Method / AWGE / Interscope · February 12, 2021

It would be an understatement to say that slowthai had a fast 2019. The Northampton-born UK artist crashed onto the scene with the release of his album 

, which garnered domestic and international recognition alike. He received a Mercury Music Prize nomination for best new artist, a nod on NME’s top 100 list, features on projects by Gorillaz, Tyler the Creator, and Denzel Curry, and an opening gig for Brockhampton’s US tour. His 2020, on the other hand, was filled with ups and downs. slowthai found himself the subject of controversy for actions he made while receiving his Hero of the Year Award from NME. Clearly inebriated, slowthai made advances at NME Awards host Katherine Ryan, creating an uncomfortable environment for everyone involved, and shortly thereafter jumped into the crowd to try and fight an agitator.

. slowthai embraces the role of sympathetic villain with songs such as “CANCELLED” and “VEX,” where he targets social media and cancel culture, voicing his frustrations after receiving many calls to be cancelled after his NME antics. But slowthai’s critical attitude doesn’t just point outward – it frequently points inward, too, describing ruts of depression, drug abuse, and self-hate. A self-proclaimed product of his environment, slowthai describes the norms of aggression and a fight-first-think-later mentality that affected him while growing up in poverty in Northampton.

The album is separated into two halves, each of which reflect a side of slowthai’s inner self. The first half is hard-hitting and filled with anger and frustration, played out over grimy beats. slowthai’s focus shifts constantly on this half, pointing anger at critics, himself, greed and everything in between. Thematically, the beat selection is a bit redundant, with sound variation hidden under drum kicks and bass.

The second half offers a deeper look into slowthai’s emotions, peeling back the layer of anger to find vulnerability and earnestness. A large part of this disc is self-improvement – slowthai speaks about his ‘sickness’ and struggles to become better. The second half finds itself in the crossroads of darkness and optimism, where slowthai acknowledges his troubles but also acknowledges the work that will foster his improvement. The second half also features the song “feel away,” dedicated as a tribute to slowthai’s late brother Michael John, which is a standout moment on the album.

is a slight regression from his 2019 release

, it still has plenty of high moments, plenty to say, and much of the same vulnerability that makes slowthai so special.

slowthai’s ‘TYRON’ is half angry, half earnest

Columbia Records and Night Time Stories LTD. · February 7, 2020

is a joint project from inventive Texas acts: Khruangbin, an indie trio based in Houston, alongside Fort Worth’s neo-soul singer-songwriter, Leon Bridges. Khruangbin is known for their genre-bending style, consistently incorporating soul, psychedelic rock, and funk into their work. The group has been around since 2010, when they released their self-titled EP, showcasing their instrumental-heavy style. Leon Bridges broke into the mainstream with his 2015 hit “Coming Home,” and has remained in the popular eye with various subsequent releases, including his 2018 album 

. Khruangbin’s pairing with Leon Bridges comes as a result of the group joining Bridges on his 2018 tour. The album seems as though it is a match made in heaven as the grammy-nominated Bridges brings a smooth vocal range to all projects, pairing well with Khruangbin’s mellow, rock-inspired instrumentals.

Sonically, the project delivers a heavily Texas-influenced sound; guitar riffs and chords represent a dry desert landscape with a deep southern influence, and lyrics, song titles, and the album title reference the Lone Star State. In many ways, this project reads as a soundtrack to a road trip, taking the listener on various journeys of falling in love. Despite Khurangbin sticking to similar textures and drum fills throughout rather than innovating, the project is able to combine Bridges’ smooth vocals with the band’s instrumentation in a way that positions Bridges as the album’s focal point, while still allowing Khruangbin’s influence to be noticed.

Thematically, the album doesn’t stray far from common tropes of love: falling in love, admiring your love, dancing with your love, traveling with your love, embracing your love and then admiring your love again. Despite the homogeneity of the thematic elements throughout the album, Bridges approaches each song with a child-like innocence, with an interest in and sincerity towards his partner that keeps the project light, sweet, and interesting.

greatest strengths is Bridges’ song-writing. Tracks such as “Midnight” highlights this, as he reminisces on a romance that he had developed in his adolescence. Bridges is able to accomplish a level of sincerity and genuine love, cultivating an image of him and his love interest sneaking out and riding around at night. Bridges frequently references good and evil, calling on his experience with gospel music and religion.

is a minimalist project that finds beauty in simplicity, but ultimately is held back by its inability to draw outside of the lines. he brief project fulfills the listener’s proverbial scratch, but doesn’t leave too much to be desired.

Khruangbin & Leon Bridges’ ‘Texas Sun’ is finds beauty in simplicity

Cinematic Music Group · January 10, 2020

Mick Jenkins is a Chicago-based rapper whose sound is derived from gospel, soul, and jazz, much like many other hip-hop artists coming from the Chicago scene such as Chance the Rapper, Saba, Noname, and Smino. Jenkins’ 2014 mixtape 

 placed him in high acclaim in the hip-hop underground, and collaborations with artists such as Kaytranada, badbadnotgood, and Joey Bada$$ and the like only improved his notoriety. Jenkins’ followed 

, which brought together Jenkins’ ideas and concepts in the most effective way to date. 2019’s 

 is the latest release by the Chicago artist. Jenkins has described the album as a direct prelude to his upcoming album to be premiered on his joint tour with Earthgang later in the year.

 is a project that is lax and mellow, regularly matching Jenkins’ and guest’s Earthgang energy. Although 

 features production from established and upcoming producers such as Hit-Boy, Black Milk, and IAMNOBODI– whose credits range from Travis Scott, Kendrick Lamar, and Nipsey Hussle– the record falls flat more often than it connects. Most cuts on the record are simple-sounding trap beats that are reformatted to fit Jenkins; style, with the addition of a guitar sample or a synth chord here and there. However, when the sound does connect, the end result is a laidback and comforting soundscape that allows Jenkins lyrics to shine.

“Carefree” stands out clearly along with “The Light” as the best tracks on

 “Carefree” is a quintessential Jenkins track that features a relaxed instrumental with smooth synths and guitar chords. Jenkins describes a scenario in which he and friends are having a summertime night that is ended by discrimination by police officers, as Jenkins pleads, “give me space…let me breathe.” “The Light” offers a similar sound as “Carefree” and features Earthgang’s Johnny Venus and Doctur Dot who deliver punchy lines, comedic metaphors, and a catchy chorus.

Contrarily, “Same Ol” is a track produced by “Sicko Mode” hit-maker Hit-Boy, but exists as one of the more boring tracks on the album, with blaring 808’s and hi-hats.

Overall, Jenkins’ word play is sharp, and when he has something to say, he delivers.

The Circus is brief, lackadaisical and leaves much to be desired from the Chicago artist as he does not live up to his full potential on this 19-minute project. Although imperfect, this project’s high points should make listeners excited for what Jenkins has in store next.

‘The Circus’ does not live up to Mick Jenkins’ full potential

 is the brainchild of New York artist’s Action Bronson and The Alchemist. Action Bronson is a Queens-based rapper, most known for his outrageous on-stage personality, and his love for cooking through his various television shows. These include: “F**k, That’s Delicious” a food travel show, “Traveling the Stars: Action Bronson and Friends Watch Ancient Aliens,” a show whose subject matter is exactly as it sounds, and the “Untitled Action Bronson Show,” where Bronson hosts a cooking show with various celebrities and chefs.

Everywhere Action Bronson goes New York follows, along with his crew of long-time friends and collaborators Meyhem Lauren, Big Body Bes and the Alchemist. The Alchemist stands out from the rest of Bronson’s crew, as he is a prolific producer. He is a DJ, as well, whose tenure in the rap genre spans from the early 1990s as an associate and friend of Mobb Deep and The Dilated Peoples, to the mid to late-2000s as Eminem’s official DJ, to today, with collaborations which include but are not limited to Earl Sweatshirt, Curren$y, Freddie Gibbs, Benny the Butcher, Snoop Dogg and Jadakiss.

Bronson and The Alchemist have an off-stage friendship and chemistry that carries over to the music, and creates a project that makes the listener feel as if they are in on the joke. In between “Descendant of The Stars” and “Just The Way It Is,” sound bites play of The Alchemist and Bronson joking to others about how they have imported grapes from Estonia, and how Bronson has the number one album in Bulgaria. The album is littered with interludes and sound clips typically of the two laughing over conversations with friends, as well as a Richard Pryor mafia skit, just emphasizing the humor and pageantry of the record.

 opens with track “Dmtri” which features a sample of violins and a harmonica that sounds like the opening theme of a New York set mobster film. Bronson quickly cutting in with rhymes comparing himself to Robert De Niro, following Bronson’s appearance in “The Irishman.” “Dmtri” has some of Action’s sharpest lines on the entire record. The song includes Action bragging about his athletic skills, using onions as silencers for a shotgun and talking about how his jewelry box is so cold it could be a habitat for white bears.

“Sven” follows this track and is the darkest cut on the record, with Bronson speaking about death and wealth masking his pain. “Sven” has a dark melodic whistling which sets an eerie tone as the backdrop to Bronson’s lyrics.

A standout track on this record includes “Just The Way It Is,” which is a comedic call to audiences and has Bronson pleading to be a normal person, but the audience only wants to see him “rap and do the running man,” and he just has to get over it because that’s “just the way it is.” Another track that stands out is “Arnold & Danny,” which has The Alchemist and Bronson rapping after one-another with frequent references to food and travel.

Bronson is very much a compilation of his experiences and has eclectic references that call to professional wrestling, food, 80s movies and global experiences. Humor shines from line to line as Action runs through different outlandish scenarios and compares himself to obscure actors and wrestlers. Tracks across the album have hard-hitting snares, soul samples and piano melodies reminiscent of a traditional 1990’s boom-bap New York sound.

 is all you could want from an Action Bronson record. It is bursting with confidence and charisma, it has Action’s humorous wordplay and outlandish metaphors, and includes a New York-centric touch that can only be achieved through a collaboration between these two artists. Sitting at only seven songs and 20 minutes, although the EP is satisfying to the palate, it leaves the listener craving more and plays more as an appetizer, rather than a hearty meal.

Humor shines from line to line in Action Bronson’s ‘Lamb Over Rice’

Detroit native Danny Brown released his fifth studio album 

 after much anticipation from fans. Produced by prolific hip-hop producer and artist Q-Tip, 

 is the follow-up to Brown’s 2016 release 

, the third concept album in his discography (previously, 2012’s XXX, and 2013’s Old). On 

 Brown explored his deep psyche with dark themes such as addiction, paranoia, and depression. Brown has radically changed his image upon this release, getting his signature-missing tooth replaced, cutting his hair, and straying away from consistently using his high-pitched inflection. Brown also seems to be moving more towards comedic entertainment following the debut of his show “Danny’s House” on Viceland.

 is unlike any other project he has made. It feels looser, lighter, and more comedic, and is more optimistic than any other project he has released, taking into account the fact that Brown has not particularly explored the lighter side of life in any part of his discography. Despite the fact that Brown seems to be going in a lighter direction with his music, he still finds himself following previous dark themes of betrayal, perverted thoughts, drug and alcohol abuse, aggression, gun violence, and an overall pessimistic view of life in general.

Although Brown has tried to avoid making a concept album, in a lot of ways the tracks on the record play as small, somewhat interconnected, thematic, tales of his life. The opening track, “Change Up,” Brown speaks about his troubles in life, and how he pushes forward in the face of adversity. The title track “uknowwhatimsayin¿”, follows this theme as well but plays more as a song of triumph, and encouragement, speaking of moving forward past the twists and turns of life. “Best Life” seems to be Brown’s current outlook, “Living His Best Life” since there “ain’t no next life.”

Brown’s humor is prevalent on this record as he consistently uses outlandish metaphors; comparing drug bags to Santa Claus’s sack, being smooth enough to talk a cat off a fish truck, ignoring women like an email from LinkedIn, or being a microphone magician, making rappers disappear. Brown uses his outlandish and perverted humor in a way that allows him to twist in and out of darker themes.

Features on this album particularly shine, as Brown has such a high amount of chemistry with his guests. Run the Jewels and Brown are able to exchange verses and create a great standout track in “3 Tearz”, while JPEGMAFIA, Blood Orange, and Obongjayar provide hooks and bridges that add to the total ambience of the songs. JPEGMAFIA’s nasally compressed delivery in particular is able to create an almost panicked feel to the entire track. The album closes with “Combat,” which features Consequence and Q-Tip, and is very reminiscent of a track off of A Tribe Called Quest’s 2016 release “We Got it from Here…Thank you 4 Your Service,” and it leaves the listener wanting more.

Sonically, the album is able to create a soundscape that is mysterious, daunting, encouraging, and confrontational for whatever situation Brown’s lyrics call for. The producing credits go further than just Q-Tip as the ensemble cast includes producing credits from both established and up-and-coming artists such as Paul White, JPEGMAFIA, Flying Lotus, Thundercat, and Standing on the Corner.

 is Brown’s statement to the hip-hop world, proving his veteran status and illustrating why his career has had such longevity in a high-consumption high-disposal culture. Although it lacks depth at some points, Danny Brown is able to create a project that is unapologetically him: humorous and dark, strange and forward, and aggressive and encouraging.

Elias Karikas