The Lumberjack



Students Serving The Cal Poly Humboldt Campus and Community Since 1929

Tag: Music of the moment

  • Music of the Moment 9

    Music of the Moment 9

    A week after dropping his third album “Welcome to O’Block” and finally receiving national recognition for his talent as a storyteller, Chicago Drill rapper King Von was shot and killed outside an Atlanta night club in the early hours of Nov. 6. Von is the only the most recent of many tragedies to damage the hip-hop community in the past few years.

    The recent trend of young artists in the genre passing away began in Nov. 2017 when punk-rock trap rapper Lil Peep suffered a fatal overdose. The tragedies started to stack when controversial rising superstar XXXTentacion was shot several times for a designer bag in his home state of Florida in June 2018, and with the overdose of hip-hop’s fun younger brother Mac Miller less than three months later.

    The industry mourned again when Nipsey Hussle was murdered in March 2019. His death came less than a month after losing his first Grammy nomination for best rap album, having spent the better part of a decade and a half releasing music independently without mainstream recognition. Given Hussle’s revered legacy in the game, his death shook the industry harder than any of the others and inspired several tributes including “Letter 2 Nipsey” by Meek Mill and Roddy Ricch, “Nipsey Blue” by Snoop Dogg and “The Marathon Continues” by Dave East.

    The year 2020 has been extraordinarily unique in hip-hop. Given the circumstances of the pandemic that prohibit touring, the artists that have had the most success this year are unfortunately no longer with us. Following their extremely brief moments in the spotlight, the sudden passing of Juice WRLD and especially Pop Smoke propelled interest in their music to heights unseen by the others who recently passed. Since their albums were released in the first two weeks of July, followed up by the deluxe version of Smoke’s album on July 20, both Smoke’s project and WRLD’s new album remain in the top five of the Billboard 200 chart four months later. WRLD’s previous albums “Goodbye and Good Riddance” and “Death Race For Love” also saw dramatic spikes in sales following his overdose, meanwhile, Smoke received heavy criticism for his mixtape “Meet the Woo 2” sounding too similar to the original project. Smoke unfortunately didn’t live long enough to smell the flowers WRLD already got a taste of from his first two albums.

    The victory laps WRLD and Smoke experienced with their posthumous albums haven’t been the case across the board. Going all the way back to The Notorious B.I.G. and 2Pac, posthumous projects have had an often negative association. While some artists like Peep and Miller leave behind enough material to piece together complete ideas, in other cases, record labels are only cashing in on any remaining threads of ideas they have to work with. XXXTentacion’s legacy in particular was considerably tarnished by the release of his two posthumous albums “SKINS” and “Bad Vibes Forever,” each obviously incomplete and paling in comparison with the albums he released while he was alive.

    The worst part about posthumous music is we never know when it’s going to be the last time we hear from an artist. The extended silence from Hussles’ camp regarding new music should come as a bittersweet comfort to fans who can rest easy with confidence that any music released will be both complete and compete with anything Hussle released in the past.

  • Music of the Moment 6

    Music of the Moment 6

    21 Savage and Metro Boomin drop a classic with “Savage Mode II”

    April 23 came and went last semester without a 21 Savage concert at Humboldt State University. Thanks to the pandemic, students like myself felt cheated.

    The sequel to Savage and Metro Boomin’s 2016 EP “Savage Mode,” delivers and, is worth the six month delay from its initial release date.

    Fresh off of receiving the 2020 Grammy for best rap song with “A Lot,” featuring J. Cole, Savage is back with Boomin and unlikely narrator Morgan Freeman, whose alone is enough for anyone to give “Savage Mode II” a listen.

    Similar to Savage’s solo albums “Issa Album” and “i am > i was,” “Savage Mode II” was dropped without any promotional singles leading up the release. Instead, they promoted the album with a trailer. Narrated by Freeman, the trailer ends with only a brief snippet of “Many Men.” Referencing the classic 50 Cent track and sampling his original chorus near the end of the song. One of the strongest moments on the album.

    One of several narrations from Freeman, starts with speaking to a greatness that can only be accomplished when brilliant minds collide. Track two, “Runnin,” opens with Savage delivering a villainous laugh.

    From the first song, Savage has your attention with his signature Slaughter Gang style and the first of many creative, simple and especially catchy hooks. Sticking to a pattern of two verses and a chorus on each song, with occasional intros and outros, Savage never overstays his welcome on a track.

    The variety of vibes Savage is able to create on the new project is all made possible by the range Boomin displays on the production end. He boasts his artistic vision on tracks like “Slidin” where Boomin recreates the beat to the original project’s standout record “No Heart.” He does this again on “Said N Done,” recreating the beginning of “10 Freaky Girls” from his own album for the background of the chorus.

    Savage provides listeners with a collection of hits catering to a much larger chunk of the mainstream audience than with past projects. Savage does this without compromising the content his fans have come to expect from him.

    Don’t get it twisted, “Savage Mode II” is very much a sequel to the project that launched Savage and Boomin into the mainstream. Aside from a few tracks near the end of the album, including “My Dawg” and “No Opp Left Behind,” Savage reflects on his past, the overwhelming majority of Savage’s lyrics revolve around the topics of murder, money and meddling with monogomy.

    Regardless of your feelings towards the message of his music, Savage delivered the most enjoyable overall performance of his career. Supported by the most varied and arguably strongest release we’ve received from Boomin, “Savage Mode II” will no doubt go down as a classic.

  • Music of the Moment 5

    Music of the Moment 5

    After shooting Megan Thee Stallion, Tory Lanez cancels himself

    Back in June, rapper and R&B singer Tory Lanez was freshly released from his label and experiencing unprecedented success with the Quarantine Radio show he performed on Instagram Live, his career at an all time high. As quickly as he rose, he sunk exponentially, when what started as an unclear altercation evolved into an unthinkable assault.

    For over a month, the July 12 incident was left to mere speculation. Megan Thee Stallion, the other party involved, finally took to Instagram Live on Aug. 21, to explain her side of the story.

    “Tory shot me,” Stallion said.

    In the weeks leading up to her statement, Stallion was receiving a mix of sympathy and accusations, despite releasing the X-rays showing proof of the bullet wounds.

    Lanez remained silent on the matter until releasing the album “DAYSTAR,” Sept. 25, only two days after Breonna Taylor’s killers were let off without justice. On the project, he persistently denies any wrongdoing regarding the incident and outright accuses of lying.

    Lanez’s unabashed decision to capitalize from the situation, only providing his side of the story through a product, and his incessant claims of innocence ultimately detract from his credibility and have led many of his supporters to abandon him.

    Heavily feeding into the backlash of supposed friends, Lanez fires shots at several rappers, singers and most viciously, Los Angeles Lakers’ small forward J.R. Smith. While entertaining, the “Me Against the World” approach leaves a bad aftertaste. Given the opportunity, Lanez consistently takes the low road, rather than owning up to any of his mistakes or at least acknowledging the severity of the situation.

    Concerning the quality of “DAYSTAR,” the beat selection, various flows and word play are just as good as any other Tory Lanez album. The sonic range he displays between the two genres he occupies would normally be enough to satisfy the average listener, however, his fixation on the incident and the two-dimensional account he provides make it both agitating and boring to listen to entirely in one session.

    Lanez fails to deliver any form of apology or explanation on the album for whatever occurred on the night of July 12. Instead, he calls Stallion’s account into question and implies he’s the one due an apology, using good production to punctuate his empty argument.

    When it comes down to it, the album sounds quite good, so long as you’re not actually listening to the lyrics. Even then, the sting of the initial reaction wears with each play for those willing or perhaps careless enough to silently condone the behavior. Lanez challenges his haters, however, providing what would normally be received as a hit with “Just Got It Done” as well as an otherwise undeniable classic with “Care For You.”

    The question is, can a hit record or even a potential classic save Lanez from sinking out of the spotlight? Or is the wound simply too raw for him to survive a tasteless response like this?

  • Music of the Moment 4

    Music of the Moment 4

    YoungBoy Never Broke Again dodges the sophomore slump with his new album “Top.”

    Two years and six mixtapes since the release of his debut album, “Until Death Call My Name,” YoungBoy Never Broke Again has returned with his sophomore album, “Top.”

    Boasting sixteen solo mixtapes at 20 years old, YoungBoy is an artist who thrives on flooding the market with music. When it comes to releasing an album, however, YoungBoy has proven to follow a much more selective process.

    With “Until Death Call My Name,” YoungBoy delivered infectious performances either vocally, lyrically or both on all 20 tracks of the deluxe version. Paired with flawless beat selection, the album is a strong candidate to someday be looked back on as a classic. Now, with “Top,” YoungBoy carries that same infectious performance and flawless beat selection throughout the 21 track album.

    It’s clear on “Top” that YoungBoy has mastered the art of melodic rap. With two or three possible exceptions out of 21, YoungBoy delivers undeniably catchy hooks that often come off as effortless. With the tracks “Right Foot Creep” and “Big Bankroll,” YoungBoy doesn’t bother to establish a pattern and the hook still hits. The unique appeal of “Top,” however, is YoungBoy’s pairing of two, three or as many as four hooks on a single track, disguised as intros, outros, refrains or even within the verses – “Sticks With Me” being a prime example.

    Unlike YoungBoy’s first album, where the goal was to create a record catering directly to a mainstream audience, “Top” is packaged with several songs made specifically for his street supporters. While the tone of the tracks are generally abrasive, YoungBoy frequently flip-flops flows in each song, consistently delivering multidimensional-tracks that maintain mainstream appeal.

    Even on songs with less aggressive tones, like “House Arrest Tingz,” YoungBoy’s subject matter is focused in the streets and saturated with heavy themes of violence. While a deterrent for some people, there’s no question concerning the authenticity of the experiences YoungBoy raps about, barring occasional exaggeration. We’re made aware of just how dark that reality is on tracks like “All In,” where YoungBoy reveals his anxieties surrounding his health and safety, his dad’s questionable release from prison, and the threat of losing more loved ones to gang-related violence.

    Consistently, drastically switching flows and tones on most tracks along with providing more than twice as many hooks as songs on the album, it’s like Drake rapped on “5AM In Toronto,” “that’s why every song sound like Drake featuring Drake,” except it’s YoungBoy featuring Never Broke Again. In the oversaturated state of music today, it’s records like “Top” that stay on the charts, because of their knack for staying stuck in your head.

  • Music of the Moment 3

    Music of the Moment 3

    For better or worse, Big Sean is likely gone for good.

    After taking a three year hiatus, following luke-warm reception to his 2017 album “I Decided,” and an overwhelmingly negative response to the collaborative album he released later that year with Metro Boomin – ironically titled “Double or Nothing” – Big Sean’s new album “Detroit 2” marks a permanent step away from superstardom.

    Sequel to the 2012 mixtape “Detroit,” part two – the album version – delivers a much different experience in almost every regard. Each project boasts features from some of the biggest artists in the game at the time and each project features interludes from three highly respected entertainers, however, the similarities end there.

    Previously rapping about fame, fortune and the fast-life, with 2017’s “I Decided.” Sean took his music in a new direction of peace, positivity and personal growth. Doubling down on these new themes in “Detroit 2,” Sean delivers his second solo-album in a row without an undeniable hit-record like “I Don’t Fuck With You” or “Clique.”

    Leading up to the release of “Detroit 2,” Sean set the tone releasing “Deep Reverence,” featuring the late Crenshaw king, Nipsey Hussle. On the track, Sean opens up about his overblown beef with Kendrick Lamar, the baby he lost and thoughts of suicide. Sean, only displays this level of vulnerability once more on the song “Lucky Me,” where he speaks to his public break-up with R&B singer and current girlfriend Jhené Aiko and having been diagnosed with heart disease at 19-years-old. These topics are all left at the surface level and unfortunately, we never get to hear directly how Sean feels about any of it – only that he’s gone through it.

    After focusing an entire album around the theme of reflection with “I Decided,” Sean captures his life path and what it’s cost him with an effortless delivery, resembling conversation, on the track “Everything That’s Missing.” Along with “Guard Your Heart,” “Full Circle” and “Feed,” in which he focuses on the conflictions within fame. These are the songs where Sean is in his element.

    On the flip side of things, time and time again on this project, Sean falls short of a hit-record – lacking the undeniable catchiness factor on the song “Harder Than My Demons,” not giving Post Malone the entire chorus of “Wolves” or letting Travis Scott give up half-way through the hook on “Lithuania.” For someone with as much experience as Sean, it’s as if he’s actively trying to avoid a hit.

    Fortunately, Sean saves the best for last, ending the album on an extremely high note, beginning with the song “Don Life,” featuring a strong verse from Lil Wayne and sampling the legendary Michael Jackson’s classic song “Human Nature.”

    For the next track, “Friday Night Cypher,” Sean recruits 10 fellow Detroit MCs to rap over eight different beats that mostly cater to each artist. Sean delivers two of his best performances of the album on these songs and the latter is a moment not soon to be forgotten by fans of hip-hop.

    With “Detroit 2,” Sean delivers a project more honest and open than anything he’s released before but at the cost of the quality of his music. After three years off, Sean’s musical abilities remain unchanged and his concept of quality has suffered. Most songs are ruined by a bad flow here, a lazy hook, poor arrangements or overproduction that make them hard to listen to outside of the context of the album.

  • Music of the Moment 2

    Music of the Moment 2

    The long awaited return of God’s son, Nas.

    Regarded unanimously as one of the greatest rappers of all time and by many as having created the best hip-hop album to date with his 1994 debut, “Illmatic,” Nas has returned at the age of 46 with his studio album, “King’s Disease.”

    More than eight years since his last full-length album, “Life is Good,” Nas has been more active than usual in the last few years. In June 2018, Nas released his seven-track “NASIR” album, executive produced by Kanye West, then followed it up with “The Lost Tapes 2” compilation album in July of 2019.

    To set the tone for his new album, Nas released the lead single, “Ultra Black,” boasting the beauty of black life, a theme which is felt throughout the album and heavily featured on songs like “27 Summers,” “10 Points,” and the title track. In these songs, Nas lays down the definition of a true king: someone who is willing to work their way to the top, leave their baggage behind them and give back opportunities and knowledge to their people. In other words, a leader not a ruler.

    Produced entirely by Hit-Boy, with occasional assists from other producers, “King’s Disease” features a mixture of old school beats on songs like “Full Circle” and “Car #85” and more modern instrumentals on tracks like “Til the War is Won” and “Spicy,” a New York anthem featuring hometown rappers Fivio Foreign and A$AP Ferg. To compliment the tone of the tracks, Nas recruits features for over half the songs on the album, including unlikely appearances from Travis Scott’s new artist Don Toliver and Big Sean on the track “Replace Me.” Nas also reunites his old group, The Firm, to please fans of the old-school, with nearly four minutes of uninterrupted bars, on the track “Full Circle.” The features that stand out the most, however, both in terms of their quality and the surprise of hearing their voice alongside Nas on a song are Lil Durk with “Till the War is Won” and Anderson.Paak with “All Bad.”

    As Nas fans have come to expect, he delivers more of the signature story-telling style that caused hip-hop to fall in love with his music. He brings you into his world like no one else can with the songs “Blue Benz” and most especially “Car #85,” as Nas reminisces on life in the hood. Forever a part of him, mentions or allusions to the hood appear on the majority of the album, most powerfully on the track “Till the War is Over.” In this song Nas expresses his sympathies for single mothers and especially those who’ve had to bury a child, while Lil Durk provides the perspective of one of the children caught up in the streets.

    Following the longest break between proper full-length albums in his career, Nas lays all his cards on the table, dedicating entire tracks on “King’s Disease” to addressing the ugly, prejudiced state of the world and reflecting back on his 27 summers in the game with “The Definition” and “The Cure.”

    Around 7,500 people in the world can be considered one in a million with “King’s Disease,” Nas proves once again that he’s one of a kind.