DAILY 04/09
09Apr2013

Tyga – Hotel California (Album Review)

hotelcalifornia

 

Young Money/Cash Money/Universal Republic

Released April 9, 2013

Rating: 2.5 out of 5

When you think of Young Money, you think of three names: Wayne, Nicki, Drake…and in no particular order. Sure, you have at least 5 more artists that are legitimately signed to the label. However, you get the feeling that they won’t see the light of day, and if they do, the sun may or may not shine in their direction. Enter Compton rapper Tyga, who, actually, had one of the more promising YMCMB releases last year with his Careless World LP. With “Rack City” being one of the biggest hip-hop hits of the year, it only made sense for the lil homie to go back into the lab and cook up another joint. his third overall release (and second for Young Money), Hotel California, is an obvious nod to his homestate, as Tyga attempts to capitalize on his momentum.

The album starts off with the decent “500 Degrees,” which features Lil Wayne, who offers a verse more cohesive than 90 percent of IANAHB2. The song’s also a throwback to Lil Wayne’s landmark LP of the same name, which took a cue from Juvenile’s landmark CM album 400 Degrees.  The cues don’t stop there. The single “Dope” follows, and EVERYBODY should know what that bassline is. But, I’ll digress. The song plays like a more hardcore version of “Rack City.” Officer William Roberts checks in for his typical guest 16. The song’s not bad, it just doesn’t break any new ground.

Unfortunately, you’ll find yourself saying that a lot throughout this LP. Save for the exceptional verses on “Diss Song,” and the Jadakiss featured “Hit Em Up,” there aren’t a whole lot of standout moments here. “Molly” suffers from a lack of a good hook, “For The Road” is a breakup song that’s cool. “Show You” couldn’t be saved by the Future hook. “It Neva Rains” is a formula that should have worked, but for some reason, it didn’t.  The beats are good: most of the songs have good production behind them. Truth is, Tyga didn’t grow much as an artist from the first LP to the next. Beats can’t save you if you’re the problem. Unfortunately, the stakes are a little too high for him not to do so at this point. Let’s hope he gets an opportunity to focus on his songwriting a little more before his 2014 LP hits.

- Reg

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DAILY 04/03
03Apr2013

Tyler, The Creator – Wolf (Album Review)

wolf-cover

Odd Future Records

Released April 2, 2013

Rating: 4 out of 5

It’s pretty safe to say that you won’t find an stranger crew than Odd Future Wolf Gang Kill Them All. Shit, that name alone puts them in a class by themselves. Aside from the obvious, they really are a talented group of kids. Grammy Award winner Frank Ocean made headlines last year when his “Channel Orange” was named among the best albums of 2012. Frontman Tyler, The Creator looks to keep the collective’s momentum going with his latest release, “Wolf.”

The intro is typical Tyler, as he disses us all, but the “Wolf” character is introduced. The LP immediately goes for the throat; “Jamba” is a lyrical torture session with Hodgy Beats joining Tyler as they beat up the synth driven beat. “Awkward” is a strange love tale, or not, because it seems like someone fell in love way too quick.

There are some standouts here: “Slater” is one, with Dave Matthews and Frank Ocean, but it’s hilarious to find out that he’s talking about a bike. “48″ is another, probably one of the best tracks on the first half of the set. The three part opus “PartyIsntOver/Campfire/

Bimmer”is a lot to take in as one track, but it’s more cohesive than it seems. The Pharrell featured “IFHY” is as emo as it comes. The real surprise is “Treehome95,” a jazz-laced number that features Coco Owino and (wait for it…) Erykah Badu. There’s no rapping here, which might have been the best decision, because the song is enjoyable as-is.

To anyone outside of Odd Future’s surprise, this is, for the most part, an enjoyable LP. It’s diverse in sound, but cohesive in concept. The production overall is above average, and uncompromising, just like anything else Tyler has done this far.

-Reg Young

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03Apr2013

Lil’ Wayne – I Am Not A Human Being II (Album Review)

lilwayneianahb2cover

Young Money/Cash Money/Universal Republic

Release Date: March 26, 2013

Rating: 2.5 out of 5

Lil Wayne can’t be stopped. He can’t stop, so he won’t…he has a work ethic that is unmatched by most rap artists today, and his output proves it. Whether it’s a new project of his own, or his countless guest appearances within a calendar year, Weezy ain’t slowing down for anything or anyone. The pace at which he goes can seem not human. At all.

Enter “I Am Not A Human Being II,” the sequel to its to the moderately successful predecessor and follow up to the enormously successful Carter IV. This is solo album number ten for Weezy, believe it or not. Surprisingly enough, he’s still got hits in him. “No Worries” has been running amok for months now. “Bitches Love Me” with Future and Drake has also gained steam on radio as well. Surely “Rich As Fuck,” with the show stealing verse from 2 Chainz, will be a follow up to keep the momentum going during the promotional cycle. The production here is good, but par for the course for the most part, with the exception of the piano-laden intro.  Gunplay’s appearance on “Beat That Shit” is great as well, and fuels the fiery anticipation for his upcoming Medellin LP. “Trippy” is another decent cut, as Juicy J provides the assist. There are some joints that sound like they were better suited for the next “Rebirth” installment, such as and “Back to You” and “Hello,” with the former faring much better than the latter.

The good news is that most of the songs are consistent with the rest of the music that Wayne has put out since his release from prison a couple of years ago. The bad news is that none of that output shows any growth from anything he did before that. This LP is run of the mill Weezy, almost to the point that he feels like he’s going through the motions, unless it’s one of the rock tracks. In that case, he just sounds uncomfortable. The tracks aren’t really an issue, but his rhymes are lazy and stale. Perhaps taking a step back from while and hitting the reset button would be a good for him in the long run.

-Reg Young

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DAILY 03/03
03Mar2013

IMFMag Editorial: Sol Republic’s “Master Tracks (Gun Metal) Headphones” + Giveaway

sol4Photography by Brianna Graham, model K. Mekonen

When industry masterminds, Scott Hix and Kevin Lee, put their tech savvy brains together for the Sol Republic headphones, one couldn’t imagine the remarkable progression the line would take—well, ever since swimming Olympian Michael Phelps became the face of Sol, as he bared the customized patriotic headphones throughout the Summer of 2012 in London—and all throughout his record breaking medal run. But what made the line stand out amongst its competitors wasn’t only it’s uniquely aspects as to detach parts at ease, or the consumers’ opportunity to rearrange any color headband they please (for which can be easily replaced too upon being damaged), it was an affordable price (ranging from sets of $99, to $129, and $179) that has made Sol an instant hit with the masses, and sent them in droves to the retail stores. Of course, within the past few months we’ve seen an immense number of fans take a liking to the Tracks, Tracks HD earphones, to the Tracks Ultra, but as if the brand couldn’t already outdo them-selves, earlier this year, they’ve launched the first ever over-the-ear headphones from their collection called, “Master Tracks: Gun Metal.”

Highly stylish as its former “Tracks” predecessors, this newest component comes with somewhat a special kick to it—a bass thumping one that is—simply destined to blow away the pristine ears of whom never dawned a headphones before. In comparison to the former, the latter, is slightly more of a comfortable fit for long hours of listening, and is well equipped to even be utilized in settings such as a state-of-the-art studio. Yes, others were well capable for that, but certainly look-wise; this is suitable for this sort of occasions. Intertwining its relatively distinctive design, consisting of soft cushiony speakers set to deliver incredible sound, the Master Tracks, which now comes with a light-weight water resistant carrying case, is definitely a sure bet for what listeners yearn and want to feel upon bumping an earphone/headset—and if noise isolation is your cup of tea, the music control feature will not only assist you to maximize or minimize the sound levels, (precisely at your own convenience), but it also supplies you with a fantastic dosage of clarity for your ears, or more specifically, any audio device known to man. Here are a few in-depth/hi-res looks at the Master Tracks “GunMetal” headphones, as seen on models Ayanna Whitmore and K. Mekonen, with photography by Brianna Graham. Follow through below for more goodies.

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DAILY 02/28
28Feb2013

Tony Stanza – Blaxphemy (Mixtape)

BlaxphemyFront

Artwork By Justyn

Formerly known to the world as Voyce G.I. Go, the Chicago (by way of Gary, Indiana, hence the G.I. in the former pseudonym), Tony Stanza,  is dropping his first project of the year with Blaxphemy.  Out the gate, the Raw Power laced “Sounds Nice” is a dope intro to the album, and sonically sets the tone for the rest of the project. As he almost seamlessly slides right into “Alert,” Stanza drops bar after bar, However, I speak my piece as if I talk with a gun/hotter than the devil when he walk in the sun/Go get it, get the money if he walking the run/don’t matter, long as outcome brung income/get it done, what need to be done, go do it…” It doesn’t take long to figure out that Tony is sick with the pen.

Among the standouts are the emotional “Pour Out My Heart,” as Stanza does just that over the throwback feel of the Doc Da Mindbenda beat. Things pick up with “King’s Speech,” as the typically laid back MC blacks out over the 2 minute jam. No worries, as things get more chill with “Under The Act” & “Watchin4daCops.” The title track closes the LP out on a rather high note, and this is sure to be a joint to get any crowd going…it would have been dope to get at least one more verse on this joint. Production-wise, the project is very cohesive. The producers involved (Proceed, D.A.N. Ryan, Chicago Loop, Doc, Raw Power, Mr. Williams, J-Rell, Chris ILL, S.C.,)  all provide a blaxploitation-esque backdrop to Tony Stanza to go in over. Additionally, there’s a grimy feel to each beat that adds a bit of depth to Tony’s lyrical content, and complements his delivery almost perfectly.

Overall, Blaxphemy is solid throughout, and it’s worth checking out. There’s a shortage of cohesive albums with substance, so StayHumble Entertainment’s kicking the year off right. Peep the tracklisting and Download Link after the jump!

-Reg Young

 

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DAILY 01/15
15Jan2013

A$AP Rocky – LONG.LIVE.A$AP (Album Review)

Polo Grounds/RCA Records

Released 1/14/13

Rating: 4 Out of 5
Leaks are typically never a good thing to deal with…it’s even worse when it’s your major label debut. A$AP Rocky has been regarded as one of the hottest young rappers to come along in quite some time. His first project, “LIVE.LOVE.A$AP” was a runaway hit of sorts, spawning the heaters “Peso” and “Purple Swag.” Then came “Goldie” and “Fuckin’ Problems,”  which only increased the anticipation for his debut release. When the full album leaked in December 2012, many had the opportunity to digest the music a full month before it was scheduled to hit the stores.

That’s the bad news. The good news is that listeners were treated to great music early. The two aforementioned singles are a small piece of Rocky’s overall vision.  The title track kicks off the album and sets the tone sonically for the LP. The album is full of highlights. “Fuckin’ Problems” is an all-star joint, with 2 Chainz, Drake, and Kendrick Lamar all delivering great verses. International star Santigold shows up and assists on “Hell,” and the results are impressive as well. “1Train” is the true standout for the posse jam, though. With Kendrick one-upping his performance on “Fuckin’ Problems,” and Joey Bada$$, Yelawolf, Danny Brown, Action Bronson, and Big K.R.I.T. all going in with the 16s, that joint is truly a problem. “Wild For The Night” is a dubstep infused jam that sounds a bit out of place, but not really, because A$AP sounds just as comfortable here as he does on any of the other joints.  The momentum does slow down toward the end of the regular LP, with “Phoenix” and the excellent “Suddenly” closing the tracklist out. The production is, for the most part, cohesive. producers like Hit-Boy, Skrillex and Danger Mouse provide the Harlem native with some spaced out, chopped and screwed boom-bap-esque backdrops throughout. It’s hard to imagine just reading it, but trust me, it works. 

The fact that the LP leaked so early sucks, but the fact that the music is so potent is a plus. LONG.LIVE.A$AP is a strong effort and the first great album of 2013. As far as projects go, A$AP Rocky is 2 for 2.

-Reg Young

 

 

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DAILY 12/18
18Dec2012

Big Boi – Vicious Lies And Dangerous Rumors (Album Review)

Def Jam

Released 12/11/2012

Rating: 4 OUT OF 5

Once an artist sells 10 million albums, they either a) Get infatuated with the fact that they sold 10 million records and try to top that feat, b) Get bored and turn their backs on music in lieu of something else for a while, or c) Continue to make music because they love doing it. Big Boi seems to fall into category C, for what it’s worth. The Dungeon Family General just won’t stop, even if his absentee partner rhyme has all but ditched what they started. “Vicious Lies and Dangerous Rumors” his second (or third, depending on what bag you put “Speakerboxxx in) is proof of that.

One thing for certain is this: The Dungeon Family has NEVER done the same thing twice musically. This holds true for Big Boi’s latest effort. Even though some of the joints have somewhat of a similar vibe (such as the criminally slept on “She Said OK” and the chest thumping collab with T.I. and Ludacris, “In The A,”), the LP pushes Big Boi’s envelope forward quite a bit. Check the swinging “Apple of My Eye,” as well as the Kid Cudi flavored jam “She Hates Me” if you don’t believe me. The real departures come, though, when he collaborates with some unusual suspects. Little Dragon shows up on “Thom Pettie,” Higher Res” and “Descending,” respectively, and the results are quite impressive.  No need to worry, though. There’s plenty of Southern funk to reassure you that Antwan Patton hasn’t lost a step. “Lines” features a A$AP Rocky and it’s dope to say the least, but to say you’ll turn up once “Gossip” comes on is an understatement. UGK and Big K.R.I.T. check in for verses and it’s like Pimp C never left us. “Mama Told Me,” was a great choice for a single, in my opinion, as it doesn’t compromise the overall direction of the album, but is strong enough to stand out on its own.

At this point in his career, there just isn’t much you can say about Big Boi. He knows what he’s doing. Vicious Lies And Dangerous Rumors is a tour de force for him. As different as it may be from his previous effort, the fact that it is different is vintage Outkast, because that’s the way they’ve always been. And hey, if we never get that next Outkast album, all is well as long as Big Boi is somewhere making music.

-Reg Young

 

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DAILY 12/11
11Dec2012

Game – Jesus Piece (Album Review)

DGC/Interscope Records
Released December 11, 2012

Rating: 4 OUT OF 5

Jayceon Taylor can be called a lot of things, but quitter sure as hell isn’t one of them. It’s been a little over a year since the critically acclaimed “R.E.D.” LP hit stores, and Game almost immediately got back in the studio. This time, he enlisted Cool and Dre as Executive Producers (and principal producers) for the album and started crafting his fifth opus. Somewhere along the lines, other artists (namely Trey Songz and his arch-rival 50 Cent) started to adapt the “Five” name in some way shape or form as album titles, and he ended up completely scrapping the majority of the content, with the exception of a song he had with Kanye West, which he liked so much that he decided to rebuild his album around that song’s content. Enter “Jesus Piece,” a concept album that blends the street life with religion in a way that only Game could, but his fans never believed he actually would.

The album starts dark, and remains that way for the majority of the first half. The lead-in, “Scared Now” features MMG’s hottest young star, Meek Mill, who checks in for an impressive verse, but not so impressive that he outshines the star of the show. Game turns around and adapts Meek’s flow on the 2 Chainz & Rick Ross featured “Ali Bomaye,” which showcases Game at his edgiest in quite some time. The no-brainer hit, “All That (Lady)” features Lil Wayne (who’s become somewhat of a mainstay on Game’s LPs), Big Sean and Fabolous (briefly), with a calculated hook from Jeremih. As calculated as the joint may be, it’s a catchy tune, and it should be the next single. Hell, it should’ve been the first single. Now, about that hook. He should call D’Angelo…since it is comeback season for dude and they jacked his record, right?

“Heaven’s Arms” is a dope solo offering on the feature heavy set, but it’s the next two joints, “Name Me King (Feat. Pusha T) ” and “See No Evil (Featuring Kendrick Lamar & Tank),” that stand out, as Pusha is on a tear as the time nears for his solo debut, and Kendrick, 2012′s undisputed Rookie of the Year, is in fine form. “Freedom” all but announces the next label that Game is considering signing to, but aside from that, it’s pretty good. “Celebration,” the LP’s first single, is okay, but doesn’t do the redux justice, as proven when the Bone Thugs themselves jumped on the remix and reminded us why we ever loved them to begin with.

Depending on which version of the album you get, there will be some additional tracks that you might see: The iTunes version has “Dead People” the lone Dr. Dre produced cut, as well as “Blood Diamonds” and “I Remember (with Jeezy and Future). Those tracks could be done without, not because they’re wack, they don’t really fit.

Kudos to Game for crafting what most will consider his most focused album to date. The production is cohesive, the concept remains in tact throughout. Game doesn’t disappoint lyrically, and he delivers on his promise. I wouldn’t go as far as to crown it a classic or anything, but the Piru formerly known as Chuck Taylor did well on this one.

-Reg Young

 

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