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 They both offer a quiet, withdrawn delivery that belies their usual energetic method of rapping.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:
Here’s The Verdict on Joey Purp’s ‘QUARTERTHING”
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.
Review: Kash Doll’s “Ice Me Out”
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.
Bandgang’s ‘In Too Deep’ is a hard-hitting opus
Bandgang’s latest project In Too Deep is the kind of hard hitting street record that everyone needs to hear. Street albums often rotate in and out of importance when the next one comes. Think about any Gucci Mane project ever. Once the next one comes, they’re often left to reside in nothingness until they become unpopular again. But not this time – In Too Deep is hard, brutal, and sits with you long after it goes off. It’s the kind of record that’ll keep you up at night when thinking about its dark intricacies. I can’t say too many other albums have had me in a similar manner.
In Too Deep is a long collection of street raps – nothing more, nothing less. These bangers come in three shapes – fast, Detroit-level knockers, slower, more thought-out hits, and plodding, introspective tunes. All three hit equally as hard. “Come From That” moves at a frighteningly fast pace with bombastic production that makes it a treat to get through. “At My Door” is a little bit slower, but equally as hard. The magnetic nature of the songwriting make each cut a treat to get through.
As far as weak spots, there aren’t any. The project’s power comes in its consistency, so, while no two songs sound the same, they carry a similar energy that makes them equally listenable. This is some of Bandgang’s finest work and you can hear the time that they spent perfecting each rime from the outside. Since it sticks with you when you turn it off, you’ll be more than excited to queue it up again. It’s the gift that keeps on giving. In Too Deep is exactly what you need to survive in these streets.