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Album of the Year 2017 #02: GoldLink - At What Cost - HipHop

Album of the Year 2017 #02: GoldLink - At What Cost - HipHop

Album of the Year 2017 #02: GoldLink - At What Cost

Posted: 02 Dec 2017 07:39 AM PST

Artist: GoldLink

Album: At What Cost

Label: RCA Records

Release Date: March 24, 2017

Listen:

Spotify

YouTube

Apple Music

Tidal

Soundcloud

Background

Despite being among the most populous metro areas in the United States, Washington D.C. has yet to make a name for itself within the hip hop genre. While it has seen its share of homegrown rappers make it big, the DMV area is still a young and growing region in the hip hop community.

Enter GoldLink, né D'Anthony Carlos, a rapper/singer/songwriter from the aforementioned DMV area who, on March 24th, released his third full length project and his first under a major record label titled At What Cost. GoldLink released his 2014 mixtape The God Complex under a shadow of anonymity, not revealing his real name or face. This project then went on become excellently received by critics and fans alike, earning him a spot on the 2015 XXL Freshman List. Using his position as a freshman as momentum, in November 2015 GoldLink released his 2nd mixtape titled ...And After That, We Didn't Talk. This spur of releases was followed by a little bit of radio silence by GoldLink throughout the better part of 2016, which was broken by the release of a single featuring Brent Faiyaz and Shy Glizzy titled Crew, which peaked at 45 on the Billboard Hot 100 Chart. After the release of another single titled Meditation in March, it was announced that GoldLink's debut studio album At What Cost would be released later that month.

GoldLink's artistic direction seemed to almost be up in the air for this album. The God Complex was this fast, energetic upbeat project from a new artist that displayed rays of potential. This was followed by a more romance-centric And After That, We Didn't Talk that seemed to tap into more R&B sounds as we saw the once-exciting rapper take a more chill turn, so the expectations for At What Cost were almost non-existent. After all, it would be only his 3rd full length project, and with so much left to explore in terms of artistry, the possibilities were endless. At What Cost became GoldLink's coming of age, his realization of where he should be as an artist, and it was an appealing location indeed.

Review

I would like the preface this write up by saying that upon the release of this album, I had never listened to any work of GoldLink's. I had never heard his previous projects, I hadn't heard any praise or criticisms of him on any platform, I hadn't even heard his XXL Freshman Cypher. So, coming into this album I was subjected to no personal or exterior biases, and my choice to listen to this album was solely due to the fact that the cover looked cool. Yep, that's how I came to meet my album of the year. Whether or not my clean slate of pure lack of prejudice upon first listen of this album affected my reception of this project positively or negatively could be a topic of debate, however I feel my open mindedness towards this, or any album for that matter, allows for a more honest and pure consumption of a musical project. Perhaps my expectations, or lack thereof, were skewed by GoldLink's professional name which may have subconsciously led me to believe that the album I was about to indulge in was more towards the subcategory of gangster rap, a conception that the album art would have supported. However, despite my blind entry into an unfamiliar artist's album, I was without a doubt pleasantly surprised by the content with which I was met.

What stood out to me most after my first listen was how quickly I fell in love with the project. Usually projects take ample time for me to truly appreciate them in any aspect, yet after first listen I found myself desiring to return to the album again and again, which I would argue is largely thanks to the production on the project. While GoldLink himself obviously isn't doing the production, in reference to the project as a whole, the production was thoroughly enjoyable, consistent, and most importantly: fun. When I say fun I'm not referring to Lil Yachty "just having fun", I mean it's the kind of production that makes an album fun to listen to. It's what provides immense replay value, it's what gets you moving, and instrumentation is a huge part of music so it really plays a big role into the creation of a good album. GoldLink seemed to take a somewhat unconventional, risky approach to the production on this project and it paid off. The choice of production was perfect for pairing with the nature of the album and I felt perfectly helped emphasize the theme GoldLink was trying to convey on this album. GoldLink brings in an elite array of producers for this album, such as Kaytranada, Matt Martians of the Internet and Odd Future, Steve Lacy, and Syk Sense. This collection of well-established producers became the architects of this D.C. album GoldLink had envisioned and incorporated aspects of 70s disco and funk music (Kaytranada especially) that were essential to GoldLink's attempt to bring the listener to the District of Columbia through the power of his music.

Perhaps my favorite example of the production on this album is that of Meditation featuring Philadelphia's Jazmine Sullivan as well as the aforementioned Kaytranada on production. This track catapults off from the vibrant 70s-esque interlude that is Hands On Your Knees as Kaytranada samples his own track off his 99.9% mixtape and creates what was the second single off of the album. I am absolutely infatuated by how amazing the production from Kaytra was on this track. It starts off with light and airy synth chords which sets itself up for the distinctive bassline of the track. This track is the most perfect embodiment of the production of the album. The funky, light, happy, upbeat, beat on this song is really what helps GoldLink pack a punch with his music. I feel like the best word to describe it would be groovy, but I know that sounds sort of cliché when speaking about hip hop. Potentially my favorite thing about this style of production is that the possibilities are endless, and GoldLink definitely exploits this trait on this project. The ability to create a cohesive album where every song is clearly distinguishable is something hip hop artists strive for, and on At What Cost it was almost seamless for GoldLink. Even on the song Herside Story, originally a Hare Squead song where GoldLink had merely added rapping, it blends unsuspectingly into the album like it was there in the first place and GoldLink manages to improve an already great song with his additional verses. This is just a general description of the sensory feel of the album if no thought was given to any particular aspect, despite my numerous praises of the production. Overall, I felt the album was very well constructed and felt very fluid throughout. These aspects seem to be underappreciated or seldomly mentioned when referencing hip hop music yet play a massive role in the overall enjoyment of a given project.

I haven't even touched on GoldLink himself yet, and to the unfamiliar reader this write-up could almost be interpreted as an in depth review of a beat tape. But bear with me here, there does happen to be rap on this rap album. One striking thing to me about GoldLink's rap style (on this project at the very least) is that GoldLink raps exactly like you'd think he raps if you were to just look at him. Maybe I'm grasping at straws here, but GoldLink's rapping is similar to his appearance in the sense that they're both mellow-yet-confident. Surprisingly enough, GoldLink isn't even the first person rapping on his own album. That title belongs to fellow D.C. rapper Ciscero on the track Same Clothes As Yesterday. However, GoldLink's entrance to this album feels almost cinematic. In fact, there's something about how this entire album is constructed that makes it feel cinematic. GoldLink manages to build anticipation for his big debut on At What Cost, with the Opening Credit intro followed by the transition into Same Clothes as well as Ciscero's verse. And without a doubt, GoldLink capitalizes on the anticipation, while spitting these amusing bars after he performs the hook:

Ridin' 'round and my car's low, nigga, what you waitin' for?

Big dick in her tonsils, yeah, I got a big ego, hoe

Ridin' 'round and my bitch high and grip her thighs, I might fuck that right

Wildin' out, I might make her mine, might fuck around, I might blow her high

-GoldLink on Same Clothes As Yesterday

Going back to my cinematic point, this entrance and first lines by GoldLink really makes you feel like you're at a concert. That's how good of a job he does at building anticipation and then making that big arrival like the main act does at a big show. This is the kind of sentiment you want to receive when you're listening to an album, you want that grand feeling when listening to music, after all in my opinion I don't think music is very good if it doesn't provoke some sort of emotion from you, the emotion here being the resulting excitement from an energy crescendo. This aspect isn't exclusive to GoldLink of course, it's a pretty common practice in hip hop to give an album a somewhat movie-like delivery, and in good reason. It's very effective at creating an album that is truly fun and interesting to listen to front to back. It's this cinema-effect that GoldLink uses to transport you to Washington D.C. through his music. This was demonstrated very tastefully with the ending to Meditation and the transition to Herside Story - that being the "oh shit!" followed by the gunshots and ensuite the light intro to the dreamlike Herside Story. The concluding track Pray Everyday really captures this concept in what almost seems like the roll credits of the album, and even with the transformation to the light and happy Have You Seen That Girl? at the beginning of the album to the more hopelessly romantic Some Girl near the conclusion. This allows GoldLink to create the illusion that, despite there being no underlying theme or story, it almost feels as if there is.

Going back to the the mellow-yet-confident rapping style, GoldLink's flow and delivery on this project are really what pulls everything all together. After all, there is absolutely nothing on At What Cost that could at all salvage its album of the year status if GoldLink's performance fell short. There's something so satisfying and melodic about the flows used on this project, it almost gives the feeling of comfort and relaxation. GoldLink has a deep, smooth voice that he uses to his advantage when accompanying his cloudy intoxicating production and every line on this album seems effortless (in the good sense). GoldLink flows in this cohesive stream of words that provides an easy listen while simultaneously bringing personality and charisma to every track. Probably the best analogy I can come up with to GoldLink's rap style is that he raps as if he's gonna smoke the whole squad out on blunts but will still kick your ass if you don't puff-puff-pass. He contrasts these two elements pretty clearly if you were to compare the tracks Have You Seen That Girl? and Kokamoe Freestyle.

We shot a nigga at the go-go last week

We don't really care who got shot last week

Ridin' up the meter, plug 'ya village bumpin' Migos

I'm past shit, you don't want no problems with a GED

Peep G, I'm the king of the streets

I never had to struggle with the gangs in a beef

Always ten toes so it's hard to defeat

And trust me nigga, I been lookin' hard for a beat, huh

-GoldLink on Kokamoe Freestyle

God I really want to avoid the word 'versatile' just because of the negative connotations associated with it now and how it's almost a buzzword for bad artists, and, in complete honesty, GoldLink really isn't that versatile with his rapping style, but I'm gonna make an exception here. It's not exactly a standout trait on this album, however I did find it important that to some degree he did diversify the thematic topics of his songs and the general mood of them without straying too far from the overall sound of the album. Which allows me to transition into my next topic which is the featured artists. This is actually an aspect of the album I really enjoyed, since GoldLink almost took an unconventional approach to featured artists. I feel like I've used the word unconventional a lot without really explaining myself so allow me to; the features were reminiscent of the To Pimp a Butterfly features. I.e. features for the sake of the art and not for the sake of the money, which, unfortunately, happens to be unconventional in popular hip hop nowadays. There aren't any out of place features on this project (although some may argue Shy Glizzy). It's quite evident that GoldLink was really focused on maintaining the integrity of this album as he didn't bring in any features that, while they might've increased sales, generally didn't fit onto the album (see: Crew Remix). In total, there are 11 artists who have guest vocals on this album, 9 of which are from the DMV area (Jazmine Sullivan & Steve Lacy being the exceptions). Not only is GoldLink putting local artists on the radar despite being big enough to outsource nationally, but he's selecting artists that suit his music style. Not only that, but a lot of his features are featured on the hook so as to save us from GoldLink's unfortunately atrocious singing that he subjected us to on ...And After That, We Didn't Talk. He features everyone from the necessary (Wale) to the who-the-fuck? (Lil Dude). Sometimes albums can definitely be oversaturated with features, take Coloring Book by Chance for an example. Sometimes I feel albums can be undersaturated with features, such as Issa Album by 21 Savage. So, artists often need to evaluate what they are capable of doing solo, and what necessitates the need for guest artists. GoldLink (hopefully) learned from the missteps on his past project and brought in a tasteful amount of features, some for the purpose of performing the hook, some for the purpose of providing some verses that differ from that of GoldLink's. Wale spits an entertaining flow on Summatime, Steve Lacy provides a fitting hook on Some Girl, Shy Glizzy brings character to Crew. I felt this album in general was an excellent portrayal of the perfect amount of features, so that we hear a very good amount of GoldLink and what he has to say while also being introduced to new DMV artists and being given a nice contrast to GoldLink's own rapping. It all ties back to the general theme of having the album truly feel like a D.C. album.

Throughout the course of the write up, I've gone on about how At What Cost brings you to D.C. or sounds like a D.C. album without really elaborating on it. In order to form a more complete comprehension of the sound GoldLink is borrowing from and taking inspiration from, I need to give a brief overview of the D.C. music scene from the 60s to the 90s, where the majority of GoldLink's influences on this project would've came from. Perhaps the earliest direct influence on this project is that of the Go-go music scene in Washington D.C., a fusion of funk, R&B, and old school hip-hop, which was popular within the African American population of the DMV area and likely would've been the music GoldLink's parents grew up on. This influence is probably the most obvious on the Hands On Your Knees interlude where Washington MC Kokayi is featured on a heavily funk & go-go inspired beat giving GoldLink an intro before the start of Meditation. This go-go influence (which is also prevalent on tracks like Summatime, Kokamoe Freestyle, and Roll Call) combined with the funk and R&B aspects on the album are essentially to achieving the goal of creating this hip hop album that brings you to D.C. sonically. I honestly wish I could go into more detail about this influence but to be honest I'm not too knowledgeable on that topic and nothing has really been written about it, so I'm going to stop this section here before I start spewing nonsense.

I believe I've sufficiently covered the macros of this album and explained why the album is so appealing to me, so I would now like to go into the micros and look at specific parts of the album I particularly enjoyed.

The most obvious and most popular part of the album: Crew. Crew is the first single from At What Cost and the only song from the project to chart, reaching all the way up to 45. Despite being one of the songs that fits less into the theme of the album, it is without a doubt one of the best. Brent Faiyaz, DMV R&B singer (whose project Sonder Son is excellent) kills it on one of the best hooks of 2017 and GoldLink delivers an effortless and smooth verse. Shy Glizzy, fellow D.C. native, comes through with an eccentric and exciting verse to lead back into the hook and outro. Another personal favorite of mine is Roll Call featuring legendary D.C. singer Mya. This song has one of the heaviest go-go influences with the bouncy bassline and the almost nostalgic symphonic post-hook breakdown. Mya delivers an excellent hook, singing "so no matter where I go around the world it's back to D.C." as GoldLink nails down the consistent sound on this project. GoldLink goes solo on Kokamoe Freestyle where he gets to put his bars and flow on display, not stopping throughout his one, long, hookless verse. This song contains probably some of my favorite bars of the entire album. Finally, we have the Steve Lacy produced Some Girl, which is my favorite track on the entire album. Steve Lacy killed the production on this song that paired with GoldLink's mellow bars perfectly. Lacy delivers an excellent, softly-sung hook to contrast GoldLink's energetic rapping. I literally cannot find anywhere who the girl on this track is (even Genius has her as 'female'), but she comes in near the end of the song to join GoldLink in a sung "I don't know why I care about ya, care about ya / I don't wanna motherfucking care about ya, care about ya," a duo of lines we can all relate to. Lacy switches up the beat at the end to provide a perfect intro to the outro track, Pray Everyday.

I've truly loved this project straight from first listen. Somehow, despite repeated and repeated listens, it just doesn't get old. GoldLink has shot from someone I didn't even know existed to one of my favorite hip hop artists. To me, this album has very few flaws. It's such a smooth and thorough listen with a unique and captivating theme combined with the swagger that oozes from GoldLink's rapping, and the light and groovy production, combined with a stellar array of features handpicked from the DMV. From the classic braggadocious lines to more reflective bars, GoldLink delivers an excellent performance on this project and will keep me interested in everything he does from this point forward. I hope that everyone can come to love this album as much as I do and appreciate the very subtle theme incorporated into it, and if not, just appreciate some of the smooth and relaxing tracks. If anything, acknowledge GoldLink's different take on hip hop and taking the path less traveled in order to create an album that is unique and individual, because that is how GoldLink succeeded at making At What Cost my album of the year.

Favorite Lyrics

Ridin' 'round and my car's low, nigga, what you waitin' for?

Big dick in her tonsils, yeah, I got a big ego, hoe

Ridin' 'round and my bitch high and grip her thighs, I might fuck that right

Wildin' out, I might make her mine, might fuck around, I might blow her high

"Same Clothes as Yesterday"

I was out Clay Terrace, feelin' better than all the guys

Bad white joined, fat ass hips and thighs

Talkin' 'bout kill moe, all you do is lie

I ain't lyin' when I tell you that you fine as wine

Lemme get a lil' sip, lemme get a lil' bit

Lemme grab on your ass, I mean grab you the gas

Talkin' 'bout goddamn

Have you seen that girl?

"Have You Seen That Girl"

I got a light-skinned bitch who look like Beige Loaf

And she fight and fuck me in the same clothes

But when I put that daddy, baby daddy, papa stroke

She curl her toes and close her eyes

I finish up, she adios

"Meditation"

Aye, she call me on her early, she yearnin' for it from California

I don't got no girlfriend, but got some workers in California

I be in that Rover with cannabis, California

And I be the prince of my city, bitch, where my Apollonia?

Wale on "Summatime"

She see money all around me

I look like I'm the man, yeah

But I was down and out like last week

Tell me where have you been?

You came out of hiding, girl

Don't act like I'm your man

You just a fan, you don't hold rank

Don't hold no rank

Brent Faiyaz on "Crew"

DMV nigga, hunnid niggas under ya

Leggin', leggin', leggin', third leggin' with my peers

Rappin' ass nigga, but I'm quiet when I'm here

I'm always plottin' on a bitch, pretend I'm plottin' on my fears

"Kokamoe Freestyle"

Met her in the summer, started with a kiss

And she fucked so good that I had to flood her wrist

Two days in and I wanna have her kid

Then she told me she belong to the city and her boy

"Some Girl"

Discussion

  • How did you feel about the production on this project? Should GoldLink stay with some variation of it on his next project or change it up?

  • Did you find the project too feature heavy or was it just right?

  • Where do you rank this album in GoldLink's discography?

  • What's your favorite song on the album?

  • What significance do you think the title has?

  • What direction do you want to see GoldLink go next?

  • Is this newfound fame from "Crew" sustainable? Can GoldLink make himself a household name in the rap community?

Thanks for reading! If you haven't already, please check out this album!

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HELP*** Lil Peep Fans! *** I'm kryptik (producer of Star Shopping, The Way I see Things, etc.)

Posted: 02 Dec 2017 01:51 PM PST

hey guys Peep's manager has contacted me about getting some of his older music onto spotify recently. The beats i made for him were made on a laptop that was stolen. i dont have the files or all the tracks that i sampled. I need to find ONE in particular, The Way I See Things. If you know the guitar sample i used in that track PLEASE PLEASE PLEASE contact me. thank you.

link to track: https://soundcloud.com/kryptik_official/i-had-a-feeling-1

submitted by /u/cabebrown
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Lil Wayne's Dedication 6 Cover Art Revealed

Posted: 02 Dec 2017 07:11 AM PST

Earl Sweatshirt - High 6am rambling at the 5th [Rare]

Posted: 02 Dec 2017 04:23 PM PST

Isaiah Rashad performing live @ .paak House today

Posted: 02 Dec 2017 09:38 PM PST

[FIRST IMPRESSIONS] Roy Woods - Say Less

Posted: 02 Dec 2017 03:34 PM PST

Been more than 24hrs what do you y'all think?

Personally I thought it was alright, definitely not as good as his last album Waking at Dawn though.

submitted by /u/Porrez
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Chance The Rapper and Young Thug - Big B's

Posted: 02 Dec 2017 06:47 PM PST

[DISCUSSION] Childish Gambino - "Awaken, My Love!" (1 year later)

Posted: 02 Dec 2017 03:08 AM PST

Dave - Wanna Know Remix (feat. Drake)

Posted: 02 Dec 2017 07:53 AM PST

[First Impressions] Miguel- War and Leisure

Posted: 02 Dec 2017 12:07 PM PST

Listened through about 5 times since Thursday night, and find this album incredible. Love the rock influences, and feel he's having a lot more fun with this album then Wildheart.

Favorite tracks- Pineapple Skies, Banana Clips, War, Caramelo Duro

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Guy impersonates Lil Pump in front of his concert venue and tricks the crowd!

Posted: 02 Dec 2017 01:55 PM PST

Daily Discussion Thread 12/02/2017

Posted: 02 Dec 2017 11:13 AM PST

Welcome to the /r/hiphopheads daily discussion thread!

This thread is for:

  • objective questions with right/wrong answers (e.g. "Does anyone know what is happening with MIXTAPE?", "What is the sample in SONG?")
  • general hip-hop discussion
  • meta posts...e.g. ideas for the sub

Thread Guidelines

  • Do not create a separate self post for these types of discussions outside of this thread - if you do, your post will be removed.

  • Please be helpful and friendly.

  • If a question has been asked many times before, provide a link to a thread that contains the answer.

Other ways to interact

There are a number of other ways to interact with other members of HHH:

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MF DOOM - Books of War feat. RZA

Posted: 02 Dec 2017 02:45 PM PST

The phone call that led to the witness tampering charges

Posted: 02 Dec 2017 09:55 AM PST

Travis Scott - Drive ft. James Fauntleroy

Posted: 02 Dec 2017 01:25 PM PST

The similarities between 'HUMBLE.' by Kendrick Lamar and 'I'm so Humble' by The Lonely Island

Posted: 02 Dec 2017 02:55 PM PST

Compare HUMBLE. by Kendrick Lamar to I'm So Humble by The Lonely Island

It's undeniable that these tracks share similarities, even the piano notes on I'm So Humble are reminiscent of HUMBLE. The tracks share a thematic similarity, they're both braggadocios anthems where bragging about being humble leads to ironic juxtaposition.

So, why would Kendrick Lamar take inspiration from The Lonely Island? Well, they did collab together on the track YOLO, so it's quite likely that Kendrick is a fan of them. He may have liked the idea behind I'm So Humble, and decided to turn it into a serious rap track. Still, I'm a bit surprised Kendrick has never mentioned it since he's usually pretty open about where he gets his inspiration.

I've thought about it extensively, and my best theory is this. Kendrick saw Popstar (movie with I'm So Humble in it) and the idea for the track got embedded in his subconscious. Hearing the piano chords on the beat that would become HUMBLE. dislodged the idea and caused Kendrick to write the track.

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Kardinal Offishall ft. Akon - Dangerous

Posted: 02 Dec 2017 09:23 AM PST

Future - POA

Posted: 02 Dec 2017 05:38 PM PST

Travis Scott - Maria I'm Drunk (Lost Verses/O.G. Version)

Posted: 02 Dec 2017 06:53 PM PST

Biggie Smalls - The Ugliest ft. Busta Rhymes (prod. J Dilla)

Posted: 02 Dec 2017 08:32 AM PST

[FRESH VIDEO] Chief Keef - Text

Posted: 02 Dec 2017 12:23 PM PST

Eminem Ft. Trick Trick - Welcome to Detroit city.

Posted: 02 Dec 2017 11:41 AM PST

I'm a Rapper from Virginia who travelled down to Atlanta and did a Rap Battle! The Battle just came out on Youtube, check it out!!

Posted: 02 Dec 2017 08:31 AM PST

Tupac - Keep Ya Head Up (Music Video)

Posted: 02 Dec 2017 11:46 AM PST

[DISCUSSION] Pete Rock & Smoke DZA - Don't Smoke Rock (1 Year Later)

Posted: 02 Dec 2017 05:27 PM PST

This was definitely one of my favorites from the very end of 2016. Smoke DZA's raps were usually nothing super special (although solid) but Pete Rock's production was marvelous. My favorite track was definitely Milestone, Styles and Jada bodied that beat (especially Jada) and BJ The Chicago Kid's hook was crazy smooth as usual. I'd say it was one of the best rap songs from the 4th quarter of the year.

What did you all think?

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at

Album of the Year 2017 #01: SZA - CTRL. - HipHop

Album of the Year 2017 #01: SZA - CTRL. - HipHop

Album of the Year 2017 #01: SZA - CTRL.

Posted: 01 Dec 2017 08:01 AM PST

Artist: SZA
Album: CTRL

Listen:

Apple Music

Spotify

Background:

SZA (Self Savior, Zig Zag Zig, Allah in the Supreme Alphabet), born Solána Rowe, is the woman I'm going to talk about today. Her, and her debut album, CTRL, my second album of the year behind Lorde's Melodrama. At barely 26 years old, her life has taken a lot of turns: from being a gymnast to working with Beyoncé and Rihanna to being a model for Ivy Park to being a neo-soul superstar. Born in St. Louis, from a black-muslim family, she only could listen to one genre of music in her house: jazz, with the artists her father played, like Miles Davis, Billie Holiday or Louis Armstrong. This would mark the jazzy production on CTRL. Other of her influences would be given by one of her friends, in a Bar Mitzvah: she got gifted a CD mixtape with Red Hot Chili Peppers, LFO and Macy Gray, what she called emo sad white rich kid shit. She loved it.

But that isn't everything; one day her old brother gave her an iPod. On it, she found artists that completely broke with the styles of music she was accustomed to: Wu-Tang Clan, Björk, Common, Mos Def, Nas and Jay-Z. Her brother (Manhattan) also introduced her to music: when she was 19, he asked her to do backing vocals for one of his songs, Where Do We Go?.

Fast forward a year: SZA self-releases her debut mixtape See.SZA.Run, which included the single Time Travel Undone. Later in 2013, she signs to TDE and releases an EP, S. Then in 2014 she released another EP, Z, including the songs Child's Play featuring Chance the Rapper and Babylon featuring Kendrick Lamar. Some writing credits with Beyoncé and Nicki, some others with Travis Scott and ScHoolboy Q, a feature with Jay Rock, and we get to the first big jump: Rihanna's Consideration.

Consideration is the intro track to the 2016 surprise-released Rihanna album, Anti. Well we don't know if it was a surprise, but Tidal fucked up. SZA had previously spoken about Rihanna in a series of tweets calling her and Ciara out, but they became friends after. Consideration could be considered SZA's first step into mainstream, especially thanks to that BRITs performance. To the track, SZA does the post-choruses and the outro. They are beautifully written, and SZA's voice does a beautiful contrast with Rihanna's.

When I look outside my window
I can't get no peace of mind

It's a pessimistic line, evoking a moment of sadness. The picture of people looking at the window is constant in movies and shows, waiting for something to come or happen. But when SZA looks at the window, she can't see nothing positive. Those two lines could condense SZA's lyrical skills.

Review:

That is my greatest fear, that if, if I lost control, or did not have control, things would just, you know, I would be… fatal.

"Supermodel", the first track in SZA's debut album CTRL, starts with these lines. They're not spoken by her, but by her mother. SZA explained what control is for her in a Genius interview:

"I have no control, there is no such thing as control. I'm chasing control. I'm craving control. I'm losing control. It's a culmination of all these things, of this word, of this concept, that's just run my life for so long, that's just been very obsessive. [...] Like, 'No, don't put out an album until you're a better writer.' And the truth is, sometimes you just have to let go."

We chase control in our lives. For many, our life goal is being with someone we love, in a pretty house, with a job we enjoy. But sometimes things don't work out like that. Supermodel talks about SZA having a boyfriend, who heads to Vegas on Valentine's Day. She later receives a call from one of his friends: they all had a orgy that day. This line feels like a bomb in a first listen:

Let me tell you a secret
I been secretly banging your homeboy
Why you in Vegas all up on Valentine's Day?

SZA spits the lines over the looped chords of an electric guitar, the only beat of the song until the second minute, where some drums kick in. If he can cheat on her, she cheats on him. In an interview with The Breakfast Club, she revealed that after getting that call she started to go after one of his boyfriend's friends, who she had a crush on. She uses the second and first person to end the verse:

Oh no she didn't
Oh yes I did
Oh no she didn't
I'll do it again

This showcases the surprise of his boyfriend, the second person, to the indifference of her. She will do it again, just to hurt him more if it's necessary. But at the same time, she isn't comfortable with her new… Boyfriend? FWB? At all, SZA isn't comfortable with a man, but she can't be alone:

Why I can't stay alone just by myself?
Wish I was comfortable just with myself
But I need you, but I need you, but I need you

That's a feeling many have. Even if it hurts, you need to be with someone. At the end, one needs to love itself, and move on. But instead, SZA breaks up with her boyfriend to move on with his friend:

That's why I stayed with ya
The dick was too good
It made me feel good
For temporary love
You was a temporary lover

Still, she has insecurities she can't let go. She looks for attention, but instead of love, only gets sex back. But it's not bad for her, that still makes her feel good. And the chorus repeats again, going back to the wish I was comfortable just with myself lines, but this time it doesn't apply to her old boyfriend, but to her new temporary lover. She went from a toxic relationship to another one. Sometimes, that person you love doesn't love you as much, and that house you wanted for your future family won't be bought. At the end, Supermodel becomes an hymn about letting go. About not being dependant of others. About getting over your insecurities. About being comfortable with yourself.

Then, "Love Galore" does a flash-forward. The second single of CTRL becomes a flash-forward from Supermodel. It starts with an intro sung by Travis Scott, that goes by I need, I need several times, to which SZA's chorus replies love, love. While he doesn't know what he wants (sex, love, a family), SZA is sure about her ideas: as long as they have love, they'll be fine.

But, Love Galore has a special line that hits in the pre-chorus:

Why you bother me when you know you don't want me?

It's a relatable sentiment. How many times has someone avoided talking with you after they started talking? In an era of digital communication where you can get everything through Twitter and talk with anybody, ignoring someone is easier than ever. Face to face, you can't just leave running and have an excuse. Ask a girl, she'll tell you about how she has fifteen guys texting her but none has asked her on a date. In any other context this line would feel pretty conservative, but on SZA's words it works out. Then, the second line hits:

Why you bother me when you know you got a woman?

Now ask the same girl as before, and she'll tell you about how half of those guys had a girlfriend and just wanted her to be either a side chick or a plan B. The whole pre-chorus is an oxymoron to the first verse, which talked about a temporary love (just like Supermodel), a summer fling, but now talks about taking any opportunity to be with her lover:

I be looking for ya
Got me looking forward to weekends
With you baby, with you baby
[..]
We do whatever we want, go wherever we want
Love however we want, it don't matter
You'll do whatever I want, get whatever I want
Get whatever I need, it's about (love, love)

The last two lines mark a huge change in the song: they might be playing, but now it's her time to play with him. She wants him, but at the same time she is the one who will decide over him. The one who will leaver her on read. But then you have the gorgeous outro:

I came to your city, lookin' for lovin' n' licky
'Cause you promised to put it down
All up in your city, lookin' for you, uh
Searchin' for you like love
Only thing keepin' me from droppin' you right now
Right now, love
Only thing keepin' me by your side
Only thing keepin' me by your side now

Go back to the same girl you talked with before. Has she been ghosted? Ever? Probably. Maybe the guy got a cold, maybe he was at a party, maybe he just forgot. SZA explains it once again to Genius:

The outro is the telltale story of you be in the area. You said you wanted to do all these things. Like, you wanted to spend time and, you know, talked a good one. Via whatever. Via text, via on the phone, and then you go ghost. That's happened to so many girls. [...] But, I have been in a place where I felt like I liked somebody and I couldn't say what I wanted to say. So you just end up being quiet. Like, the whole time, in this place where the other person is. It could be a city, it could be a proverbial city. It could be a room. It could be a party.

Love Galore is as a whole an anthem to digital love, in the good and the bad side. It's a song that empowers to dump the guys who just want side chicks, to get out of toxic relationship, to recognize what's wrong with you and your lover.

Fearin' not growin' up
Keepin' me up at night
Am I doin' enough?
Feel like I'm wastin' time

"Prom", the fifth track, is a come back to the sound of her old mixtapes, doing disco-pop that many other popstars could have done. It's teen angst, but late teen angst: prom season is coming of age, growing apart, and looking forward to the future. All of this happens while SZA sings about not maturing as fast as her boyfriend:

Please don't take it, don't take it personal
Like I know you usually do

While he is caring with her, she just can't give back. She just isn't ready for a relationship. One of my favourite lines on the song is at the end of the second verse:

To run and hide out somewhere
So far away
Hoppin' through poppy fields
Dodgin' evil witches
These houses keep droppin' everywhere

Which is a reference to The Wizard of Oz. SZA likes to reference movies in her songs, like Forrest Gump in "Doves In The Wind" or Misery in the "Love Galore" video. Those evil witches are those mean girls and high-school, and the houses are her possible futures: what career to choose, who to settle down with… and just as with The Wizard of Oz, what matters in high-school is the journey, not the ending; the friends and experiences you make along the way, not going to university.

Prom feels like a song stuck in a 90's movie: after the couple leaves town in their convertible, the song starts to play as the camera does an aerial shot of the car far away, driving through the country roads, and then the credits kick in. Maybe it could be the ending of the album, but instead it rolls out to "The Weekend".

And then there is "The Weekend".

You say you got a girl
How you want me?
How you want me when you got a girl?

"The Weekend" starts as every other SZA song, or that's what many people say: she is a side-chick in a relationship with a man who already has a girlfriend. These lines are from her perspective, facing his partner. The first verse follows:

Of knowin' it's selfish
Knowin' I'm desperate
Gettin' all in your love
Fallin' all over love, like
Do it 'til it hurts less

She desperately looks for his attention, trying to love him enough to make him dump his girlfriend and be with her. The irony of the last line is how even if he broke up with the other woman, and SZA became his girlfriend, the man would keep on cheating her with another woman. It will hurt less to be with him, sure, but he still won't be only hers.

Hanging out the back, all up in your lap
Like is you comin' home?
Is you out with her?
I don't care long as you're here by
10:30, no later than
Drop them drawers, give me what I want

The lines are self-explanatory. She went from not caring about the other woman to worry about his relationship with her. But still, she doesn't care as long as she gets sex. Then you get one of the most beautiful chorus this year:

My man is my man is your man
Heard it's her man too
[...]
Tuesday and Wednesday, Thursday and Friday
I just keep him satisfied through the weekend
You're like 9 to 5, I'm the weekend
Make him lose his mind every weekend
You take Wednesday, Thursday
Then just send him my way
Think I got it covered for the weekend

Where she compares herself as a weekend with him, while his girlfriend is with him during the weekdays. This line also could have a deeper meaning: while he doesn't enjoy his work (the weekdays, the other woman) and feels stressed about it, the weekend (her) are moments of relax. He enjoys more the moments he spends with SZA rather than with her girlfriend. As she says in "Love Galore" (got me looking forward to weekends), he looks forward to the weekend to be liberated.

I gotta say I'm in the mood for a little bit more of that
I mean I'm saying what kind of deal is two days?
I need me at least 'bout four of them
More of them, more of you on me
On us, just tell me you want me, yeah

In the second SZA starts to argue about the arrangement her and the girlfriend did: while one gets 5 days, the other only gets 2.

Monday and I'll be at your door
Ready to take her place
Ready to give you
What you've been missin' on weekdays
What you've been waitin' for
10:30, no later than
Drop them drawers, I know what you want

Now SZA breaks her arrangement, and decides that she wants the man all for her. One of the most interesting parts is how the last line also references the last line of the first verse: instead of give me what I want now it's I know what you want, showing that now she wants to take control of the relationship. Another chorus goes, and then an outro.

What a good song, right? The thing is, to see what makes it great you need to switch the view on the song. "The Weekend" isn't sung from one perspective; it's sung from two. Both the side-chick and the girlfriend. And not just one side-chick, but two. And if you go back to the Breakfast Club interview I put around Supermodel, you'll see she mentions how she talks from both perspectives:

A lot of these songs have dual meanings. I'm speaking from the girlfriend and from the other perspective. Like I've been the girlfriend that didn't know and I've been the girl that didn't know you had a girlfriend.

So at the end of the day, SZA isn't the side-chick. She is the girlfriend, but sings from both perspectives. In some verses you can't tell who is singing, like in the one that references home. It's overall a very interesting song, where unless you get some context you'll just say that it's just good, where narratives matters.

That's me, Ms. 20 Something

"20 Something", starts over some subtle guitar chords. It doesn't sound like something special, but it is because it's the first time in the whole album since Supermodel a guitar really stand out. It makes it sound like a bonfire song, and the harmonies in the chorus reinforce that feeling. It's a campfire song, and just like "Prom", it's a song about being stuck but wanting to grow up. While "Prom" situated SZA at the end of high-school, "20 Something" is somewhere in her twenties, maybe finishing college, maybe right now. And while "Prom" was teenage angst, "20 Something" has a feeling of... matureness. SZA sings a beautiful chorus that sums it up:

Stuck in them 20 somethings, stuck in them 20 somethings
Good luck on them 20 somethings, good luck on them 20 somethings
But God bless these 20 somethings
Hopin' my 20 somethings won't end
Hopin' to keep the rest of my friends
Prayin' the 20 somethings don't kill me, don't kill me

Who hasn't been told 'good luck with that' at any stage of his life? High-school, college, and then those twenty-somethings. A moment where you have to act mature, but you aren't mature enough for some things. Mature enough to party all night and be responsible of your own acts, but not enough to settle down and buy a house. Some want to be stuck in the former, some look forward to the latter. But as she says, *'God Bless these 20 Somethings'. It's a stage of life that as any other you have to enjoy and live as you want. Don't look at the future as something perfect, and try to do the best in the time you have. You need to make your way out of the twenties, stand out, but at the same time it's necessary to spend those years having fun and being happy. And that's hard.

Finally, the outro to CTRL is a phone call with SZA's mother, once again:

And if it's an illusion, I don't want to wake up. I'm gonna hang on to it. Because the alternative is an abyss, is just a hole, a darkness, a nothingness. Who wants that? You know? So that's what I think about control, and that's my story, and I'm stickin' to it.
That was beautiful mommy, that was perfect.

And this is what connects "Supermodel" to "20 Something", what connects CTRL. A phone call from which we only know the start and the end. Those are two points of a story, the story of SZA's mother, and you can connect them however you want. That's what shines in CTRL, the skill of making songs that people can relate to. Maybe it's not the same story they have lived, maybe it's not their story at all, but it sure is one you can feel that has happened, to SZA and to many other people.

CTRL isn't a perfect album, neither it has a perfect message. It isn't free of contradictions (first I need you, but now I don't need nobody) but CTRL doesn't pretend to be an album of self-help since the lyrics can't be more full of guilt, low self-esteem and self-embarrassment. As the title suggests, the control SZA assumes sometimes works and other times, just like a keyboard key, doesn't. This is SZA's reality, the one of a 'twenty-something' woman, and also many other girls', who will come to this album not to find answers to their questions but to comfort themselves in the experience a person like them had to suffer and later found the strength to tell.

other favourite lyrics, chosen by other users:

Maybe I should kill my inhibition
Maybe I'll be perfect in a new dimension

I get so lonely, I forget what I'm worth,
We get so lonely, we pretend that this works
I'm so ashamed of myself think I need therapy

  • "Drew Barrymore", second verse, chosen by u/Leixander. It is kinda personal actually. Won't go too deep but in a point of my life I decided that I want to be alone for a while. It didn't go well as you can imagine, but I am way better now. SZA has many lyrics that I found reflecting, like in the later lines of Drew Barrymore's "I am sorry I am not attractive, I am sorry I am not more ladylike" i.e. the lack of self-worth.

How could it be?
20 something, all alone still
Not a thing in my name
Ain't got nothing, running from love
Only know fear

  • "20 Something", pre-chorus, chosen by u/-dolantello-. i love the lyrics because i think it perfectly captures the solitude and loneliness that comes to many people when they become young adults

I'm sorry I'm not more ladylike
I'm sorry I don't shave my legs at night

  • "Drew Barrymore", second verse, chosen by u/Fledgeland. oh and vodka, its because i think its empowering ofc.

I know you'd rather be laid up with a big booty
Body hella positive 'cause she got a big booty
I know I'd rather be paid up
You know I'm sensitive about havin' no booty
Havin' nobody, only you, buddy
Can you hold me when nobody's around us?

  • "Garden", second verse, chosen by u/pasalacquanian. thats my favorite song, and her flow nice there.

Somebody get the tacos, somebody spark the blunt
Let's start the Narcos off at episode one

  • "Drew Barrymore", first verse, chosen by u/ThatParaonidPenguin. and this, i love drew barrymore. the juxtaposition of asking if its warm enough inside and outside. i could gush about this album all day.

Discussion points:

  • It took SZA 3 years to release this album. Was it worth the wait or is the more left to be desired? (chosen by u/pasalacquanian)
  • Are we seeing another rise of storytellers in hip-hop and R&B?
  • With a genre so focused on objectifying women, how does SZA take the concept and turn it on its head? (chosen by u/ThatParanoidPenguin)
  • Based on the content of the album, why do you think the name CTRL was chosen? What do you think it means to SZA, and how do themes of the title play out throughout the album? (chosen by u/Fledgeland)
  • Where do you see SZA going from here? CTRL was an expansive album that covered various different sounds and concepts. Do you think she'll continue with more of the same or further explore different styles? (chosen by u/-dolantello-)

SZA has been called everything in the five years that separate the release of her first mixtape to today. The saviour of female R&B, the female Frank Ocean, the next big popstar, the new Beyoncé. Comparisons are never good, but maybe this time they are. If I wrote this review like this, focusing more on the lyrics than the production (when I prefer production most of the time), it's because SZA has those lyrical skills that make her stand out. She is a storyteller, and maybe some people compare her with Frank Ocean for that. CTRL is an album full of stories, from falling out of love to parties to growing up, and she tells them all fantastically.

And maybe she is the next big popstar. In a year with few to no female #1s (Taylor, Cardi and Halsey as a feature), pop needs a new star. One with attitude, that is able to make hits and at the same time amazing albums. For me, it's torn between Ariana Grande, Camila Cabello or Dua Lipa, but SZA is a big contender. She's had a top 30 single, and her first album debuted at #3 (behind Kendrick Lamar and Katy Perry tho) with 60k copies, half of them pure sales. She has gone on a big Europe tour with Bryson Tiller, got a cover on Billboard and has been working with Kevin Parker (Tame Impala) and Mark Ronson in an album. She has a top 10 hit with Maroon 5. And on top of all, she got 5 nominations for the Grammys this year. Her becoming a star is all a possibility, of course, but SZA sure has a bright future ahead.

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Saturation III December 15th.

Posted: 01 Dec 2017 11:43 AM PST

XXXTentacion charged with witness tampering after threatening his ex

Posted: 01 Dec 2017 05:56 PM PST

@AmeerVann "fuck reddit fuck brockhampton"

Posted: 01 Dec 2017 12:10 PM PST

Big Sean and Metro Boomin announce Joint LP 'Double or Nothing'

Posted: 01 Dec 2017 07:53 AM PST

PSA: 8 Mile was just added to Netflix

Posted: 01 Dec 2017 05:57 PM PST

Post Malone Postpones album

Posted: 01 Dec 2017 05:39 PM PST

Federal Government wants Martin Shkreli to hand over Wu-Tang Album in forfeiture.

Posted: 01 Dec 2017 08:32 AM PST

[FRESH SONG] firearm - playboi carti, lil Uzi vert

Posted: 01 Dec 2017 03:53 PM PST

[FRESH VIDEO] $UICIDEBOY$ - FACE IT

Posted: 01 Dec 2017 02:38 PM PST

It looks like $uicideBoy$ just cleared a lot of samples.

Posted: 01 Dec 2017 08:53 AM PST

Lots of their old albums are now on Spotify / Apple Music.

Just a heads up!

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DMX Facing 5 Years in Prison After Pleading Guilty to $1.7 Million in Tax Fraud

Posted: 01 Dec 2017 01:35 PM PST

[FRESH VIDEO] N.E.R.D. - 1000

Posted: 01 Dec 2017 05:59 PM PST

[FRESH SONG] DRAM - Good Thang from Big Baby DRAM (Deluxe)

Posted: 01 Dec 2017 08:15 AM PST

The Making Of Drake's "Passionfruit" With Nana Rogues | Deconstructed

Posted: 01 Dec 2017 09:17 AM PST

Daily Discussion Thread 12/01/2017

Posted: 01 Dec 2017 02:32 PM PST

Welcome to the /r/hiphopheads daily discussion thread!

This thread is for:

  • objective questions with right/wrong answers (e.g. "Does anyone know what is happening with MIXTAPE?", "What is the sample in SONG?")
  • general hip-hop discussion
  • meta posts...e.g. ideas for the sub

Thread Guidelines

  • Do not create a separate self post for these types of discussions outside of this thread - if you do, your post will be removed.

  • Please be helpful and friendly.

  • If a question has been asked many times before, provide a link to a thread that contains the answer.

Other ways to interact

There are a number of other ways to interact with other members of HHH:

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[FRESH VIDEO] DJ Premier - Our Streets feat. A$AP Ferg

Posted: 01 Dec 2017 07:09 AM PST

Jaden Smith "Icon" Official Lyrics & Meaning | Verified

Posted: 01 Dec 2017 03:40 PM PST

IDK - 17 Wit A 38 (with Chief Keef)

Posted: 01 Dec 2017 06:07 PM PST

[FRESH SONG] DRAM - Eyeyieyie from Big Baby DRAM (Deluxe)

Posted: 01 Dec 2017 08:24 AM PST

[FRESH] Talib Kweli Ft. Anderson .Paak & Kaytranada "Traveling Light" - CONAN on TBS

Posted: 01 Dec 2017 10:39 AM PST

Dutch Hip-Hop festival WooHah! announces first new names for 2018 with J. Cole, Joey Bada$$, Lil Pump and more!

Posted: 01 Dec 2017 06:14 AM PST

RZA & Cappadonna of the Wu-Tang Clan Leaves Nick Cannon Speechless

Posted: 01 Dec 2017 01:23 PM PST

[FRESH] PLAYBOI CARTI - SQUAD (FT. LIL UZI VERT)

Posted: 01 Dec 2017 04:17 PM PST
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