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Album of the Year #20: Jidenna - The Chief - HipHop

Album of the Year #20: Jidenna - The Chief - HipHop

Album of the Year #20: Jidenna - The Chief

Posted: 20 Dec 2017 05:01 AM PST

Artist: Jidenna

Album: The Chief

Label: Wondaland

Released: February 17th, 2017

Listen:

Spotify

Apple Music

Google Play

Background:

Jidenna Mobisson was born into a very interesting life. His father was a Nigerian Chieftan of the Igbo tribe (where this album title takes its name), and a very influential scholar in Nigeria. Born in Wisconsin, Jidenna spent some of his youth in Africa, before narrowly avoiding a kidnap attempt and moving to Massachusetts for the rest of his young life. He eventually discovered hip-hop music, with Big Daddy Kane and KRS-One being his personal favorites, as well as his inspiration to rap himself. In high school, he formed a hip-hop group known as the Black Spadez, and began to produce, write, and engineer his own music. The Black Spadez released a few projects before Jidenna's acceptance into Stanford University. Once his degree was achieved, he began to pursue music full time, and was eventually discovered by R&B songstress Janelle Monae, who signed Jidenna to Wondaland Records, her own imprint of Epic. The label's collective EP, The Eephus, was released in early 2015, which features Jidenna's multi-platinum breakout hit, Classic Man, which reached the top 40 on the singles charts. He eventually began to work on his own studio album, and after suffering several delays (the first single, Long Live The Chief, was released in late 2015), The Chief finally released in February 2017.

Review:

Jidenna is undeniably one of the most unique figures in the rap game, with his high-end, traditional fashion and overall classy demeanor. Hell, the album cover was directly inspired by the 1980 soul album, Middle Man by Boz Scaggs. Sonically, this album is just as unique as the person behind the microphone. Mostly produced by Jidenna himself, the Chief's sound is eclectic, and borrows from a wide array of different genres. Every song has it's own flavor and influence, and there's truly something for everyone. Chief Don't Run, one of the album's singles, is a hard-hitting anthem with muddy vocal melodies gliding across the aggressive, clap-based production. The album's lead single, Long Live the Chief, maintains a very grimy sound, with ear piercing synths serving the groove across the boom-bap inspired drum line. The song Trampoline is an amalgamation of 50s Motown and trap, with the groovy, old-fashioned grandiose horn sections being accompanied by some crisp snares and bouncy hi-hats. In fact, several songs on this album partner the modern trap percussion with whatever sonic surprise Jidenna has in store, such as the silky R&B track Bambi, or the combination song Helicopters/Beware, where Jidenna takes a shot at the auto-tuned melodic sound that's wildly prevalent in today's hip-hop sound. What makes Jidenna shine on this album, however, is his digression away from hip-hop: the aforementioned Bambi, as well as the Afrobeat pop songs Little Bit More and Some Kind of Way, which act as a homage to Jidenna's heritage. Safari, featuring several of his label-mates, is a synth-pop/rap hybrid, and Adaora is a Latin-infused song of seduction.

As you can clearly see, Jidenna's sonic range is vast, but his lyrical ability is just as broad. While not the most elusive technical rapper, Jidenna sacrifices quantity for quality, as he covers a wide array of topics and really tries to tell a story. On Chief Don't Run, one of the most introspective tracks on the list, Jidenna opens up about the poverty he struggled with as a youth and his rise to wealth-filled stardom. Long Live The Chief acts as a braggadocios, in-your-face banger where Jidenna is soaking in the fame. While he's rather aggressive and confident on these tracks, Jidenna displays his sensitive side in more ways than one. Bambi is a cry for help, as Jidenna details his panic over an ex-lover's upcoming marriage, and the bittersweet tone of the whole thing is something that's typically missing from the average love song. The track White Niggas is Jidenna opening up about the racial prejudices he endured, particularly while growing up and going to school in a very white area. Probably the most touching and heartfelt moment on the album is the closer track, Bully of the Earth, where Jidenna laments and tells the tales of his late father, who was his biggest influence in life. You can really hear how important his father was through the story he tells. Likewise, not every song on this album cuts deep lyrically; Little Bit More and Trampoline are examples of more surface level, simple lyrics, where the melody and flow of the song take precedence.

All in all, Jidenna really wowed me with this debut project. He's truly an artist, and one to be respected. He's a man of several talents, and he really demonstrated on this album that he has the vision to make something really great. Coupled with his EP release Boomerang, I've been floored by the music this man has mad, and I truly hope he does not go unnoticed in the game.

Favorite Lyrics:

It's tomorrow never dies now

I'm on yacht with a prince in Dubai now

I'm with the Dalai Lama's homies in the sky lounge

Cocktails got me loosenin' my tie now

Chief Don't Run

Oh Bambi it's my design

To run the jungle I must be a lion

Or be a cheetah but neither is fine

Don't wanna hurt my dear love of my life

Bambi

I don't spend no major time with no minor people

If it's for the greater good then I might deceive you

Living like a Rolling Stone but I'm quite a Beatle

Living by your own law can be quite illegal

2 Points

You're not a man til' the day your father dies

You're not a woman til' you make your momma cry

Bully of the Earth

Discussion Questions:

  • Did you find this album to live up to the hype after several delays?

  • Is Jidenna's strength as a rapper or a singer?

  • What particular sound do you feel Jidenna exceeded at the most on this album?

  • Does Jidenna have potential to become a star in the game?

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Police recover hard drive containing $1 million in original music stolen from rapper Kendrick Lamar’s producer’s car

Posted: 20 Dec 2017 06:43 PM PST

Travis Scott and Quavo Announce Cover Art and Release Date for "Huncho Jack, Jack Huncho"

Posted: 20 Dec 2017 04:08 PM PST

https://www.instagram.com/p/Bc8YVkxF_Ic/?taken-by=travisscott

https://www.instagram.com/p/Bc8YREJgVK_/?taken-by=quavohuncho

seems to be releasing on Christmas according to the captions but still up in the air I'll update the post if we get anymore concrete info but until then lets get it

Quavo also tweeted this: https://twitter.com/QuavoStuntin/status/943609275284369410

Travis "sooner than you then" https://twitter.com/trvisXX/status/943640617325694976

WondaGurl retweeted Travis' tweet, she's prob got production on there

submitted by /u/Loubanga
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Denzel Curry teases a collaboration w/ Flying Lotus

Posted: 20 Dec 2017 01:37 PM PST

The lyrics from Lil Uzi Vert's "XO TOUR Llif3" were the most viewed on Genius in 2017

Posted: 20 Dec 2017 09:40 AM PST

[FRESH] Migos - Stir Fry

Posted: 20 Dec 2017 03:08 AM PST

XXXTentacion to be released on house arrest

Posted: 20 Dec 2017 09:43 AM PST

Joe Budden and Charlamagne to feature in a new show called ”This Year was Dope/Trash”

Posted: 20 Dec 2017 07:44 AM PST

Here is the announcement

Not much info coming out other than coming soon presumably before 2018. Very excited to see how the dynamic between the two works out!

submitted by /u/KingSweden
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Combat Jack has passed away.

Posted: 20 Dec 2017 07:27 AM PST

Passed away due to colon cancer at the age of 48.

https://twitter.com/Rosenbergradio/status/943499777894944768

https://twitter.com/Jersey_Jinx/status/943501658314637313

https://twitter.com/ActionBronson/status/943502906044637185

https://twitter.com/Yoh31/status/943501660898365440

https://twitter.com/ElliottWilson/status/943503812148580353

https://twitter.com/itsthereal/status/943505416536936448

https://twitter.com/Stalley/status/943506417226575874

https://twitter.com/Alchemist/status/943503189214728193

https://twitter.com/DJWhooKid/status/943502142198964225

https://twitter.com/KarenCivil/status/943505322769092615

https://twitter.com/questlove/status/943508556434886656

https://twitter.com/rocmarci/status/943506618917912577

https://twitter.com/JoellOrtiz/status/943507274336735234

submitted by /u/Gotham_Ashes
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Top Dawg Announces TDEXMAS17 concert featuring Rihanna and E40

Posted: 20 Dec 2017 12:05 PM PST

By The Numbers: Revival is Eminem's Least Explicit Album Since Infinite

Posted: 20 Dec 2017 04:05 PM PST

FLOBOTS RESPONDS TO LOGAN PAUL "NO HANDLEBARS"

Posted: 20 Dec 2017 10:43 PM PST

DRAM Gets Interviewed By Puppies | Hounded

Posted: 20 Dec 2017 12:23 PM PST

Joe Budden Podcast Episode 141 | "Everyday Struggle"

Posted: 20 Dec 2017 06:24 AM PST

Eminem, Beyonce, & The Weeknd to headline Coachella

Posted: 20 Dec 2017 03:42 PM PST

Gnarls Barkley is recording a brand new album, CeeLo Green premieres "prequel" single from his new mixtape

Posted: 20 Dec 2017 12:56 PM PST

[FRESH VIDEO] SahBabii - Marsupial Superstars ft. T3 (Official Music Video)

Posted: 20 Dec 2017 10:40 AM PST

Milo, Busdriver, Zomby, and Armand Van Helden have all been accused of sexual assault by Kool AD's ex-wife Cultdays

Posted: 20 Dec 2017 05:40 AM PST

Context on who Cultdays is: She is KOOL AD's ex-wife and a musician, shes released a few projects of her own on bandcamp and has been features on a few publications like Fader etc.

Accusations against busdriver of sexual assault:

https://twitter.com/Cultdays/status/943250751924531200

Link of accusations against Milo and Busdriver, claims that he sleeps around on tour and tells women on tour that hes single: https://twitter.com/Cultdays/status/943187968461647872

https://twitter.com/Cultdays/status/943170783345483777

Accusations against Low End Theory claiming that they are the most recent group that has kept her from entering the stage just because shes a women: https://twitter.com/Cultdays/status/943249796004843521

Accusations against ZombyMusic: https://twitter.com/Cultdays/status/943028663913652226

Accusations against Armand Van Helden: https://twitter.com/Cultdays/status/943152728083066881

Screenshots are in the comment section. I recommend going to Cultdays twitter to get the entire story of what she is accusing instead of just looking at screenshot that I took.

submitted by /u/blazblue5
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New Bones album December 22

Posted: 20 Dec 2017 09:45 AM PST

[FRESH] Curren$y - Old Range (prod.Monsta Beatz)

Posted: 20 Dec 2017 06:23 PM PST

Daily Discussion Thread 12/20/2017

Posted: 20 Dec 2017 10:16 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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Desus and Mero respond to DJ Akademiks

Posted: 20 Dec 2017 09:31 PM PST

[FRESH] Aleksandr "ImmortalHD" Vitalyevich - Amy Likes Spiders

Posted: 20 Dec 2017 08:24 PM PST

Famous Dex tweets artwork for "Read About It" mixtape dropping on Christmas

Posted: 20 Dec 2017 08:07 AM PST

Eminem’s “Believe” should be the blueprint for his next (last?) album

Posted: 20 Dec 2017 10:08 PM PST

Just to be upfront, this is a very long, therapeutic post from a disheartened Em fan, looking for the silver lining in a painful and disappointing album (and trying to convince myself there could be one more flash of lightning in this career). And certainly there are a million better starting points for a final Em album than anything on "Revival," but I'm starting from the assumption that this current Eminem is only moving forwards, not backwards.

So I've skimmed through Revival a few times now (trying to actually listen to each song is too painful for such a big Em fan) and I've come to the conclusion that Believe is the most interesting cut on the album.

Just to get it out of the way, I realize Castle and Arose are the most vintage Eminem tracks, and Framed is a decent attempt at what I used to want from Em. But I think 'Believe' is the best example of Eminem adapting what he's doing to the current hip-hop climate in a somewhat seamless fashion.

He throws those triplet bars on there with that choppy flow, and it actually kind of works. I think "Believe" is the best example of making this new weird flow he's doing listenable and interesting, and it could be refined into something solid for a full album.

But the most important thing I wanted to touch on is the production of the song. The production credits are solely "Eminem," and it shows—I think it's a fantastic blend of the dark Eminem sound with the newer "major league" hip-hop sound. (Personally, I think it's the best beat on the project by a longshot, though I realize that's meaningless on this trash-filled LP). And I think maybe his flows work on it because it's a cohesive package he conceived from the ground up.

Which brings me to what I'd like to see one time before Em calls it a career: an all self-produced Eminem project. I think at this point, nobody is going to capture this unique sound Eminem is visualizing but him. And I think, with the sheer mastery over the English language and 'rapping' he's achieved, that he might be the only person able to lay the proper canvas for his thoughts/flows/ideas. I think if he really took a moment to decide what he wants this sound to be (and not what he thinks the fans want to hear), that he has the passion and artistry to turn out a classic album. And I think it could be a great send-off for an all-time great: one final magnum opus representing the scope of his artistic vision/ability.

For sure, if any external factor has contributed to Em's drastic drop-off in sonic quality (or "hip-hop genuineness"), it's this garbage pop-rap Rick Rubin is trying to push. The beats just lack authenticity and feel. It's not an evolution of Eminem's sound—it's a watered down devolution of Beastie Boys shit. A beat like "Believe" is at least (IMO) relevant, and I would like to see a little more faith in himself as an artist. Eminem's best projects were always Dre projects, because Dre understood/helped create the Eminem sound—a sound which was unique in the way that it worked for Em. I get Em wants to make stadium songs, but if Dre isn't going to helm the rap cuts, I think the only other person qualified to provide the right tone is Em himself.

Quick disclaimer: I don't think Eminem's new style is "good," but I think it has potential. It seems mainly to have been a vehicle for Em to showcase how lyrically- and "rhyme-schematically-" complex he can be, but with a little restraint and refinement, I think it could be unique and interesting. I do think there are bits and certain parts of the new project (the back half of Untouchable comes to mind) where he made this new flow work.

TL;DR I don't think "Believe" is a great song, but I do think it could be a starting point for future good (self-produced) music by Eminem (besides that corny ass hook, but Em hooks have been a lost cause).

submitted by /u/Theflowyo
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DJ Akademiks Reacts to Joe Budden Leaving Everyday Struggle and Complex Media.

Posted: 20 Dec 2017 12:42 PM PST
at

Album Of The Year 2017 #19: Death Grips - Steroids EP - HipHop

Album Of The Year 2017 #19: Death Grips - Steroids EP - HipHop

Album Of The Year 2017 #19: Death Grips - Steroids EP

Posted: 19 Dec 2017 08:35 AM PST

Artist: Death Grips

Album: Steroids (Crouching Tiger Hidden Gabber Megamix)

Listen

Youtube

Soundcloud

Spotify

Background by /u/vulcan24

I originally had this background written as a thousand-plus word epic detailing the release and sound for each of Death Grips' projects. Then immediately after finishing I realised anyone who cares enough about them to read that probably already knew most of it anyways, so I'll try keep it brief. Saying that, if you're interested in the band and want a concise recap then shoot us a PM. But enough self-promo, let's get to the good stuff.

Death Grips burst onto the underground music scene in early 2011, with the release of a self titled EP. They then followed this up with a mixtape, Exmilitary, later that year. The group's sound was raw, but far from amateurish, showcasing a unique style of all-out violent aggression, both sonically and lyrically.

Drummer Zach Hill, the only named member at this point, provided explosive backing rhythms reminiscent of classic hip-hop like Public Enemy, as well as his math-rock days in Hella. Atop this cacophony was Stefan Burnett, better known as MC Ride, whose cryptic passages were delivered with the force of a punk singer and the impact of N.W.A. Finally there's recording engineer Andy Morin, whose role in the band is still largely unknown.

Despite appearing practically out of nowhere, Death Grips were producing some of the most forward thinking hip-hop and Exmilitary is still an enthralling listen going on 6 years after its' release. In the time since then, the band have continued to showcase seemingly endless amounts of creativity coupled with a penchant for wild experimentation. They'd go on to release album after album of boundary pushing experimental hip-hop, constantly evolving their already unique sound and style along the way.

Drawing influences from all over the musical map, highlights include The Money Store's futuristic urban soundscapes, and the cyberpunk rock territory covered on Jenny Death. It seemed that no matter where they went, Death Grips were constantly covering new ground, diving head first into these concept and ideas with striking results. It's no wonder many of these releases are already considered modern classics, whose influence can be felt on the current state of hip-hop in the short time since their release. But more on that later.

As of this year, the band have put out 7 studio albums (including Exmilitary) and 2 instrumental releases. That isn't even counting their experimental rock side project The I.L.Y's, or the excessive amount of touring and visual art in between. In just 6 short years, Death Grips have traversed more musical ground than most bands could in an entire career. With this also came a constant barrage of confusing social media gambits, sending dedicated fans scouring the darkest corners of the internet with the promise of hidden information. It's something the band (and their fans) have become notorious for, and falls in line with the themes of digital paranoia which repeatedly pop up in their music.

In one of their rare interviews Stefan mentions they aren't into 'lateral movement', a phrase which only becomes more applicable as their career unravels. It's incredibly rare to find a group which is so prolific yet so sonically hyperactive, bouncing between sounds and styles to reinvent themselves on each successive release. I'll apologise if it sounds like I'm gushing in this recap, but I honestly believe it would be foolish not to place Death Grips among the most important acts of the 21st century given their accomplishments thus far. They've proven themselves musical explorers, gently prodding at the boundaries of not just hip-hop, but experimental music as a whole.

Review by /u/vulcan24

Which brings us to the current year. May 22nd marked the surprise release of Steroids (Crouching Tiger Hidden Gabber Megamix), a 22 minute long sound collage-no wait it's a mix, or maybe an EP? Whatever you want to call it, fans were greeted with dense passages of distorted sounds, twisted tunnels deftly forded by Ride's verses. On first listen it's the sound of pure chaos, the feeling of being pelted with a volley of musical ideas from close range. None of the seven (or is it eight?) tracks were named, leading fans to refer to them by refrain alone.

I'll follow that trend in this review, beginning with "My Whole Life"; Stefan's guttural screams seem to dodge the beat left and right, a siren raises in the background as if signalling an air raid. Once the skies clear there comes a rare moment of respite, taking the form of a near-spoken word passage atop ghostly ambience. The peace doesn't long before we're thrust into a wall of erratically contorted sub-bass. The following twenty or so minutes sees the trio work their way across swathes of musical ground, circumnavigating through digital hardcore, punk, trap, and EDM in the form of gabber.

Yet it feels almost arbitrary to hurl these genre tags at Death Grips, as the finished product feels so unique to them. Yes comparisons can be made here and there, but all in all these influences are funnelled and condensed into something far greater than the sum of their parts. This is especially true for Steroids, which is by far the bands' most stylistically hyperactive work, undergoing complete transformations often from bar-to-bar, rarely providing anything to serve as a transition. I'd also go so far to say that it's their most challenging listen to date. Much of the 22 minute runtime is spent working to maintain a level of gripping mania hell bent on overwhelming the listener.

Though fans have split this release into separate tracks, I feel it would be a disservice not to listen as a whole given its' nomenclature as a 'megamix'. What's more, these brief sonic barrages are arranged to flow together, building up a sense of uncertain momentum which explodes towards the end. I mentioned earlier the short spoken interlude between the first two segments. It's practically the only time in the whole mix where you're not being constantly assaulted by flurries of wild ideas. After this piece Steroids doesn't let up, constantly building, destroying, then reforming glitched-out soundscapes at breakneck pace.

Perhaps the most tangible point of reference to hip-hop comes with the track sandwiched right in the middle, "Come and Go Whenever". Cued in by some mumbly grunge rock, the track breaks into a menacing sample with what can only be described as 'rattling hi-hats' twittering away in the background. A bell sample signals the drop and Ride earns his title as an MC, punctuating complex flows to the banger beat. It's where Steroids comes closest to 'normal', and even then it's enough to scare off most traditional rap fans. Not letting up energy, a distant 'Hi!' ushers in a rapid onslaught of math-rock drumming. Electronics morph in the background and Stefan's pitch-shifted yelps almost merge into the off kilter beat. It feels insulting to call this an interlude because it's as manic and fleshed out as any other moment in the mix. It also works as a spotlight for Zach's frenzied live drum work.

Next comes "Black Body", which delves further than ever before into the cyberpunk aesthetic explored on releases such as Jenny Death. Alternating between an understated flute sample and passages of schizophrenic rage, the tension continues to ramp up and escalate the descent into madness. I'll use the word cyberpunk again to describe this moment, which might come off as corny but in my mind there's nothing more apt. Stefan's manic vocals are layered over themselves and filtered repeatedly to create a musical grotesque only capable of existing in the digital age. It's utterly chilling, making it hard to resist being pulled further into this misanthropic world.

Closing things out is a track which effectively releases all the built up energy into an explosive finish. The trio continue to delve deeper into futurism with an array of eclectic electronic samples ricocheting around in the background to form a beat. For all of Steroids' variety, it sustains a remarkably affecting atmosphere the entire way through, building upon pre-existing themes of paranoia and mayhem. Ride screams and it's echoed to infinity atop the warping sample, scattershot synthesisers fire arrays of sound into the ether and it slowly fades out. It seems underwhelming to end such a chaotic collage with a fade-out but really anything else would feel too abrupt.

The gabber influence is something I've neglected to mention thus far, and that's for a reason. High tempo BPMs and thumping kick drums litter this mix, yet the third section, "Bald Headed Girl", is the only time they stick out as an obvious weak point. It feels to me like Death Grips lean too far into their influences here, creating something unintentionally grounded in reality. There are still redeeming qualities like Stefan's glass-eyed delivery of the hook, or the rapid v-drumming, but overall the track comes off as decisively less impactful than its' surroundings. Perhaps it would function better as a standalone piece, but when placed into context this batshit insane the sound comes off as just slightly too tangible.

Overall however, this project is an incredibly strong release, easily standing up to any of their full lengths in terms of experimentation and creativity. It feels like Death Grips fill the 20 minute runtime by constantly jumping from strength to strength with no attention span for anything in between. This seems a fitting time to return to my comment on them influencing modern hip-hop, something this mix feels incredibly removed from.

Consider artists like Denzel Curry or XXXTENTACION (bless his soul), who are only recently starting to experiment with the same industrial sound palettes Death Grips exhorted mastery over nearly 5 years ago. It only makes sense that the band's current work sounds incredibly futuristic and far from the same styles they helped influence, because where else would they be? When you're this far ahead of the competition there comes a point where you have to stop being an arbiter for the future, and start going where no one else will.

So that's what this mix really exemplifies to me, free sonic exploration completely unrestrained by boundaries of genre or style. Death Grips are smashing together their menagerie of influences in ways which no one else has and pulling it off with complete aplomb. This EP sounds like nothing else I've ever heard before and yet I love it, which is a phrase I find myself repeatedly returning to with this band's music. It's a terribly entry point to their extensive catalogue, but a rewarding one to be sure. I'd class it as their brightest moment thus far since their faux-breakup a few years back, above double album epic The Powers That B. It feels odd writing this for a hip-hop subreddit as even that box seems too small to confine what the band are doing at this point.

Believe it or not, this is the first time I've ever written about Death Grips' music despite being an avid listener for years. I don't really have a reason for this, but maybe it's because breaking apart their art in this way makes it lose some magic. It's remarkably impressive how consistently the group have been able to envision and execute a unique artistic concept with great success. I truly believe there's something special in every one of their albums, and they're all worth a listen if you're a fan of interesting music.

So if you've made it this far into the review and are still unfamiliar with Death Grips' catalogue then here's my advice; ignore this review, ignore the background, ignore their social media, and please, for the love of god, ignore the fans. Despite the rich context surrounding it, Death Grips' music stands on its' own, it stands up to scrutiny and rewards repeated listens. Start chronologically and listen through the band's catalogue, everything you need to know to enjoy it is already contained within.

Favourite Lyrics

There haven't been any official lyrics released at this point and MC Ride's scattershot delivery makes it hard to discern individual lines but I've done my best.

"Your innocence save your hopes I just roll the dice and I've been like this for my whole fucking life my whole fucking life's your whole fucking life"

-My Whole Life

"Ghoulishly I fear, paralysis my souvenir"

-Shit Like This

"At the time didn't recognise myself 'till I was petrified but half the time I'm not myself so most of the time I don't question why will need to testify but best I can do is buy some time spend my time folding time even met myself one time"

-Black Body

Discussion Questions

  • The band have said they are working on a new album, do you think the sound will be influenced by Steroids, or something else entirely? Where would you like them to go?

  • Am I right about the band's influence on modern hip-hop or was it going to head this direction anyways? Why?

  • What do you believe mainstream rap can learn from experimental releases such as this one?

  • How do you rate the band's progression thus far, pre and post breakup?

  • Do you prefer this release as a whole or split into individual tracks, why?

Tomorrow's writeup is for Jidenna - The Chief, done by /u/dropthehammer11

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Rich Chigga's debut project Amen dropping February 2nd.

Posted: 19 Dec 2017 10:17 AM PST

Tyler, the Creator congratulating Brockhampton after their Camp Flog Gnaw set

Posted: 19 Dec 2017 07:49 PM PST

[FRESH] Chance the Rapper- Merry Christmas Lil Mama (Rewrapped)

Posted: 19 Dec 2017 02:29 PM PST

Joe Budden fired from Complex’s “Everyday Struggle”

Posted: 19 Dec 2017 06:51 AM PST

Sounds like they are in negotiations, and Joe is stirring the pot to demonstrate his value to complex to get his desired contract extension.

Yesterday: My contract is up… waiting to see how this plays out.

Today: [I created that show… I'll create another if need be… & another & another….. it's when u CANT create that you move WITHOUT integrity…]

https://twitter.com/JoeBudden/status/943101890824458240

https://twitter.com/JoeBudden/status/943127334735007744

https://twitter.com/JoeBudden/status/942766209593958406

Complex has announced that he won't be back in 2018

https://www.billboard.com/articles/columns/hip-hop/8071119/joe-budden-complex-everyday-struggle?utm_source=t.co&utm_medium=referral

submitted by /u/Dzewelday
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Joe Budden's departure from "Everyday S Struggle" officially confirmed.

Posted: 19 Dec 2017 06:22 PM PST

Kendrick Lamar Named Inaugural Halftime Performer on ESPN at College Football Playoff National Championship

Posted: 19 Dec 2017 10:01 AM PST

"We are working on another Gorillaz album which is going to be released next year, so we’re going straight into the next album with no break, usually we have a good 5 years break but this time we decided to keep going" - Jamie Hewlett

Posted: 19 Dec 2017 12:46 PM PST

Noname hints at new album coming New Years

Posted: 19 Dec 2017 04:12 PM PST

Consequence of Sound calls Eminem's Revival "GODAWFUL" and gives it an "F"

Posted: 19 Dec 2017 09:49 AM PST

[FRESH VIDEO] Lil Peep - "Save That Shit"

Posted: 19 Dec 2017 12:11 PM PST

Juicy J- Highly Intoxicated Intro Prod. $uicideboy$ (MUSIC VIDEO)

Posted: 19 Dec 2017 06:11 PM PST

[FRESH VIDEO] G-Eazy - No Limit REMIX ft. A$AP Rocky, Cardi B, French Montana, Juicy J, Belly

Posted: 19 Dec 2017 12:07 PM PST

A$AP Rocky performs a song from his upcoming album

Posted: 19 Dec 2017 12:04 PM PST

Vince Staples discusses the NBA, style, himself and compares Eminem's Trump freestyle to a Girl Scout selling cookies for cancer awareness on Pitchfork's In Sight Out podcast

Posted: 19 Dec 2017 07:56 AM PST

Link

At 41:30 he says that interviews and Christian mom are bigger reasons why he's famous than music:

Host Matthew Schnipper asked the question "Are you more famous because of Sprite [advertisements] or because of rapping?" Without hesitation, Vince responded, "Interviews. I'm more famous for interviews than either one. And then the lady." Of course, the lady he's referring to is the Christian mother who went viral for her tearful, negative response to his music.

When asked out SoundCloud rap:

Later in the interview, Schnipper asked Staples what he thought of SoundCloud rap. Vince responded, "What is that? Can you give an example? Is Lil Uzi Vert SoundCloud rap? I love Lil Uzi Vert." Staples said he'd never listened to Lil Pump's music but asked if he was white because, "I don't know how I feel about white people with dreads."

As for SoundCloud rap as a whole, Staples said, "I hope everybody's saving their money and not being rude to people. That's all I really care about. But as far as all these ni**as looking alike and—I just know who done shot somebody before. So when I hear people talk like that type of shit... It's like, I just did an album without one act of violence in it. I was real proud of myself."

Speaking on his maturation process:

Speaking on the maturation process his own music has gone through, Staples added, "I can't be thinking about shit like that, bro. I'm over that type of stuff. There's no violence, no Crippin', no none of that on my album. I don't know if people noticed that, but I don't really say 'ni**a' unless it was on purpose. I only say it on the Rick Ross hook. I'm growing up a little bit, you feel me?​"

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[FRESH VIDEO] Quality Control, Quavo, Lil Yachty - Ice Tray

Posted: 19 Dec 2017 06:11 AM PST

CONWAY "The GOAT" Tracklist

Posted: 19 Dec 2017 12:19 PM PST

https://www.instagram.com/p/Bc5Z-XNn2NW/

1. G.O.A.T (prod. Daringer)
2. Trump (prod. The Alchemist)
3. Th3rd F feat Raekwon (prod. Daringer)
4. Die On Xmas feat Benny (prod. Daringer)
5. Rodney Little feat. Prodigy (RIP) (prod. Daringer)
6. XXXtras (prod. Daringer)
7. Bishop Shot Steel (prod. Daringer)
8. Mandatory feat Royce 5'9 (prod. Daringer)
9. Arabian Sam's feat. Styles P (prod. Daringer)
10. Bullet Klub feat Lloyd Banks & Benny (prod. Daringer)

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Cardi B announces "Bartier Bardi" featuring 21 Savage, coming Dec. 22

Posted: 19 Dec 2017 09:13 PM PST

DJ Akademiks: "Join me on Twitch at 10:30 PM EST... we gotta talk..."

Posted: 19 Dec 2017 06:53 PM PST

50 Cent, Eminem, G-Unit. "Patiently Waiting", live 2003

Posted: 19 Dec 2017 02:26 PM PST

Joe Budden reacts to the Migos Ice Tray Music Video

Posted: 19 Dec 2017 08:25 AM PST

[FRESH TAPE] Knxwledge. - HX11​.​8_

Posted: 19 Dec 2017 12:15 PM PST

Joe Budden Has Left 'Everyday Struggle,' Complex Confirms | Billboard

Posted: 19 Dec 2017 06:47 PM PST

J. Cole - Let Nas Down (REMIX) feat. Nas

Posted: 19 Dec 2017 11:52 AM PST

Daily Discussion Thread 12/19/2017

Posted: 19 Dec 2017 11:11 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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