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The Official 2021 r/HipHopHeads Christmas Advent Calendar (Day 20/25) - HipHop

The Official 2021 r/HipHopHeads Christmas Advent Calendar (Day 20/25) - HipHop

The Official 2021 r/HipHopHeads Christmas Advent Calendar (Day 20/25)

Posted: 20 Dec 2021 01:05 PM PST

Album of the Year #7: J. Cole - The Off-Season

Posted: 21 Dec 2021 09:35 AM PST

Artist : J. Cole

Album : The Off-Season

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https://preview.redd.it/ffa29qqzlx681.png?width=600&format=png&auto=webp&s=ea31650a0906060151006da24235bee954b9f7c6

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Apple Download Link: https://music.apple.com/us/album/1567421945?ls=1&at=1010lIJf&app=itunes&lId=23023650&cId=none&sr=1&src=Linkfire&itscg=30440&itsct=catchall_p1&ct=LFV_58ae270fd7cda35ca53f2d7b843c1a0a

Spotify Link : http://open.spotify.com/album/4JAvwK4APPArjIsOdGoJXX

Youtube: J. Cole - YouTubehttps://www.youtube.com › channel

Who Is J. Cole?

While this could have been a bio, I think a sum of all of his works applies more in this scenario. From the gate, The Warm-Up proved Cole was here to stay, or he SHOULD be.. From his personal rendition of "Dead Presidents", "Til Infinity", and "Royal Flush" its obvious to see he had the skills to be a complete rapper. This was in an era where flips and freestyles were important because you could put your lyricism over a beat people had already come to know and love, and in a lot of ways, it was a true test of abilities. Then with songs like "Losing Your Balance '' Cole shows its not just witty flips or plays on what's already done. He talks about various people he has seen in his life and how one way or another, due to being too concerned with others opinions, an idea of being real to the neighborhood that birthed you, or flat out losing yourself in a relationship, Cole doesn't miss a step.

Friday Night Lights would be the next release from him, and in my opinion it is one of the greatest mixtapes ever released. It was filled with a lot of songs that didn't make his debut album Sideline Story, but from start to finish it feels like a beast all its own. Records like "Enchanted", "Too Deep for the Intro", and "See World" solidified whatever space Cole wanted. Some of these themes and discussions haven't been had since the era of the 2pacs and Scarfaces, so this was a very welcomed mixtape from the Fayetteville native. Add to the fact it was released on a free mixtape basis, this was an important time in hip hop, which would later become known as the soundcloud era, or a time when artists were churning out quality music for free releases.

To me, his next pivotal work would not come until Born Sinner. Not everybody was a fan of his debut, and on this album it seemed Cole was set to prove he wasn't just a mixtape force, but a mainstream one that could hold his own. Songs like "power trip", "let nas down", and "crooked smile" went on to prove just that. Regardless how you viewed his first album, this one did everything that his debut did but better and more organically. Clearly Cole wasn't concerned any longer about making something the label could market, and this is the beginning of him thriving as one of the most potent pens introduced to hip hop in the last two decades.

Staying true to his roots, Cole even dropped a mixtape series called Truly Yours. While Cole had always talked about his past and the path that got him here, I feel this was one of the first times he wrote stories directly about his situation that related to mine. Maybe it was purposeful, maybe it wasn't. I remember he quoted one of 2pac's lines towards his step dad saying, "last words to a bitch n****, why you lie?". This is important because in hip hop, a lot of people quote or steal. But to hear Cole go in about a failed relationship with his step father, the one who turned him onto such music, only to have to use lines he heard in the same music to directly speak to him, is incredible. The mark of a true writer is not always the words that you say, but the context that you say them in.

Forest Hills Drive was the first time that the Cole I had grown to love, and the Cole that everybody wanted or expected began to coincide. Songs like "a tale of 2 citiez", "G.O.M.D", "No Role Modelz" and "Fire Squad" are part of the reason. While Cole surely didnt sacrifice his views and personal style, he adapted in a style where the whole world seemed to take notice. Looking back this was the first time that Cole was a topic of conversation outside of the backpacker circles I found myself in and I was happy to see it.

Fast forward to 4 your eyez only. The first truly divisive album for Cole. While some saw an important story told about someone from Coles past, others saw a boring album with not many "bangers". In some ways this album was the fuel for the "Cole is boring, Cole makes sleepy raps" complaint. Looking back, I believe that he was doing what other greats have done, even if they weren't immediately heralded for it. 808s and Heartbreaks to an 18 year old me was an incredible album by Ye. But most of my friends or relatives at the time didn't get the music. It wasn't Graduation. It wasn't a College Dropout. Yet if you look around now its hard to find any crooner, auto tune or otherwise that wasn't influenced by this album. I put 4 your eyez only in that category of something not everybody can or will like, but an important work that helps and pushes other artists to branch out from the "norm" subjects and song choice. Not many albums would talk about folding clothes or the joys of being smitten over a woman and subsequently the child you have together. The final song on the album, "4 your eyez only" is still one of his best songs to date. To me great artists change the conversation. It's quite evident here with lyrics like "ah your daddy was a real n****, not 'cos he was hard/Not because he lived a life of crime and sat behind some bars/Not because he screamed fuck the law, although that was true/Your daddy was a real n**** 'cuz he loved you" that Cole didn't want to talk about what was accepted or popular, but just how he felt.

KOD was Cole's second journey into sharpening his skills for an attempt at crossover appeal. This was different from Forest Hills Drive. That album felt like Cole brought you into his world in his own way while still dropping appealing melodies and flows for the average listener that just wants to be entertained. But here, Cole does an entire album that at first listen, can sound like a co-sign for all kinds of activities such as drugs, obsession with money, or vanity. But if you pay attention to the lyrics, he's actually preaching the opposite. He's actually using an alter ego "kill edward '' as a way of having similar music to people who don't have much positive to say, and he flips it. What this album represents to me is a college course level discussion on why drugs are bad. Why vanity wont always work out or why money isnt everything. A true masterpiece in anybody's collection, for me this proved one thing. J. Cole was hands down one of the best artists in my generation. He didn't necessarily focus so much on bars, crazy rhyme schemes, or clever wordplay. But when it comes to the music and actually having something to say, his music can stand next to the Beatles or anybody else in that vein. Little did i know, all the things that he didn't harp on due to the overall idea of creating a masterpiece weren't off his radar. As a matter of fact, starting with "a lot" and "boblo boat", Cole seemed to want to prove it wasn't just the music, but that he had the technical skills to match and rival ANYONE.

My first exposure to J Cole was quite some time ago. Back when iPods were the new thing and I was working at six flags. At the time, I used to scour datpiff daily for new music. Between finding the likes of Charles Hamilton and the way mixtapes were being done then (what could be considered a golden era) I was convinced that I would find all the good rap I wanted without even sifting through the radio because of Datpiff. So I stumbled upon "The Warm Up". I honestly couldn't tell you what drew me to this album, but most likely it was the cover art. Ever since I finished listening to that mixtape I was convinced J Cole would be one of my favorite artists for a while. Here I am over 11 years later excited to review his latest outing, "The Off-Season"

If I like you as an artist, or as a person, I will check for everything you do until you give me reason not to. As a person who watched Scrubs season 9, it doesn't always work out. But with J Cole, I can always count on him bringing something to the table at the end of the day I want. I was the fan who was arguing that 4 your eyes only was one of the rare artistic masterpieces in rap, born sinner is one of his best, and KOD was his parody of other rappers. While a lot of fans had split opinions, being an artist myself I understood what he was doing. He had his fans, he had his range, but KOD was his first example of the idea that J.Cole doesn't do what J Cole wants because that's all he can, quite on the contrary, he can do what your favorite rapper does and better. Enter "The Off-Season"

"95.south" The opener embodies a lot of what I deem to be what is so spectacular about this album. Here we have Cole putting on a clinic, with such lines as "I be staying out the way, but if the beef do come around/could put a M right on your head, you luigis brother now" and "we seen dilemmas like Nelly and Kelly that end in the deadliest fashion/my young n**** nutty they blasting/bullets be humming like cudi but one of your hoodies spaghetti o splashing" you can clearly hear Cole on a tear. But what is interesting here, is most Cole fans will note he doesn't do much punchline rap in his songs. Punchlines are there, but the set ups and executions shown here are a different Cole. A Cole who has something to prove. But this late in his career, it isn't him trying to prove he can sell or that he's deserving of his spot. Essentially, he's proving that he could take most of these other rappers places, rap about what they rap about and still do it better. Not to harken back to the title too much, but this is Lebron or KD in their "off-season" working and slaving as if they aren't already the best at their positions. What I especially like is that he got Killa Cam to talk shit in-between the verses. Not only did he perform to a high level but he got another artist from another subsection of the genre to talk about how great HE is.

The next song on the list is "Amari". While the intro served its purpose for what Cole is setting out to do on this album, this track for me is the true beginning of what can only be described as an amazing display of ability and showmanship. From the beginning of the track he slides on it so smoothly with the right hint of auto tune. "Plotting my escape, this game rot a n****s faith/got a couple ms hiding in the safe/imagination turned a Honda into wraith" is an important lyric to note. In a time where it seems only the "norm" is rewarded, and everybody claims to not want to hear lyricism, Cole is thriving. He brings necessary balance to the "force" (I love Star Wars) because he's saying hey I got that expensive car your favorites talk about. But all it took for me was imagination to get there. That's important if not for the people who are 20 plus listening to Cole, because it's very inspirational, but the people who are in their early teens trying to be okay with who they are and what they want to become. That's something that Cole does, even on an album where he's mostly showing off his ability and how much better he has gotten since his last outing. He still makes you feel good about being you. J Cole has seen a lot of criticisms throughout the years but one of the most prevalent ones is that he makes "boring" music. But with that line he's showing you not only does he not care, but has seen success all the same. What's even more impressive is he attacks all of those complaints. He does a lot more vocal inflections on this album, pushing every part of his craft to the level his bars have been at for over a decade.

In comes "my.life". It's important to note, I haven't spoken on the songs themselves. While none of "the off-season" songs were bad, you can clearly see that it's not his focal point on this album. Whether it be him using different vocal inflections, hints of auto tune, adopting flows more entertaining, or using his songs to get across messages that speak above the song title, his focus was not on making timeless songs as much as it has been in the past. So with this song, he's foreshadowing with lyrics like "You n****s just cubs but no, not the ones in the big leagues/after The Fall Off, I promise I'm coming and sellin' out Wrigley's". I don't want to get tooo nerdy here, but rappers selling out stadiums is not an everyday thing. Let me be clear. Rappers HAVE. But not nearly as many as you think. Add in the fact that rappers who have been deemed "bar heavy" or "lyrical'' don't achieve that accolade half as much. But Cole has gotten to the point at which he can. While it's a brag that may go unnoticed, it points yet again to the idea that Cole has made a mint by having something to say and being an artist among mere rappers. In a world that claims to only reward people who pretend to be someone else, this is important. What I would be remiss without highlighting is one of my favorite lyrics from the entire project. Cole raps "Can't reach up to high evidently/ nah, I can't reach up to high evidently/never seen no-one driving a Bentley/ I can't be out here mopping up Wendy's" at the end of his verse. This is something else that this album does well that I haven't mentioned as of yet. It is a soundtrack to striving for a better life. In every track thus far, there has been at least a lyric or two about the transition Cole made from not being able to afford anything, to affording everything. When I heard those lyrics, it resonated with me because I too have dreams of being something greater than I've ever seen in my neighborhood, so for him to eloquently put the basic problem I've always had was incredible. Without a good role model, or a place of reference, you're essentially trying to talk about space travel in the 1940s. While you may have great ideas, most people will write it off as "unrealistic" and proceed to tell you closer goals that you may actually achieve. Nobody believed that moon travel was even possible until it was "done" (sorry for the quotes I'm a conspiracy theorist and I will leave it at that) As the hook says " My life is all I have" and that alone is enough to reach for the stars.

When "applying.pressure" starts, its one of those beats you can just feel Cole is about to be on his shit. When I say that, Cole is about to start giving bars at the high level we have all come to expect from him. Needless to say, he does not disappoint. Lyrics like "Round crack vials and cold-blooded killers, no reptiles/just projectiles, from n****s salty you rockin' the fresher textiles" is further proof he is rapping at what used to be called a mixtape level. Not to go on a tangent but back in the days when Wayne was at his height, rappers tended to save all of their bar heavy songs for mixtapes. I found Big Sean from a mixtape as well as Kendrick, and both artists at that time were much more punchline and (what did he just say?!?!)-line driven. This is what I think of when I think of "The Off-Season". High level rapping. I especially love lyrics like "Just did the mental math, and calculated my worth/shits crazy, didn't know I got more Ms than a real Slim Shady video/big boss, less rick ross, more like a wavy Hideo/Kojima they tote steamers around the way we tippy toe" NERD ALERT. The reference to Hideo, the mastermind behind Metal Gear Solid and soooo many other games is delciuousssss. Seeing as how Cole rarely mentions anything that he doesn't like, I find it even better that he's referencing something that says he must, at least, play video games. To me that's like mentioning Quentin Tarantino. Surely not unheard of, but it's usually niche to mention. As odd as it sounds, I believe I've learned more about who Cole is as a person from this album than any other to date.

"Told him come off his chain for tryna floss/died over a cross, its like the start of christianity" My disclaimer is that I'm a writer. Well a rapper too but a writer. So a lot of the lyrics I highlight are the type of lines I extremely appreciate. Play on words, double entendres, puns, you name it, I think it helps all forms of writing. So when I heard this lyric, I was in the car making a sour face and saying "ooooooooo". That's just who I am. On "punching.the.clock" Cole is no slouch. It could contain some of the best rhyme schemes of the album. I say could because literally every song on this album has its own intricate rhyme scheme. As I said before Cole clearly took his time out to do what was Damian Lillard said on the song. He's in-between what would be considered full length albums. "KOD" was in 2018, and "Its a Boy" or "The Fall Off" is his next full length outing. So everything heard on this album could be considered the equivalent of what any top NBA player is doing in the off season. Sharpening every skill and practicing every scenario. When Cole raps "Teeterin' between enlightened and insanity/now that I'm rich, I feel nobody understandin' me/All I can do is cut the mic on, holla at you/Can't let the fame scare me off from speaking candidly/All them n***s is so Kane, they started singin' like Danity/Now I'm left here, paid like I planned to be, damn" its hard to not think about how much better his next album will be because he's been metaphorically in the gym working this entire time. I remember on his documentary he talked about working and adding to songs for years. That kind of dedication is why this album came out as it did. He could have delivered ONLY good raps and not much else, and this project would have been criticized. The exciting thing about this album is, it represents that Cole has found a balance. Maybe not the balance that a NBA Yougnboy fan would want, and maybe not the balance that Belly would have, but it's his own and it's hard to not appreciate it.

"100 mill" is maybe one of a couple songs that show Cole in the form people are accustomed to. Sure, the hook is much more catchy than Cole might normally do. But the song structure and feel is a lot closer to what people would expect from Cole. Even with that said, he still manages to deliver a performance all his own. The track opens with "how come a n**** aint enter his prime/still getting better after all this time/these n*****s saying they killers, they lying/only thing I see them killing is time/100 mill and I'm still on the grind/100 mill and I'm still on the grind" and this could be the motto for the entire album. In spite of all of his accolades and achievements, he still values getting better. In spite of the money he has made, he wants to keep working for more. It's important to note that he doesn't take a greedy or filthy rich approach, essentially telling you all about his bathtub of money that he swims in daily that you could never have. Every bar of him celebrating where he is and where he intends to go can also be repeated as your personal mantra to get to better places in your own life. If nothing else I say makes sense about this album, that point is the one i'd like to leave. Cole has mastered being happy and comfortable with who he is, while still telling his older and newer stories in a way that makes you want to achieve more yourself.

As soon as I heard "pride.is.the.devil" I instantly thought it might be a KOD leftover that was worked on since the album release. As soon as his verse starts, he does something similar to what Kendrick did on DAMN with having an emotion as a topic and deep diving into the different situations involved or problems that said emotion might cause. The first verse is almost completely in that format, which I also think back to the earlier days of hip hop when rappers would deep dive into a phrase or word that's in the title. Cole raps "pride be the reason for the family dichotomy/got uncles and some aunties thats too proud to give apologies/slowly realizing what the root of all my problems me/got me feeling different when somebody says they proud of me" and its a great example that not every rap on here has to be high intricate forms of poetry, but Cole still has the ability to take simple concepts and get a larger point across. I won't deep dive into it but the last two lines are especially meaningful as it highlights something that doesn't always work in our society. Too much pride can be the reason that you lose your money, your wife, or your life itself. There is something to be said about when you're younger and somebody says "they are proud of you". Its a behavior reinforcement. But the impressive thing here is Cole easily relays that it's not always the greatest idea to set out to make someone else proud of you. While it may seem somewhat off topic, it points to the larger idea that even though Cole didn't deliver the listening experience that is 4 my eyes only or the crossover heavy meanings of KOD, he still delivers the same life lessons and wise words. Maybe even more so

"let.go.my.hand" is probably my favorite or second favorite song from the album. It very well could be the beat that gives this warm beach shore feeling that I get from it. Or the random sound of some wind instrument which sounds a lot like a special flute. But it's very inviting. After some of the more "rappity rap" songs this could be the first break for some listeners. A return to the less showy or intricate Cole that might have been completely forgotten after the display he's put on thus far. Cole spits "I wanna be my biggest fan/like how I was when didn't nobody know my jams/today my son said dad let go my hand" and it gives a rare glimpse into his private life. He raps about it here and there but this is the first time he's mentioned anything in the way of a personal interaction with his son (beside Amari on this album). I find it particularly interesting that its done in such a fashion on this album where you have no choice but to think of the progression of time. Cole is only 5 years my senior and it feels like it was yesterday when he caught the beginning buzz of his career. To hear that he not only has a son but his son has already reached the point of wanting to be somewhat independent is crazy. This is also the song where he divulges another personal moment in his fight with Diddy. Even though its not in the typical format, he finds a way to deliver everything people want from him without it coming off like Views

Context is important. So much so that it can somewhat dictate history. The best example I can think of is Thomas Edison. With no context, what I learned about him in school was that he was an inventor who was the first to harness the power of electricity. But in reality, that's only partially true. It leaves out that he wasn't the ONLY one to develop groundbreaking uses for electricity, and he went out of his way to discredit another lead in the field Nikolas Tesla, and that's why he ended up being the one people went with, even with Tesla having a safer product. Context. So on "interlude" when Cole raps "Jesus said that you should turn the other cheek/was his n****s getting murdered every week?/dead bodies, smell the odor in the street/my homie homie got out on parole/he sold more coca-cola than the soda industry/summertime brings the coldest winter breeze/hella blues like the rolling 60s/christ went to heaven age 33/and so did Pimp C and so did Nipsey" is all about context. Mind you, that most people would not put those 3 in the same category. I feel the story of Christ goes without saying, but it's important to know that Nipsey and Pimp C shared a LOT in common with that story. All 3 were very important figures to not only their immediate area, but their followers. All 3 have left a very lasting legacy on the world. Most importantly, even though the daily news or the Pharisees would have seen all 3 as just a pimp, a gangster and a delusional hippie, they all were known to be kind people on a personal level. People who wanted to be a positive force for their communities. And people who were all taken too soon due to acts of violence. This is why Cole is one of the greats. His ability goes beyond just clever bars and witty sayings.

"the.climb.back" was the first single released for this album. Although at the time it wasn't called a single, it was part of a 2 pack he released the year prior with "lion on ice". At the time I was going through some suicidal feelings. My friend from high school calls me up. I'm not sure if I admit what's going on or not. Frankly I just remember him saying Cole had dropped something. Me being an avid fan I rushed to hear what he was saying even if it wouldn't make my situation better. What I found was this song. When he raps "everything come back around full circle/why do lies sound pleasant but the truth hurtful/everybody gotta cry once in a while/but how long will it take before you smile?/this is that climb back to to life shit/my n****s pick me up and gon light the city up as if the sun has the night shift/and the town red for my n**** found dead too soon" it made me feel better. Mind you I wasn't cured. I had to go through my own journey to truly see the worth in my life. BUT, what this song, or even this hook specifically did was give me that same feeling as if somebody knew my struggle and was telling me how everything would be okay. Maybe not today, maybe not tomorrow but that I could find the light at the end of the tunnel if I just held strong. Between the pandemic and everything else I'm sure I'm not the only one who felt down. Without it being in his typical format, it made me feel just as good as a "Crooked Smile" or a "Born Sinner" without the full length story that goes along with it. In fact, the verses themselves are more of a testament to the shape he is in rapping, rather than a direct tie-in to the hook. What may be the best example of the precise lyricism present on this album is when Cole raps "Im sick of this flaunting, from n*****s I know for sho aint got more dough than cole/trash rappers, ass backwards, tryna go toe to toe/we laugh at ya, staff strapped up on top the totem pole to blast ya/bass masters, look how they tote a pole/gotta know the ropes and the protocol/or they gon for sho blow your clothes half off like a promo code". Not a word or syllable wasted, he effortlessly talks about something most rappers would have only said "my people got guns and they all use them". Not that everyone is so cut and dry, but the amount of artists who are anything below surface isn't nearly as high as those who are. This is easily one of the top tracks to play for anyone who thinks Cole can't match up to this or that artist.

The idea of taking a single word and flipping it in various formats has been done before. "22 Twos" and "22 Offs" are some of the more notable ones in my mind. So when I heard close for first time, I appreciated the somewhat lost artifact he presents with such usage. I have no idea if the story is true, but its just as impressive if it is as if its not. Here we find Cole back at somewhat of a normal, non super saiyan delivery. My favorite lyric from the song is "meanwhile I'm so close/dont even give a fuck that I'm broke/cuz in my mind I'm rich with shit I done wrote/therefore I'm convinced that this is supposed to happen, and in time Ima blow, they gon label me the GOAT" While this is centered around a feeling that normally only other artists or people in a similar industry can relate to, I think it speaks to the broader idea that you can make it through the worst of circumstances if you have the best outlook.

Last but certainly not least is "hunger.on.hillside". This is my favorite track on the album by far. Its structure reminds me of an older version of Cole who leaned towards hooks that weren't as melodic or catchy but more so just got the point across. I believe a lot of what he did on this album was purposely leave certain tracks, hooks etc in a form that would be more recognizable for his longtime fans as well as being enticing to anybody who for whatever reason has not heard Cole until this album. The most relatable lyrics to me was "I wanna know if they understand me/I put it all on A aint no plan B/hoping all this weight aint gon drown me/fucked around got grey hairs already" This is something I feel like a lot of different people in different fields could relate to. For whatever reason you put it all on this one idea, this one skill, this one career path. You don't necessarily have a plan B because you've invested your life into A.

To sum it up, J Cole dropped what I believe will be one of his classics when it's all said and done. This album is a lot of different things to a lot of different people. As a fan of Cole, it's nice to see how far he truly has come in every bar and verse. From expanding his technical skills, always striving to be better in any way possible as heard by the vocal inflections, to even polishing a style he's had his entire career. As a fellow artist, this tape takes on a different life for me. I liken this album to watching Jordan practice, or seeing Lebron run drills, or watching Kobe shoot shot after shot in the gym. It's really inspirational to see someone at the top of their game yet always improving, striving to be better. With so many people comfortable with just the bare minimum, it's nice to see that even in The Off-Season Cole's game hasn't lost a step

Discussion

What's your favorite J Cole album?

Where does "The Off-Season" Rank for you personally?

Being that this was more of a lyrical album review/breakdown, how did this album make you feel?

What do you look for in a classic album?

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Edit: Im sure this is one of the more lengthy reviews, even though I have been a writer for a long time this is my first step into the world of reviews. I jumped at the chance to write for one of my favorite artists of the last 10 years. So in that light, I thought it would be better to overdo it then not enough. But feel free to discuss what you did and didn't like! I hope to be back next year for another write up, hopefully about my own work!

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[FRESH] Cookin Soul - WU XMAS

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Boldy James - "Surf & Turf" feat. Vince Staples (produced by The Alchemist)

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Big Sean - Fire

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Daily Discussion Thread 12/21/2021

Posted: 21 Dec 2021 07:23 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

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

Weekly/Monthly Threads

Other ways to interact

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

New to /r/hiphopheads or hip-hop in general?

Check these out:

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Vince Staples - Smile (Live On The Tonight Show Starring Jimmy Fallon)

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Sean Combs Regains Control of Sean John Brand

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Little Brother - Good Clothes

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Czarface & MF Doom - Bomb Thrown

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[LEAK] Conway the Machine - Can't You Be (feat. A Boogie wit da Hoodie & Jeremih)

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Jay-Z’s Roc Nation artist bit by snake during music video shoot

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DJ Premier So Wassup? Episode 19 | M.O.P. "Brownsville"

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Making the Film & Score of CYCLES. by Jason Goldwatch & The Alchemist

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Hodgy Beats - Karateman (feat. Left Brain)

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Curren$y reveals album art for Pilot Talk 4, releasing this Friday

Posted: 20 Dec 2021 08:12 PM PST

Completely produced by Ski Beatz

https://imgur.com/dtwq592

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Rapper Untitled to drop first project, “Untitled” EP, on 12/24. Produced by Navy Blue + Alexander Spit.

Posted: 21 Dec 2021 06:29 PM PST

[FRESH ALBUM] popstar benny - Album*

Posted: 21 Dec 2021 02:31 PM PST

[FRESH VIDEO] Gucci Mane - Long Live Dolph

Posted: 20 Dec 2021 02:54 PM PST
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Album of the Year #5: IDK - USEE4YOURSELF - HipHop

Album of the Year #5: IDK - USEE4YOURSELF - HipHop

Album of the Year #5: IDK - USEE4YOURSELF

Posted: 19 Dec 2021 05:33 AM PST

Album: USEE4YOURSELF

Artist: IDK

Released: July 9, 2021

Listen:

Spotify

Apple Music

Tidal

YouTube

Soundcloud

Standout Features: Offset, Westside Gunn, SiR, T-Pain, Lucky Daye, Rico Nasty, Sevyn Streeter

Who is IDK

IDK, born Jason Mills is a Bowie, Maryland rapper whose first mixtape was released in 2014. At this point, he rapped under the name JayIDK. Mills started to garner attention with his second mixtape, SubTrap. Accounts suggest the mixtape stands either for Suburban Trap or Trap with Substance, but what's clear is that even early in his career, IDK was able to stand out amongst his peers. Early reviews skew towards the positive side of mixed, with much of the praise focusing on his esoteric rap style and the varied production. He followed the release with his third mixtape, Empty Bank in 2016, joined TDE's Isaiah Rashad on tour, and in 2017 continued his recorded output with his first full length album, IWASVERYBAD. Inspired in part by his time spent in a correctional facility for weapons charges, IWVB continued Mills' progression of left-of-center, inspired and brutally honest songwriting. At this point, Mills dropped Jay from his name and began performing under the name IDK. His next release, IDK and Friends :), was an EP that featured collaborations between IDK and artists like Rico Nasty, Maxo Kream, Denzel Curry and fellow DMV artist Wale. Shorter in length but no less compelling, IDK and Friends :) was the final step that he needed to release his debut studio album.

Titled Is He Real?,the album documents IDK's struggle with religion and understanding faith in God, his troubled upbringing and the death of his mother. The cover even speaks to the biblical parable of The Sheep and the Goat. Per Genius:

The artwork for the album represents this struggle further, as it is a reference to the Sheep and the Goats Parable. Specifically, it is a direct representation of this quote: "He will set the sheep on his right hand, but the goats on the left." (Matthew 25:33)

The album features DMX, Tyler, the Creator, Burna Boy and JID. While varied sonically and never overshadowed by his featured artists, critical reception to Is He Real? was more mixed than IWVB. Many found it to be less cohesive than IWVB and held back by its playlist-like sequencing. There is some validity to the criticisms, but you can see flashes of his genius in songs like "December" where IDK and Burna Boy trade melodies to the rhyme of Muder She Wrote, or "No Cable," buoyed by GLC's familiar and warm hood prayers. The one criticism that I disagree with, however, is the weakness in the variety of Is He Real?'s production. In my opinion, it works far more than it doesn't. More importantly, it foreshadows how IDK would approach the production for his next studio album and the subject of this write-up: USEE4YOURSELF.

What is USEE4YOURSELF

Released in the midst of 2021, USEE4YOURSELF is an album that refines IDK's myriad strengths to a much finer point. He himself has considered his primary art to be production and rap to be secondary, and as evidenced from the start of the album (3018091821), it's clear that the sonic aspects will be important. Every sound, from the pumping of limbs in a run to the buzz of a fly that's slapped away, feels expertly placed in the track. While this write-up won't go track-by-track, I wanted to point this out because the album itself is enveloping, and truly recorded in a way that rewards a focused and distraction-free listen. Part of this is because of how vibrant and sonically layered the production is and part of this is because IDK's rapping rewards a close listen. His flows often interpolate other melodies and rap elements (Red), lending his flows a chameleon-like versatility.

I hesitated to mention this, but I must acknowledge the verse by Jay Electronica in Red. Despite how impressive his flows or rhymes may be, it's a sad fact that he has glaringly anti-vax lines in here. It's a blemish on this song and on this album, and I think everyone should make sure they take proper steps to protect themselves from COVID-19 as best they can.

Looking at this album conceptually, it helps to see it in two parts. The first is IDK's womanizing, isolated sense of self. He's perfectly aware of his status as independent, both in his career Santa Monica Blvd and his love life (Red). He's a man who struggles to connect with love, instead losing his otherwise mindful self to lust and mistrust (10 Feet, Puerto Rico). For this version of IDK, money rules it all, his competition surrounds him and even the escape of sex and love serve only as temporary distractions. This version of IDK dominates the front half of this album, but the second half allows us a view of IDK's introspection. He self-diagnoses his behaviors, attributing them to the fractured relationship he had with his late mother (1995). There's a momentum to this half of the album, an unsettling rise that builds to the heartbreaking revelation that he is a survivor of sexual assault (Hey Auntie). It's tragic to hear his confession, to know that every boastful and headstrong line was a bluff to mask some of the most immense pain imaginable that comes from such a horrible betrayal of trust. Once the lynchpin is pulled, though, the floodgates open, and suddenly IDK is able to verbalize the ways in which he felt let down by his mother, and that despite his love for her, the way he grew up fucked him up (Cry in Church). The final song of the album loops back to his previous release, addressing the ultimate question on IS HE REAL? Put succinctly, the question of whether an all-knowing, all-loving God is real is impossible to answer until you've realized love in yourself (Closure).

Why Should I Listen to USEE4YOURSELF

Despite how heavy USEE4YOURSELF is at times, it is also a relatively easy listen. That's part of its genius, I think. Songs like "Peloton" are catchy and quotable, "Keto" exemplifies the dancefloor energy that IDK is so good at utilizing and songs like "Shoot My Shot" allow IDK to be in his rapper bag with full aplomb. For every fault lobbed at IDK for albums like IDK and Friends :) and IS HE REAL?, he manages to polish those into gemstone moments that are truly unique in comparison to much of his competition.

USEE4YOURSELF is a truly beautiful album, a beautiful showcase of growth and versatility and honesty and vulnerability from IDK. He's described the album as the one he needed to make to be a better person, and it's evident that there was a huge amount of baggage that he has started to let go of in this record. The journey that this record carried me on was one that I could not predict, and one that was imminently relatable as a black man in America.

Though my circumstances are very different from what IDK experienced, I can also say I know friends and acquaintances who, through their own admission or behaviors, struggled to break from the trauma of their youth. Kids who were cut off by their families who grew to idolize money and equate it with security, kids who lost the understanding of safety and boundaries because of an uncle or an aunt or a stepfather or a second cousin who betrayed them physically or emotionally, adults who are having to redefine what being a parent means because it wasn't until they were grown that they really had no healthy template of fatherhood.

And that's the true purpose of art, isn't it? To make something for listeners in which they see not only themselves in a new light but the people, places and circumstances around them? Isn't the truest of art the kind that lets you walk away with a bit more empathy and understanding for others? It's what IDK achieves here so fully, in my opinion, and it's an album that lends itself not to comparison to other artists but a celebration of who we see before us, fully, for the first time.

Can We Talk About USEE4YOURSELF?

  • This album has songs that are lighter and more catchy, and deeply personal confessionals. How do you feel about the duality of this album? Does it shine more in the lighter, hook-driven songs or the more personal and confessional ones?

  • Given the myriad features, interpolations and references on this album, what are your favorites? Least favorites?

  • Having listened to this album, where do you rank it among the other albums you've listened to this year?

Thanks for reading, everyone. Also thanks to u/thesuntalking for reminding me about proofreading my writing before I finalize it.

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Drakeo The Ruler Killed in Los Angeles - Memorial Thread

Posted: 19 Dec 2021 08:58 AM PST

Jeff Weiss confirmation

The Guardian article

Drakeo the Ruler, the critically acclaimed Los Angeles rapper, has died after a reported stabbing at a music festival. His press representative confirmed his death to the Guardian but did not give further details.

The 28-year-old, whose real name was Darrell Caldwell, had been scheduled to perform at the Once Upon a Time festival in Los Angeles. A source speaking to the LA Times said Caldwell had been attacked on the festival site by a group of people on Saturday evening. He was taken to hospital in a critical condition, where he later died.

The festival's promoter, Live Nation, said: "There was an altercation in the roadway backstage. Out of respect for those involved and in coordination with local authorities, artists and organisers decided not to move forward with remaining sets so the festival was ended an hour early." A set by Snoop Dogg was cancelled.

Caldwell had not crossed into the mainstream, but was a hugely admired cult figure in his city's rap scene. He released his debut mixtape in 2015, and went on to release 10 more full-length projects.

In 2017, he was jailed for 11 months for illegal firearm possession. In March 2018, he was detained once more, on a murder charge dating back to a shooting incident in December 2016.

He continued to record music while incarcerated – the mixtape Thank You For Using GTL was recorded down a prison phone line – and was eventually acquitted of the murder charges in July 2019. After a plea deal for a charge of criminal conspiracy, he was released in November 2020.

After his release, he made the album The Truth Hurts, including the single Talk to Me with guest star Drake. Drake was among those paying tribute, writing on Instagram that Caldwell "always picked my spirit up with your energy".

The Los Angeles journalist Jeff Weiss, who had campaigned for his freedom, paid tribute, calling him "the greatest west coast artist of a generation, a legend who invented a new rap language of slippery cadences, nervous rhythms, and psychedelic slang".

There will be zero tolerance for disrespectful comments in this thread. Jokes or insults to the deceased will result in a ban. All songs by the artist and non-news posts about the artist (e.g. reactions, tributes, etc.) should be posted within this thread, any posted outside of this thread will be removed whether or not they violate subreddit rules.

RIP The Ruler

Statements from the hip hop community:

Joey Fatts

Drake

Guapdad 4000

Father

Pink Siifu

Noah Miller

Sango

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Drakeo the Ruler confirmed dead after stabbing at LA festival

Posted: 19 Dec 2021 05:57 AM PST

Drakeo the Ruler-Talk To Me (feat. Drake)

Posted: 19 Dec 2021 06:40 AM PST

[DISCUSSION] Drakeo the Ruler - So Cold I Do Em 2 (One Week Later)

Posted: 19 Dec 2021 08:22 AM PST

RIP Drakeo

It was all good just a week ago when he blessed us with this 1,5 hour long collection of freestyles and new songs.

There are lots of highlights on this project, like him lyrically blacking out on the 6 minute long Betchua Freestyle, but it is best played in its full length (some tracks have a minute long "nothing" at their end where the tracks didn't get cut off, which now serve as moments of reflection).

Drakeo was an incredibly good rapper and this tape is just as good as the rest of his discography.

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The Pharcyde - Runnin'

Posted: 19 Dec 2021 04:19 AM PST

Drakeo The Ruler - Flu Flamming

Posted: 19 Dec 2021 08:35 AM PST

Westside Gunn feat. Benny the Butcher - GiGis

Posted: 19 Dec 2021 05:43 AM PST

Three 6 Mafia - Ridin’ n’ tha Chevy

Posted: 19 Dec 2021 09:39 AM PST

[DISCUSSION] /r/hhh predicted 2021 in hip-hop

Posted: 19 Dec 2021 07:31 AM PST

Joji - Medicine

Posted: 19 Dec 2021 04:58 AM PST

Playboi Carti - Molly (destxmido remix)

Posted: 19 Dec 2021 08:06 AM PST

does anyone know what this remix's genre is? specifically, aside from it being lofi/hip hop

the sound is really unique and I've been looking for other similar songs but can't seem to find any so it has just been on repeat for like an hour

thanks :)

if anyone knows any similar songs as well would be even better.

submitted by /u/STREB0R-
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[FRESH] Bic Fizzle - Servin

Posted: 19 Dec 2021 09:13 AM PST

Prefuse 73 - 140 Jabs Interlude feat. milo and Busdriver

Posted: 19 Dec 2021 06:39 AM PST

CamilosGarden - All I Want for Christmas is Drill

Posted: 19 Dec 2021 08:43 AM PST

Evidence - I Know

Posted: 19 Dec 2021 06:59 AM PST

[FRESH] Crooks - Red Rum Redux (an ode to 90s Horrorcore out of London).

Posted: 19 Dec 2021 08:08 AM PST
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