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Review: Kash Doll’s alluring verse elevates Big Sean’s “So Good’ to the next level

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Big Sean’s Double Or Nothing will be remembered as one of the most polarizing projects of 2017. People couldn’t tell if they loved it or hated it – questionable lyric choices and the raging question of whether Sean and Boomin (who produced the project) had comparable styles made for some funny social media jokes. But the question that lingers in the mind at the end of the day is how does he ultimately fare? Does Sean do Metro’s dark production justice? For the rest of the album, there are mixed results. But on Double Or Nothing‘s fifth track “So Good,” Sean invites Kash Doll to the proceedings and the two create one of the most intense, sexually-charged rap songs in recent history.

Metro Boomin provides a hurricane of production, something that seems to only move faster as it goes. It’s been stripped down and saddled with the Bay Area’s mainstays – quick snaps, shouts of “Aye,” and trunk-rattling bass. As much as Big Sean and Kash Doll do and say on this track, Boomin’s production is the silent, yet loud, character that trades verses with the others.

And verses, that’s another beast entirely. Sean’s quips here are legendary, aimed at a woman whose very talented in the bedroom. On the song’s explicit chorus, Kash Doll’s sensual voice can be heard adding ad-libs and her own sense of sexual freedom into the mix. When she comes in for her verse, it’s more on-the-head and vulgar – in a good way – than what you’ll hear from Cardi B. or Nicki Minaj. She immediately makes it clear that she’s freaky and her verse backs it up (no pun intended).

What really makes the song work, outside of the witty wordplay provided by the two Detroit mainstays, is the chemistry between the two artists. They both offer a quiet, withdrawn delivery that belies their usual energetic method of rapping. This allows them to ride the beat in ways that help to transcend it’s pumping bass akin to a bull rider mastering the throttling beast. Their energy also plays off each other’s similar styles, egging each on to get even crazier, and raunchier. Their combined efforts have enabled them to slide in, right as 2017 ends, and release one of the best songs of the year.

When “So Good” reaches its conclusion, the impact that it’s made on your ears is a positive one. You’ll be tempted to listen to it again – just not where people can hear that you’re listening to it because boy, is it explicit. But it’s different, organic, and sexy; three adjectives that can be used to describe Kash Doll herself. The sexual tension she brings to the track elevates it from a good one to a great one. This will be the song that pushes her from the top of Detroit rap prominence to the world’s playing field.

Listen to the erotic symphony below:

Reviews

.@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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