When Tee Grizzley and Lil Durk announced that they were working on a joint project, the rap world was understandably confused. Both artists come from different areas and gave no inkling that they were in cahoots with each other, outside of praise on social media being lauded towards each other. Even when listening to the individual rap styles of the two, it’s hard to imagine how they could coexist with each other. Tee Grizzley’s machine-gun delivery contrasts with Durk’s more melodic, lovingly crafted style of rap. How could the two work together on one song – let alone, a whole album?
Henceforth, Bloodas. It’s a ton of things – probably best described as a hurricane of emotions, fast-paced music, and conflicting styles. While much of it may bleed together in terms of beat choices, the project is strong in what it represents for hip-hop and the cities of Chicago and Detroit – peaceful coexistence and a willingness to collaborate and experiment.
Tee Grizzley is the anchor of the project, diligently punching into each beat with a delivery unlike anything else out on the market. “Feed him somethin’, he gon’ turn into a leech, that’s dead weight/Dirty AR pistol, hold up, dirty SK/Let the .40 with the dick bust on ya’ll on camera, that’s a sextape” he mixes together effortlessly on the vapid cut “Dirty Stick,” one of the project’s highlights. While he brings the lyrical assault, Durk acts as the Knuckles to Grizzley’s Sonic; his autotuned vocals give the music the extra push it needs to go from good, to great. His chaotic chorus on “Ratchet Ass” is an indicator of what he brings to the proceedings; controlled anarchy. While it may be overbearing for the course of the album in the long run – see cuts like the awkward “Melody” or “Flyers Up” where his verse can be somewhat grating – he’s a necessary presence to switch things up whenever he jumps in.
The most interesting track, by far, is “Flyers Up’ where both rappers clock in and clock out on the same track for dramatic effect. It’s done elsewhere on the album but here, it’s something special. Maybe it’s the ominous production that enables both to give some emotionally jarring performances, especially Durk who croons over Grizzley’s vocals while also giving his own contributions. It’s an oddly satisfying track with an unconventional setup. that works in the end.
With the exception of some less than stellar production, the album is a solid outing from the two. Here’s to hoping that the comradery between Tee Grizzley and Lil Durk continues to flourish so we can receive another solid outing from the unlikely duo.
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.