Album Review: 2 Chainz & Lil Wayne's Collaborative Album, "ColleGrove"

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Superstars 2 Chainz And Lil Wayne Announce New Duo "ColleGrove" (PRNewsFoto/Def Jam Recordings)

2 Chainz released his new album ColleGrove in collaboration with Lil Wayne. The cover of the album is notable, for it is a close up of 2 Chainz’s face with his eyes closed, combined with Wayne's face tattoos. The eerie, powerful cover forebodes a strong mix of talent in the album. The content is similar to the common string of hip-hop music; songs share titles such as “Smell like Money” and “100 Joints,” 2 Chainz’s hit off the album. Girls, money, and drugs weave themselves through the album much like the high majority of the hip-hop on the radio. Though the content is nothing unique, the sounds of 2 Chainz and Lil Wayne that have made them both megastars resonate through the tracks for the combination of their futuristic tones and deep voice.

One song specific to 2 Chainz that does not include Lil Wayne is “MFN Right.” The vibe of the song is almost Caribbean, as there is a laidback, Bob Marley-esque beat to it. The pace of the song is almost too slow; very different from the typical pace of a rap song. The hook, “Told a bitch you motherfucking right,” dances between the relaxed Caribbean sounds that creates a mocking feel to whoever 2 Chainz is throwing this song at. Another song by solely 2 Chainz, “100 Joints,” shows up deep in the album’s list. This is arguably his hit off the album. 2 Chainz sings more in this song than previously heard; it has a flowy, consistent tone that is similar to “MFN Right” because both carry the tune through due to a lighthearted ease to the beat, whether it carries island influence or not. 

Lil Wayne makes a large impact in this album, as he features on most of the songs. Out of the thirteen, Lil Wayne appears on eight. He adds a nice contrast to 2 Chainz’s deeper, simple rap tone due to Lil Wayne’s unique, higher-pitched, futuristic rap sound. In “Rolls Royce Weather Every Day,” 2 Chainz begins the song with aggression. Lil Wayne’s verses switch up the rap and give the listener a new feel to pay attention to. Lil Wayne raps, “I’m just doing it too big on these tiny niggas. I been lost my fuckin’ mind, I never mind these niggas.” He finishes the song, as well, with a brilliant lyric, “I do me and love it, I done overdid it.” Lil Wayne’s ego in combination with his particular vocal tone that can be recognized anywhere makes him a great addition to 2 Chainz’s album. The combination of these two on the album is a great idea, as they allow their fans to hear complimentary yet very different sides to a hip-hop sound. It almost doesn’t allow the listener to get bored because there is a constant switch up in keep the listener engaged. 

Purchase ColleGrove on iTunes here.

Album Review: Macklemore & Ryan Lewis' "This Unruly Mess I've Made"

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Macklemore and Ryan Lewis have finally released their new album This Unruly Mess I’ve Made that has been long awaited since their last album dropped in 2012. In the four years since Heist made waves in the industry as a unique change to the hip-hop genre, fans have been excited for what the duo would brainstorm as a further development of their artistic capabilities. “Downtown” was the first single released from This Unruly Mess I’ve Made late last year; the single did not disappoint. Very much like “Thrift Shop” made such an impact due to its success in rapping about a subject as simple as thrift shopping, “Downtown” accomplished a similar feat. The song is about a guy riding his moped – the lesson of the song delves even deeper, explaining that you’re as cool as you think you are, and seemingly lame objects like mopeds are only as lame as you make them. “Thrift Shop” has a deeper lesson, as well, arguing that your exterior appearance is much less important than how you own what you wear. This Unruly Mess I’ve Made uses simple, fun themes like mopeds in order to tackle bigger subjects like songs in Heist; however, their new album attempts to tackle a higher caliber of political and social standing that pushes it to another level for the hip-hop duo.

The album contains a lot of jazzy undertones that soften the rap genre that Macklemore and Ryan Lewis nestle in. It creates an enjoyable, old school tone in a lot of the music. “Need to Know” featuring Chance the Rapper is one example of this softened rap that the duo has seemed to experiment with. It is very slow-paced, and Macklemore’s tone is less aggressive rap and more steady singing. The vibe is similar to “Growing Up” with Ed Sheeran on the album that adorably discusses the sense of protection when one is a father. They also use the funky backbeats in an upbeat way in “Let’s Eat” that literally describes everyone’s struggle with enjoying food that’s bad for you. This also has a subtly important meaning arguing that if you own how you look and what you like, that’s all that matters. Even in the fun songs like “Let’s Eat,” the duo has a reason for taking up space on their album with the lighthearted lyrics that shed light to a deeper subject matter.

    Some of their songs are blatantly heavier, shying away from the jazzy upbeats and funny subjects of carbs or mopeds. “White Privilege II” featuring Jamila Woods is an ode to “White Privilege” on their first album. The entire lengthy song tackles the difficult racism subject from the standpoint of being a famous, white speaker (Macklemore). It is enlightening to hear some of the worries and concerns a white male speaker has on the subject of racial equality because it is a common theme to feel helpess and out-of-place to speak out on the subject if one is not part of a racial minority. The song is weaved with clips of people speaking on the news and other examples of opinions heard publically. One repeated line, “Blood in the streets, no justice, no peace,” demonstrates the fight for the end of racism whether it is blatant or subliminal racism. An extremely notable part of the song is when Macklemore imitates a mother who came up to him and fawned over the subject matter he raps – it ends with, “Even the protest outside, so sad and so dumb, if a cops pulls you over, it’s your fault if you run…. (Huh?)” It is an extremely impactful line because the positivity from the mother turned into a racially charged statement attempting to buddy up with Macklemore’s white privileged status.

Songs like “White Privilege II” demonstrate the duo’s voice that is impacting the industry, but even broader, the pop culture society. Macklemore and Ryan Lewis create a social, political, and artistic identity through their music. They take the spotlight shone upon them and use it to make a statement. Their musical uniqueness continues to grow and develop; that in itself is why the duo is one of the most currently influential in the industry. 

Album Review: Future Delivers Yet Another Hit Album with "EVOL"

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EVOL Album Cover (Epic Records)

Future’s new album EVOL meets the hype from the sneak peek many heard on DJ Khaled’s Snapchat video while he was in the studio with the rapper recently. EVOL dropped on Khaled’s “We The Best” radio station on Beats 1 on Apple Music Friday night, and the dark tone of the album combined with a sensual theme common to the hip-hop culture seeps through all eleven tracks. Future has a tone similar to Fetty Wap’s recognizable rap sound; dark knights such as Fetty Wap and Drake are successful due to their recognizable sounds. Future is another to add to that list: EVOL’s songs demonstrate his unique tone that has landed him with deals such as the mixtape, What A Time to Be Alive, with Drake later last year. 

“Low Life” is one notable song on the album due to its feature with The Weeknd, one of the hottest and most sexual sounding male singers in the industry at the moment. The beat of the song is slow and quiet like a build up that compliments what The Weeknd excels at. Future raps, “If she catch me cheating, I will never tell her sorry. Porshes in the valley, I got Bentleys, I got Raris – taking pain pills on the plane, getting chartered.” The song is a classic mix of hip-hop themes: girls, drugs, and ego. Its low-key tone adds darkness to the song combined with heat from The Weeknd’s particular sound. The Weeknd sings the chorus, “I’m reppin’ for the low life…” His smoothness contrasts Future’s lower tone. Together, it is a well-done mix of hip-hip grit and pop/R&B sensuality. 

“Seven Rings” is a harsher song on the album that begins with intense backbeats mixed with high-pitched horns. Future raps in the beginning and end of the song, “Tote them pistols, poppin’, say it's a problem. I told you off the top that I would sign 'em. I told you we get money, 'bout to peel out. I told you half of these niggas we be winning.” This song is also about common hip-hop material, except “Seven Rings” leans more towards the gangster and violent side of that material in contrast to the sensuality in “Low Life.” Money and ego are the center of attention. Like the name implies, it reminds the listener of “Big Rings” in What A Time to Be Alive with Drake. If he’s not chasing girls, he’s chasing money – Future’s slightly electronic rap tone vibes with the robotic beats particularly in “Seven Rings” with neat sounds such as the horns’ effect.

EVOL might not do anything different with its content – the songs are about the rapper’s common plate of performance: ego, women, money, and flashiness. However, Future continues to build a resume for himself, as his recognizable sound can be heard clearly past the backbeats and features. When one begins to listen to EVOL, the listener knows undoubtedly that it’s Future. This is the base for any successful rapper in a sea full of the ones trying to make it. Future is joining the ranks of Drake and Fetty Wap who listeners pick up immediately when they turn on the radio. 

Album Review: Rihanna's 8th Studio Release "Anti" Provides Refreshing Sound for Fans

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Anti album art (Roc Nation).

Rihanna dropped her new album Anti Wednesday evening after a prolonged silence from the music industry since her last album, Unapologetic, was released in 2012. Four years later, Rihanna puts on a strong returning front with her bad-ass feminine persona. Her single off of the album, “Work,” includes rap star Drake. The single has blown up on the charts due to fans’ long awaited anticipation of the album. Anti was originally supposed to be released last November, but the date was evidently pushed into the new year with an undecided exact release date. However, fans should be as satisfied as Adele’s fans were over her final release of 25. Her new music brings the same hardcore taste of the Rihanna we love with some new styles that create a twist to the updated Rihanna 2016. 

One can hear the reggae beat that resonates with her personal identity. “Consideration” includes a lot of dropped beats that create a reggae-esque tone complimentary to day dreamy vibe. It includes a very different sound than “Work” with Drake or “Desperado,” a potential hit to look out for on the album. While “Consideration” seems light and fun, “Desperado” includes a more intense sound that fans are used to hearing and loving from albums such as Rated R. The background sounds are interestingly eerie; her lyrics are enticing; it is everything that fans love about her. In addition, we get the sassy, sexual side of Rihanna in “Yeah, I Said It.” It’s more of a quiet, mellow beat that contrasts the strength of the words in her lyrics. All sides of her artistic identity appear in Anti; however, the new beats are what pushes this album into the 2016 music industry. It stays true to the artist that her fans have grown with through the twenty-first century while still giving something new to an industry forever in need of new creative ability. The Anti era is here. 

Listen to Anti on Tidal.

Rihanna embarks on her “Anti World Tour” featuring Travis Scott, Big Sean and more this February. Get your tickets here.

Album Review: Adele Shows Reveals Artistic Identity on "25"

Adele’s new album, 25, was released today. 25 has come out in great anticipation since her last album, 21, is going on five years since its release. Adele took a hiatus from music after her son was born, and she took her time in creating 25 as it bore a lot of meaning in her maturity as an artist and woman since 21. 25 has everything that Adele fans could want – she slows down the music with songs like “Love in the Dark” but also keeps intrigue and tempo in songs such as “Water Under the Bridge.” Her vocal quality is unlike anything on the charts today. That essence of Adele, that tone that can be distinguished from any artist on the radio, is what keeps her fans coming back for more. There are not pop backbeats or distracting effects to take away from the beauty that is Adele’ voice. Her rustic tone is a time machine back to record-player days, and it creates a hollow sound filled with the emotion from the lyrical backstories.

“Million Years Ago” is one notable song from her new album that holds a different flavor than the “Rolling in the Deep” Adele fans are accustomed to. The song is simply her voice and a guitar. The chorus states, “I miss the air, I miss my friends, I miss my mother; I miss it when life was a party to be thrown, but that was a million years ago.” The entire song is very reflective and very nostalgic for a period in her life that was more carefree and fun. This could be in the wake of her intense fame that came with the release of 21 or merely a statement about growing up and missing the innocence of youth. Adele’s voice ranges from extraordinarily low notes to belts like in “Hello.” It is beautifully eerie and makes the listener reflect on his or her own mistakes as the emotion is drawn from the lyrics.

“Water Under the Bridge” is a more fast-paced song that reflects on an old relationship that potentially isn’t over. Adele sings, “If you're gonna let me down, let me down gently, don't pretend that you don't want me. Our love ain't water under the bridge. Say that our love ain't water under the bridge.” The song calls for more urgency, as it’s encouraging for action in order to save the love between the speaker and its intended. The quick beat of the song fits this urgency as opposed to the pure nostalgic reflection of “Million Years Ago.” “Water Under the Bridge” is similar to “Hello,” Adele’s hit single off the album, due to the fact that both contain more energy that reflect the active content of the songs themselves. 

25 is a matured version of Adele as she’s taken an extremely reflective vantage point on her early twenties. The listener can see the time gap between 25 and 21 because the songs on the new album show growth in how she looks at her life emerging into her late twenties. Though all of Adele’s music is emotional, this album is emotional in its pondering and not in a heated manner as she is in her earlier music. Listeners have grown with Adele as she has started a family and begun to enact her future outside of her music career. Her next album, potentially to be created during her early thirties, will continue to show her personal and life changes as she continues to mold her artistic identity.