Album Review: It's Almost Dry - Pusha T

New York native and skillful rapper Pusha T cemented his spot as one of the hardest-hitting and aggressively passionate rappers alive in 2018 with the release of his critically-acclaimed album DAYTONA. Part of Kanye West’s legendary run of producing albums for other artists, Daytona’s lightning-in-a-bottle production saw Pusha T delivering ruthless bars over powerful instrumental beats. Luckily for fans of DAYTONA, Pusha T’s newest album also enlists Mr. West’s production skills while also calling upon Neptunes legend Pharrell Williams to make beats for the project. Pusha has given fans exactly what they wanted from this project, which is a slightly more playful but still impressive cropping of songs that stay true to the rest of his discography.

The album’s opening track “Brambleton” utilizes a bouncy trap instrumental and lets Pusha air out grievances about his previous manager Geezy. Pusha T has never been one to avoid confrontation or conflict, and by setting the tone so directly as early as track one, he’s reminding his colleagues to never forgot who they’re dealing with when interacting with him. Pharrell’s production is immediately recognizable on this track with his signature sonics again making an appearance. The next track, “Let The Smokers Shine The Coupes”, takes inspiration from the sounds of classic rap tracks from the likes of RZA and the Wu-Tang Clan. Notoriously known for his many references to cocaine, Pusha T brings out one of his funniest drug-related bars yet as he calls himself “Cocaine’s Dr. Seuss.” “Dreamin Of The Past (feat. Kanye West)” is one of my favorite songs on the project, as it uses a soulful sample flip similar to those found earlier on in Kanye’s discography. braggadocious and the furthest thing from humble, this track lets Pusha and Kanye emulate the self-important energy that fueled the confident DAYTONA four years ago.

“Neck & Wrist (feat. JAY-Z and Pharrell)” uses its features extremely well, and lines like “Summertime, Winterfell / I’m the Night King” demonstrate Pusha T’s occasional tendency to work in niche pop culture references into his verses. I’m also a sucker for JAY-Z features, as he’s consistently able to prove why he’s considered one of the best rappers of all time. “Just So You Remember” uses an instrumental that sounds to me like it was left on the cutting room floor of Kanye West and Kid Cudi’s KIDS SEE GHOSTS and features some of the most savage lines on the entire project. “Seein’ you rappers apply for the stimulus / Livin’ a lie, but die for your images” and the intense delivery of “Just so you remember who you’re dealing with” stand out as highlights on this track. “Diet Coke” was the lead single for this project, and I still see it as one of the best Pusha has put out in years. Kanye’s production is immaculate, and Pusha’s singing delivery on the chorus is a nice change of pace from his typical cadence.

“Rock N Roll (feat. Kanye and Kid Cudi") is probably my favorite song on the album, bringing back the members of KIDS SEE GHOSTS together for one final collaboration according to Cudi. It seems that whatever beef the two of them are having is serious enough to commit to avoiding each other over tracks. Drama aside - the playful production on this track is addicting. The Beyoncé sample, passionate verse from Ye, and great contributions from Pusha and Cudi result in a fantastic track overall. “Call My Bluff” is one of the more forgettable cuts on the album, but it’s hard to tell if that’s just because it’s in the shadow of the song coming before it. Its production is still clean and simple, but Pusha’s lyrical delivery seems more subdued here than I would’ve preferred. “Scrape It Off (feat. Lil Uzi Vert & Don Toliver)” is another oddball for me, as it sounds completely out of place on the tracklisting. The features make for interesting collaborations, but It’s Almost Dry has established an aesthetic up to this point that just doesn’t match this song’s vibe.

“Hear Me Clearly (feat. Nigo)” is the same track found on Nigo’s most recent album I Know Nigo!, and while I enjoy the song, it feels like Pusha’s verses would instead be found on one of his features instead of one of his tracks - the same criticism I had on Nigo’s project. “Open Air” features one of the hardest beats on the project, and while this song is only 2:12, it makes the most of its short runtime with killer bars and confidence. “I Pray For You (feat. Labrinth & MALICE)” is likely Pusha’s strongest closing track to date, with hymnal and gospel-esque production. Appearances from Clipse are few and far between, so I’m glad that their collaborations here lived up to my sky high expectations. Pusha closes the project discussing his accomplishments and how far he has come - great introspection from an often ruthless artist.

Pusha T has done exactly what I look for from artists, which is growing thematically and sonically while retaining the fundamental elements of what makes them who they are. One of the most lyrically intricate and skillful artists in the game, Pusha has yet again proved that he has what it takes to hang with the best. Great features, a refined tracklisting, and stellar production make It’s Almost Dry another great album from Pusha and one of the best hip-hop records of 2022 so far.

Favorite tracks: “Brambleton”, “Let The Smokers Shine The Coupes”, “Dreamin Of The Past (feat. Kanye West)”, “Neck & Wrist (feat. JAY-Z & Pharrell Williams)”, “Just So You Remember”, “Diet Coke”, “Rock N Roll (feat. Kanye West & Kid Cudi)”, “Open Air”, “I Pray For You (feat. Labrinth & MALICE)”

SCORE: 8/10

Album Review: Chloë and the Next 20th Century - Father John Misty

Eclectic singer-songwriter Josh Tillman, more colloquially and widely known by his provocative stage name Father John Misty, has garnered a reputation for his lush production, witty sarcasm, and ear-catching musical talent. Since leaving his role as Fleet Foxes’ longtime drummer, Tillman’s four solo studio albums have received much fanfare and critic adoration. Each “era” has seen Tillman transform and mature in some way, all while retaining the core characteristics that define his truly unique persona. Most recently, Tillman’s 2018 record God’s Favorite Customer was a revelatory and brutally honest self-reflection on what appeared to be a rock bottom for the typically stable yet contemplative artist. Now more than ever, I find myself eager to hear what kind of artistic direction musicians are going to take after the darkest days of the COVID-19 pandemic. Instead of more self-loathing like on GFC, or silver-lined nihilism on the perfect Pure Comedy, or even more of the intricately and sublime love songs found on I Love You, Honeybear, Tillman has yet again decided to take his sound in a new direction. By embracing the glitzy, cinematic production popular during the 1950s and earlier, Tillman makes a statement about the state of current culture’s response to earlier generations’ shortcomings on his newest album Chloë and the Next 20th Century.

Character portraits have long been one of Tillman’s strong suits, and this songwriting technique is utilized in the album’s opening title track “Chloë”. Seemingly at first a loving portrayal of the title character, Chloë’s story ends tragically and unexpectedly just as soon as the album’s first track comes to a close. I find this begrudging acceptance of Chloë’s flaws in exchange for Tillman’s adoration ending so painfully a great metaphor for our tendency to view the past with rose-colored glasses. The upbeat instrumental refrain that follows the line “her soul is a pitch-black expanse” is a perfect juxtaposition that culminates in the song’s compelling final lines. “Goodbye Mr. Blue” follows, and we see Tillman embrace more of a bluegrass influence with plucking acoustic guitars that back his wonderful storytelling. This track is heartbreaking in many ways, as it depicts the feline remnants of a failed relationship meeting its end, thus signaling the true ending of any hopes of the couple ever getting back together - this song is about much more than losing a beloved pet. “Kiss Me (I Loved You)” establishes a vintage aesthetic with a retro-style vibrato overlay on Tillman’s vocals, and seems like a logical continuation of where the previous track left off. Tillman’s genius lyricism shows up yet again, with “Love is much less a mystery / Than who you give it to” standing out to me.

“(Everything But) Her Love” is next, and while I enjoyed the somewhat psychedelic and 60s-inspired production, I don’t follow or relate to the track’s narrative as closely as others on the project. “Buddy’s Rendezvous” follows and has quickly joined the conversation about my favorites from Father John Misty’s entire discography. Told from the perspective of a father who is reunited with his daughter after serving time in prison, this atmospheric ballad subverts its theme of questionable advice by asking some truly profound questions itself - an immediate standout served well by Lana Del Rey’s cover, too. “Q4” is next, building on Chloë’s narrative by introducing a writer sibling and outlining her rise and fall. This track dissects the advertising industry’s tendency to use tragedy to its advantage, twisting them and describing them as “deeply funny,” when in reality that depiction is the furthest thing from the truth.

“Olvidado (Otro Momento)” steps into the back half of the record, and while certainly experimental in nature, this Bosso Nova track doesn’t fit extraordinarily well into the tracklisting either thematically or sonically, so this is a miss for me. “Funny Girl” was the lead single for the project, and fits in very well in the context of the entire project. Stylistically, this laid-back delivery and swanky production matches the rest of the album’s aesthetic, with a gorgeous instrumental refrain that is one of the biggest highlights here. “Only A Fool” features playful and easygoing instrumental backings, sounding like it would fit in well with a Pixar score. This song leans on the multi-instrumental orchestral band that backs Tillman’s vocals, but not to its detriment; this lavish production keeps me coming back repeatedly. “We Could Be Strangers” is one of the more narratively creative tracks on the album, while at first seeming only like a typical depiction of attempting to revitalize a fleeting love interest, only to be revealed that the couple in this story’s narrative is making the most of their final moments after being in what will prove to be a fatal accident. This twist of fate is one only Tillman could execute as well as he does.

The second title track and closer, “The Next 20th Century”, proves yet again that Tillman truly understands how to effectively finish his projects on high notes. He did so with “I Went To The Store One Day” on I Love You, Honeybear, again with “In Twenty Years Or So” on Pure Comedy, and now again with Chloë and the Next 20th Century. Sonically similar to the tracks that preceded it, “The Next 20th Century” finds an intensity and directness from Tillman’s vocal delivery not found previously on the album. Industrial at times with a samba-like undertone, the track is suspenseful and builds gradually as Tillman depicts the shortcomings of the entertainment industry and American society as a whole over the past 100 years. In many ways, this record is simultaneously an homage to the nostalgic sound that perpetuated many of today’s best artists while also serving as a scathing critique of how the culture that same sound was built by was inherently coercive and disadvantageous for so many. The final section following the monstrous and badass guitar solo is worth highlighting as some of Tillman’s best writing yet. It’s worth a read and a listen: “The wheel is turning from night into day / Everything’s in transition, everything must change / But none of us here will ever see the promised land / None of us here will be there for childhood’s end / I see ya’, you student debtors - in a watchtower overhead / Searching for headlights in the driveway crying “Dad, look what they did” / Just look: Even their romance made us masters and slaves / And now things keep getting worse while staying so eerily the same / Come build your burial grounds on our burial grounds / But you won’t kill death that way / I don’t know about you, but I’ll take the love songs / Give you the future in exchange.” Here, Tillman masterfully depicts the shortcomings of previous generations and highlights their propensity to continue into the future, choosing himself to instead focus on and embrace the power of music instead of the overwhelming inequity that we find ourselves navigating still.

Unlike Pure Comedy, I don’t think Chloë and the Next 20th Century is a perfect album. At times, its many narratives, scattered references, and sonic decisions come up short, leaving me wishing that Tillman slightly refined some of these aspects for the final product. That being said, the vast majority of this project highlights Tillman’s unmatched ability to approach new sounds, concepts, and aesthetics all while retaining what makes him such a unique and personable artist. Chloë and the Next 20th Century is an exceptional critique that utilizes the best of what it’s commenting on to highlight the worst of it. I believe that this project will age incredibly well and that Tillman’s foray into this vintage style will have been very much worth it. This is a great album that rewards patience and critical listening, and while many may find it challenging, I enjoyed it immensely from beginning to end.

Favorite tracks: “Chloë”, “Goodbye Mr. Blue”, “Kiss Me (I Loved You)”, “Buddy’s Rendezvous”, “Q4”, “Funny Girl”, “Only A Fool”, “We Could Be Strangers”, “The Next 20th Century”

SCORE: 8/10

I Beat Elden Ring

Elden Ring took the gaming world by storm upon its release less than two months ago. While some savored the exploration of the vast, open-world environment of The Lands Between, others with less patience continued to press their luck against bosses and regions far above their skill set and experience level. I found myself in the second camp, as I often do, looking to grind my way through challenges to achieve the maximum results possible as quickly as possible. In Elden Ring, this means reaching the end of all quests, discovering all areas, defeating all necessary bosses, and finally tackling the final foes: Radagon of the Golden Order and The Elden Beast.

While it would take many blog posts to properly discuss and explain the rich lore and backstory behind this final boss fight, I can succinctly say that FromSoftware made the right choice making this the final duel along this incredible journey. The two-part fight consists of a matchup against a more traditional yet challenging opponent in Radagon of the Golden Order, and then an ethereal battle against the Elden Beast, who the game refers to as a “God” upon its death. Frustrating, attention-demanding, and eventually extremely rewarding, this final boss fight was everything I hoped for to finish Elden Ring.

Luckily, the fun doesn’t stop when the credits roll. In a world as vast as that of Elden Ring, there is still so much to discover and accomplish in the world even after the main story is complete. And even then, the game presents the option to reset the world while retaining all of the collectibles, armaments, and materials gathered along the way in “New Game +,” which is a feature I’ve enjoyed since my formative years on console since series like Ratchet and Clank.

New Game + allowed me the opportunity to relive the joy of finding new enemies, map locations, and weapons, while this time focusing less on the easy-to-learn but hard-to-master combat mechanics the game has to offer. While walkthrough one took me more than 80 hours to complete (you read that right,) New Game + was complete in just about 10 hours, as a ran my way from boss to boss on a wonderful victory lap from Limgrave to Leyndell.

Even though I have now beaten Elden Ring (twice,) there’s still so much to do in this game that I don’t see putting the controller down for good any time soon. There are incredibly difficult optional bosses to tackle, more areas to discover, and plenty to re-visit with all of my best gear. This game certainly won’t be everyone’s cup of tea, but the attention to detail, intricate and beautiful storyline, and satisfying gamplay are unmatched, making Elden Ring one of my favorite games of all time, let alone being a lock for game of the year in 2022. If you’re looking for an immersive gaming experience, look no further - and arise, ye tarnished!

Album Review: Melt My Eyez See Your Future - Denzel Curry

Denzel Curry has felt criminally underrated to me since I first heard the South Florida superstar’s music. A rapper whose bars are undeniable, whose production is unbelievable, and whose angst is untamable like Curry should be doing bigger numbers, headlining more festivals, and becoming more of a household name than he currently is. Luckily, early projects like TA1300 and ZUU gained enough critical acclaim and fandom approval that 2020’s EP UNLOCKED began to make waves. Ever an opportunist looking to evolve, adapt, and grow, Curry decided to pursue his most challenging and thought-provoking project yet with the recently-released Melt My Eyez See Your Future. More self-reflective, socially aware, and brashly confident than ever before, Melt My Eyez is a welcomed progression of the ear-catching sound Curry has curated over the years.

Luckily for day-one fans of Curry’s discography, the core elements of his easily-recognizable sound seem like they are here to stay. Curry has always toyed with new ways to reinvent his rhyme schemes, align lyrics with fitting instrumentals, and switch flows when needed to keep things from getting stale. These core elements return with Melt My Eyez, but what makes the project stand out as unique are Curry’s contemplative tone and socially conscious themes found throughout. Denzel is consistently challenging his listeners to question the world around them, all while still conveying the personal struggles he has gone through in recent years. Anyone new to Curry’s music will be hooked by the hard-hitting and stellar production, but will likely stick around to hear his impassioned lyricism.

Attention to detail and a clear effort to make the project as cohesive as possible are made evident as the opening track “Melt Session #1 (Feat. Robert Glasper)” transitions into the excellent “Walkin” that follows. The beat switch halfway through this track works incredibly well, and while this is a banger, Curry still stays self-aware with lyrics like “Walkin' with my back against the sun / I've been runnin' all my life, that's way before my life begun / Since my birth and seconds on Earth, I been the first one to confront / All of these cycles that get recycled, makin' it stifle while I stunt.”

The middle stretch of the project is my favorite on the album, with hit after hit, staying fresh and avoiding repetition that would be to the album’s detriment. “The Last” sees Curry experiment with a slightly more vocally expressive delivery instead of his traditional bars. “Mental (Feat. Saul Williams & Bridget Perez)” utilizes its features masterfully, and Curry’s rhyme schemes are just slightly more intricate than the sophisticated but minimal instrumental backing. “Troubles (Feat. T-Pain)” enlists one of the most unlikely collaborations on the project, but a catchy chorus and great verses brings this track together. “Ain’t No Way (Feat. 6LACK, Rico Nasty, J.I.D, Jasiah, Powers Pleasant, Kitty Ka$h)” is a true lightning-in-a-bottle posse cut that brings together many talented artists and culminates in one of Curry’s best verses of all time. This fantastic offering is topped off by Curry’s early contender for lyric of the year: “Ain’t no way I was gonna take what people sell me / Run The Jewels ‘cuz I kill a mic on any LP” which simply made my jaw drop.

The rest of the project is up to the same high standard that Curry sets early on, with the exception of one or two tracks. While “Sanjuro (Feat. 454)” is a grimy, powerful track despite its short runtime, “The Smell Of Death” seems to forgettably miss the mark for me. While “Zatoichi (Feat. slowthai)” brings a dream collaboration to life and doesn’t disappoint, “Angelz (Feat. Karriem Riggins)” leaves something to be desired. Luckily, “The Ills” is a captivating and compelling piano-backed chorus that confirms this project’s defining characteristic is its consciousness: of self, of society, and of what the genre needs to excel.

Denzel Curry is still underrated. I’m glad that Melt My Eyez See Your Future is receiving widespread critical acclaim, and I hope that’s indicative of an awakening to the reality that Curry is one of the most consistent rappers in the game at the moment. His confidence is powerful, his self-reflection is admirable, and his music is consistently great. I can’t wait to watch where his future takes him.

Favorite tracks: “Walkin”, “The Last”, “Mental (Feat. Saul Williams & Bridget Perez)”, “Troubles (Feat. T-Pain)”, “Ain’t No Way (Feat. 6LACK, Rico Nasty, J.I.D, Jasiah, Powers Pleasant, Kitty Ka$h)”, “X-Wing”, “Sanjuro (Feat. 454), “Zatoichi (Feat. slowthai)”, “The Ills”

SCORE: 8/10

Album Review: CRASH - Charli XCX

Charli XCX has long been referred to as “the pop star of the future,” with production that often sounds like it’s from the next century. From Pop 2 onward to Charli and how i’m feeling now, Charli XCX’s sound hasn’t changed as much as it has evolved and matured, exploring new sonic and lyrical ideas and concepts that only she can achieve every time. The overcrowded, radio-friendly pop genre makes it hard for many artists to stand out, but Charli XCX has once again resisted certain tropes to create yet another captivating record that will likely pull the industry forward with her latest album CRASH.

Many of the album’s themes that recur throughout such as power, self-destruction, and sex are addressed in the opening title track “Crash”. This song utilizes both hyper-pop sounds and traditional instrumental backing, as seen in the track’s closing guitar solo that sets the tone for what’s to come next. “New Shapes (feat. Christine and the Queens and Caroline Polachek)” follows, and as one of the most popular singles attached to this album, functions well when placed early on in the tracklisting. Both features meaningfully contribute to the aesthetic of the song, which is something that Charli has historically done well making sure of. “Good Ones” has a short runtime of just over two minutes, but the uptempo instrumental and synth-heavy chorus have kept it stuck in my head since its release. “Constant Repeat” has been well-known in Charli’s fandom for a while now as there have been multiple snippets released in the past, and this electro-pop moment helps Charli explore the emotional side of the project.

“Beg For You (feat. Rina Sawayama)” is next, and while I enjoy this track overall, I find that it could’ve benefitted from more compelling lyricism to leave a lasting impact. That being said, Sawayama’s feature is welcomed with open arms, as I see her becoming a big star in the near future. “Move Me” is a melancholic, moody, and reflective halfway point through the tracklisting that doesn’t do much to entice me. Relatively inoffensive, this song just doesn’t seem to earn its placement among its stronger peers. “Baby” is one of those stronger tracks found here, as Charli channels hyper-sexual and female empowerment energy to its benefit.

“Lightning” leaves me wanting just a little bit more complexity like “Move Me” did, but its vocoded chorus was a fantastic studio touch that proves Charli’s technical production is some of the best in the industry. “Every Rule” is a heartbroken ballad that was actually one of the earliest songs written for this project, even before how i’m feeling now’s release. Charli’s lyricism here is as strong as it has been over the course of her past few releases. This tone is immediately flipped on its head with “Yuck”, the charming, love-denying song that I can easily see becoming a radio hit this summer. Charli’s oldest fans will be extremely delighted to hear “Used To Know Me”, which has a club aesthetic that defined her early career but that is still very sonically appealing - this is the biggest bop on the album. “Twice” ends things off on another high note, as Charli reframes the tragedies in her life and decides to instead focus on what she has to appreciate, which is something we should all strive for in a world as crazy as ours.

Charli XCX’s final album on her label Atlantic Records has allowed her to fully embody her hyperpop aesthetic while, this time, catering more to a mainstream audience through the project’s cohesive and widespread rollout. CRASH proves that Charli’s two most recent projects weren’t anomalies, but that she really does have what it takes to live up to the “popstar of the future” reputation that she deservingly acquired early in her career. While not a perfect album, CRASH will still be on repeat for me for a while, and it has earned all of the praise it receives.

Favorite tracks: “Crash”, “New Shapes (feat. Christine and the Queens and Caroline Polachek)”, “Good Ones”, “Constant Repeat”, “Beg For You (feat. Rina Sawayama)”, “Baby”, “Every Rule”, “Yuck”, “Used To Know Me”

SCORE: 7/10