album review
Hip-Hop music has long suffered from segmentation, pitting certain parts of the scene against one another in a foolhardy race for relevance. MIKE, one of the leading voices in the so-called underground scene, has managed to merge sounds that defy his designation via his brilliant new project with producer Tony Seltzer, Pinball II.
MIKE is an artist we’ve featured heavily in our CRT FRSH playlist roundups, and we’ve mentioned him in a few AOTY posts over the years. The depth, maturity, and presence of the artist born Michael Bonema are astounding when one learns he’s still in his 20s.
Looking back over MIKE’s discography, intentional listeners will recognize the growth from year to year, with the rapper-producer’s gruff voice conveying a bevy of emotions. As he rapped on “Tapestry” from his excellent Beware Of The Monkey mixtape, MIKE’s penchant for the “sad boogie” across his largely self-produced projects morphed into deeply analytical and often personal accounts of his journey in music, honoring his late mother, uplifting his family name, and making sure he’s a solid advocate for his associates.
PInball II doesn’t lean into the aesthetic that MIKE usually performs over and produces under his dj blackpwr alias. Giving Tony Seltzer the keys for a second time, MIKE allows himself to have fun, boast about his successes, and also celebrate his long climb into notoriety. Like their first outing, Seltzer, who has produced for the likes of Wiki, Ski Mask the Slump God, Princess Nokia, and more, gives MIKE a series of booming platters of backdrops that allow Big MIKE to flex.
The album opens with the stage-ready “Sin City,” which sounds prime for a marching band to replay. MIKE is in top sh*t talk mode, shouting out his 10k Global brethren Jadasea, Niontay, and redLee. This leads into “Dolemite” featuring Lunchbox, and the hazy, trap-influenced track is an abrupt shift in energy that feels purposeful all the same.
Seltzer warms things back up with “#71” with MIKE’s growling timbre sounding at home over the bouncy production. At one point, MIKE raps “These n*ggas hardly vicious, but got war paint” with all the sincerity in the world, and while there is a smile in his voice, it still sounds slightly menacing.
Pinball II is something of a roller coaster ride with slinky grooves like “Golden Dragon” and “Money & Power,” allowing MIKE to use his powerful vocal instrument and find pockets in the beat that most rappers would be lost trying to locate.
Features are kept to a minimum; however, 10k artist Sideshow shows up on the sinister “Hell Date” and once again, the Washington, D.C. rapper manages to pierce the soul with his grim outlook and his desire to break away from the streets but never leaving those elements behnd, a common theme in Sideshow’s music. The Ethiopian-American lyricist steals the show on the feature.
“Shaq & Kobe” once more pair MIKE with Florida’s Niontay, and their chemistry remains undeniable. Niontay raps in rushed, slurred bursts, and when juxtaposed against MIKE’s bass-heavy monotone delivery, the contrast in their voices over Seltzer’s heat rock helps the song soar higher.
If there is a song that has a sound similar to MIKE’s previous solo works, it would be “Jumanji,” featuring his friend and past collaborator, Earl Sweatshirt. Pinball II reaches its apex here as MIKE again employs a delivery reminiscent of what he did with Sweatshirt on the track “SENTRY” from the California rapper’s Voir Dire album, produced by The Alchemist. Sweatshirt, known to be a technician, allows himself to let his verses hang and float with little regard to the rhythm, making it one of the most refreshing verses we’ve heard from him.
Pinball II will lazily be called “trap,” or at least say it sounds influenced by that Hip-Hop sub-segment by casual listeners. Upon further listens, MIKE’s increased musical productivity has not dimmed his passion, considering this is his second release after the stellar Showbiz! album from earlier this year. As MIKE continues to establish his position in the scene he’s poised to lord over for years to come, corny as it comes off, the fans are winning as a result.
Find Pinball II at your preferred DSPs here.
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Hip-Hop music has embraced and occasionally criticized artists who chase the familiar, as nostalgia is seen as a schtick among some purists. Fly Anakin gently leans into this concept on his latest album, (The) Forever Dream, with the Richmond, Va. native harkening back to the days before Hip-Hop notoriety and the joy of spotanenity.
Executive produced by rapper and producer Quelle Chris, an innovative artist in his own right, the Detroit mainstay’s inventive bent is felt throughout (The) Forever Dream. As the concept of the album seemingly unfolds, Fly Anakin’s usual sharp rapping ability doesn’t have that same whipcrack intensity as heard on his earlier releases on his own or alongside his Mutant Academy collective.
With this album, there’s fluidity in Anakin’s flow that he’s always possessed, but much slinkier as production from Shungu, Quelle Chris collaborator Chris Keys, The Alchemist, and Quelle himself all open varying runways for the artist born Frank Walton.
The widest of those runways is the spirit of the impromptu studio session, and that tone is set early with album opener “Good Clothes” featuring Demae. Anakin’s double-time flow pairs perfectly with Chris Keys’ dreamy backdrop, and as the track builds, so does Anakin’s comfort in the moment. As a warmup, Anakin allows himself a moment of braggadocio but never overdoes it.
Hopping ahead to “My N*gga,” Shungu’s hulking production allows Richmond’s $ilkMoney, and Anakin’s Mutant Academy colleague Big Kahuna OG to set the stage for a strong closing verse for Anakin. Quelle provides the bouncy hook for an early highlight. In the background of the track, you hear laughter, adding to the mystique of the album, and the conditions that inspired its direction.
Micall Parknsun provides the track for “Lil One,” one of (The) Forever Dream’s more inward-looking songs, and Quelle joins in on the mesmerizing hook and outro. August Fanon, a producer with several placements in the sprawling independent Hip-Hop scene, delivers the somber and soulful “Check On Me,” featuring a memorable verse from Philadelphia’s lojii.
The fun starts picking up on “NOTTOOSHABBY” with verses from Quelle Chris, $ilkMoney, and Richmond legend, Nickelus F. The beat from Child Actor sounds like something Quelle would produce himself, hence why he sounds so at home on the track. Anakin and Nickelus both take off on the track as well, even with Anakin missing a lyrical cue, but telling the engineer to keep the session going.
This is what makes (The) Forever Dream the most inviting of Anakin’s releases. There is a vision of relaxation, hazy clouds of good greenery, maybe some libations, and a bunch of friends, new and old, attempting to capture those sparkling moments on wax. Yes, this all existed before, but it is greatly expanded here.
“Lord Forgives, I Hold Grudges,” takes its title from a line from Anakin’s verse and just when it appears he’s going to let us in more into who he is, the lyrics trail off into sincere but largely general sh*t talk. This isn’t a critique, but it’s something that he routinely does across the album. Quelle’s Crown Nation partner, Denmark Vesey, who produced the track, delivers an amazing performance, and Anakin’s FlySiifu collaborator Pink Siifu lends his consistent free jazz-styled lyricism.
All through the album are moments of pure, unbridled joy. This shows up on songs like the summery “The Times” with a beat from frequent Homeboy Sandman collaborator Mono En Stereo, and “Corner Pocket” with The Alchemist on the production and a scene-stealing verse from bbymutha. Quelle’s hook is also another winner.
(The) Forever Dream isn’t a gigantic departure from Frank, Anakin’s 2022 studio album debut. However, it stands apart due to the freedom of taking chances outside the typical lanes Anakin is known for. As a complete listen, the album easily showcases Fly Anakin’s formidable ability, but highlights that he can veer off the typical paths and achieve his dreams in the process.
Check out the album below. Find the album at your preferred DSPs here.
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Lil Durk’s “Deep Thoughts” album sees the Chicago rapper exploring personal growth and the challenges of his life, all while reflecting on his faith and the streets that shaped him.
From the introspective opening track “Shaking When I Pray,” Durk sets the tone for the album, starting with a recitation of a Muslim prayer, signaling the importance of religion in his life. He touches on how the streets criticize him for not doing enough, despite his numerous contributions. While it’s an important track, it doesn’t quite hit the mark as an intro compared to some of Durk’s previous work.
“Keep On Sippin’” dives deep into Durk’s ongoing battle with lean. He confesses that whenever life goes wrong, he turns to the cup, and when things go right, he does the same. His partner, India, even makes it clear that they won’t get married if he doesn’t stop. This track captures Durk’s vulnerability and struggle with addiction.
In “They Want to Be You,” Durk reflects on the way the streets look up to him, and how he feels the need to better himself for them. He also stresses that he has nothing left to prove but a lot to be used for. Future’s feature adds to the track, bringing his signature energy. “Soul Bleed” is classic Durk, with that raw emotional honesty fans have come to expect, reminiscent of hits like “All Love” and “Backdoor.” In “1000 Times,” the collaboration with Lil Baby shines, addressing the struggles that come with the street life.
“Turn Up a Notch” serves as an anthem for those looking to level up, while “Vanish Mode” lives up to the hype surrounding its release, echoing the excitement fans felt for “Three Headed Goats.” Lastly, “Monitoring Me” brings back Durk’s drill roots, talking heavy about his ops, much like his hit “AHHH HA.” Deep Thoughts is a solid project that showcases Durk’s growth and depth, balancing his street narrative with introspection and faith.
Check out the ratings of each song and overall for Lil Durk’s latest album, “Deep Thoughts” below.
1. Shaking When I Pray – 5/10
2. Keep On Sippin’ – 5.5/10
3. They Want to Be You – 6/10
4. Soul Bleed – 7.5/10
5. 1000 Times – 7/10
6. Turn Up a Notch – 7/10
7. Vanish Mode – 8.5/10
8. Monitoring Me – 9/10
9. Untouchable – 8/10
10. Notebook (No Hook) – 7.5/10
11. Can’t Hide It – 5/10
12. Wonderin’ Again – 4.5/10
13. Late Checkout – 4.5/10
14. Think You Glowed – 5/10
15. Opportunist – 7/10
16. Alhamdulilah – 6.5/10
17. Deep Depression – 7/10
18. Lil Durk’s “Deep Thoughts” Overall Rating: 6
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Source: @sabapivot / @sabapivotSaba and No ID’s collaboration on “From The Private Collection of Saba and No ID” brings together an intriguing blend of sharp lyricism and top-tier production.
From the intro to the outro, this album flows smooth like butter. No ID’s left field beats really bring out the best in Saba’s introspective bars. Let’s break down some of the standout moments and thoughts on the project:
The opener, “Every Painting Has a Price,” feels like a forgotten gem from Kanye’s Late Registration era. It’s a track that invokes nostalgia with a feel-good vibe, and BJ The Chicago Kid absolutely kills the hook, setting the tone for a project that’s both soulful and reflective. It’s the kind of song that makes you nod your head while taking in Saba’s layered bars. In “Breakdown,” Saba has a conversation with a woman, questioning what he needs her for. The production here is smooth and rich, really driving the narrative home. The track feels personal and thoughtful, with Saba’s introspection shining through as he breaks down his emotions and experiences.
“Crash” features Kelly Rowland, but despite her powerful vocals, the track doesn’t leave a lasting impact. It feels forgettable compared to other moments on the album, not quite matching the energy or depth of the rest of the project. “Woes of the World” presents a simple but powerful message about the emotional toll of global struggles. The hook here is decent but doesn’t hit as hard as the verses, where Saba dives into the pain of seeing the world’s troubles. It’s the kind of track that resonates, even though the chorus could’ve been stronger.
“Stop Playing With Me” is a short interlude that doesn’t do much to stand out but serves as a smooth transition into “West Bound Pt.4,” which has one of the best moments on the album. The way the two tracks flow into each other is impeccable, and Saba delivers a hard-hitting verse: “If you see someone always winning, he’s not gambling, he’s cheating.” This line alone shows how Saba’s confidence and introspection are on full display here.
Overall, “From The Private Collection of Saba and No ID” is an album that showcases Saba’s growth as an artist while highlighting No ID’s unmatched production. It’s a well-rounded project that blends introspective lyricism with powerful beats, even if there are a few moments that don’t leave quite the same impact. Check out the ratings for each song and the overall score below.
1. Every Painting Has a Price – 8/10
2. Breakdown – 7.5/10
3. Crash – 5/10
4. Woes Of The World – 7.5/10
5. Stop Playing With Me – 5/10
6. West Bound Pt.4 – 8/10
7. head.rap – 8.5/10
8. Acts 1.5 – 7/10
9. Reciprocity – 6.5/10
10. Stomping – 6.5/10
11. Big Picture – 7.5/10
12. 30secchop – 6.5/10
13. How to Impress God – 7/10
14. She Called It – 5/10
15. a FEW songs – 6/10
16. “From The Private Collection of Saba and No ID” Overall Rating – 6.5/10
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YoungBoy Never Broke Again’s “More Leaks” album brings that raw emotion we expect from him, diving into betrayal, pain, and personal struggles.
Every track shows a different side of YB’s life, from his Louisiana roots to dealing with losses and love gone wrong. Let’s break down the hits and misses on the album:
“Trapped Out” hits hard with YoungBoy reflecting on betrayal. He talks about having people’s backs in the past, only to find out they weren’t loyal. It’s deep and relatable, a solid track that’ll hit home for anyone who’s felt the sting of fake love.
“Rich Junkie” brings the classic YB sound with a heavy Louisiana beat. If you’re a fan of him talking his talk, flexing and popping his ish, this one’s for you. It’s got that fire energy, making it one of the album’s standouts. “Jingle Bells” takes a wild turn, flipping the classic Christmas tune into something more gangster. YB sounds like he’s praying and venting about how he feels like his prayers ain’t being answered. It’s different and gives a vulnerable side to his usual bravado. “5 Night” is another solid track with beautiful violin production. YB comes through with a killer flow, making this one of the more memorable songs on the album.
Then we get “Cut Throat,” which feels kinda weak. It’s the same old YB slide talk, and the random line about his ex Deja doesn’t really fit. “On Me” has YB deep in his feelings, reminiscing about the friends he’s lost to the streets. While it’s emotional, it doesn’t quite hit the same as some of his other tracks.
Overall, “More Leaks” gives us a mixed bag of tracks. Some hits show YB’s vulnerability and emotional depth, while others are a bit repetitive. He’s definitely experimenting with his sound, but there’s still room for growth.
Look below for the full ratings and overall score of the album.
1. Trapped Out – 7/10
2. Rich Junkie – 8/10
3. Jingle Bells – 6.5/10
4. 5 Night – 7.5/10
5. Cut Throat – 5/10
6. On Me – 5/5/10
7. 86 Prayers – 4/10
8. Trap 101 – 5.5/10
9. GD Galaxy – 5/10
10. I Need A Doctor – 5/10
11. Paparazzi – 4.5/10
12. Of Late – 4/10
13. Dump Truck – 4.5/10
14. Letter To The North – 4/10
15. Demon Seed – 6/10
16. Hey Hey – 6.5/10
17. What You Want Do – 4/10
18. Out My Mind – 7/10
19. Take Me Slow – 3.5/10
20. She A Demon – 4.5/10
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Redman has been an active rapper since 1990 and he has carved out a lane as the wisened version of his younger self, still sharp lyrically but perhaps less brash than he was decades ago. With his latest album, Muddy Waters Too, Redman took on the impossible task of creating a sequel to his beloved classic which serves as a return to form for Funk Doctor Spot.
Breaking the usual format here, I want to express my deepest apologies to Redman. I was not excited about Muddy Waters Too in the least bit, especially as a fan of Muddy Waters, the crown jewel of Funk Doc’s discography to some. I realize now that my folly was limiting the New Jersey legend to what I felt was his creative zenith instead of appreciating that he’s still here releasing music that largely seemed cathartic for him. Further, his style had matured over the past three decades but he never lost the ability to rhyme at an elite level, and through it all, he’s maintained something that’s been long missing in current Hip-Hop — having fun.
Muddy Waters Too was initially promised in 2013 and at the time, the industry largely moved on from hard-hitting punchline-laden Hip-Hop. This was also after the so-called “Blog Era” period and the industry’s audio textures shifted once more. Nevertheless, Red remained an active participant and alongside his longtime collaborator Method Man, he perfected his live performance while delivering loosies, mixtapes, and other projects over the years but nothing approached the commercial or critical success of his previous releases.
MW2 still maintains the sonic ethos of its predecessor, and that includes Redman’s zaniness, the everpresent skits, and a throughline of Brick City (Newark, N.J.) pride. The album opens with “Da F*ck Goin On” which would sound right at home on Red and Meth’s Blackout series. Red digs into the funk on the production and he sounds in top shape. Next up is “Whuts Hot” with production from Khrysis finds Red rapping with his typical confidence. Oran “Juice” Jones II, the son of Oran “Juice” Jones, who delivered the ’80s R&B hit, “The Rain,” shows up for the hook.
Perhaps as a preview of a potential Blackout 3 drop, Method Man appears on “Lalala” and the pair go bar for bar over production from Vinyl Frontiers. A little fan service happens early on “Dont You Miss” with Erick Sermon serving up a bass-heavy platter for Red’s nostalgic trip down memory lane and serves as a strong ode to the 1990s. Other standouts include the Tall Black Guy-produced “Aye,” a track that would’ve run summer radio if that were still a thing, the previously released “Don’t Wanna C Me Rich,” and “Pop Da Trunk” with production from Rockwilder. And while Redman is never outshined on any track, Sheek Louch of The Lox comes quite close on “Dynomite.”
About that aforementioned Jersey pride, “Lite It Up” seemingly features the entire state with Naughty By Nature, Queen Latifah, Rah Digga, Shaquille O’Neal, Lord Of The Underground, Lady Luck, The Artifacts, Heather B, Hakim Green of Chanel Live, and Nikki D all appearing. And no Redman album would be complete with a “Soopaman Luva” track and part seven of the series finds Red back in his Hood Lothario mode. The album ends with the soulful “Smoke With Me” with production from DJ Static and Seige Monstracity and Redman employing a double-time flow as he has done previously.
To get personal, something magical happened over the holidays as I finally took in the album. I approached the record with lofty hopes and I can freely admit that from the intro to the final track, I felt as if I were transported back to 1996 and hearing Muddy Waters for the first time. Adding to this, I found myself getting choked up about how good the album sounded, even on tracks I wasn’t necessarily wowed by. I told everyone near and dear to me to check out MW2. I felt like it was my duty to correct my wrongs and promote this album as if I worked for Gilla House myself. I am still struck by how Doc was able to channel the energy of nearly 30 years ago and managed to make it sound like now. I vow to never doubt Redman again.
Check Out Muddy Waters Too below.
MUDDY WATERS TOO !! OUT NOW !!https://t.co/zvc3bsY8tQ pic.twitter.com/sHBQ3HHtRv
— Redman (@therealredman) December 24, 2024
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Kendrick Lamar created what could be explained as a seismic event in his dismantling of Drake, and the embers are still warm even as their feud was largely settled after “Not Like Us” was released. Not content to rest, Kendrick Lamar last week surprised fans and released a new body of work in GNX, a celebratory collection of sounds influenced by West Coast sonics that is less a victory lap than it is a rallying cry.
Most observers find Kendrick Lamar’s image difficult to narrow down, and that seems largely by design. For portions of his career, K-Dot was narrowly framed as an imaginative lyricist who didn’t chase or want mainstream appeal. Lamar’s ability was forged in the flames of battling for respect on street corners and hazy nights in recording studios with other up-and-coming rappers during his time with Top Dawg Entertainment (TDE). For those aware, it was not a shock that Lamar dispatched Drake in their back-and-forth swings with the precision he did, even if the allegations laid forth remain speculative between the pair. In most eyes, Lamar won their battle on both the audio front and moral grounds, creating a divisive line of discussion between their respective fanbases.
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After the Instagram-only release of the track “Watch The Party Die,” the somber tone and messaging suggested a return to a reflective and serene stance that the Pulitzer Prize-winning rapper is noted for, but GNX leans deeper into the gritty aura of Lamar’s native Compton and Southern California culture as a whole. There is even some of the Bay Area’s “slaps” sound among the platters present on the new project, which some report is a mixtape and not a full album.
The project opens with the brooding “wacced out murals,” inspired by a real-life incident where a mural of Lamar was constructed by Gustavo Zermeño Jr. in the rapper’s hometown that was later vandalized. The track also opens with the vocals of mariachi singer Deyra Barrera, who Lamar first encountered during a performance at Game 1 of this year’s World Series with the Los Angeles Dodgers emerging victorious over the New York Yankees.
The relentless nature of “wacced out murals” is bolstered by the production of longtime collaborators Sounwave and Dahi along with Jack Antonoff and is as tone-setting an opening track as any heard in recent times. So much is packed into the track, including a mention of Lil Wayne, who Lamar idolized as a young rapper, and a third verse dedicated to Drake attempting to pay for information on his rival.
Moving on to “squabble up,” the project’s first single which also got the video treatment, Scott Bridgeway, Sounwave, Dahi, Antonoff, and MTech’s production samples “When I Hear Music” by Debbie Deb which embodies the sun-soaked approach of both Northern and Southern California. Wearing its audio lineage proudly on its sleeves, “squabble up” delivers on the promise after it was heard as a teaser ahead of the “Not Like Us” video. Like the song before, Lamar peppers the third verse with shots at Drake, and if any song is indeed a victory lap of their battle, it would be this one.
Source: pgLang / phLang
SZA and Lamar have collaborated in times past and they continue their magic on “Luther,” shifting from the hard-driving songs that precede it. Because Lamar is not someone who favors simplicity for the sake of it, the tone of the song suggests the plight and triumph of two lovers giving the other support where it’s needed. With “man at the garden,” Lamar reaches deep into his bag, rapping in a conversational tone while the refrain “I deserve it all” punctuates each stanza. Once more, the song’s third verse suggests that K-Dot is acutely aware of his power to shift perspectives and tell the truth, and it nearly sounds like remorse more than braggadocio.
Mustard, who found himself involved in a hilarious meme trend, shows up for production on the track “hey now,” featuring a show-stealing verse from South Central Los Angeles native Dody6. Much of the first verse is aimed at Drake once more before standard issue trash talk, giving way to a fun back-and-forth swing with Dody6 in the closing verse.
For most listeners and certainly a standout for us, “reincarnated” finds Lamar at the height of his songwriting powers, channeling the flow of the late Tupac “2Pac” Shakur. The song samples 2Pac’s “Made N*ggaz” and finds him reportedly rapping from the reincarnated perspectives of John Lee Hooker and Billie Holiday before turning the lens on himself in the closing verse along with rapping as God and the fallen angel Lucifer, tying the concept of the track together. It is one of Lamar’s most impressive rapping performances across his decades-long career.
Kicking off the halfway mark, “tv off” has captured the attention of the masses by way of Lamar’s exaggerated “Mustard” adlib on the second portion of the track but as he’s done all across GNX, the shots at Drake and anyone else who dares to test are delivered with a knowing sneer that he vanquished any attempts to slander his name and took down one of the biggest artists in the game to boot. And yes, the adlib, co-opted by corporate social media accounts, will have plenty of shelf life especially if Lamar decides to perform the track at next year’s Super Bowl performance.
As the album winds down, “heart pt. 6” is mindblowing for its sampling of SWV’s “Use Your Heart” and telling an autobiographical tale of his come-up and days within the TDE camp. For the first time, listeners are allowed to peer into the tight-knit backrooms of the musical collective, learning from Lamar himself that his former labelmate Ab-Soul was a lyrical inspiration and even revealing that the Black Hippy quartet of Jay Rock, the aforementioned Ab-Soul, ScHoolboy Q and himself didn’t happen because Lamar found other creative interests. It also confirmed that Lamar leaving TDE to begin pgLang was a mutual split and that the love for the crew remains.
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One thing that cannot be discounted is this album also proved to be a showcase for the likes of AzChike, who shows up for “peekaboo” and the project’s title track features Hitta J3, YoungThreat, and Peysoh, all taking advantage of the huge spotlight that comes by way of appearing on a song with one of Hip-Hop’s most revered acts.
At Hip-Hop Wired, we don’t have a scoring system, nor are we interested in ranking the creative works of an artist as that cheapens their vision. Instead, GNX should be appreciated for what it is — a collection of music that showcases the West Coast’s versatility and unification as of late, all spearheaded by Kendrick Lamar taking it straight to the chest of one of the biggest stars in music history.
It isn’t an album full of heavy self-analysis like Mr. Morale & The Big Steppers, nor does it mimic the intentional commercialism of DAMN., and it it is nowhere near the jazzy and pro-Black To Pimp A Butterfly, biographical as shown on good kid, m.A.A.d. city, or freewheeling like Section.80. GNX operates in a singular orbit just as those projects did, however, doing so with such aplomb that the world is anticipating his next stroke of genius with breathless anticipation.
Listen to the album in full below.
GNXhttps://t.co/h9NaZaivRd
— Kendrick Lamar (@kendricklamar) November 22, 2024
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Ever since Fifth Harmony’s Alice in Wonderland-inspired performance of Ellie Goulding’s “Anything Could Happen” at the 2012 X Factor semifinals, Normani’s calm cool and subtle swagger have cut through the noise. Over the course of the decade that followed, that noise evolved — from the racism she faced (from inside and outside of her band) as the sole Black girl in Fifth Harmony to an audience that claimed to support her solo work while refusing to acknowledge the personal circumstances that caused her years of delays.
On the arduous seven-year road to her debut solo studio album, she’s periodically turned up the intensity with breakout moments — like that iconic “Love Lies” performance at the 2018 Billboard Music Awards or her star-cementing first solo music video, 2019’s Ariana Grande-penned “Motivation.” Nonetheless, the sensuous allure of Janet Jackson, Ciara and Aaliyah has always been the anchor of Normani’s artistic profile, and it’s that palette that she meticulously expands upon throughout Dopamine.
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Arriving on June 14, alongside an album photo shoot that pulls inspiration from the dominatrix-lite imagery of Jackson’s 2008 album Discipline, Dopamine finds Normani properly establishing her solo sound for the first time, embracing and amplifying the parts of her identity that were flattened in her output with Fifth Harmony. She paints fearless self-portraits of her sexuality across a soundscape that combines her love for ‘00s southern hip-hop with the intricate vocal stacks of Janet and Brandy, as well as the smooth rap-sung cadences of Aaliyah and Beyoncé.
Relative to her peers, Normani’s social media presence is notably scant; her recent promo run in the months leading up to Dopamine is the most she’s spoken to the public since her “Wild Side” promo run back in 2021, which netted the Cardi B-assisted track a No. 14 hit on the Billboard Hot 100. Instead of playing the forever-doomed game that is the blog circuit, Mani uses her music to issue a public service announcement about who exactly we’re dealing with on Dopamine.
“Bling-bling-blow, that’s all them platinum hits/ Bling-bling-blow, that’s all that Billboard s—t,” she spits on the grimy Starrah-assited opener, “Big Boy.” Across a brooding bassline peppered with funky horns, Normani immediately sets up shop in the South, namechecking icons like André 3000, Big Boi and Pimp C, while boasting about being “cornbread-fed.” Fifth Harmony may have exclusively consisted of women of color, but Normani’s specific identity — ‘00 Southern Black culture – didn’t often get a chance to shine. With Dopamine, Normani makes it a point to center those parts of herself, reclaiming the past ten years she’s spent in an industry that would rather pillage the South for its sound than use their resources to amplify those artists.
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That Southern flair courses through “Still,” on which Mani floats over an atmospheric flip of Mike Jones’ “Still Tippin’.” Lead single “1:59” and de facto ballad moment “Distance” help Dopamine flash forward from ‘00s influences to the late ‘10s by way of a melodic Gunna feature on the former and heavy trap drums on the latter. One of the album’s lyrical highlights, the Sevyn Streeter-penned “Distance,” addresses both an inconsistent lover and the tension that exists between the artist and their fans and the industry at large.
“Distance” also happens to be the one record that might have benefitted from moving away from the dominant synthetic production to give her voice more room to fully display her vulnerable tone. Pre-release single “Candy Paint” is another track with which the vision is clear but the execution falters slightly: It’s a dancefloor-ready banger that doesn’t explode on its final chorus like it should. The missed opportunity doesn’t completely kneecap the song, but it does demonstrate how Dopamine occasionally sacrifices sonic variance for the sake of cohesion.
In the same way “Candy Paint” recalls Ciara’s dance performance-minded hits, Dopamine’s most sensual moments recall the sexual liberation of ‘00s Janet Jackson. Standout “All Yours” revels in lush vocal stacks that build a world in which onomatopoeias of sexual gratification are the dominant language. “In your head like, mm-ah, mm-ah/ In your bed like, mm-ah, mm-ah,” she coos. “Lights On” continues down that sensual path, with Victoria Monét lending her Grammy-winning pen for sly double entendres like, “You’re f–kin’ with a star, give me rounds of applause.” With a seductive spoken interlude to boot, “Lights On” is the progeny of Janet Jackson from its very first second to the last.
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In her quest to carve her own spin on these blueprints, Normani incorporates other sonic influences in a few surprising ways. There are flashes of Rated R-era Rihanna in the rollicking pop-rock of enrapturing album closer “Little Secrets” — “Wild Side” fells like more of an encore – and Grammy-winning cross-genre savant James Blake helps Mani shift her sound toward the chilly electronica of FKA twigs on the hauntingly gorgeous “Tantrums.”
Nonetheless, it is Brandy’s signature ethereal approach to vocal stacks that reigns supreme throughout Dopamine — primarily on “Insomnia,” on which she shows up herself to supply some marvelous countermelodies and harmonies, giving her latest star pupil an official co-sign with her presence.
At times, the wait for Normani’s debut solo studio album threatened to permanently dwarf whatevr pop culture impacct the LP itself would end up making, but Dopamine cuts through the noise by simply firming up the foundational elements of her artistry. There isn’t anything as Top 40-minded as “Motivation” or as pop-facing as “Dancing With a Stranger,” and it’s for the better. Dopamine heralds Normani as an artist with a fully realized sound.
While the record often shies away from exploring Normani the Person – maybe she’s saving some of that for album No. 2 – it unequivocally solves the enigma of Normani the Artist, after years of singles that pointed in myriad different directions. A smooth, succinct listen that feels unique to its artist, Dopamine is both a win for Normani and a victory for the fans who have always believed her capable of crafting such a strong record.
Born Oyinkansola Sarah Aderibigbe, Ayra Starr’s stage name has always been her destiny. Her debut album 19 & Dangerous presented a self-assured teenage star who effortlessly and thoughtfully navigated the transition from adolescence to young adulthood in a specifically Gen Z context. The album spawned a pair of global hits — “Bloody Samaritan” (which earned a remix from R&B heavyweight Kelly Rowland) and the Grammy-nominated “Rush” — that lifted Ayra from local star to international Afrobeats ambassador.
On The Year I Turned 21, Ayra handles that change in status by using it to leverage some big-name collaborations. Through those collabs, she fearlessly blends different genres and languages to color her explorations of the intertwined themes of grief, heartbreak, empowerment and maturity.
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Despite her rich, deep tone being the sharpest weapon in her arsenal, Ayra steps into her rap bag on blazing album opener “Birds Sing of Money.” The London and Marvey Again-helmed track blends stirring strings with a boom-bap inspired backbeat and a melodic Fújì (a Yoruba musical genre) intro, immediately previewing the album’s seamless blend of different sounds across the Black diaspora. When she declares, “I run my city, run my life, run my mind, but I never run away/ I’m so careful with my energy, please never speak upon my name,” she embodies a charismatic laid-back self-assurance that only comes with surviving your teenage years. Dripping with the bravado of Rihanna’s “B—h Better Have My Money,” “Birds” is an instant “bad b—hes get money” anthem, one whose energy courses through several of the album’s tracks.
Pre-release single “Commas” and “Bad Vibes” (with Seyi Vibez) continue the thread of Ayra focusing on getting her money up and rejecting things and people that drain her energy, but she offers more interesting takes on those themes on “Control” and “Woman Commando.” The former finds Ayra flipping the idea of female submission into a song about wanting a man to take the lead by picking up on her come-hither hints; “You know my lips don’t lie/ I want you to take control,” she coos, channeling a Shakira classic.
On the latter, a multi-lingual collaboration with fellow Grammy nominees Coco Jones and Anitta, Ayra delivers a women-empowerment anthem (“Tonight e be ladies night/ I no wan know your zodiac sign”) that sources its urgency and irresistibility from those pounding log drums. Big-name crossover collaborations tend to collapse under their own weight, but Ayra’s ear for vocal chemistry – Coco’s rich tone pairs beautifully with hers and Anitta’s cavalier delivery only intensifies the track’s swagger – is particularly special.
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Of course, all these hymns of independence and confidence exist in conversation with songs exploring the darker parts of Ayra’s early 20s. The cycle of love and heartbreak plays across the album, with the Asake-assisted “Goodbye,” “Lagos Love Story” and “Last Heartbreak Song” (with Giveon), building out a self-contained triptych within the album’s larger narrative. “Goodbye” combines notes of Afropop and amapiano to soundtrack a conversation between two lover who understand that they are no longer compatible. It’s a much more nuanced take on young love than the gorgeous puppy-eyed “Lagos Love Story,” which features one of the most beautiful melodic lines (“I don fall in love”) of the year. “Let’s make babies/ We’re still young, but I dey ready/ Smoke some weed at the beach/ I feel ease when I’m with you/ Prayed Ciara’s prayer, God came through,” she sings, beaming through the studio microphone.
Ayra’s songwriting has always been refreshingly honest, but she taps into level of earnestness here – which is only bolstered by the whimsical intro-recalling background strings – that captures the innate naïveté of young love without embarrassment or shame. Always a dependable heartache crooner, Giveon’s baritone delivers a perfect complement to the Ayra’s deep voice, as the two attempt to convince themselves that this is the last time they’ll waste their lives pining over heartbreak.
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For all of the big-name collaborations and maximalist pop sounds and melodies on the album, the most stirring moments on The Year I Turned 21 lie in the songs where Ayra places her voice and lyrics front and center. “21” is her de facto Adele moment, a reflective, sweeping ballad that’s punctuated with Rihanna-isms like the tongue-in-cheek, “At my grown ass age, damn.” “Orun,” the album’s best song, juxtaposes the jauntiness of highlife with soul-baring lyrics concerned with mental health and depression. “Every day is just the same/ No worries for tomorrow/ I wish I didn’t wake today/ But no, I gotta face my pain,” she muses.
There’s also album closer “The Kids Are Alright,” a classic tearjerker that’s less of a song and more of a compilation of voice notes recorded by Ayra and her siblings dedicated to their late father. When Ayra nails the seemingly endless riff on the last note of “Put in a good word for me” — a reference to her father speaking to God in Heaven – her voice swells not just with grief and loss, but also the catharsis that comes with accepting your circumstances and allowing them to build you into a stronger person.
There really isn’t a low moment of Ayra’s sophomore LP: Her pristine sequencing allows songs with familiar themes to feel fresh, and at a respectable 15 tracks the record doesn’t overstay its welcome. The one glaring misstep is the inclusion of “Santa,” her hit collaboration with Rauw Alejandro and Rvssian. By no means is “Santa” a bad song, but it is jarring shift from the album’s established narrative and a clear ploy at number-farming that undercuts how authentically the album relays Ayra’s story.
The Year I Turned 21 successfully achieves a balance that evades many sophomore albums. Ayra builds on the confessional nature of her debut and enlists new collaborators that substantially add to her sonic universe without sacrificing her Afrobeats foundation. In an era where many Afrobeats stars are keen to reject that label, Ayra fully embraces its past and present, while fashioning a future for the genre that’s refreshingly female-forward.
“How did all these people find out about Shaboozey?” one audience member could be heard asking at the country star’s headlining show at Brooklyn’s Baby’s All Right on May 17.
It’s the kind of question that longtime fans grapple with when their favorite artists have their breakthrough moments, but in Shaboozey’s case, the answer is pretty clear. Ten years removed from “Jeff Gordon,” a piano-inflected trap banger that granted him his first quasi-viral moment, the Nigerian-American singer-songwriter has combined his own self-sourced momentum, the glow of dual appearances on Beyoncé’s Cowboy Carter and an authentic understanding of the throughline between outlaw country and hip-hop to arrive at his splendid third studio album, Where I’ve Been, Isn’t Where I’m Going.
The months-long build-up for Shaboozey’s third LP has resulted in a series of buzzy moments, each bigger than the last. Despite a third of the album already out in the world as singles – with “A Bar Song (Tipsy)” leading the way, thanks to its No. 3 Billboard Hot 100 peak – Where I’ve Been sidesteps a lack of cohesion by contextualizing those standout singles (“Annabelle,” “Let It Burn” and “Vegas,” among them) within a narrative that subverts the idea of Westward expansion.
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In his May Billboard profile, Shaboozey explained the similarities between “the outlaw Old West and hip-hop” as “talking about the same things: going out and going after what is yours, and having to finesse to make ends meet.”
“If you listen to some old Western music, especially gunfighter ballads… Marty Robbins is a good one, [he] was a thug! He’s like robbing cattle, robbing trains, [he] knows [his] mom is disappointed,” he said. “It’s the same s–t Bossman Dlow [is] talking about, it’s just painted in a different world. Switch out draco for a six shooter. Switch out Balmain jeans for Wrangler jeans or chaps.”
The urgency of this middle ground – as well as this particular aesthetic’s preoccupation with moving forward (and westward) while always honoring the past – makes it a natural sonic space for Boozey’s third LP to reside in.
Where I’ve Been commences with “Horses & Hellcats,” a song whose title immediately synthesizes Shaboozey’s penchants for hip-hop, country and Western aesthetics. “We ride palominos like they’re SRTs/ Once I pick a speed, ain’t no catchin’ me,” he sings in the chorus, employing a cadence that’s firmly rooted in melodic rap, while his raspy drawl plays on the more overt country elements of the song (namely the brooding guitars and the neighing horses in the background.) “Horses & Hellcats” is a song that exalts the common ground between outlaw country and hip-hop. Preying on the shock value of the two genres’ juxtaposition isn’t Shaboozey’s goal –it’s the way those two genres are intrinsically tied together in Shaboozey’s artistic, sonic and personal profile that makes the sound so arresting.
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“Last of My Kind,” assisted by East Texas country rocker Paul Cauthen, emphasizes the outlaw feel of Shaboozey’s sound, with Cauthen’s dramatic warble pairing well with the rock influences of the song’s arrangement. “Can’t wait much longer, baby, yeah, it’s my time/ You won’t ever find another like me, uh, I’m the last of my kind,” Boozey closes the song, once again musing over new destinations, both literally and figuratively. Standout tracks “Highway” and “East of the Massanutten” — which finds Shaboozey “runnin’ full speed ahead out West” for his “freedom” and “40 acres” – keep that theme of new frontiers at the forefront of the record, despite occasional detours into poppier, more saccharine affairs. While those tracks do balance out the record’s darker moments, they still feel like surface-level examples of where Shaboozey can take his sound; in those moments, the outlaw cowboy becomes a law-abiding citizen of the country-pop state – a concession that Boozey doesn’t really need to make.
Advance singles “A Bar Song” and “Anabelle” are still stellar showcases of Shaboozey’s knack for melody, as is the BigXThaPlug-assisted “Drink Don’t Need No Mix,” which finds two of the South’s hottest new stars standing proudly in the legacy of country rappers like Nelly. Boozey and BigX have the best chemistry out of any of the album’s other collaborators; both of their voices effortlessly skate over the trap-inflected beat as they provide a celebratory complement to the escapist revelry of “A Bar Song.”
Outside of Cauthen and BigXThaPlug, Grammy nominee Noah Cyrus is the album’s only other featured artist. Always a strong duet partner (her past collaborations with Demi Lovato and big sister Miley Cyrus are both absolutely gorgeous), Noah provides a tender upper harmony on “My Fault” that picks up on the emotional fragility of the track’s finger-picked acoustic guitar. Here, the glory and wonder of unfamiliar streets are tempered by grueling heartbreak – a testament to Shaboozey’s ability to embrace and honor the full breadth of what it means to move forward. “But this road you lead me down is too long/ It ain’t nothin’ like the streets I grew up on/ When I beg you not to go, you leave again/ Well, I guess I wasn’t enough in the end,” they croon.
At a tight 12 tracks, there’s no real filler on Where I’ve Been, Isn’t Where I’m Going. Shaboozey assembled his strongest hooks and smartest arrangements to craft a record that embraces both country music tradition and modernity. A decade into the game, his singular vision of the 21st century urban outlaw cowboy has finally coalesced into something that’s not just coherent, but also plainly irresistible. Whether he’s belting out heartbreak ballads like “Let It Burn” or parsing the consequences of homewrecking on late-album standout “Steal Her From Me,” Shaboozey has delivered a terrific record of songs tailor-made to rock the arenas – which will certainly be where he’s going.