The immensely talented and versatile collective, Spillage Village, released a soulful project focused on healing during these tumultuous times. The artists successfully secured their new fans from their appearances on Dreamville’s Revenge of the Dreamers III. Their talents brought out the unthinkable, a good Chance the Rapper verse on “Judas.” Some highlights from the project are “Baptize,” “PsalmSing,” “Shiva,” and “End of Daze.”
Only for Dolphins contains everything fans have come to love about Action Bronson; his ridiculous vocabulary, undying love for all things food, and boisterous delivery are in full effect on this album, a 36-minute ode to a beautiful animal. “Capoiera” is a perfect introductory track, with an award-show-like instrumental arrangement and a sweet saxophone solo to bridge the track into the rest of the album. “C12H16N2” follows the grand introduction with several of his titles; “Author / Singer, dancer / Exotic olive oil taster / Actor.”
It always feels as though Action Bronson’s music is purely an extension of his personality, and the rest of the album does well to continue that theme. The rapid pace of the first few songs on the album doesn’t keep up, but each instrumental provides new aspects to be excited about, with impeccable sample choices and cheeky punchlines.
Three years removed from their 2017 effort, Crack-Up, Shore is a beautiful arrangement of folk songs that re-set the standard for an acoustic album in 2020. Featuring the same sweet harmonies that made them famous over 10 years ago, the Fleet Foxes proved that they’re still genre leaders with this hour-long project. Some highlights include “Featherweight,” “Maestranza,” and “Going-to-the-Sun-Road,” but perhaps the best track on here is “Cradling Mother, Cradling Woman,” accompanied by a stirring horn section.
Bucking the normal trend of capping an original release with 4-7 songs at the end of the album, Lil Wayne opted to provide fans with what is being seen as a closer version to Tha Carter V as was planned many years ago. Tracks like “Siri” and “Lost” towards the beginning of the tracklist bring new energy to the album; an energy that is quickly squashed by the still-horrible XXXTENTACION collab “Don’t Cry.” These new tracks portray a younger, more spry Wayne, one that doesn’t have the clear marks of old age that Funeral does.
Tossing four new songs on his critically-acclaimed effort from 2015, Tiller stays consistent with last week’s “Always Forever,” which is to say that the new release is little more than a desperate attempt to build hype for an upcoming album.
Public Enemy, part of the earliest movements in hip-hop to compose scathing commentaries on the racist state of the United States, is back to put the onus on all American citizens to stand up and fight against racism and oppression. I’m sure old heads have loved Public Enemy’s sustainability over time, but those used to trap beats and surface-level lyrics might have trouble adjusting to a more heady style of music. Take this as a reminder of Public Enemy’s Hall-of-Fame status, and let it motivate you out of complacency against evil.
Sango is back with a full release, and just like that, the Da Rocinha series has resumed. Over 14 songs across 41 minutes and 12 features, Sango pushes countless bangers to both dance to and think on. This ability to weave across a spectrum of tones, feelings, and inspirations is something that Sango is proving to have perfected, and his August Sangozinho project was an early tease of this newly-improved skill. Altogether, Da Rocinha is an intimate look at Sango’s career progression so far, and one should look no further for a balanced menu of bumping-beats and soulful-vibes.
Honestly, we only included this to say one thing; fuck Tory Lanez.
This track had me ready to dismiss many of my doubts about The Weeknd’s future as an artist. A signature atmospheric instrumental builds hype alongside Abel’s confident lyrics, but his sexuality comes off gunky and forceful towards the end of the track, completely killing the vibe.
New performances from Young Thug and M.I.A. are always reasons to get excited, but this track was a disappointment as a whole. Scott’s beat sounds closer to the bathroom at Taco Bell than a trap banger, and both of the featured artists come off flat and uninteresting. Young Thug sounds like he phoned this one in, and M.I.A.’s appearance is annoying and unhelpful, only providing more dissonance. Travis has been on a bad streak since Astroworld, making it harder and harder to get excited about new releases.
REASON’s last track, “The Soul (pt. 2),” gave fans plenty to get excited about, with harsh flows and cutting commentary. But “Sauce” pauses that momentum, with a lazy beat, sloth-like delivery, and an out-of-place Vince Staples feature. Knowing REASON and his ability to string together a narrative through an entire album, there’s a chance this will make more sense nestled between better tracks, but it’s hard to be optimistic about.
The breakup of Rae Sremmurd has been long-rumored, and “Dance Like No One’s Watching” is yet another reinforcement of how horrible an idea that is. This new track isn’t necessarily an abomination, but it’s not something that would gain any hype for a solo album.
Tame Impala’s track, “Borderline,” from his The Slow Rush album is reintroduced with a tip from Blood Orange. Rather than the upbeat guitar tune that the original song has, this remix gives you slowed-down vocals, a flirtatious guitar, and a rhythm that’ll make you reminiscent of Sade. The culmination of echoes and bass in the layered vocals makes for a dreamy song that could comfortably accompany one to a long excursion. Blood Orange has found comfort in making their own versions of their favorite songs. Check out their recent collaboration with South Korean producer 박혜진 Park Hye Jin on her track titled “CALL ME (Freestyle)”.