Big K.R.I.T. embraces his southern roots in new album
Rapper Big K.R.I.T. dropped a compelling and unapologetically southern double album that might just walk away as the best album to emerge this fall season.
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Rapper Big K.R.I.T. dropped a compelling and unapologetically southern double album that might just walk away as the best album to emerge this fall season.
It’s been almost four years since Annie Clark, better known by her stage name St. Vincent, released her self-titled album. A critical darling, St. Vincent propelled her into national prominence; numerous publications listed it as one of the best albums of the year and gave St. Vincent her highest sales figures yet. With her fifth studio album, MASSEDUCTION, St. Vincent takes another bold step into her electropop psyche.
Trap music begins between zones and moves cross-country. After releasing two solo projects earlier this year, Future and Young Thug finally comes together on one project like a team line-up and brings the music industry back down south. SUPER SLIMEY debuted this past weekend from Atlanta rappers Future and Young Thug. Survival-like adaptation takes us between Codeine syrup, Percocet conversation and weekly exchange. The newly-released mixtape captures Atlanta’s continued legacy and the trivial parts that create the greatest resilience from the studio to the streets. Often overlooked, a quickly-paced mixtape runs from beginning to end on two separate missions, maintaining momentum like pythons and attacking multiple times.
Radric Davis, better known by his stage name Gucci Mane, has dropped his 11th studio album titled Mr. Davis by GUWOP Enterprises and Atlantic Records. The Atlanta trap-rap pioneer has been in stride since his 2016 release from prison. Noteworthy albums like Everybody Looking and The Return of East Atlanta Santa marked a more mature — and thankfully sober — Gucci, and now, every aspect of the rapper's music has improved.
The Swedish EDM duo Galantis, responsible for the feel-good hit single "Peanut Butter Jelly" and anti-bullying track "No Money," return for their sophomore album, The Aviary. Though this is only the duo's second album together, they are by no means novices of the industry.
After gaining popularity touring the music festival circuit for the past few years, Seattle duo ODESZA has released their third album, A Moment Apart, on Sept. 8. While the album reigns true to their classic chillwave electronic sound, ODESZA — formed by producers Harrison Mills and Clayton Knight — proves they have made strides towards curating their unique sound even further.
You can call love a kind of weather, taking and giving new seasons like a lifecycle with repetition. It becomes increasingly fluid, so we forget that the better halves of ourselves have always belonged to someone else—maybe at the wrong moment, if we aren’t still waiting for it to come. In Daniel Caesar’s full-length album debut, Freudian, loose footing becomes stable. A journey between drowning in someone else’s waves and the impending touch to need them like oxygen sets Caesar’s 10 track LP above water, with height and some confirmed luck that treading lightly is no way to love.
In nearly every moment of my free time, I find myself searching for the best new music. That task proves to get even more complicated when summer rolls around. Filled to the brim with an endless supply of radiant party-anthems, moody records fit for a breezy night-time stroll and albums to fit nearly every other type of feeling, it can be hard to find the gems sprinkled throughout.
Five years ago, recent UW-Madison graduate Kristian Iliev was sitting in his high school English teacher’s homeroom. On the other side of the room rested an acoustic guitar that seemed to call out to him. On a whim, Iliev picked up the guitar and began working on a simple chord progression that would eventually become the foundation for his song, “Mrs. Supernova.”
Summer returns in cycles. Whether or not we connect most with ourselves during the summer, music has always been a platform of change. Like many artists looking to reinvent their image around this time, we would only hope that their music matches the reasons we listened to them in the first place.
Atlanta, Ga. is a musical mecca. There is something about the way we find the extended idea of culture in every corner of the southern Bible Belt. A melting pot at the mouth, the Black Hollywood comes alive in more ways than one.
Kendrick Lamar’s discography is nothing short of extraordinary. Section.80 told the story of a generation that grew up in a crack era. Good Kid, m.A.A.d city was a fascinating case study of a young man’s shenanigans in Compton. To Pimp a Butterfly exposed the world’s exploitation of black artists in American society.
After teasing a mixtape for what seems like ages, Playboi Carti’s debut, self-titled tape is finally here, and despite the hype, it’s pretty underwhelming. Playboi Carti is really nothing more than a stereotypical dive into the “trendsetting” life of a rising SoundCloud rapper.
Indie music’s favorite disgruntled hipster has returned with a fresh gospel on what we’ve screwed up since last time. Yes, Josh Tilman, pseudonym Father John Misty, is back to inspire drug-fueled pilgrimages and weed paranoia with his new album, Pure Comedy.
On his debut album in 2015, Brooklyn MC Joey Bada$$ rapped, “Always drop hot s--t / Toroidal Flow keep constant / And I won't stop 'til I reach Christ Conscious.” With his latest project, ALL-AMERIKKKAN BADA$$, he’s still dropping hot shit, and he’s one step closer to fully understanding how the world, and more specifically, America, works.
The summer is a good time to remind ourselves how easily we can fall in love. It is a simple time to find happiness in the outrageous. It can often times mean leaving someone or bringing someone new along for the four-month rollercoaster. For Calvin Harris, “Heatstroke” aligns the feelings we can’t say when the words don’t always come together. A triumphant team that fuses electronic funk on pop radio repeat, Young Thug, Pharrell Williams and Ariana Grande take us on a transparent journey through the late summer nights.
You could argue that a Gemini has multiple personalities all in one hour. It makes for an exciting conversation on the brink of anticipation. Compton rapper, Kendrick Lamar, proves this as evident in “The Heart Part 4,” his latest single release since his untitled unmastered LP last March. Lamar reflects on his time away from the industry, the fulfillment that rappers have on the charts instead of in the studio and the brief meditation that his music will speak for itself.
There is something about sexuality that will never stop talking. It carries itself on the streets of Amsterdam or in the crude parts of Berlin. Sexuality is a two-sided mirror in rotation. It fits in some spaces better than others. It shifts with the seasons and pulls back like a rubber band. It cuts much sharper than a knife and, for artists like Frank Ocean, “I got two versions” is only a surface tattoo for his music.
What would you get if you mix the vocal range of James Brown, the energy of André 3000, and the emotional deep south blues of B.B. King? Look no further than Earl St. Clair’s debut EP, “My Name is Earl.” Despite being one of Def Jam’s newest artists on the rise, Earl St. Clair seems to have already perfected his craft, creating music that can compete with the best in the industry. After dropping out of college, Earl began his career as a producer and singer/songwriter, eventually finding himself working with some of hip hop’s biggest names, such as Rick Ross and Machine Gun Kelly. It wasn’t long, though, before Earl’s talents were noticed by Def Jam and he ended up signing a record deal with a label in 2016. Despite this background in hip hop, Earl’s music has its roots in blues, soul and funk. Most of the tracks on the EP sound like they could have been pulled straight from the 70s, yet Earl manages to add a modern twist that keeps them fresh and relatable to a new generation of listeners.