A$AP Ferg "Always Strive And Prosper" (2016)

NYC based rapper Ferg of the A$AP Mob opens up with a record that gives us a glimpse into the life of the man behind the music. His debut "Trap Lord" was a marvel of trendy beats and trap influenced production that has grown on me with time but lacked any lyrical substance to chew on. Three years later Ferg puts story and emotion to the mic with a collection of beats that don't feel rigid and type cast as the previous record. Its loaded with trendy bangers stepping up the game and between them an unusual sense of variety that lets 90s Dancehall, jazzy beats and Pop numbers into the flow.

The record starts strong with Skrillex producing a hard hitting banger, "Hungry Ham", full of tension building for the beat drop, sure to get stuck in your head. It paints a picture of a tough neighborhood and crazy characters, including Ferg's uncle a violent man who fights for money. A feature from Schoolboy Q has these heart felt stories crossing over into the banger territory, which gives it much more substance. A few solid tracks in the vibe turns back to the roots with the A$AP Mob flaunting their braggadocios raps loaded with nonsense, it continues through a few more menacing beats and switches up the mood bluntly with "Beautiful People", sampling something very reminiscent of the string sections in Marvin Gaye's "Whats Going On". "Let You Go" flows with the positive vibes on an introspective number that has Ferg reasoning his promiscuous behavior, playing the sympathy card, his narrative seems rather self indulged and unapologetic, a sterling beat but I'm not quite sold on Ferg's musings. After a strong set of beats "I Love You" throws the pop single into the mix just to throw you off the scent.

I'm left feeling "Always Strive And Prosper" is halfway there, a record between two ideas that pushes and pulls in different directions. The production is clearly varied but also solid, each track feels fully realized, developed and its the lyrical content lets the album down where it drifts from the open, introspective, story led narrative Ferg sets us up for in the beginning. Individually each song is pretty rad but flowing from one to the other a lot of problems arise in its vision but that's just about how i want to hear this record.

Favorite Tracks: Hungry Ham, Pyscho, Let It Bang, Beautiful People, Let You Go

Rating: 5/10

Juvenile "400 Degreez" (1998)

Returning to the dirty south again I picked up this record from the Cash Money crew that's been hailed as a classic. Fronted by one of the better heavily shopped covers it has Juvenile surrounded by fire, golden frames and a sprinkling of sparkling diamonds. Coming from New Orleans Juvy brings a weight of localized slang and pronunciation to digest as he spits with a limp, twisting words to his style, moving syllables, slacking on fidelity in favor of a southern rawness. Production is once again handled entirely by Mannie Fresh of Big Tymers who delivers a solid collection of beats with one or two distinct numbers.

The record opens up with a classic track "Ha" that could turn many a listener away with verse after verse of raps with a single rhyme, "Ha". Juvy shows his skills in other tracks but on this one poses a bunch of questions that creates a range of scenarios relevant to his environment. His flow is lethargic, in a laid back way, pronunciation loose and casual while keeping to the tempo. His charm comes from the subtle grooves and tone shifts as his delivery works like an instrument chiming in with the music. His deliveries trump his rhymes time and time again with the exception of "You see me? I eat, sleep, shit and talk rap! You see that 98 Mercedes on TV, I brought that!". Classic opening verse on the title track.

Its a standout track, and its production brings a dark and gritty vibe to an ethereal and spacey chorus as morphed vocals sweep through the spacious atmosphere, saluted with a subtle roll of bells in the mid. The tracks are mostly composed of electronic instruments typical of the era but in the rhythm department the kicks, snares, hi hats and stabs bring a distinct bounce and southern groove. Doubling up on the beat the songs often drop in shuffling hi hats and harsh 4/4 claps onto the beat. Its raw, and sets a president for further experimentation, which would have an influence on Trap music. Overall its a great record but between its better tracks the 72 minutes does feel stretched. Unlike B.G. these Cash Money rappers don't keep me captivated on that side of Hip Hop music as much as the instrumentals do.

Favorite Tracks: Ha, Ghetto Children, Follow Me Now, Welcome 2 Tha Nolia, Back That Azz Up, 400 Degreez

Rating: 7/10

Travis Scott "Rodeo" (2015)

"Rodeo" is the debut full length of young Hip Hop producer Travis Scott who's named I'd not heard of before but has some hype around him being signed to Kanye's Good Music label. I decided to give this one a whirl after hearing good things and found a bi-polarizing record that gave me a lot to think about. "Rodeo" brings both the best and the worst of "Hip Hop"s almost unrecognizable current trap influenced direction, and pushes them into new territory id not heard before.

The record starts up with cold urban, spacious beats and an ethereal edge through excessive reverbs and echoing vocals. It takes a fair few songs to get to a decent rap as the balance plunges overboard in favor of style and texture. Boisterous showboating lyrics with one word rhymes bang out over and over with a lack of emotional context or any point other than enforcing attitude, wealth and excessive lifestyles. Its all about the delivery and production that treats the vocals like instruments, auto-tuning on overdrive and turning the "raps" into textural lavishes that tie tightly with the instruments and make use of many reverbs, pitch shifts and stylish distortions.

As the album develops it really comes into its own at the mid point with tracks like "Night Call", its big atmospheric nightclub sound dripping in deep base and ethereal chords buried under layers of synth, kits and echos. Its a prime example of whats great on this record, the production has an ambition and idea that's realized and reached in these dreamy "lose yourself" tracks. Despite feeling spacious and open, most the songs have many intricate noises detailing the backdrop and adding up to a bigger picture. The percussion takes a laid back roll often dropping out of focus and minimizing its roll in maintaining the pace, yet even in minimal moments its the backbone.

On one side of "Rodeo" we have unique, ethereal beats and the other a complete absence of lyrical substance. In between the two an overdose of auto-tune that tests my tolerance every time. I have to give credit through, auto-tune is not to my taste but its execution is creative and interesting at all times. This album could of been so much more to me with some rhymes and messages but instead the lyrical context and showboating tires and bores me.

Favorite Tracks: Wasted, Pray 4 Love, Night Call, Antidote, Flying High

Rating: 5/10

The Diabetic Sandwich "MunchieZ" (2015)

This short three track record is a collaborative effort between four producers from across the globe, uniting under the moniker "The Diabetic Sandwich" to create Hip Hop instrumentals with a broad range of influences from Trap to Jazz Hop and a general Alternative vibe. The group is yet to define itself beyond its stark graphical output of cut n paste photoshop, neon colors and colossal hamburgers. The debut release a short one leaving much to be desired.

"Merlot" feels like the records only fully developed track at just under four minutes. Jazzy pianos, wordless vocal leads and subtle guitars collide with airy, alien synths, Trap hi hats and deep kicks in an unusual chemistry of oddity that displays a charm. The production is a little forceful, pushing the airy synths into the compound samples it feels a little clustered but the ears do adjust. The song moves through a structure fit for verse and chorus and could really be elevated by the presence of a rapper.

"Meatsticks" has a calmer, less ambitious tone. At two minutes it has an interlude vibe as a sturdy beat sample guides a gentle strings and a graceful piano to a quiet conclusion. The production is subtle, the samples work well together and apart from some obvious clarity difference, it all works.

"Cheese Whizzz" is the records most unusal number, throwing layers of lush sound subtleties into the beat with laser firing and explosion sound effects. The drum beat is a little dry and crispy, and there isn't much of a lead sample, just lush airy noises drifting around the beat that doesn't progress anywhere in particular. At 99 seconds it feels like an unfinished beat.

Rating: 2/10

A$AP Ferg "Trap Lord" (2013)

"Trap Lord" is the debut album of New York rapper / producer A$AP Ferg, a member of the A$AP Mob, a Hip Hop collective consisting of 14 members who have been active since 2007,  finding success in recent years. I found my way to this record looking for "Trap" music, a term used in Southern Hip Hop in the early 90s that has seen a wave of revival and innovation in recent years in both Hip Hop and Dance music. "Trap Lord" was a record of two halves, one great, the other awful, so we will start with the good. 

There is a stylistic formula at work on this record that doesn't take long to break down. Ferg's production follows some core principles that doesn't stray to far track to track. The kits are tight, sharp and cut finely. Crisp claps and snares groove with sudden kicks that leave a big space that even the sterile hi-hats don't touch, they rattle and stutter at varying tempos creating dynamic grooves that even the occasional reverb soaked snare doesn't touch. It leaves much room for the instruments to fill and the compositional arrangements have their own style not afraid to bring in minimalism with frequent kick and snare dropping. Filling the space the kit leaves are minimal leads from a variety of electronic sounds that rarely move beyond one or two layers. The melodies are simple, consisting of a few notes that repeat over and over. Its easy to strip down, but built up these songs build a contrasting air of swagger and paranoia that paint an image criminal wealth and looking over your shoulder. Further stylizing the sound, the vocals come with distant echo affirmation shouts and aren't afraid of using pitch shifts and effects in places.

Ferg's rapping is both rigid and laid back, his flow is often tight and repetitive, choosing words to fit a tight rhythm that loops over, occasionally Ferg suddenly shifts gears to double the tempo of his lyrics. Spitting stiff his tone and delivery is contrasting, sounding casual, often slurring or drawing out words, mispronouncing to fit a rhyme he creates a lot of substance and style. But thats where the good ends for me, the lyrical content of this record his ruthlessly misogynistic and graphic. Between boisterous sexism and degrading imaginary their is little substance that grabs me. Not a line sticks in the mind, even if the flows are enjoyable what their rapping about is hardly. On "402" and "Dump Dump" Ferg hits a low as he shows his self centered moral-less attitude, glorifying his promiscuous behavior and rubbing salt in the wound, depicting his victim crying on the record. I enjoyed the instrumentals, but the lyrical content leaves nothing to return to once the beats dry out.

Favorite Songs: Let It Go, Shabba, Lord, Hood Pope, Fergivicous, Cocaine Castles

Rating: 5/10

Master P "Ghetto D" (1997)

Taking another dive into the Southern Hip Hop scene I picked up "Ghetto D" based on a recommendation from a friend. Hailed as a classic, it's Master P's sixth album, a rapper who's name I've heard often and is cited as the most successful from the South, maybe more so for his entrepreneurial business endeavors than his rapping. This is P's second best selling recording released on his own record label "No Limit Records" that stars a whole array of guest rappers who span all but one track on this lengthy record. 

My initial impressions were not so pleasing, the opening track's crack production tutorial set the tone for an unapologetic attitude that initially was hard get into. The souths boisterous, aggressive delivery style took some getting used to. Shouty, jittery delivers from some of the albums guests served as a style over substance that grew on me greatly. The use of subtle echos and reverbs add a lot to raps, especially when the focus is flow and texture, more so than the lyrical content. Through it all Master P is solid as an anchor, his low-toned, deep voice and competent flow delivers consistently, engaging us in socially conscious and drug-related topics with no shortage of boasting provado. His style is his own, but there are some big 2Pac influences at work on this record, ranging from the beats to rapping which includes quite a few reiterated lines and statements for Pac's songs, the track "Tryin 2 Do Something", a rework of "Bury Me A G", or the original "For the Love of You" by The Isley Brothers, depending how you look at it. And of course I have to mention the UGH. P's loud, forceful ugh shout which caught my attention with a touch of amusement, a primal expression that was so simple and catchy that by the end of the record had me saying UGH too. 

The beat production of this record is solid, timeless. The style is focused on drum machines and electronic instruments that create a crisp, solid and punchy sound from all instruments that play our some grooving arrangements. Theres room for the occasional sample, but in general its a progressive step away from the sample oriented sound of the early 90s. Warm simulated baselines, colorful keys and electronic leads decorate these tracks with energy. The hi-hats also caught my attention, with a recent introduction to Trap and its fast rhythmic notation I heard an early incarnation of appreciation for the hi-hats that had them inflecting rhythms instead of keeping count. The variety and quality in this record is substantial, the 19 tracks range all sorts of classic Hip Hop themes and vibes and through the 80 minutes it never tires. Although I prefer shorter records, this one just didn't let the foot of the gas, there was only one or two "stand out" tracks, but none that felt unworthy of my attention. Great record, I feel this one will help me step into the Southern scene as I seek out some more artists to listen to.

Favorite Tracks: Ghetto D, We Riders, Plan B, Weed & Money, Captin Kirk, Stop Hatin, Make Em Say UGH, Going Through Some Thangs, Come And Get Some

Rating: 7/10

Schoolboy Q "Oxymoron" (2014)

In my search for more consumption of modern Hip Hop I stumbled across this well received record. Its album cover grabbed my attention with its ghostly black and white look, the balaclava implying an air of violence. On my first listen I very nearly turned it off, I was bombarded by boisterous boasting, over exuberant swagger and derogative, demeaning lyrics. I've always understood and accepted that this is a part of Hip Hop, its a window into another world, another lifestyle and I've appreciated that ever since I heard NWA's "Fuck The Police", but this time it felt excessive with no relevance, unlike police brutality. I wasn't keen on the "gangsta gangsta gangsta" chants, but I told myself what I always do, familiarity is key. So I kept listening, the album grew on me with some more charactered songs later on the record and by the time I was listened to the second and third times I was loving the opening track "Gansta".

Modern Hip Hop hasn't shifted its focus to beats, more so its shifted away from the lyrical creativity of past. Repetition, and stylistic inflections have become the focus, further resembling instruments to compliment the instrumentals than tell stories and deliver memorable raps. The most memorable moments on this record were a couple of catchy hooks and a few shocker lines, nothing resembling the past where you could quote an entire verse for its mesmerizing articulation (IE Nas on "Live At The BBQ"). With this in mind I found my enjoyment was a little altered, and I certainly missed a lack of lyrical substance, but theres enjoyment in the catchy hooks, raspy shouts and reverby vocal effects at work alongside the beats. The occasional tracks had some great verses "Hoover Street" & "Break The Bank", and plenty of great choruses throughout.

The beats across this record are fantastic. Theres a lot of variety, and the production feels like it passes through many hands as track to track changes consistently. Describing the direction of this record would be a continual snaking of styles and vibes. The range of influences and moods is a strength, it gives this one a constant excitement as each track jumps to something refreshing different to what came before it. Midway through the record theres a couple of tracks which take on a strong DJ Muggs vibe, firstly "Blind Threats", which samples the classic Cypress Hill "Illusions" or at least its source, and two tracks later "Break The Bank" which has a "Temples Of Boom" vibe with its grooving bombastic beat and simple, repetitive dark keys. It also homes my favorite line "Fuck pigs I bust back" in a sequence of short lines that groove with the beat. This record was really enjoyable, defined by an array of fantastic beats and artistic input from a range of producers and guest features, but a lack of lyrical fidelity across these number just left an empty feeling in my desire to consume the words of lyracists, the chemistry of beats and rhymes is still king.

Favorite Tracks: Collard Greens, Hoover Street, Hell Of A Night, Break The Bank

Rating: 7/10