the past; however, I never made a concerted effort to blog my thoughts about more of these artists, which had found innate replay amongst the varying electronic music I keep in a personal playlist. I’m planning on changing that because these artists have me return without hesitation, so to start the New Year, I thought, why not the artist I’ve been vibing with recently, Nia Archives.
2022 was full of momentous splashes for Nia Archives’ career – a multi-talented artist that can mix, produce, sing, and write music whose craft expands to new realms where blending styles can come subtly and delve the music to unique depths. Sometimes we get subtle dance/EDM influence in the vocals, like on “Luv Like” off her Forbidden Feelingz EP. Yet, she continuously creates these luscious and hypnotically rhythmic breakbeats and jungle/drum-n-bass overtures that are ever-shifting in tone. It also blends into her solo work as some of her chorus performances embody the grooves influenced by dancehall and reggae, like on “18 & Over.” Jungle and Drum-N-Bass – like all electronic music – take from the rhythmic soil that elevated particular instruments to the forefront. Despite House music growing with percussion as one of its core features, the sound and other instruments/sounds started to focus more on synths — not all, but some of the more popular styles we know, like EDM or Tropical House. Jungle and Drum-N-Bass take from varying influential sources like dancehall, funk, and reggae and synchronizes them with these energetically powerful percussion patterns. These genres also embolden the nuanced influences that helped elevate the standards and quality of Grime music, which, in turn, finds common ground with these genres coded from a similar camp.
In Electronic music, there is so much infusion that sometimes you never know other sub-genres (like melodic house or glitch); it’s easy to get lost through many avenues you’ll never know you’ll find yourself in; all you have to do is explore. That’s what I did, and when I hit play on Nia Archives’ Luvleh Mix, it hit me, creating an unwavering head bopping. The way she blended these arcane breakbeat tracks into one illustrious cohesion that doesn’t temper its progression, wavering fantastic levels that keep you engaged, whether you’re already a fan of the genre or discovering. We hear her blending these mesmerizing beats that shift in style, whether it’s atmospherically more echo-y or the tempo is sifting between distinct melodies with tracks that evoke danceable tangibles in the performance like that of mixed song “Greetings” by Red Light. On her Luvleh Mix, the intangibles are there as you get percussion is as vibrant as the rainbow through a glass prism.
Nia Archives has released a few Singles and EPs that embody the essence of breakbeat and jungle/drum-n-bass sounds, bringing this echo chamber of nuance and showing us upbeat energy within her performances. You can hear it in the energetic and fun “18 & Over,” which also sees Nia Archives encouraging her love of the genres that influence her. It’s continuously effervescent in the music she creates, like the monstrously bombastic “Baianá” or the more melodic (comparatively), “So Tell Me,” which brings an essence of dance grooves in the choruses while keeping to that core breakbeat aesthetic. That blend gets heard enormously on her Boiler Room set from September in London; here, we hear these luscious transitions Archives’ creates, seamlessly mixing breakbeat with these overly vigorous percussion notes.
Check out Nia Archives’ work, and let me know how you vibe. I’ll be writing about varying artists and how it was to discover them in the moment. From her EPs to her Mixes, there is a treasure trove of music to play. Unfortunately, for Spotify users, many of these mixes are accessible through Apple Music and YouTube – the former has Mixes available to stream without having to play a video. But regardless, we have that treasure trove of options to seek and listen to, and I hope you do so with Nia Archives, a DJ that I will have on steady rotation all of 2023.
2023 is finally here, and with it, one hopes for a platoon of exceptional new projects from artists we love and debuts, leading to fresh discoveries. However, since Beyonce released her self-titled album, we’ve been getting many more unique rollouts, far from the apropos single, single, eventual album model. Often, we don’t get announcements till closer to; other times, they just drop surprisingly with a little word in edge-wise. It makes it harder for one to properly talk about what we can anticipate without sometimes looking like Charlie – from It’s Always Sunny – in that meme where he has his hands over a board that’s connecting dots to a mystery. I won’t be him today; instead, I’ll be talking five albums with surefire, or set releases in stone, that I’m anticipating for this year.
Did You Know That There’s a Tunnel Under Ocean Blvd – Lana Del Rey
While many loved the lavish, overly produced tempo of Norman F**king Rockwell, it didn’t feel as refined, unlike Lana Del Rey’s subsequent album, Chemtrails Over The Country Club, which bolstered her vocals exponentially. It hit me instantly on the standout “White Dress,” which continued throughout this album, and the subsequent Blue Bannisters, which continued to let Lana expand her horizons with more minimalist, but decadent production. The first single off the new album, Did You Know That There’s a Tunnel Under Ocean Blvd – the self-titled track – opens the floodgates toward this more melancholic and operatic divide. Her vocals have distinct textures within similar stylistic sounds within chamber-pop-like production. It feels reminiscent of the work done early in her career, along with what Lana Del Rey has been brewing since Chemtrails. I’m excited to see what this new album takes us, especially with Del Rey’s unique and petty promotion with the billboard in her Ex’s residential area.
Don’t Be Dumb – ASAP Rocky
When news came out about A$AP Rocky’s upcoming release, pre-name change – from All Smiles to Don’t Be Dumb – my eyes and ears stayed glued to anything relating to the album, especially when we heard Rocky is working with Morrissey. The idea of two arrogant, egotistical, no-filter artists coming together to expand on their musical strengths just sounds like something to behold. Granted, it won’t automatically equate to greatness, but with the music Rocky released over the past couple of months, I was intrigued. We got two singles that maneuver his direct nihilism in flow and lyricism, feeling reminiscent of early 2010s ASAP Rocky – playing less with melodies and more with multi-layers songwriting. It keeps my eyes and ears perked for any news, especially with the hype Rocky has been bringing in performances and more; it’s now only a wait-and-see as fans indulge in his latest two singles and feel the vibe Rocky is most likely aiming for with Don’t Be Dumb.
Cracker Island —Gorillaz
Dropping single after single appears like the new approach for Gorillaz as of the release of their last album, bewildering us with unique tunes and delivering a tracklist with standout features; unfortunately, the wait can be ever-long. Unlike Song Machine, Season One: Strange Timez, Cracker Island shifts the clock back a bit, looking to release and find equilibrium between its use of features, and retaining a sense of individualized identity on their solo tracks. Here, we see both, but the solo tracks get rounded out by unique features; Gorillaz have shown us how fluidly they can make these combos work, like when they did a song with Elton John and 6lack. Cracker Island gives us a few to hold over, like the funkadelic “Cracker Island,” which incorporates luscious bass grooves and vocals from Thundercat, who adds a decadent, and softened layer that oozes in a soulful undercurrent that keeps Damon Alburn’s melodies vibrant.
Gorillaz’s feature-laced albums are a few in between, but when Gorillaz come with an album that isn’t all Damon Alburn for 50%+ of the album, they have excelled in creating something more artistically profound. We heard it on the fantastic Humanz and Plastic Beach, and hopefully, glimpsing a crisp equilibrium in the tracklist of Cracker Island, along with the singles I’ve heard, leaves me with some impression that it will be a hit like 3/5 of their albums between 2010 and 2020.
Utopia– Travis Scott
Utopia has been in discussions for months, and years, seemingly leaving us bewildered by when and what. Travis Scott has released singles like the darkly atmospheric trap track “Highest in the Room,” co-opting collaborations with his label Jack Boys, and settling the fires of the Astroworld tragedy. Being in the public eye can skew decisions made, and it isn’t surprising that his name doesn’t have the lightest presence, further pushing Utopia’s release until 2023. Though, to be honest, it could be a product of Scott’s ever-growing teasing and constant business ventures, from working varying avenues of the music industry to fashion and fatherhood, one could find reasons for the delay. However, the promotion leading to has been nothing short of excellent before the Astroworld tragedy; plus, a week-long residency in Vegas this past September and some Billboards certainly helped too. I’m curious to see how different Travis Scott comes, specifically to see if he slightly reinvents himself sonically to reflect the constant musical growth he’s gone through.
This Is Why –Paramore
After a five-year hiatus from making music as a collective, Paramore left 2022 with the news of a new album after the remarkably vibrant synth-pop/dance-punk laced After Laughter (2017). It was a continuation of the aesthetic have them hitting a momentous stride, as you see their musical growth and assimilation with these new influences driving their decisions. When they started releasing singles for the upcoming album, it felt like a slight change of pace from the angsty emo/pop-punk sound of their first three albums. Paramore’s new album, This Is Why, seems to see another shift, or so I assume, with a more expansive influence getting brought to these songs, like the Math-Rock “The News” to the Funk and Dance-Punk latent “This Is Why.” It’s safe to assume we’ll see another shift in sound, which bolsters the band’s chemistry as they mesh new and past sounds from the past two albums that are nothing short of grand. It may be less than a month away, but I’m all souped up to listen ASAP!
Star line Gallery – Chance the Rapper
Chance The Rapper hasn’t necessarily been dormant since the criticism and fizzling out of his popularity since The Big Day (2019); the corniness and sometimes overly loose flows and features didn’t offer much of a platform to balance on. Come 2022, we saw a significant year for the Chicago rapper, dropping four singles that have shown us he has chosen to focus and whip up some of that pre-Coloring Book era where the lyricism matched the potency of the production. At first, Chance kept us focused with his intricate lyricism, but he brought me back with “Wraith,” significantly more on “Yah Know.” The bombastic Afro-Beat influence within “Yah Know” takes the listener to exponential lengths as the beat comes rich with a crisp Hip-Hop base, then escalates it with these rich drumlines and boisterous horn section. It’s an experience that feels like it’s yearning for a stage presence, where the sounds can get amplified and further entice the dance nerves in your body to force some jubilant movement.
“The Highs & Lows” and “Wraith” were two of the other four songs dropped by Chance the Rapper in 2022, but I bring these two up because Chance brings this unique cadence in his flows, seemingly guiding the music emotionally as he did with Coloring Book. There are deep seeded conversations within these songs; we hear Chance having with himself and the listener as he balances his faith and stability through life that we’ve seen tackle since the constant clowning post-The Big Day. “Wraith” had us listening to Chance focus on literal and metaphorical layering between bars to distinguish who he is in this world without feeling overly preachy. Similarly, with “The Highs & Lows,” we hear Chance challenging himself to bring captivating flows and lyricism to match the potency of featured artist Joey Bada$$. It leaves a door open full of intrigue as one awaits, like myself, for an album that explores new foundations and sees Chance shifting gears from neutral to Drive 3, or third gear.
It’s past that time of year when publications feel like December is a month filled with nothingness, and end-of-year lists appear like Christmas ornaments at your local store in August. But sometimes gems appear, and they round out what made 2022 a powerful and wonderful year for music. Here’s my list for 2022, filled with varying genres defining the trajectory of universal love and acceptance beyond the surface-layer pop that dominates Hot 100 radio.
30. Love Sux – Avril Lavigne
“Love Sux is a dynamic shift from blending nuances of the past with oblique pop. Love Sux knows what it is: lyrically poignant, blending commercialized lingo with riotous rock or rounded pop-punk ballads.” Link To Review
29. Cheat Codes – Black Thought & Danger Mouse
“Black Thought morphs imagery fluidly, barely seeming to skip a beat like he’s some rap prodigy, but that’s been evident since trading bars with Dice Raw in the 90s. Cheat Codes takes us back 20-30 years when sampling was a check-mark component of Hip-Hop/R&B, though Thought and Danger Mouse craft it with nuance.” Link To Review
28. Home, Before and After – Regina Spektor
“Home, before and after, has conciseness to its sound and style, where it makes you feel like it’s getting played during a session of merriment in the creative process. It reminded me of Fiona Apple’s last album, Fetch the Bolt Cutters, at times, where the vibrancy came from the naturalistic instrumentation–sans synths–that keeps it centered on its sound. It drives home the potent quality of the new Spektor album, even if it doesn’t tread new territory often.” Link To Review
27. Saturno – Rauw Alejandro
“Saturno, by all accounts, aims to deliver futuristic overtures and undertones, whether through the production or from the vocals, to take us to the stratosphere of his mind, where we see how he musically thinks. It excels at that and some; it’s an album where the essence of reggaeton isn’t lost, but the electronic avenues he takes are astronomical, no pun intended. Sometimes you’re getting hints of dancehall, sometimes Miami Bass or EDM, but the overall vibe leaves you in a trance where you aren’t noticing your body grooving. Though I can’t speak to how you motion per tempo, the transitions between tracks are smooth – save for the interludes/skit. But the lavish futurism expressed through the eyes of a reggaeton artist getting past conceptual pop norms and taking his music to new heights. ” Link to Review
26. Unwanted – Pale Waves
“The realized consistency in Unwanted is as potent as ever, keeping you enshrined in this confined temple of relativity where Heather Baron-Gracie’s captivating melodies and the band’s overall riotous instrument playing keep you glued as it comes from multiple angles. It’s immediate with “Lies” and its tremendous drop, creating an identity toward the emotive tenacity these tracks will deliver. There is angst, and their fiery limits aren’t confined, giving Baron-Gracie the range to evoke emotions fluidly.” Link to Review
25. De Toda Las Flores – Natalia LaFourcade
“De Toda Las Flores continues demonstrating value by incorporating luscious sonic influences and seemingly expressing that fun with this variety of jazz, pop, salsa, and more. Co-produced by Adán Jodorowsky, son of famed filmmaker Alejandro Jodorowsky, Lafourcade visually catapults us back toward the emotional fortitude of life, giving us an eloquent musical breakdown that consistently keeps us engaged, even during the weaker moments. Whether brass or subtle, the music carries gravitas by capitalizing on Lafourcade’s strengths lyrically and vocally, despite some of its minimalist instrumentations never feeling realized.” Link to Review
24. Herbert – Ab-Soul
“Mentally exhausting but exuberantly rewarding, Ab-Soul’s new album Herbert takes us through hurdles as Soul reflects on life and emotional imbalances that have placed him into a zone where the focus was his mental health. 2014’s Stigmata felt like a linear direction of drug-infused beats built with the complexities of perfectly quaffed glass, and Do What Thou Wilt felt more of the same, just lesser in sonic appeal and construction. But that isn’t the case with Herbert, an album that feels more like the dark undercurrents beneath the percussion getting refined and letting it control are more linear approach instead of flip-flopping between the overly experimental and the “Ab-Soul,Asshole” that we’ve listened to since Longterm Mentality.” Link to Review
23. The Family – Brockhampton
“The Family is a rich text that keeps most of Kevin Abstract’s words short and sweet but with resounding depth that you get incentivized with great music that you’d want to replay and understand further. It’s through Kevin Abstract’s flows, lyricism, and the production by bandmember bearface and producers boylife and Nick Velez, offering sounds that invoke memories atmospherically.” Link to Review
22. LEGENDADDY – Daddy Yankee
“Being his first album in a decade, we’ve seen reggaeton’s growth from nuanced ballads to pop-bangers which bridge samples of sonic influence. It’s all relative to your cultural roots and the music that inspired you from youth. Daddy Yankee made reggaeton what it is today, allowing for a free flow of ingenuity to become universally accepted as new artists create their foundation. LEGENDADDY takes various eras of reggaeton and weaves them into a musically transcendent timeline of music history, with Daddy Yankee surprising us at almost every turn.” Link to Review
21. As Above, So Below – Sampa The Great
“As Above, So Below goes beyond to allow inflections of Sampa the Great’s verses to get heard. She’s always been one to express her Zambian heritage musically through features, production, and the incorporation of its languages to boast her identity as a rapper. Though we’ve gotten projects that demonstrated her masterful technical skills, it was only a matter of time: an expansion on the production’s use of African sounds to coat the core hip-hop percussion notes with the evolution of construction. Because of it, it’s focused on central thematic cores, allowing for simplistic themes about perseverance and individuality, like in “Never Forget.”” Link to Review
20. God Don’t Make Mistakes – Conway the Machine
“God Don’t Make Mistakes is like a sucker punch that stops you in your tracks and forces you to sit and listen to Conway the Machine’s verses. More of an introspective composition, we see Conway attacking layers of his person, from confidence to early self-doubt and success…God Don’t Make Mistakes comes with surprises. We continue to hear Conway the Machine go toe-to-toe with rap’s heavyweights; we hear him adapting his technical and writing skills to the content he wants to reflect on the album. What Conway expresses is his true self, reaffirming the notion of God accepting the flawed like those deemed “clean.” The constant motion of the album allows it to have a steady run despite its minor issues.” Link to Review
19. Life On Earth – Hurray For the Riff Raff
“It doesn’t sound as profound on paper, but the depths that Alynda Segarra takes her songwriting and melodies with the band’s instrument playing, offer a whirlwind experience that will have you enjoying the overtures and subtleties that align within her work; it continues to be the case on their newest album, LIFE ON EARTH. The album is rich and earthy, fueled by some naturalistic punk coating that emboldens Segarra’s emotions.” – Link To Review
18. Denim & Diamonds – Nikki Lane
“Denim & Diamonds is an amalgamation of Nikki Lane’s musical personality. She gives us temperate Americana and Blues/Roots music that reflects her more personal (diamond) side; the denim is that rough-trade, pick-up-your-bootstraps Country, finding the perfect synergy, despite the ups and downs. Sometimes she finds ways to blend the two into a beautiful blend that tames the senses, especially as you get the chance to feel and hear remarkable storytelling through different contextual moods.” Link to Review
17. Blue Rev – Alvvays
“Written by Molly Rankin and Alec O’Hanley, what gets brought to the table are an array of unique stories with colorful depictions that mold their emotional deliveries into something grander than expected. Many are visually engaging, taking you through these dailies that offer layered duality to themes getting approached. “Tile By Tile” sees Rankin doing busy-body work, letting her mind wander to the time she dropped the L (love) word on a ride with someone with who she feels this affection, but it’s nonreciprocal. It leaves her feeling like she left a good thing slip and seeing her anxiety shift with specific actions, like when she sings, “Am I still giving off the wrong impression?/I shouldn’t have ever dialed you up,” in the outro.” Link to Review
16. Ants From Up There – Black Country New Road
“Unlike their debut, Ants from Up There brings bright spots for the darkness. They take out the vitamins and make sure they don’t burn the concoction, delivering a fine fixture of delicious musical plates for indulging. I’ll tell you; it may have left me slightly over-bloated without regret. There are varying elements of different genres not heard in their debut, and mastering new territory to excel, like with Isaac Wood’s vocals, it grasps your ears with a chamber-pop-echo reinforcing the melodic bind between the vocal layers and production.” Link to Review
15. Muna – Muna
“Muna offers compelling consistency, and more so on their latest, self-titled release, MUNA, where the vibes are immaculate. There isn’t a moment you won’t find yourself in a mood to groove as the sounds shift in unique directions that it’s sometimes hard to keep up. But within the 11-track album, some tracks have replay value akin to “Silk Chiffon,” while others remind us of how their sonic complexities as artists elevate the sound, whether full-on or subtle. It may not be perfect, but MUNA has a lot to love and enjoy, and I hope you do.” Link to Review
14. The Forever Story – JID
“The Forever Story is a triumph for JID, weaving together his strengths and compacting them cleanly in his own transformative journey. We get a balance between production styles, allowing them to connect through distinct transitions. It left me zoning, retaining it on repeat, and feeling the immersive nature of his music. And with features that boast the messaging of their respective tracks and equally great production, JID continues to add credence to his momentous strength as a lyricist/MC.” Link To Review
13. Dance Fever – Florence & The Machine
“Dance Fever is full of musical ideas that build upon each other and take different directions; however, what’s different is how it’s pieced together into an album that takes chances and elevates itself by playing with some progressive soundscapes. Within these soundscapes, Florence Welch continues to weave–with co-writers and producers Jack Antanoff, Dave Bayley, Thomas Hull, Thomas Bartlett, and Robert Ackroyd–these personal conflicts that befallen her with complex production that never create an illusion of grandeur, further grounding the music with effervescent connectivity.” Link To Review
12. Dawn FM – The Weeknd
“We’ve heard The Weeknd flow in both directions – melancholic or heightened pop – and there is less of the latter. However, It’s something which this isn’t devoid of, evident with “Take My Breath,” produced by Max Martin and Oscar Holter. At first, you get a whiff of the upbeat 80s electronic and new wave dance styles – from the riffs to the synths, I was left in awe by the complexities within the production. It’s bombastic and fluid, encapsulating that visceral “Star Boy” energy while embodying different themes.” Link To Review
11. Motomami – Rosalia
“Motomami never shies to explore, taking extra steps to inject rhythmic bliss. There are tender moments where the production strips down from an elevated pop track like “Saoko” or “Bizochito.” These moments deliver emotionally rich performances, particularly with uniquely titled tracks like “Hentai.” However, it doesn’t matter the direction; Rosalía finds a way to make each track have its own identity, and like many, we are just reeling in the greatness of Motomami. One minute you’re vibing with “Diablo” or “La Combi Versace,” the next you’re taken on a trip through powerfully moving ballads, like “Delirio De Grandeza” or “G3 N15.”” Link To Review
TOP 10 OF 2022
10. Ramona Park Broke My Heart – Vince Staples
“Ramona Park Broke My Heart is a shifting paradigm of lies and heartbreak, cornering any sense of hope to succeed. Vince Staples’ mind has hypotheticals, realizations, and growing pains that reflect how he views his career after many years under a label–sometimes, of his personality; other times, reflective of his career. But there is more to the project than the parallels in his potent lyricism, which is a constant on Ramona Park Broke My Heart. He is showing us behind the broken walls that surround him. Vince is giving us a lot to break down, from the emotionally-lyrical side and the production, which brings a continuation of greatness heard on his self-titled release last year.” Link To Review
9. SOS – SZA
“Subtleness may be what SOS lacks, but it isn’t driving the strengths, meaning it doesn’t break the album. SZA keeps her sleeves bare with emotion as she laments and vents about her world, which correlates with sheer relevancy, giving SOS a grander platform for musical resonance. From the beginning, you are not getting hints; you get directness without a curtain failsafe to shield her when she makes a listener uncomfortable if that. After the title track, we get a stream of consciousness that envelops us through these auspicious, musically metaphorical dualities that boast her person in reflection with the lyrics she delivers.” Link To Review
8. Renaissance – Beyonce
“Taking on the current nostalgic disco trend, Beyoncé evolves past certain standard genre constraints today and takes new approaches, like shifting the dynamics between eras of evolution–Disco–House–Dance. With streaming, Renaissance contains subtle crossfades, which deliver a more cohesive mix without the DJ. Using this direction, Beyoncé develops her craft to fit the mold of what she’s giving, and specifically, with the help of her producers, Renaissance is a powerhouse.” Link To Review
7. No Thank You – Little Simz
“The explorative sounds of SIMBI are this extravagant continuation of genre-bending, this time boasting Hip-Hop undertones with Afro-Beat and Soul. The music of No Thank You gets toned to ease the blend of unique overtones with minimalistic percussion. We hear more Gospel and Soul, and Simz allows herself to focus on being instead of being pressured by multi-layered beats. No Thank You is laying a foundation that sees Simz confronting her truth – her feelings without boundaries, and keeping it 100 at the cost of lyricism.” Link To Review
6. American Gurl – Kilo Kish
“American Gurl is vibrant, switching styles and trying different ways to incorporate overarching themes that personify Kilo Kish’s life since her debut album in 2016. It’s a loose concept wherein she focuses on themes beyond what affects her on a personal level, as she creates parallels to her perspective on the “American Girl,” using themes like consumerism and personal freedom. She can give it to us with vibrant production and more dour-electronic synchronization between vocals and production, as it creates intricate transitions. We hear it through similar themes or ideas reflected in the songwriting or the production style. It’s a significant strength that shrouds over consistent details that already make her a great talent. Significantly, the stronghold of these songs is Kilo Kish’s intricate and hypnotic melodies, acting like the glue holding many of the tracks together.” Link To Review
5. Un Verano Sin Ti – Bad Bunny
“In an interview with The New York Times, Bad Bunny noted that the Un Verano Sin Tí is “a record to play in the summer, on the beach, as a playlist,” so it’s not something you can just play while sitting down and indulging. I’m not saying you can, but like many reggaeton albums, the impact’s embedded in the rhythm and how your hips vibe to the beat. He knows how to create these larger-than-life moods/vibes, and he has a constant synergy with his featured artists. We get to hear Bad Bunny with some great pop and reggaeton artists, like Chencho Corleone, Tony Dize, Bomba Estereo, and The Marías, and they don’t disappoint. It’s a monstrous smash that starts at the top of Track 1, “Moscow Mule.”” Link To Review
4. Cool It Down – Yeah Yeah Yeahs
“Like opening a box of fragrant pastries fresh out of the oven, the synths come at you with a direct punch of zeal that your ears and mind won’t forget, especially as you come to a close on a beautiful soliloquy that represents growth. “Mars,” like “Spitting Off The Edge of The World” and “Wolf,” are predominant moments that raise intrigue levels through a delicate layering of guitar, effect pedals, and varying synthesizers, which become central sonic themes as the tracks they finish and deliver have innate consistency. It makes the minor stumbles seen more like distant memories.” Link To Review
3. King’s Disease III – Nas & Hit-Boy
“King’s Disease III sees Nas continuing to extend his prime, delivering heater after heater without the support of features and amounting to one of his most immaculate albums since 2012’s Life is Good. Hit-Boy produces sounds that flip between modern, large-scale Hip-Hop beats and ones that bring nuance to the influential elements of 90s Boom-Bap/Jazz Rap, amongst others. It all acquiesces into one strong gavel to the table as Nas makes an everlasting statement about his lasting legacy that will only grow more, especially with the consistency of the King’s Disease trilogy, where Nas assimilates and demolish Hip-Hop sub-genres momentously.” Link To Review
2. Yessie – Jessie Reyez
“The music of Yessie is swarthy, melancholy sounds, creating gripping relatability that takes different sonic outlooks that aren’t as predictable. From the bilingual electro-R&B “Adios Amor,” which continues to show Jessie Reyez’s coldness, to the similarly thematically driven rock-like “Break Me Down.” It’s a crisp progression of greatness as Jessie Reyez capitalizes on delivering a personification of herself with remarkable depth. It isn’t an album that exponentially breathes club, or dance bangers, instead letting it round out stylistically akin to the atmosphere/tones derived from the beginning, becoming more apparent or subtle as it goes along. It left me bewildered with excitement, as Jessie Reyez has been someone who’s shown to me that she can create something special, and she does so here.” Link To Review
1. Big Time – Angel Olsen
“Big Time is a powerful emotional experience. Since the last time Angel Olsen spoke to us, she has gone through personal change–from coming out to the loss of her mother–Olsen brings a heavy platter of thoughts that expands on her story. In doing so, Olsen subdues the glitz of overly produced country music, opting for an extraordinary approach that elevates the emotional gravitas. It grips you from the first song, “All The Good Times;” the drums reel you in with melancholic bravado from Olsen, producing a feel for the direction of Big Time. The album is reminiscent of a traditional style from the 50s/60s/70s era, taking unique paths to actualize them to life. The creativity within the construction of the songs brings elements that enforce its stagey presence. The engineering is crisp, creating a foundation in a smooth crescendo where each section becomes audibly potent in creation, from the brass and horn sections to the percussion and strings.” Link To Review
When The Fresh Prince and DJ Jazzy Jeff won the first Best Rap Performance, they didn’t go because they knew ahead of time their win wouldn’t get televised. After another year, that award wouldn’t see the light of day for 22 years. However, there have been more puzzling choices in the category beyond the album award, like “Hotline Bling” winning Best Rap Song when it isn’t a rap song – I guess Drake in name alone is rap? Hey Drake, resubmit a country song as rap and see if they bite.Jokes aside, one might understand the shiftiness of presenting live; the Grammys don’t show every award because they award over 70+ categories yearly, but when it 86’d a genre – of course – there would be protests. We didn’t have Best Rap Album till’ 1996, with a few performance categories that would subsequently get replaced with Melodic Performance and Rap Song. And still, one thing many in the general audience harp at is the nominations.
Like with the most prestigious awards, we balk at the nominations for categories we hold close to heart. But for Hip-Hop, we’ve had lapses in sub-categories and the shifting choice of which award to present. I prefer Best Rap Album as it is the cream of the crop, but sometimes it’s Best Rap Song, Best Melodic Rap Performance, or Best Rap Performance. Though we aren’t the only ones subjected to it, it’s the lack of a presence in the universal Gen-Pop awards throughout the years. Over the past two decades, we’ve seen slow growth in finding general acceptance in those awards, especially with the more Alternative albums (2) – to standard hip-hop – winning the big one – The Miseducation of Lauryn Hill and SpeakerBoxxx/The Love Below. These days, a win is a win, but it hasn’t been honkey dory, especially for us nomination balkers who see worst mistakes than the year the Academy gave Paul Haggis’ film Crash, Best Picture. Unfortunately, they still make mistakes, and this post is about nomination mistakes, especially in 2015 and today.
One of the most egregiously what the hell moments for nominations was in 2015, Iggy Azalea’s boorish pop-rap effort on The New Classic and Wiz Khalifa’s poor attempt at creating Trap music, “We Dem Boyz” aside. If either went on to win, it would have been the weakest winner among the many, but they are safe choices. 2015 had the albums, My Name is My Name by Pusha T, Piñata by Freddie Gibbs, PTSD by Pharoahe Monch, My Krazy Life by YG, and more that could have snuck to replace them, but like the film academy, niche styles won’t see the proper praise. I say this considering how focused it is on the G-Funk/Gangsta Rap My Krazy Life by YG is or the gritty percussion and synths of Monch and Pusha T. They reflect the genre discussion in film. I’m talking about the more whimsical work from creators like Wes Anderson, who rarely get looked at due to his niche style until it becomes more generally appealing, like The Grand Budapest Hotel. Fortunately, the last few years saw some consistency of diversity, as we saw artists you wouldn’t think the academy would find appeal in, like Tyler, the Creator, who has won twice, along with honoring albums that were some of the best that weren’t pop-like.
Additionally, we’ve seen nominations for Laila’s Wisdom by Rapsody and Victory Lap by Nipsey Hustle, two albums by rappers whose commercial appeal never translated into the vast world of pop but got nominated in back-to-back years, respectively. Though oddly, Nipsey’s world did converge with that of the Crazy Ex-Girlfriend fandom; however, I digress. It’s been many familiar faces, aka rappers with the highest commercial appeal, some non-debatable, others more so until recently, like that triumphant moment for Nas, winning his first Grammy after 27 years in the game. It’s been part great since 2015, but with an influx in quality from the growing number of artists, debates will continue to spark about what did and didn’t deserve a nomination.
2015 wasn’t the first time I felt flustered by the array of nominations considering the vast plains of music to get discovered outside the R&B-like Pop Rap of the 2000s. But it’s the first I’ve sensed they didn’t hear everything that was out there except for what’s on the radio. Universal Mind Control by Common, a winter 2008 release, was nominated in 2010, the same year as the overly dull and sugary R.O.O.T.S. by Flo Rida over more deserving entries like the DJ Quik and Kurupt Collab Album Blaqkout or Ludacris’ Theater of the Mind. It happened and happens currently because the Academy has a wonky, designated calendar for eligibility. Usually, their calendar year is October to October, disregarding the November and December months like film companies when they were releasing more potential critical failures, like wear found footage horror films, in January and February in the 2010s. Not saying those releases never brought forth greatness, but with an influx of covers and best-of lists, reviews can get drowned beneath it.
Rare moments like 2015, where many nominations weren’t reflective of the best work that year, and another came this year, where we saw three of the nominations bring out questions from fans. We got Jack Harlow, DJ Khaled, and one of Future’s weakest albums in his discography. And this isn’t to discredit these artists, as they have delivered fantastic surfeit work, Jack Harlow, aside. Unfortunately, the love for pop we’ve seen with Eminem and Kanye winning multiple, further making past flawed nominations make sense, especially since the late 00s. The Iggy Azaleas and DJ Khaleds – Khaled, who continuously finds himself in Best Rap Album, despite mediocre releases over the past decade – and legacy nominations that don’t always get heard through a critical lens and are nominated for the name alone – see the “Hotline Bling” nomination for Best Rap Song. It doesn’t discredit the 90% + nominations that merit the nomination. This year just left me floored when there are better albums viable for the award, like The Forever Story by JID and Traumazine by Megan thee Stallion – this includes non-submitted work like Gods Don’t Make Mistake by Conway the Machine and Cheat Codes by Danger Mouse and Black Thought.
I can understand the Future and DJ Khaled nominations, but with Jack Harlow, it felt like 2015, where there was little merit within the album to even come up with an argument for its inclusion. It’s what you’d expect from some white rapper who wants to be Drake but without much swagger. It was an overall boring album riding the highs of a Drake feature and a dope Fergie sample. Similarly, God Did by DJ Khaled is riding the coattails of a few decent songs, this remarkable Jay-Z verse on the title track, and memes. Future; well, it’s sad this is his first Best Rap Album nomination, considering how many great projects he’s released over the past decade. I didn’t hate I Never Liked You, but it isn’t Dirty Sprite 2 or Evol. It just leaves me flustered that they made it look like such a give-me for either of the other nominees, which I wouldn’t be mad if either won – Mr. Morale & The Big Steppers and It’s Almost Dry.
2022 will be like 2015 all over again, with fantastic performances and a ceremonious win, where the big shock would come if Future upset the two clear front runners. Though one could expect Kendrick Lamar to win, he did lose to Macklemore & Ryan Lewis, so anything is on the table. Unfortunately, Best Rap Album isn’t always “locked,” and here you could see Jack Harlow sneaking his way in for a win. His tacky apropos style never left anything to the imagination, almost feeling standard in approach – I Never Liked You isn’t tacky but is tried and, sometimes, forgettable. I’m here thinking about past years while trying to come to grips with it. And DJ Khaled, mediocre as it is, is forgettable outside that Jay-Z verse, so it leaves me curious about how it got nominated. It doesn’t define Hip-Hop/Rap, and frankly, I tune more into the yearly BET cyphers at their Hip-Hop awards, which is a much better and understanding award show about the world of Hip-Hop. Hope Kendrick Lamar wins, and cheers to the nominees…well, most of them.
In the 2000s, it became a blend of the 80s and 90s–we got dance dramas and bleak and realized music dramas that contain violence and more realities of the streets, like pimping and drug slanging, amongst other life choices based on nature. From Honey and Step Up to ATL, Get Rich or Die Tryin’, and Hustle & Flow, we got some great films, some duds, and others that fell in the middle. It wasn’t like past films, which tried to show how others appropriate the culture, like with the drab Black and White by James Toback. Most of these dramas, which aren’t always great, understood how to frame and deliver upon the aesthetic and grounded understanding of their world, specifically in the dialogue. For example, Honey, directed by Hip-Hop/R&B music video director Billie Woodruff, felt homier, less cinematic, and framed simply, unlike Get Rich or Die Tryin’, which was the opposite as it felt more like something to appeal to a broader audience. Honey only had the general appeal of a young Jessica Alba, while the other notions felt more inclusive and empathetic to its community, like Stomp the Yard.
In 2002, 8 Mile, the semi-autobiographical drama starring Marshall “Eminem” Mathers, came and made an immediate impact from all angles. From the music to the performances and filmmaking, it felt like this unique moment in 2002 where something outside the norm could come and make gangbusters, considering its monstrous box office return. But 8 Mile was different; it had nuance, the cinematography was enthralling, and it rarely felt artificial. It follows a path where the surroundings and situations boast reasonings for the escalated drama. However, at the crux of the film and the reason for its lasting history is music. The soundtrack is grand, a memorable piece of art that you can have with you after seeing the film in 2002, and like the films of the 80s and 90s, it made sure it kept you centered on reality. It had retention beyond its alignment to the film, keeping a steady progression of tracks you’ll return to instantly, like “Rabbit Run.”
We return to 8 Mile because of its lead actor and presence in Hip-Hop culture, and proof music dramas of this ilk can be excellent and successful. Ithas the music and a script with linear direction, even if it doesn’t have the overall resounding depth beyond its central figure. None of this absolves 8 Mile for its problematic groundedness with its reflection of heavy homophobia and misogynism in Hip-Hop as leading us through this semi-autobiographical battle rap fairytale. One could excuse its representation of the era–mid-90s–its surface layer, never ushering a discussion with nuance, instead just there as we see Eminem’s character Jimmy “Rabbit” Smith Jr come from a choke job to beating the defending champ. 8 Mile isn’t some masterpiece of Hip-Hop cinema but left an impression that made it seem artists can gravitate toward their history and deliver a grounded performance in reality in a studio film. But when it’s something that has been with you since the beginning, you can’t help but express bias-tinted lenses for the enjoyment you get watching it repeatedly, primarily because the final payoff is phenomenal for the exhilarating, emotionally draining moments.
8 Mile had a soundtrack that fluidly incorporated the instrumental Hip-Hop influenced score from the movie impacting the beats, like that of “8 Mile Road” and “Rabbit Run.” The former has these eloquent, dark, slow percussion variations that we hear during Jimmy “Rabbit” Smith Jrs.’ trip to work on the bus, where he writes and contemplates the next step. Though that moment, it gets reworked and slowed down to fit the mood and aesthetic, while the album version gets slightly sped up. “Rabbit Run” is the most profound, like many tracks and verses in Eminem’s career (“Speedom 2.0” by Tech N9ne, for example). It sees Eminem delivering a thin veil of duality as we see Eminem mirroring aspects of his and Jimmy “Rabbit” Smith Jr.’s life for a straight 3 minutes, which at the time, to a young Kevin, was out of this world. Obviously, we’ve seen better since, like Wayne Brady’s constant murder of Sway’s Five Fingers of Death or Chiddy Bang’s record-breaking 24-hour freestyle, but “Rabbit Run” is explosive. It capitalizes on being the closer as its harsher, bleaker lyricism contrasts the hopeful nature of “Lose Yourself.”
But 8 Mile: Music from and Inspired by the Motion Picture came with this plethora of audacious, original rap tracks from various artists, which kept us enthralled. It had tracks from Jay-Z & Freeway, a coy introduction to Obie Trice, and a brand new 50 Cent single, hyping us for his eventual debut with Get Rich or Die Tryin’. We got new RAKIM, some Gangstarr, and Macy Gray, all fitting an aesthetic driven by the tones of the film. The production helps embolden these tones with the dark strings, piano keys, and gripping percussion. Orchestrated by Eminem, the themes and tales the artists deliver match the complexities of the film, even if it wasn’t the case with every track. Nas came with a diss track aimed at Jay-Z, who did the opposite and delivered some flare on a reflective song that boasts his change for the better. This distinctive inflection arrives fresh as a reflection point for the underlying beef in the film; it keeps that energy flowing like those final rap battles did for us at the end.
The two main outliers are “Lose Yourself” and “Wanksta.” One speaks for itself, and the other was one of 50 Cent’s earliest hits. I remember the music video vividly. I was with my cousin, who got the Get Rich or Die Tryin’ album, while I had a censored mixed CD. That CD came with the video, and we popped it in his PS2; it further cemented a love for hip-hop, but more so an interest in rap, as before, it was all Eminem for me. It wasn’t until later in 2003, on Christmas Eve, when I caught the first few minutes of 8 Mile before my family decided to drive home. And since then, I’ve had two rotating songs on many playlists in my formative years, “Wanksta” and “Lose Yourself,” the latter left a lasting impression through prestigious eyes that can steer discussions about its quality in pop culture discussions. “Wanksta” has a fun and lively demeanor where the swag oozes with each swaggering step as he continues the dissing–in this case, fake gangsters–like the rap battles of the film. It was bombastic, gritty, and beautifully orchestrated. There are its issues, including some modest production, comparatively to said producer’s other beats, and themes that meander due to past raps about them. On “Rap Game,” where D12 raps about the effects of the industry as artists who aren’t seen on the same, a topic we’ve heard before from varying artists; however, as great as their synergy is, the track isn’t as interesting, but it flows.
What can I say about “Lose Yourself” that hasn’t been said before? The piano-driven production boasts waves of anger, resilience, and success in harmonic bliss. The lyricism brings resounding depth, wordplay, and beautifully direct storytelling. Blend these two you get a fantastic song with emphatic replay value and memorable lyricism. It also won the Academy Award for Best Original Song, the first Hip-Hop track to do so. Eminem & Luis Resto & Jeff Bass were the winners, and their competition was Paul Simon and U2, two artists who, back then, were more revered and loved than Eminem. He was amidst social scrutiny for his language from a barrage of angry parents, considering his skin color allowed him to have a wider reach compared to the past. A few months prior, he released The Eminem Show, containing “White America,” a satirical dig at parents who lambast his music. However, there was a shift here, and though the wins and nominations stay stagnant, having more Hip-Hop songs make the Academy’s shortlists is a proper step in the right direction for their inclusivity. It’s especially gleeful when not long after the win for “Lose Yourself,” we got our following winners: Three Six Mafia for “It’s Hard Out Here For A Pimp,” beating out Dolly Parton. I feel like many of us reacted the same, if not more enthusiasticallyally than Queen Latifah when she handed them that award.
As the years progressed, we’ve had plenty crack the shortlist or vie for a nomination, like Kendrick Lamar, Alicia Keyes, and Hans Zimmer, with “It’s On Again” from The Amazing Spiderman 2 and “100 Black Coffins” by Rick Ross from Django Unchained. I still find it a travesty that it wasn’t nominated, especially with the gravitas and potency of Ross coming off the fantastic B.M.F. album. It boasted by having the stylistic focus of Django Unchained in mind, but eventually, we’ll go back to that instead of playing it safe with “Glory” or “Stand Up For Something.” We’ve seen Hip-Hop artists get nominations for non-Hip-Hop tracks, like M.I.A. and Pharrell, for their work in Slumdog Millionaire and Despicable Me, respectively. It didn’t so much open the doors, and instead, it made history, along with Three Six Mafia, for winning in years where their style of music may not have been winners; Eminem has a controversial past, and Three Six Mafia…well, “they’re pouring me some pimping mang.” It is part of its everlasting history and will stay so for years.
Like those who knew of its rerelease, I saw 8 Mile in theaters over the weekend; I felt possessed as I sat there mouthing every freestyle, every verse, and more, due to its personal history with me. But at that moment, punches from the music started hitting harder, and it made me remember the early years; I’d vigorously loop “Rabbit Run” to try and learn every word, even matching the flow, down to the minor breaths in between rhyme schemes. I was one with the music like numerous people have been with the film. We instantly return to the soundtrack, and the final rap battles, before thinking of rewatching the film in its entirety; however, no matter the decision, it’s an experience worth revisiting if not for the faint of curiosity but for the music and character details explored with Jimmy “Rabbit” Smith Jr.
Some of my favorite discoveries have been on a series from Australian DJ & Radio Host Triple J called, Like A Version. Within his show, the artist he interviews deliver two live performances, one original and one cover they want to do. And one artist that captivated me on both ends is Telenova, an Australian Electro-Pop/R&B band that offers intrigue to a world that can expand. I knew they could make something special from their performance of “Hung Up” by Madonna. I was on a cloud of whimsy as they delivered sonically while constantly expressing jubilance. From there, I started to dig further into their discography–two EPs and a few singles later, they have an identity built within their core, despite slightly shifting to standard sonic conventions we hear amongst their contemporaries. But that’s okay, as they follow a rhythmic pattern that makes our ears tingle with that pop-tinge from musical catchiness.
There’s “Bones,” this exuberant electro-pop groove that leans on the atmosphere, shifting between these whimsical strings and filtered synths. Contrasting that style is the percussion-driven “Haunted,” which recontextualizes atmospheric overtures as a subtle backing layer for the rhythmic and slight R&B-influenced vocals from lead singer Angeline Armstrong. There are various turns Telenova takes to make themselves stand out amongst the rest, and beyond the two tracks mentioned, they bring an excellent ear for certain instrumentations. We especially hear in the cadence brought out by the strings, whether from various guitars, mandolins, etc., weaving together the varying layers of synths and percussion into flirtations with pop. I’m an over-giddy fan who loves ambient/atmospheric electro-pop, specifically when it has an identity that separates them from contemporaries, like Chvrches. One of many indie bands I return to–I can’t wait for the moment they release full length LP, but for now, check out their cover of “Hung Up” and EPs, and hopefully you’ll like them.
Check out their most recent EP, Stained Glass Love, here:
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