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Album Review: @Fenkellpayroll & @CardoGotWings ‘ ‘Big Bossin Vol. 2’ explores the best and worst of an extravagant lifestyle

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Success and lavish living are two of hip-hop’s obsessions, created during the genre’s inception due to living in poverty. Many artists have created music that attempts to describe that which they are either trying to obtain or already have it in abundance. Most of the time, it comes across as mere lip service. We’re told that they’re bosses by repeatedly being beaten over the head with rap interjections, but we never get the feeling that it’s true. Real bosses don’t tell you, they show you. Combined with the fact that most rappers’ definition of being a boss – or being successful – involves women, cars, and clothes – were left with a hollow feeling when the song ends, wondering about the values of material items in our society instead of true success.

Payroll Giovanni and Cardo’s album Big Bossin Vol. 1 may have been the first instance in memory that portrayed the boss life as something more than what can be bought. It was more of a mindset than an extension of the wallet. The album’s cult status showed that people were hungry for this brand of music, so the pair have dropped a bigger, juicier project with Big Bossin Vol. 2 and it’s everything you can imagine and more.

What separates the two projects is the sheer scope and feeling of adventure. Whereas the first project was an initial toe-dip into the life, this project is submerged in it. Its aesthetic drips through each lovingly crafted song, practically oozing with swagger and panache. It starts with “Rapped My Way,” a seductive female voice relaying Cardo’s infamous beat tag. From there, saxophones introduce the luscious life of discovery that comes with untold riches. Payroll’s machine-like flow acts as the supplement to the smooth jazz-like instrumental, showcasing the first of many classics in the making.

Many tracks dance on the line of being jazz with smooth instrumentals that evoke classic R & B. Payroll continues to bring his all on the project throughout and paints a picture of what’s really important to him – both material and nonmaterial. In doing this, the project transcends its title that may seem initially uninspired – it becomes a portrait of what true bosses find important in their hectic lives.

On project standout “Deep,” the 80’s and Jazz meet at a crossroads, creating a wholly unique experience. Payroll’s deeply troubling lines (“Every time I leave the crib a nigga strapped with a Glock/ Broke nigga talk stupid get slapped with a knot”) are delivered with some serious emotion that reveals the pitfalls of Boss life and what comes with it.

Payroll and Cardo have created another strong entry into the Big Bossin series. Through smooth, seductive instrumentals we find the essence of what it truly means to be a boss in 2018. By painting a vivid picture and offering some words of encouragement to live by, the pair has cemented another classic into their already noteworthy discography.

Score: 5/5

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.@MeechTheGoat’s ‘Before Chronicle’ is must-hear music

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There aren’t too many celebrities out of Kansas City, save for Ellie Kemper of The Office fandom. There definitely aren’t any rappers. TXYLOR is looking to change that though and his new release, Before Chronicle, shows that he definitely has the chance. With vast and varied production, the rising rapper shows that with a little tempering, he’ll take over before you know it.

TXYLOR comes from the school of conscious, authentic raps that artists like J. Cole and Kendrick Lamar have cultivated over the course of their careers. Songs like “24 Trillion Miles” paint a picture of the path he’s taken, with great care to contextualize his pain and struggles through hefty bars that deliver a punch. Another track like “Move Around” is more sinister and bleak so his delivery reflects this, with emotional bars that ask for space. Its anxious mood is drastically different from the first. You pick up on the diversity and are sucked in. This is someone who understands poise and the importance of presence.

But everything isn’t a tale of the two extremes. TXYLOR’s strengths come from how he can make relatable raps in all forms. “Go” is a trap-adjacent jam that talks about the authenticity of the people around him. He keeps it real as he lists off the different kinds of fake. He gets introspective on “No Cure For A Cold Heart” when he talks to the people in his life – both here and departed – as he lets them know how it is. By covering multiple bases like this, his versatility becomes the star of the project and leaves him ringing in your ears way after it cuts off.

Before Chronicle is supposedly a preview before he releases an album called Chronicle. With this kind of wide-ranging effort on just a preview, we can imagine what’s going to be on the first. It makes you want to figure out more about this mysterious artist and see what he has going on. Before Chronicle is definitely what you need to learn more about TXYLOR.

Stream Before Chronicle up above.

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Here’s The Verdict on Joey Purp’s ‘QUARTERTHING”

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Joey Purp’s a member of the SaveMoney crew – a Chicago based collective featuring the likes of Chance The Rapper and Vic Mensa amongst other eclectic musicians – and brings a striking new element to Chicago’s music scene. When he released iiiDrops in 2016, although his sophomore project, the world was given a proper introduction into his world of street adjacent raps. He showed his ability to be introspective over a wide selection and variety of ethereal beats. His new project QUARTERTHING continues this creative selectiveness with a newfound commitment to innovation.

Over the course of its runtime, the unique cadence and flow he utilizes to channel excitement constantly grows and evolves. On tracks like “Elastic” and “Godbody Pt. 2,” Purp’s tenacity shines through the refracted lens of eclectic beat selection. Confidence is the main currency being traded on QUARTERTHING. “2012,” the album’s most nostalgic cut, even retains some of this aesthetic that helps to build immersion.

Although much of it the project is powerful, there’s a glaring misstep. “Bag Talk” has a yelling problem; one that the album tries its best to mask throughout with loud beats. But “Bag Talk” peels the veil back to showcase just how empty it sounds without the extra bells and whistles.

Nevertheless, QUARTERTHING is a powerful project that continues to showcase some serious growth for Purp. He’s proving himself to not only be one of SaveMoney’s best, but Chicago’s as well.

 

 

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Review: Kash Doll’s “Ice Me Out”

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Kash Doll’s latest release “Ice Me Out” is the signal of a new age for the Detroit paragon. Her raps have been traditionally delivered in luxe instrumentals, with powerful punchlines being delivered in louder tones. She’s like a female Meek Mill, only more cunning and intimate while keeping the garish tone. “Ice Me Out” changes the perception surrounding her rhymes tremendously. It’s a bold change that works out in the long run.

When Kash Doll steps into the booth, you know you’re going to get something fiery. Just listen to “Check,” one of her previous releases from a few months ago, and you’ll find the energy that she raps with to be mesmerizing. But “Ice Me Out” travels in the opposite direction from the sentiment made evident in the first release. Here, Kash Doll is much quieter, more intimate than ever before. Also, the instrumental she chooses is barebones, enabling her tantalizing lyricism to stand out in bold, exciting ways.

If you’re open to change, than “Ice Me Out” is the Kash Doll track for you. It’s much different than her past releases and gives her a platform to build her aesthetic from. It’ll be interesting to see how it grows from here.

Listen to “Ice Me Out” below.

 

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