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Track-by-track: Is ‘CrasH Talk’ ScHoolboy Q’s greatest project yet?

In 2016 ScHoolboy Q gave us Blank Face — an album that reflected on his troubled past with much introspection and newfound growth. Fast forward into 2019 and now he presents us with his latest album, CrasH Talk. 

It’s a project that ignores all the blind spots and takes a coercive approach to find the good when life takes an unexpected turn. Still, he doesn’t care about his time tables. Moreso, CrasH Talk is all about the craft and changing it up.

An embodiment of himself and not others, CrasH Talk follows his lavish lifestyle and a proverbial phase. Though the rapper had some lemons tossed his way, he still managed to make a delectable concoction of music with fair amounts of sugar and spice.

In the same way, CrasH Talk‘s beat selection pours the listener a refreshing glass of guitar and piano riffs and drum kits. To top it off, CrasH Talk cruises into a sub-genre of West Coast rap, hip-hop, and trap.

Like his complexity, the artwork features a somber comic book-type animation of Schoolboy Q with a paper bag over his head and dollar bills on his hoodie. Interestingly, the album is an introduction course to ScHoolboy’s thugnificence.

“Gang Gang”

“Gang Gang” speaks on his whip game, drug dealing days, and legendary status in the hood. Tactfully the beat infuses a dark organ, vibrant drum-kit, and sustained synth loop.

https://tidal.com/track/108025201

Really, the song is candid.

“Been popping, ah (Ah)/Hood legend, ah (Ah)/Chef, boiled it, ah (Ah)/Weight, curled it, ah (Ah)/Gang shit been hot (Ah)/Gang shit, get caught (Get got)/Gang shit, get dropped/Whip clean, dope boy, ah.”


“Tales”

Rolling in at 2:15, “Tales” instantly comes through the speakers. Just like its swift delivery, “Tales’” production goes in the same way with its drum line. Alongside is a distinct dark-toned piano chord that never changes.

In this song, ScHoolboy Q lets loose and speaks on his past life and drug dealing days. Strangely enough, he was even depressed at a point which isn’t apparent on the surface because he’s never spoken about it before.

https://tidal.com/track/108025202

“How many tears am I gon’ shed ’fore I go? Uh/The pigs been on us, my heart been skipping/I lost religion, my nine ain’t perfect/A star is born, sometimes a drive-by needed/My baby mama paid the bills, I ain’t have shit on the smoke/The homies tell me I’m a burden but never threw me a rope/They left me hanging on the corner, my whole life is my stash/One more strike, I’m with the lifers, split the fifty in half.”


“Chopstix”

“Chopstix” will probably cause your car to switch into its hydraulic function. The third track off of CrasH Talk wavers in some appeasing auto-tunes from Travis Scott, a drum-kit, and reverbs.

As ScHoolboy Q spits about his lust for women with #thickthighsthatsaveslives, Travis Scott makes a tie between her legs and chopsticks. Still, self-branding his gangster, ScHoolboy Q raps about how he’s validated to pop shit.

“I’m a high profile, hunnid mile, flex/Flyin’ down the aisle, blowin’ loud, flex/I got a bad habit with bad habits/Beat the pussy up, stab at it/Divin’ in like I’m mad at it/Secured the bag, I need all static, ayy.”


“Numb Numb Juice”

“Numb, Numb Juice” sticks with the times, using a trap approach to make the crowds go stupid. He sounds so different in this track that it doesn’t even seem like he’s the one rapping at first. Maybe it’s because of his Kendrick Lamar-influenced production and flow.

The bass is very intimidating and just jumps at you like its lyrics. On sight, ScHoolboy Q is ready to go and it’s guaranteed that the gun won’t jam.

“We gon’ slide ’em, we lined ’em, straight reclined ’em/Pistol grip, I got all kinds of, I’m not your driver.”


“Drunk”

The fifth track “Drunk” uses elements of 1930s-era blues and jazz for its production along with a drum kit, hi-hats, and record scratches. Even though the duo isn’t really drunk and just a little buzzed — the slight slur in ScHoolboy Q’s voice might make the listener think otherwise.

https://tidal.com/track/108025205

As he tells us all about his family and personal losses, 6lack’s clear-cut, sooth vocality comes into play to add a sweet touch. While both speak on separate things — 6lack on “hitting-and-quitting” it and ScHoolboy Q on self-intoxication to get rid of the pain — you can almost hear a short-lived guitar chord and deep reverb.

“See the sirens pulling up, pigs on my ass, ayy/Even when the money come, gone way too fast, ayy/Why my grandma couldn’t live? Gone way too fast, ayy/Cousin murdered in the field, gone way too fast, ayy/Got a liver full of ‘yac, weed in the back, ayy/Got Cîroc for the hoes, chill on the stash, ayy/Uh, pass me the gas/488, stunt man, blast from the past.”


“Lies”

Derived from Ty Dolla $ign and YG’s authentic style, “Lies” has a subtle West Coast vibe for the artists to speak on the root of all evil — money. But the women they speak on also seem to place themselves in the same category.

https://tidal.com/track/108025206

Harmonious at most, Ty Dolla $ign sings the chorus “Stop tellin’ lies on me, that shit ain’t okay, hey, hey, hey/Lil’ bitch/You ain’t got no, you ain’t got no, you ain’t got no leverage.” All the while Schoolboy Q and YG speak on their experiences.

“Nine on my lap, I ain’t never play it safe/ I ain’t gotta rap to you niggas, been straight/You ain’t Q/Lying for the ‘Gram, bitch, you ain’t cute/Hate this, hate that, that ain’t cool/Said I did you dirty, but that ain’t true, ayy.”

Additionally, YG comes in on the second verse,

“You said I hit it raw, you lyin’/You said I ate them drawers, you lyin’/Reachin’ for the stars, you tryin’/The homegirls wanna beat your ass and now you hiding/I fucked you once, once enough/I beat it up, then left you stuck/We not in touch, you mad as fuck.”

The beat uses a bass guitar, drum-kit, harp, and even the clap effect to create the perfect orchestra.


“5200”

For the seventh track, “5200,” a flute, low hitting drum-kit, and random “caw” sound effect, force the production to scream “Kendrick!”

https://tidal.com/track/108025210

Still upholding his gangsta quality, you’d think one of the TDE members would be on this track but ScHoolboy Q rides it solo as he speaks on “doing the most.”

Essentially the rapper just speaks on his stain.

“Ain’t no smut, no chatter on me/Money on me, hundred on me/Both got rocks, look better on me/Spaceship parked, no landin’ on me.”


“Black Folk”

“Black Folk” is more laid-back, using a boom-bap feel to keep the old heads enticed. The production is spacious and has an undertone of kick-drums and piano riffs. Thus carrying the weight of ScHoolboy Q’s emotion and the track’s melodious chorus.

https://tidal.com/track/108025216

In this song, the matter at hand is money and his talent, which seem to just be a  waste. Despite all this, ScHoolboy Q keeps a positive demeanor because he “runs this” after all.

“I run this, I’d rather gun shit, I’ll hit the function/I’m basic, don’t wanna chase it, my talent wasted/I knows it, somehow I lost it, the way I folded/The black mind is where it started ’cause we was chosen/The water is where we crossed it and got to build it/With dreaming but lost the feeling, we stopped believing in, uh.”


“Floating”

Swag on max, “Floating” featuring 21 Savage makes you go Danny Phantom. The beat sneaks in with elevating piano keys that make you feel like you’re going through a ghost battle in a Pokémon video game.

https://tidal.com/track/108025217

It even has an undertone of heavy hitting kick drums that crawl under your skin. It seems like the two are in a haze because of a “ten-tone yellow pill.” Still, that doesn’t stop them from creating this banger.

Whilst ScHoolboy Q speaks on chasing his money and not these women, 21 Savage brings some light humor about how he’s doing the same and how his hater is just “a broke Ford Focus ass ni–a.”

To keep this energy are these lines from the duo, “The money I chase, the ‘Rari don’t break/You killing my pace, the Carti’ my face/A mil’ in my safe, now hand me that tape/Ten toes in the mud, who the plug getting wrapped?”

21 Savage adds,

“Can’t run the game ’round rappers (Straight up)/’Cause I hang around all robbers (On God)/Little nigga, do you got a problem? (What?)/Little nigga, we’ll come and solve it (Straight up)/Cash coming in, can’t stop it (21)/I’m running to the money, y’all jogging.”


“Dangerous”

“Dangerous” falls in as the tenth track with a distorted medley of dope sounds. Additionally, it is supported by a soft drum pad and guitar chords that send chills down your spine. From here we understand why Kid Cudi once sang that “Kids See Ghosts.”

https://tidal.com/track/108025218

As the duo talks about their altered state, Cudi uses his signature hum in the chorus whilst setting a dark and moody vibe. What also comes into play is ScHoolboy Q’s subtle mention of his past depression.

“Head is in the cloud with my stomach below/Somethin’ ’bout this feeling, I felt it before/Took this pill and it swallowed me whole/Pinch me on my arm, is it Heaven or fun?/If I don’t come back, had a hell of a run/Taste you through my nose, smell the death on the tongue/Can’t get high enough to get over the hump.”


“Die Wit Em”

As ScHoolboy Q brings back the trap feel in “Die Wit Em,” you’d think 2 Chainz’s would be a feature due to the direction the beat takes. But once again, ScHoolboy Q takes on this beat solo.

https://tidal.com/track/108025219

With a “40 on his lap,” ScHoolboy Q spits rhymes about how his eminence in the streets. In pursuit is some 808’s that gets the blood flowing.

“I’m a legend in the set, yeah/Your big homie getting checked, uh/The realest nigga out the West, uh/Makaveli in the flesh, uh.”


“CrasH”

Although his life has taken him in many directions, ScHoolboy is more than able to find his way in the twelveth track “CrasH.” Held-up by deep ad-libs, hi-hats, faint violins and kick-drums, ScHoolboy speaks with optimism.

https://tidal.com/track/108025220

He breaks the chains that have kept him latched down for way too long. Also, he speaks about his profound freedom.

“Tried to lock me up, but can’t catch this/Now where we touch down is on my X list, I’m on a fresh tip/Too much time of livin’ reckless/Now add that time up on my left wrist.”


“Water”

Having the water, no raindrop, “Water” featuring Lil Baby, ScHoolboy Q speaks on the apparent drip that they have. They elaborate on their “ice-ice” by using short-lived ad-libs, violin chords, hi-hats and 808’s.

https://tidal.com/track/108025221

Simply put, their swag is so dripped out that others might want to stomp in their puddle. The best line to capture this is rapped by Lil Baby.

“I be wet like I jumped in a fucking jacuzzi/Blue hundreds stacked taller than Uzi/Young hitter, got your vibe in here choosing/Tell these fuckin’ niggas they ain’t cool/Half of this thing’ll send you to the moon.”


“Attention”

The best of the bunch labels itself as the last track, “Attention.” The production has a New York 90’s feel. Intricately, it mixes golden rap with boom-bap and pays homage to rap icons Nas, Jay-Z, Tupac, Dr. Dre and more.

https://tidal.com/track/108025222

At most, the track speaks about his journey. Still, Q doesn’t forget to add a little humor in the chorus with an 8 Mile passage, where they were all in the parking lot, freestyling.

“M’s in the bank, I need all that, all that/Ten freaky girls, need all that, all that.”

All in all, CrasH Talk focuses more on a modern day sound. Even though ScHoolboy Q took a long hiatus, he shows why he never lost his place, to begin with.

He’s always been that ni–a with the strap. Still, he doesn’t put on a facade like the others. In a world full of losses, ScHoolboy Q takes a W… Every single time.

You can stream the entirety of CrasH Talk below

https://tidal.com/album/108025200

Dream Surfer is the musical expansion pack we’ve all been waiting for

Way before Netflix or social media, video games were our kryptonite. 

As kids, we’d stay up till the break of dawn playing these innovative games on our system of choice but due to technologies growth, they may seem like yesterday’s news. J’Vons Dream Surfer proves that theory wrong. 

In a word, Dream Surfer gives you some flavor in your ear. J’von takes a different approach to the rap game — using his “spoken word” rhyme delivery to motivate and relate with others.

 

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The production is reminiscent of our childhood and it levels up with a fine-toned organ, 808’s, 8 bits, guitar chords, and chiptunes. 

Some might even add that Dream Surfer is a bit of everything — lo-fi, rap and even R&B! Nevertheless, it’s the perfect balance of today and the 2000’s music style. 

Dream Surfer’s interactive nature begins with the first track called “Surf1000.” 

The beat creates a nostalgic, warm ambiance for the listener. Still, “Surf1000” never changes its element. The introduction of the song tosses in coin effects, 8 bits and an organ that tries to keep up.

https://tidal.com/track/103856861

J’von’s message is just as powerful also.

The sun always shines somewhere/You just have to be in the right place.

Then the second piece follows in after the introduction with a blaring kick-drum. J’von goes on to speak about how he’s going to make the important ones in his life proud and give back the love that they gave him. “I’ma make my woman proud, make my mama proud/Make my ni–as proud, make my brothers proud.”

“Surf1000” then closes out with 8 bits and a pleasant guitar riff — assuring that “Money won’t save the world, little nigga.” J’Von then gets real deep, speaking on what he’s learned over the years.

“Bro locked up on a forced intrusion/Victim suffered all sorts of contusions/And they’ll wrap up the Black man/‘Cause the Black man gets wrapped up within court.”

Combative by nature, the second track “Mission Start” begins with the chant “we gon win’ still.” The beat even uses 808’s, synthesizers, and 8-bits to keep the same energy. J’Von is a force that can’t be stopped and he highly expresses that in this line “I’m the stone that the buildin’ refused ’cause I been real

https://tidal.com/track/103856862

“Mightier than the sword, I had the pencil, yeah/Stay waitin’, stay patient/Makin’ a shockwave blazin’ the plagued stations.”

Afterward, the beat segments with another message about his re-appearance in the game — the focus being more on its synthesizers and 808’s but it daggers in 8 bits every now and then.

He apologizes for his tardiness but he’s back and better than ever.

“I’m passin’ a tape, I’m sorry that you had to wait/I’m sorry if I left you behind but, ni–a, I had to shake (Had to shake)/Wasn’t actin’ fake, I had to escape, the comeback is great/I further the movement, I over-exaggerate (I over-exaggerate)/Lackin’ in faith, my face would exacerbate (What)/I’m glad to make half my people laugh at fate.”

“Loverboy Castle Music” falls in as the third track. Although there are no segments in the production, it’s still appeasing. “Loverboy Castle Music’s” vibe is created through its illusive synths, guitar chords and 808s.

Going even further, J’Von does a little singing — serenading his lady with the phrase, “I just wanna see you in that lingerie.” The two had plans to go out but once he saw her, everything changed. He wants her. She wants him so they rush out to get between the sheets.“Made plans to go out, but I don’t really feel it now (Yeah)/Fast-forward and I’m already wasted.”

“We lookin’ good, she tryna fit it out/She said her body called, I can hear it now (I can hear it now)/She said here and now (Right), she said here and now (Right)”

Clearing his throat in the beginning, J’Von uses the vacant space of “Ropechain” to say “Maneuverin’ with the groovy move through again/Who is him? They don’t know what to do with him/Grips loosen, losin’ him.”

The 8-bits, deep tuned guitar chord and synthesizer then follow in — yet at 1:31 the beat throws in a faint xylophone and piano keys. J’Von wants his current love to take things slow because he’s still recovering from his hiatus but it seems like she has other plans.

https://tidal.com/track/103856864

Towards the end, the song goes into her perspective and she sings “Hold up, hold up, wait, wait, I can’t slow down for you/He’s the most wonderful boy I’ve ever met my whole life/I can’t stick around for you.”

The fifth track “Thundersurfer” speaks from J’Von’s perspective after the split.

“Had to make moves, I just hoped that you would wait for me (Yeah)/Even when we done I pray your mama still pray for me/It’s dark outside and I’m runnin’ full speed/With these ghosts still chasin’ me.”

https://tidal.com/track/103856865

Even though he’s in the feels J’Von knows that she deserves the best. In unison, the xylophone, hi-hats, and organ help his delivery. 

In the sixth track, “Water Lvl 9,” J’Von cries out “don’t fall in love with me.” At first, the beat is erratic with its laser beam effect and 808’s. But it helps to convey why J’Von feels this way.

He feels “all messed up inside” so he’s giving off a warning. Known for its segment in production thus far — “Water Lvl 9” then takes the listener back with watery effects.

https://tidal.com/track/103856866

Even when he’s just bared it all on the track J’Von still brings out his gangsta appeal.

“The shit’s deeper than shotgun blastin’, hot ones flashin’/Burnin’ through with passion, ain’t plot none/Ni–as be talkin’ about a spot but ain’t got one/I don’t know you bird ni–as lingo because I’m not one.”

“No More Toys” takes a futuristic approach/ The song features a xylophone and 8-bits to keep things going. It’s kind of hard to understand what J’Von is saying because his voice is altered with auto-tune but at 2:02 his voice is clear as day.

https://tidal.com/track/103856867

He speaks on how most of these dudes are jokes. They focus on things with no significance. Still, J’vom stays focused on himself.

“Where I come from, you either hide skeletons or become one/You a hatin’ nigga for real/He would always rock a fade but would never run one/Humble nigga, most of all my victories is unsung/Who you gotta go to when you really need someone?

A continuum of the third track, “Loverboy Castle Music Pt 2” seems a bit more upbeat but still uses the same illusive synths, guitar chords, and 808s. J’Von seems to be fooling around with someone but thinks he shouldn’t because it’s just messing with his emotions.

“It’s just some magic shit, you wack, Shadisha/Get adamant on who you happen to split the magic with/If you not okay with the splittin’ of the magic you have to quit/Because one-eighth of the magic is close to magicless.”

https://tidal.com/track/103856868

The end of “Loverboy Castle Music Pt 2” leaves build-up for the second to last track, “Red Beanie.”

The ninth track, “Red Beanie,” is “just too real with it.” The beat takes a 2000’s approach by using scattered warm synths and the famous low pitch bell sound.

Still, it never misses a beat.  Also, bringing in a wave of 8 bits — J’Von uses this song to speak about how his feelings are resurfacing once he sees his ex at the function he’s at.

https://tidal.com/track/103856869

Still, he’s not tripping about her.

“Can’t front, she still look like nougat/And she lookin’ right at me like she knew it and I blew it/She don’t remember dinners or jacuzzis/But the things we used to do, but I guess it’s cool/Got a text about a function, I’ma come through/‘Cause I don’t wanna be at home thinkin’ ’bout you.”

Finally, the tenth track, “Ur Not Around Anymore,” speaks volumes on what he’s really feeling. J’Von is miserable without his other half and just wants her back. On the whole, it’s different when she’s not around.

“I’m a real ni–a, I got a troubled soul/But I feel no troubles when I hold you/She don’t see the demons or the things I had to go through/Told boo to roll through in slo-mo, too/So smooth, the way she did it right/Ghost chasin’ the boy.”

https://tidal.com/track/103856870

The production also uses a racket of effects to help J’Von express himself — a metronome, piano riff, and 808’s. 

All in all, Dream Surfer is one hell of a sonic experience. Make sure to stream “Dream Surfer” now. It’s available on all platforms. 

https://tidal.com/album/103856860

Why 2019 is the year you’ll remember ATL’s UnoTheActivist

Straight from the ATL, UnoTheActivist is racking up numbers just like his hometown. 

Although most would consider him a rapper — the artist likes to venture into auto-tune every now and then. But despite all this, UnoTheActivist doesn’t want his listeners to get lost in the sauce. 

In fact, he makes it very clear in his interviews that his style is untitled. At most UnoTheActivist considers himself a visionary. 

While he is certain that music will always remain with him, UnoTheActivist says that he won’t be rapping forever. The artist might drop an album with live instruments, sing or even rap at times, but it’s just to take people into his world.

Moving forward, he plans on being a CEO. His goal is to become a mogul. A legendary story if you will.

Without delay, UnoTheActivist began rapping as a hobby with his cousin Playboi Carti in high school. The 2015 style he carried wasn’t him, to say the least, but as the artist got older he discovered his versatile ways — steering clear from “bubblegum rap.”

After graduating he decided to go to college but UnoTheActivist decided to put his focus fully into music instead, releasing his first mixtape No More Thotties and then his single on Soundcloud  “Parkin’ Lot Pimpin.”

https://soundcloud.com/678uno/parkin-lot-pimpin-feat-fauni

Eventually, 40oz featured the single on his HNHH playlist. After that, the blessings began to unfold. 

UnoTheActivist’s moniker comes from his birth order and happy-go-lucky attitude. “Uno” came into existence because he is his father’s first born and “The Activist” signifies the message he seeks to give fans.

According to UnoTheActivist, positivity is the key element. In the same way, listeners can expect his exploit of ‘trap’ to be comparative. As Ërykah Badu would say in reference to her song “Bag Lady” — it packs light. 

Yet at times UnoTheActivist proves that not everything is all sunshine and rainbows.  Even so, UnoTheActivist’s discography garners attention. You really see his artistic growth in each album.

 

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It’s like seeing a rare Pokémon 👨🏿‍🎤 S/O @faunifigueroa for bringing me out. DIG!!

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His first EP No More Thotties is like Mortal Kombat meets trap. Uno locked, re-loaded, and packed his first tape with Migos-like flows, clever punchlines, metaphors, and solid verses. Essentially the EP speaks on his drip, noncommitment to women, leeriness and his experience when sippin’ lean.

To the tee, No More Thotties uses the famous gun and cash register effect, heavy, dark 808’s and futuristic synthesizers. As an example, the fourth track, “Plenty [Clout]” leaves room for Uno to use each theme at once.

“Pull up to the trap with a trash bag for the gas boy/Bougie bitch, but you know I’m finna smash hoe/Two door whip with my 40 on the dash/Niggas playing, get to spraying, get to blasting/Now his momma praying cause her son just had pass/Watchu saying, I’m the man with the xan/Niggas plotting, niggas watching.”

Fast forward to 2017, and UnoTheActivist shifts his perspective in Live.Shyne.Die — keeping the focus on lyricism, positivity and transparent 808’s. But in spite of this, UnoTheActivist still speaks on similar topics as No More Thotties but he’s not the same as before.

https://tidal.com/album/79015765

A bit more humbled —  the star says in the third track “Check it Out,”

“Oh let’s get its / oh let’s get it / I used to be serving the midget / now I be serving the pigeons / my Bitches birds / all of them flock like a pigeons / all of this water , it’s Money I’m in / really I’m swimmin.”

He even brought in Kodie Shane, Trippie Redd, Famous Dex, and Lil Durk on the project in order to get messages further across.

Limbus Part 1 and Limbus Part 2 are his most recent albums. Though the names would hint that they’re a continuum, their production gives off another idea but regardless the whole thing slaps!

Just like heaven vs. hell, Limbus Part 1 is hell — gloomy and daunting. While Limbus Part 2 is heaven — ethereal and cheerful. Their common ground seems to be the theme UnoTheActivist sticks to — women, swagger and separating the real from the fake.

https://tidal.com/track/100008923

Said best in his song “Cloned Existence,”

“Yung Shyne, can’t forget the young baby/Walk inside the club, I won’t forget my gun, nah/Now I’m the hottest there right under the sun/Lord he blessing me, I hope I don’t blast nothin’, yeah/They asked me when I got so cheap/I said I made so much money want to keep it all for me, I’m sorry/Like I’m Gleesh, leave your ass deceased/My pockets got a disease, it’s called obesity, dig.” 

Still, the newly aged 23-year-old has an excuse so you can’t give him a hard time. He’s young and will live it as such!

At an all-time high, he managed to release two new singles over the course of six days! “Show Stopper” presumes how he’s the man of the hour. “Ooh feelin like Pac, I put my wrist up and then they all stop. Your diamonds are hoax, I got the Draco infused wit’ the Glock.” While “WAYDT” is in unison.

“Makin’ my wrist froze, I had to throw on ice, ooh/Put Chanel on your hoe out of spite/Girl, I won’t tell if you don’t do him right/This what we doin’ today.”

Simply put, UnoTheActivist can integrate different genres and topics into his music. It gives him leverage to connect with any age group. He may not be Young Thug or Lil Wayne but one thing is for certain, he is “the only positive ni–a in the trap.”

Stay on the lookout for the visuals for his latest track “Glad You’re Back (Ashanti).” Uno is looking to drop that soon, fam.

 

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DUE TO THE FACT ITS OTW!! DIG! Glad You’re Back (Ashanti)

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Ta-Ra’s album ‘RARE 1’ is the sonic experience we’ve been searching for

Last year, on May 23, TA-RA posted another flawless selfie with the caption “Solar System Angel.” Little did she know that this caption would be the forefront of her latest 10-tracked album, RARE 1.

Sonically soothing to the ears and a confidence booster, TA-RA’s RARE 1 takes a futuristic approach to the R&B scene.

 

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★☆✰✪✯……….:.Solar System Angel ⛓⚙️🛰🌌

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Her glittery, trance-like vocals and different studs of production seem to make listeners starry-eyed. It’d be no surprise if the Billboards chose to “make it go gold, make it go far.”

Nevertheless, Ta-Ra knows what she brings to the table and this album just proves that.

“This project is really about affirming oneself by understanding that through myself I am everything else and that every living being is rare and needed,” said Ta-Ra.

From time to time the French singer even uses Japan’s notable economic growth to drive her sound. But even so, the album artwork speaks volumes for Ta-Ra. Its special effects look three dimensional. Additionally, specks of purple, grey, and green are used to portray her as the universe.

 

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#RARE1 ©️📂OUT February 22 / Cover by @tuaregshawty + @laura_ma_ + @hologramedias + Clement D.S

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Still, she thanks her lucky stars for being an entity. Without them and music, Ta-Ra would feel alienated. RARE 1 starts off with a track that’s sure to “work ya body” called “Avatar.”

Deriving from Japanese roots — the track uses a flute and faint glass ping effect to capture its essence. To keep it even more trill, Ta-Ra even adds in a drum kit to propel the message further.

To me, this track would be a great addition to the movie Carmen: A Hip Hopera’s soundtrack. Essentially “Avatar” is seductive by nature but she’s not wailing like Beyoncé to Mekhi Phifer, “C’mon and touch me D. I know you want to.”

Instead, Ta-Ra shuts out those scumbags and gives a word of advice.

“Where you at? That’s what I get the most, I’m lowkey/You wanna tell the world the motion, take it slow emotion/I’m excited when it’s getting crucial/If you wanna ride you better get a purpose.”

The second track, “Spyro,” fits its name. From its echo sound wave to the scattered synths and looped piano, the production remains elusive.

You’d think that Ta-Ra was referring to one who schemes on obtaining information yet the R&B singer is comparing herself to Spyro, the dragon from the timeless PlayStation video game.

“I’m a pyroman, Spyro baby/ Throwing tantrums, throw a flame/Got volcanos in my brain/Young shawty.”

In the gist of things, “Spyro” has a combative yet sneaky appeal. Ta-Ra doesn’t trust anyone. They’re just way too envious.

“Swear these witches do not want me at the top/ I made ways all I do touch turn into gold/Planet Earth called saying that you was a hoe/I’m so high we different, I’m an astronaut/Capricorn, you fuck with me cause I’m the goat.”

Driving a spacious Japanese sound once again the third track “5star” uses an elevated UFO sound effect, woodwinds, and organ chords whilst referring herself to “a scientist alchemist” or “the biggest mistake of all of her exes.”

Here, Ta-Ra is boasting her realness.

“I’m real until my death, I could never fake it, ouh.”

Still, what stands out from the very beginning is that reference, the one her Insta followers know and love — “Solar system angel, I am flying on a comet.”

Not missing a beat, “Nebulas” rolls in as the fourth track on Rare 1. She struts her stuff from the very beginning. “Proving this, Nebulas” starts off with a vintage “walking down the runway” sound and synth keyboard that seems to dance around.

As Ta-Ra croons soothingly “I’m on a call with you. If you with it shawty. I’m finna die with you. As long as you ride my sky is blue.” The listener thinks of their own undying love for their friends as well. The purpose of this song is for Ta-Ra to show her devotion to the real ones.

“If you homie you my family.”

Pleasantly the fifth track, “Falcon7” starts off with an out of tune guitar riff that finds its way to our reward circuit. From there the track just keeps getting better — easing in with snares and a low piano chord.

As Ta-Ra allows herself to be vulnerable, she speaks on how her heart is just way too big. Despite being done dirty, she manages to clean it up with forgiveness but now she’s questioning her motives from now on.

Fool her once shame on you, fool her twice ‘can only put the blame on you. Simple.

“My love for you is a constant intake/I keep on going and going for them/I’m about to go off ’cause they abusing it/Oh, I am all of your call/Falcon high, vision installed/Them no high, vision is low/My love for you is inevitable.”

“Talking to the stars and sky alone” the sixth track “Nymph” speaks on a future love she just can’t seem to get out of her head. Although she has yet to meet him, Ta-Ra hopes he’ll come soon.

While the xylophone and hi-hats bang in, Nymph creates a nostalgic atmosphere. As we make a wish, we beg for “the one”.

“Hello, hello, hello…../I’d love to meet you/Where the f*ck is you/Is you right and how you do/Waiting on you/Every moon/I been looking like a fool.”

For RARE 1’s seventh track, “OG Love Key,” Ta-Ra uses 808s, a drone sound effect, and dream-ridden vocals. Thus, taking us to another level.

Hesitant about giving her all to a new love, Ta-Ra professes how she’s feeling and even if it’s tough, she’s willing to try because she is really fond of him.

“Swimming in your waters I don’t care about your sharks/I give love to you/It’s tough/I’m about to lose it ‘cause I need that OG love.”

More of a pop-ish song, the eighth track “Exit” features Vroskiii. Additionally, Ta-Ra slides in some rhymes. It merely has a futuristic vibe with its looped synths & reverbs.

Still, the song comes with a powerful message. They speak for others out there who have a similar feeling and are looking for a way out.

“Tryna find a way out/See the kids up in my city/Shanghai Tokyo and in Paris/All they tryna do/Is tryna find a way out.”

In the same fashion, Vroskiii expresses how he’s going to continue doing him. All in all, society can’t keep him chained. He’s breaking free. “Tired of those wanting a piece of me. I’m doing me doing what I want…”

As the ninth track, “VenusFlower” lays out a beautiful harp, a scale of futuristic sound effects and 808s. Ta-Ra adds to the calm aura with her soft vocality. Alas, she’s ”planting all the seeds of all her love into his garden” and is ready to “ride down the coast where he likes to fly.”

When she hits those high notes in the same manner, you feel warm and enthralled. As the quote goes, “Pressure makes diamonds.”

Lastly, the tenth track “NorthStar” speaks on how “she’s on level 50 in the building.” I am unsure if this song’s purpose is to speak on independence or finding love but nevertheless the core of it is discovery.

“Got the space and time/You rolling with a dime/Brain cells getting so overloaded Northstar/Got me on my path/I’m rocking with it/Got my Northstar I been wishing/Praying for a second/With it.”

In the background expect to hear a sci-fi machinery loop coupled with a dagger of synths. As for her vocals, the repetitive verses just bring you back to earth. It’s a track that makes you do some reflection.

To put in words — RARE 1 will have you over the moon. It’s a timeless piece of work and will never depreciate in value.

For RARE 1, Ta-Ra went beyond the realms of conscience. We might not be Martian’s but we are so similar that it’s almost unimaginable. Like Ta-Ra says in “Avatar,” “If they know the way to power we on something much louder.”

If you are curious, stream Ta-Ra’s entire album below via this audiovisual experience.

Anderson .Paak’s new album ‘Ventura’ is unifying and funky

Rewinding the hands of time — Anderson .Paak gives us that “automatic, supersonic, hypnotic, funky fresh” sound we seemingly love in his latest album Ventura.

With this in mind, you’d think that Ventura and Malibu’s sound are alike but they aren’t. Malibu was more personable. Ventura speaks on unity.

 

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It’s a given that most will get up on the dance floor while listening to this nostalgic piece. Still, Anderson .Paak furnished features from icons Andre 3000, Smokey Robinson, Lalah Hathaway, Jasmine Sullivan, Sonyae Elise, Brandy, and Nate Dogg to keep us on our toes.

In the same way, Ventura does the same with its subgenres like soul, disco, and alternative R&B. Still, the main thing for keeps on each track is Anderson’s distinctive husky vocal pattern.

It just “begs you to come home” and at once you’re in your younger years, at your local rink or at the jukebox slow dancing with a cutie.

https://tidal.com/track/107325495

This groovy 11-track collective starts off with “Come Home” featuring Andre 3000. Pleading for a reconciliation with his true love, Anderson .Paak thinks they should stop playing the blame game because “all of the signs are brightly drawn” and point back to her open arms.

The Motown inspired production also gives Anderson .Paak and Andre 3000 some leeway to take the song in many directions (the guitar riffs, piano’s low/high register to the kick drum and even the flute.) Yet the matter at hand forces them to stick with what they’ve got.

Right after Anderson.Paak says his piece, Andre 3000 goes in with his internal rhyming style — giving his love something to chew on. For the listeners worldwide, how’s that for food of thought?

“We fightin’, we might need counseling, possibly more-so me, Sounds to me frowns’ll be grounds to leave, Hounds’ll be lookin’ for you before you drop a tear.”

The second track, “Make it Better” featuring Smokey Robinson oozes with a refined version of 70s soul. As Anderson .Paak uses his honeyed voice simultaneously with Smokey Robinson — you can’t help but think that Paak’s gotten some pointers from the legend!

Like, “Come Home,” Anderson .Paak sings about mending his relationship. Although it seems difficult, he knows that together things could get easier if they just keep on trying but she will need convincing.

“Somehow, we fell in love, then fell right out of touch. And ooh, that was hard. But ooh, here we are. And it’s easier to walk away. Then to look for what would make you stay.“

Their crooning is followed by dynamic guitar riffs, the famous kick-drum & a projectile violin.

“Reachin’ 2 Much” featuring Laila Hathaway reaches for a medium and it does an exceptional job. From the organ chords and bass drum to the horns, claps & futuristic sound effects — this two-part track perfectly expresses how disco & funk should sound.

As Anderson .Paak tries to figure out if the girl he’s speaking about is on the same page, Laila backs him up with her trancelike harmony & scatts.

https://tidal.com/track/107325497

“I see you too much, baby, I need to (Take some space)/You kiss me too much, baby, forgot to (Wipe my face)/I treat you too much, baby, why don’t you (Ever pay?) I think you’re too much, baby, I need to (Pump my brakes)/(I think I’m doin’ way too much, I)/How can one thing mean so much to you and (So little to me?)/You stay here too much, baby, you know it’s (Not your place)/You’re sniffin’ too much, baby, I had to (Hide my yay’)”.

This song perfectly describes what it’d be like if someone had a friend with benefits & the friend wanted more than benefits.

The fourth track, “Winner Circle” goes for a Musiq Soulchild vibe, blending jazz with hip-hop. Most of his life Anderson .Paak has played his cards and versatile rhymes right, but he’s also played the roles of the women who’ve given him attention.

Still, there’s this one girl.. one girl who’s different from the rest.

https://tidal.com/track/107325498

“They gon’ have to come for me/Came out my comfort zone to be your missing company/Somethin’ about the way you never gave it up to me/But let me know that I can get it any day of the week.”

By the fifth track, “Good Heels” featuring Jazmine Sullivan, Anderson .Paak goes back to his player ways.

Singing from two perspectives, Paak finds himself in a sticky situation when his side chick leaves her keys and clothes in his house, but with his girl on the way, he can’t risk letting her in through the door. His greatest vice for her,

“Pull up, uh, the fire escape, uh Open up the window, get your little thangs/Get your little keys, get your little rings/Just free in the wind, though, before she see your face.”

https://tidal.com/track/107325499

More liberated than ever in the sixth track — “Yada Yada” keeps the funk going! Anderson .Paak speaks about how grateful he is to be where he’s at now because things weren’t so grand before.

He goes from rapping to singing and it just goes to show why he’s here, to begin with.

“When the dreams become reality (It could be)/ It’s hard to keep a smile off the mug (Look at me)/Label tried to play me like I didn’t do all the work/I found another way through the open gate and my purpose/Now I’m goin’ crazy like (Right).”

https://tidal.com/track/107325500

Keeping the same energy the seventh track, “King James” pays its respect to Lebron James for standing up for his people.

Though it is admirable, Paak charges them to do the same. Check these lyrics,

“And we salute King James for using his change/To create some equal opportunities/Cold stares can never put the fear in me/There’s a movement we’ve been groovin’ on/You can move or stay your ass asleep/Let’s just not talk about it/Everything they tried to hide/We’re taking back for yours and mine. Out of everything that the production brings, the whistle blows makes the message stick out like a sore thumb.”

https://tidal.com/track/107325501

“Chosen One” off of Ventura uses a sped-up sample of “On The Level” by Mac Demarco in the first piece but then expands on its own with a snare drum, trickled piano chords and low guitar riff at hand.

In this track Anderson .Paak speaks about finding a girl who loves him for him instead of his fame.

“Who gon’ love me and touch me the right way/Need me a lil’ baby/Who gon’ run up and jump in the fight with me/Need me a lil’ lady/Who gon’ keep it buck like Milwaukee/Need me a lil’ lady.”

He adds some spice to the sugar talk is Sonyaè Elise, who uses a bit of sex appeal in her vocal play to accredit her loyalty.

https://tidal.com/track/107325502

We still want the funk and Anderson .Paak provides it (still) by track nine — “Jet Black” featuring Brandy. More refined with some R&B-ish crooning from Brandy, the song gives you that “good lovin’” feeling.

To put it in words, Anderson .Paak and Brandy sing about how great their love is.

“We peakin’ hands above us/Feels like someone lifted me/We peakin’/Arms like lovers/Feels like someone sent for me (Sent for me, yeah)/We peakin’.”

https://tidal.com/track/107325503

It’s hard to zone out by Ventura’s tenth track, “Twilight” because of everything you hear. In midst of the bouncy bass line — you start to believe your ears are playing tricks because Paak starts to sound like Isaac Hayes but in reality, it’s still the multiverse artist.

Merely an ode to his love, he expresses how grateful he is to have her in his life.

“You’re my twilight when it’s awfully dark and I lost my way/ ‘Cause when my life feels off the mark, you put me back in place.”

https://tidal.com/track/107325504

Last but not least, Ventura‘s last track “What Can We Do?” features savored, archived vocals from Nate Dogg.

The album doesn’t contain more tracks so…what can we do? All jokes aside — in this song Paak is trying to figure out what to do next after the end of his relationship. But so far he’s got nothing.

“Cause my love went wrong/Yeah, another bag and she’ll love me in the morn’/While the bubble over stove/As I was dreaming of a bag, then I woke/You were starting to snore, wake your ass up/Layin’ in a bed full of cash/You slowly rolled over and whispered back to me/ “That’s just the way things have to be.”

https://tidal.com/track/107325505

The production resembles G-Funk. Despite what Paak’s going through in this song, he’s still illmatic and funkadelic. On the real, like its name, Ventura gives off feel-good vibes.

At best it’s an eccentric mix that hones in on Anderson .Paak’s skill. He’s come a long way from those open mics at Leimert and he’s on the point of no return. Slowly but surely, Ventura will continue making its mark.

Peep the entire album for yourself below. Ventura is a great listen.

https://tidal.com/album/107325494