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Review: Talk That Shit 2 by BandGang Lonnie

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BandGang Lonnie Bands Talk That Shit 2

Drake’s More Life was marketed as not an album, but a playlist. This was a smart ploy – it
described how come there weren’t any linking factors between songs, making it easier to just
release loose tracks a music. Nobody had came with a statement like that before. It’s impact on the game was expected to be minimal, making little ripples in a giant ocean. With the arrival of Bandgang Lonnie’s new project, Talk That Shit 2, the idea of the playlist has seen its first acknowledgement from other rappers. The project is an amalgamation of drill and hardcore rap that by lacking any cohesiveness has its similar tracks’ appeal strengthen.

Lonnie knows his sound. It’s a problem that many artists often struggle with, evident in albums that stretch out in every direction looking for mainstream success. Lonnie sounds at home over his choices of pounding 808s, trap snares, and piano riffs. “It’s some murders I can’t talk about/So we ain’t finna talk about it,” he says in a tired voice on “Dope and Hoes.” As exhausted as he sounds from running the streets, he manages to portray that in addition to his effort to craft good music. His attempts go through nicely.

Due to the similar nature of the beat selection, many songs can be played in rapid succession even if nothing connects them thematically. What Lonnie’s given us is a collection of trap flavored records that showcase his hazy stylings. Standout track “What’s The Problem” featuring BandGang Masoe sounds extra slow and menacing. Think about the type of music you’d here on a Michael Myers movie in 2017. Masoe comes through with a singing/rapping hybrid verse, building on the already established Lonnie aesthetic.

By the end of the project, you’ll want to run it back to see what you’ve missed. Once you do that, you’ll find that you didn’t actually miss out on anything and that’s fine. Talk That Shit 2 is a collection of music created by a man who knows his sound. He gives fans what he knows and what they want. He largely succeeds, creating a worthy body of work that will be sure to attract newcomers as well.

 

 

Reviews

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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Bandgang’s ‘In Too Deep’ is a hard-hitting opus

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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.

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