LIL YACHTY'S LET'S START HERE BY: Ian Sherry 2/14/23 My go-to word when asked about Lil Yachty’s music has always been “fine”. That’s exactly what it is. To be fair, he does some things really well. His production is often compelling and he showcases versatility in his delivery when he is at his best. He also has been a part of a few fun pop crossovers. But, those songs are just that: fun. He falls victim to repetitive flows and occasionally leans too hard on autotune, but these problems aren’t unique. That is probably my biggest issue with Yachty: he is very talented in multiple facets of music-making, but he still makes mistakes that every other mediocre mainstream rapper does. So, as much as I like Yachty as a person, prior to this release, I would describe him simply as “fine”. The last few years have been interesting for Yachty. He’s gained a sizable media presence, mostly because he is a genuinely entertaining personality. He also has expanded musically. For example, in 2021, he decided to come to Detroit to make his album Michigan Boy Boat. The album featured some of the biggest artists in the Detroit scene -Tee Grizzley, Sada Baby, Babytron, YN Jay, RMC Mike, and Rio Da Young OG, to name a few- and his deep dive paid off in what felt like an authentic Detroit Rap project. As a Detroiter, I can attest that although for some people Detroit Rap can be an acquired taste, it is unique and hard to duplicate just for a given album. For the most part though, that is exactly what Yachty did, embracing the punchline-focused delivery that makes Michigan artists great. On top of his time in Michigan, over that last year or so, Yachty has reportedly been a part of studio sessions for several rap projects, and he’s written songs for other artists as well. He also released his single “Poland” recently which immediately blew up because of its show-stopping autotune, even though it was admittedly one-dimensional. There was some buzz over his upcoming album, but, even with the knowledge I had, I still wasn’t convinced it would be more than just a slight improvement over the previous Lil Boat albums. Simply put: I was wrong. Let’s Start Here is essentially an alt-rock/hip hop crossover, and it's good. The album could not have started out with a better track. “The BLACK seminole.” starts with heavy base and drum hits, immediately diving into the unique atmosphere of the album. Then, after the first verse, the guitar comes in. Not just a guitar riff or sample, a guitar solo. Not only does this speak to his immediate commitment to this new concept album, it shows his confidence in his musical expertise and versatility. After a somewhat lengthy tension release (something Yachty does well on this record), “the BLACK seminole.” finishes with the moaning vocals of Diana Gordon, who is brilliant throughout her multiple appearances. Once again relieving some tension, Yachty rolls right into the second track “the ride-”. It’s a relaxed, upbeat track that feels like Yachty’s version of what Steve Lacy does often on his 2022 album Gemini Rights. And, guess who is featured! Steve Lacy. Steve’s feature is simple and enjoyable, even though simplicity is not Yachty’s style on this album. Upon closer listen, “the ride-” has plenty of complexity to it. The baseline which roams throughout the song, keeps pace and bolsters the song’s personality. The third song “running out of time” is very easy to listen to, as is the fourth song “pRETTY” which features autotune reminiscent of “Poland” and a solid feature from Foushee. Unfortunately track five raises my first big issue with the album. “:(failure(:” is an interlude that consists of Yachty reflecting about his failures in a roundabout way. Here’s the thing: Yachty has a great personality. The problem is the placement. He led off the album with four great tracks but he then broke up the momentum with an interlude that could have slotted in anywhere. “THE zone” and “WE SAW THE SUN” come next. Both have their strengths. The first features, possibly, his best songwriting on the album, and the second includes more great autotune and a perfectly done mini-interlude. The interlude reminds me of some of Kendrick Lamar’s best. It simultaneously entertains and leads into the next song, as the bass kicks in towards the end for a seamless and satisfying transition. “drive ME crazy” and “IVE OFFICIALLY LOST VISION” mark the last two Diana Gordon features. Her impact on this album is probably greater than it appears on the surface. Her voice is a familiar mix between Alanis Morrisete and Tracy Chapman, and it adds completeness to the album by tying songs together stylistically, in a way miscellaneous features could not have. “sAy sOMETHINg” flirts with Yachty’s habitual repetitiveness but avoids it by pushing the limits of autotune and leaning into it heavily from the bridge throughout the conclusion of the song. “paint THE sky” opens with a muffled sample of the Weeknd’s “Save Your Tears”. Yachty does a mild stylistic Weeknd impersonation for the remainder of the song and executes it tastefully. “sHouLd i B” and “The Alchemist” combine for the weakest pair of songs on the album. Both are fairly repetitive, and though they stay within the niche of the rest of the album, they are missing the palpable creativity on every other song. “The Alchemist” has a nice finish that leads into the album’s final song. But aside from that, I could do without them, especially on such a strong and reasonably lengthy (57 minute) album. “REACH THE SUNSHINE” is the final song on the album. Although it doesn’t reach the heights of the opener, it brings in some of the same elevated vocals. Daniel Caesar has a great feature, adding to the atmosphere of the album’s conclusion with great vocals. Yachty decides to ride out the album on a wave of synths and sound effects, the same synths and sound effects that create the exotic sonic world that is Let’s Start Here. Lil Yachty’s Let’s Start Here is a musically alternative take on mainstream music industry style. It has its flaws, namely: the occasional grating vocal performance, incoherently high decibel combinations of instruments, and Yachty’s repetitive flow. But, it is a triumph nonetheless. Let’s Start Here sits in a strange yet surprisingly common set of circumstances, where the album can easily rub a given listener the wrong way. Yet, it would be a mistake to miss the genius behind it regardless of personal taste. Other albums that share these circumstances, especially within alternative hip-hop, are: Tyler The Creator’s Igor, Danny Brown’s Atrocity Expedition, JPEGMAFIA’s Veteran, even Death Grips’ The Money Store. If you’re familiar with those, I think Let’s Start Here is on its way to their level. Yachty is young, talented, and after this album it seems he’s poised to start making timeless albums. Lil Yachty’s Let’s Start Here is an 8.5/10.

RAYE: The real deal BY: IAN THOMAS SHERRY, 5/4/2026 Raye dropped her smashing LP THIS MUSIC MAY CONTAIN HOPE. on March 27, and if you’re just now hearing of her, you’re late. It was Saturday Night Live (which is generally upholding the tradition of quality musical curation on variety shows, Arsenio, Chappelle, all the way back to Ed Sullivan) where I first discovered Raye. That was before her three Grammy nominations, and I was late then. Now, we’ve entered a new era of international pop. My 21st Century Blues (’23) was an ambitious foundational record, the product of Raye’s departure from Polydor Records. I listened to the debut in the wake of my stumbling upon Raye and knew she could do better. The sturdy collection of long-fermented music featured a variety of pop and r&b flavors plus flashes of her tone as a writer, yet despite its critical acclaim (especially across the pond) I found it musically thin and thematically broad. Not to worry, neither of those tropes are present on this 2026 LP. “Intro: Girl Under The Grey Cloud” is an excellent entrance into the most theatrical record I have ever listened to. The music of musical theater, especially when removed from the performance, makes my stomach turn. That is historically, but Raye’s sonic gravitas, worldbuilding, monologuing and all around-performative efforts can be described as nothing short of theatrical, so here I am at the breaking point of another personal precedent. The songstress stumbles from one stormy scene into another as (Track 2) “I Will Overcome” rumbles around. The true intro more-or-less continues the narrative: a drunk gal out on the town, far past anyone’s bed-time, searching for the answers to, well… everything. The focus narrows over the next four tracks. Time to more deeply address the sound I suppose. It’s a bright pacey pop, boosted by a 21st century studio and big band thunder, background vocals and a prancing matriarch at the center of it all. Raye preaches warnings on the (Track 3) “Beware.. The South London Lover Boy.” She tells a precautionary tail over a twirling keyboard/808 hook on (Track 4) “The WhatsApp Shakespeare.” Then there’s the theatrical masterpiece (Track 6) “Click Clack Symphony.” Raye revisits her well of 20-something depression and treats her vulnerability with girlpower. She assembles the gals, “send the call out, send the call out!,” and sets out on the town hoping to lose the inside thoughts outside, using the click-clacking heels as her beat. (Track 7) “I Know You’re Hurting.” must be the day after. This tune is the page-1 example of the triumphant music achievable at the peak of pop. When combined with the wholistically performative sensibilities of someone genuine, spirited and talented like Raye, a pop studio can create tear-jerking moments in the middle of Walmart. HUT. And now a brief advertisement for America’s second son, Jazz music baby. Well, ‘we’ brewed up this mystical instrumental gumbo with European instruments, so I guess it’s only fair that they get a take on it. Still, I often hesitate to consider the big blaring British bands I hear on 007 soundtracks to be jazz. I mean somewhere below “Gold Finger”s hollering horns Jimmy Page was just lurking, playing sheet music, a proper jazz band would’ve drawn that behemoth out, no? But still, the branches of British jazz bear undeniable fruit, Amy Winehouse at the very minimum. “This song is called ‘I Hate The Way I Look Today’,” says Raye. A statement of fact is followed by a beautifully bumbling brigade of similar thoughts as she raps and rambles, in true jazz style, a laundry list of complaints about her physical person. Comedic, relatable, listenable, Raye refuses not to check all the boxes, and this jazzy break at track 9 was a brilliant move to further flesh out her musical chops and back up a big claim from track 2: “And it’s funny, some people say I remind them of Amy.” Call me some people. (Track 10) “Goodbye Henry” begins with another cheekily dejected monologue, the kind Ms. Carpenter dreams to achieve, and I’m feeling frisky so I’ll share: “This is a sad song/ Though it feels happy / It is not happy at all, in fact / It makes me so, so sad to sing this song /But I will sing it for you anyway / This song is called "Goodbye Henry" / And I wrote it 'bout a boy / A very lovely boy/ And his name isn't even Henry/ But I'm just tryna be respectful / We don't talk anymore / He could be next-door and I wouldn't even know /In another life we could have made it /But in this one, well, we let go…” From there the bounding soul track wonderfully lives up to its billing. Raye rides horns, keys and drums like a tricycle and welcomes Al Green at the bridge, a treat for the ears as much as the heartstrings. (Track 11) “Nightingale Lane.” is yet another highlight, this time an Adele-style ballad. Over a pretty generically supportive score, Raye opens up those impressive vocal cords of hers, which she often opts to nimbly control, and wails a well-written chorus. She is comfortable at any pace, dancing through tracks all record long and adjusting with effortless swagger to the speed limit on “Nightingale Lane.” Did we mention that THIS MUSIC MAY CONTAIN HOPE? (Track 12) “Skin & Bones.” shocks the LP back to this decade’s pop pace for a number-1-worthy track. The equally catchy (Track 13) “Where Is My Husband!” stands as Raye’s top-charting song in the US, peaking at 11 on the Billboard. It’s curios that Raye’s exposure in the American media has yet to convert to top-10 radio play; the disconnection between fame and fortune has indeed sewn itself into modern media arenas. Her dime will come, never fear, so long as Raye continues to make songs like (Track 15) “Joy.” This late-album hit has the juice of certain 2010 smash hits as a big brass section jumps on top of a sleek afrobeat (which sticks around in the form of a rhythmic 808). The band’s sound and volume takes me back to Fifth Harmony’s prime, Jessie J, rooftop pop. (Track 16) “Happier Times Ahead.” Carries the same sentiment, sound and quality into the album’s conclusion, “Fin,” which functions as an audible credit-roll. Raye’s lyrics are good, the world she built excellent, her voice unique, vocal style unparallelled. She deserves to be praised in the same international pop circles as her British pop foremothers, Latin juggernauts and American stars. She deserves mentioning in the same conversations as young visionaries like Cameron Winter. And if she keeps up this pace, Raye will earn mentions in conversations about the all-time greats. THIS MUSIC MAY CONTAIN HOPE is a 9.1.

GNX : LA's Latest Victory Lap By Ian Sherry 12/10/2024 On 11/22/2024, Kendrick Lamar released his 6th studio album, GNX . Kendrick has been a very busy man. In the months leading up to the release of GNX Lamar returned to the public eye, challenged and disposed of Drake, held a historic concert showcasing unity in LA’s Hip-Hop scene, and was named the halftime performer for Super Bowl LXI. Riding that wave, he dropped this record. More than any other record this year, GNX is impossible to separate from its context. It is and always will be the record that came after the Drake feud. While Lamar tastefully refrained from including any of the diss tracks, he brought the most important spoils of his mudslinging war to this record: the sound that took “Not Like Us” to no. 1 and the local scene he stood up for. Neither was guaranteed, but in the end they accounted for his most spirited top-to-bottom performance since TPAB . The stylistic discoveries Lamar made following Mr. Morale & The Big Steppers have completely reinvigorated my enthusiasm for his music. His 2022 record hit the right critical spots and had a passable share of highlights, but the stylistic persona he put forth in his return from a 5 year absence felt safe, as if that time away left him tight and self-limiting. GNX is anything but. “wacced out murals” , while it's a bit lengthy for an intro track does a great job of introducing Kendrick Lamar’s latest vocal persona. Using audible restraint to create breathier cadences, Lamar is able to build tension and excitement with his words without expending a lot of energy. It’s a skill that Pusha T enlists so that his audience hangs on every word and his lyrics cut deep. Now Lamar can do the same, but with the added advantage that he has more in the musical tank. Here’s what I mean track 6, “reincarnated” , is the album’s most intense track. Lamar’s most conceptual exercise of the record attempts to place him in the shoes of his past lives in order to critique the choices they made and the extent to which they used their gifts. A demanding undertaking like that requires performative chops and an energy level he’d yet to exert through 5 songs, so when he screamed ‘REINCARNATED’, the track popped the way he clearly intended it to. Energy isn’t the only performative improvement Lamar made on this record, his package of flows and cadences has gotten as strong as ever. Evidenced by his recent feature work, take Beyonce’s “AMERICA HAS A PROBLEM” or Baby Keem’s “family ties” , Kendrick has been expanding his bag of flows and that process was only accelerated by the creative flurry that Drake brought upon himself. At this point it feels safe to say Lamar’s days of somewhat regularly defaulting to well-worded but averagely-performed verses are over (RIP 2017-2022). Look at “hey now” , Lamar hops on one of the two Mustard beats on the record and dominates with career-best confidence and charisma fueling a generous display of the many entertaining flows he’s accumulated. While "tv off" and "peekaboo" are the next best displays of pure spitting, nearly every track on this LP brings something vocally fresh to the table, and the impact that consistently entertaining performances have on an assorted album like this is invaluable. In addition to the variety of vocal projection Kendrick Lamar brought to GNX , his production has been retooled as well. In his departure from Top Dawg Entertainment production personnel was bound to change to an extent, but what I didn’t expect was to see Jack Antanoff’s name on every track. The current king of pop production is a fellow Grammy darling, and his influence on GNX is clearest in the cleanliness and atmospheric aspects of the record. My initial reaction was my usual anti-mainstream gag reflex, but upon listening I can see how Antanoff’s capabilities could contribute to the gloomy feel that makes “reincarnated” and “heart pt. 6” effective and the pop factor needed to elevate "Luther" to one of the album's most popular songs. Given, Antanoff also contributed to some of the pop-sensible misses like “men at the garden” (which sounds like DAMN and Mr. Morale had a really ugly baby), the boring “dodger blue” , and the chivalrous but misplaced last track “gloria” , his versatility will still go down as a positive influence on this record because ultimately it allowed for Lamar’s successful plunge back into the west coast. As his career progresses, Lamar feels increasingly calculated in who he chooses to associate with, but not since 2016 have I heard Lamar thrive in the West Coast bounce like he does on GNX . He made a point of it. He filled his feature list with newer names from the greater LA/Compton scene (Dody6 , Lefty Gunplay , Wallie the Sensei , Siete7x , AzChike , Hitta J3 , YoungThreat , Peysoh , even Roddy Rich ), and the pop-star cleanliness Lamar lent to his raw but hungry guest artists left them in their best form. Combine that with the long-time collaborator Sounwave’s presence on every track and you’ve got a musically holistic homecoming for Lamar (with SZA in tow). While there are moments throughout the record that carry that West Coast aroma - take the Eminem /D12 -like chorus on “hey now” or constant remnants of Black Hippy in his music - I really knew LA was present the moment “squabble up” began. The unique blend of 2000s club-tinged g-funk is ridiculously catchy. Imagine a YG song with the sonic layering and atmospheric control Lamar fans are accustomed to, plus the synth performance of a true techno madman. It's the kind of song I wasn’t sure Lamar could make after his last project - the kind of song that makes you wonder what else he could possibly do. I saw criticisms of Lamar as a person in regards to this record - complaints that his narrative has become too self-indulgent since his feud with Drake making this braggadocious record difficult to swallow. Personally I disagree. While it can be enticing to think of an artist as someone you know based on the extensive material they’ve presented, the truth is you really don’t. The introspective Kendrick Lamar persona we know has been as much of a product as his music. It makes sense that the public persona of the artist would change in tandem with their newest product. Therefore, it also makes sense that following the most substantially publicized victory of his career he would release a sort of victory lap record. It is not a reflection of his character or ego as much as it is the logical next step in an increasingly lengthy career that has rightfully resulted in his superstardom. This record is not his best, nor is it his worst. A smaller undertaking than Kendrick’s all-time great concept albums of the 2010s, GNX had a lower ceiling to begin with, however, he still packed the record with a variety of new creative angles. Aside from creating the ever-elusive flawless tracklist, cultivating a variously entertaining and passably cohesive group of songs is the ultimate goal of any record that focuses on the collection of songs rather than a core concept. By that measure GNX is a success. It’s also a success as it exists in the world. The album’s reception can be just as important as its content, and the exposure he brought not only to his features but to that g-funk sound might be what I love most about the record. GNX is a 8.6.

GNX : LA's Latest Victory Lap By Ian Sherry 12/10/2024 On 11/22/2024, Kendrick Lamar released his 6th studio album, GNX . Kendrick has been a very busy man. In the months leading up to the release of GNX Lamar returned to the public eye, challenged and disposed of Drake, held a historic concert showcasing unity in LA’s Hip-Hop scene, and was named the halftime performer for Super Bowl LXI. Riding that wave, he dropped this record. More than any other record this year, GNX is impossible to separate from its context. It is and always will be the record that came after the Drake feud. While Lamar tastefully refrained from including any of the diss tracks, he brought the most important spoils of his mudslinging war to this record: the sound that took “Not Like Us” to no. 1 and the local scene he stood up for. Neither was guaranteed, but in the end they accounted for his most spirited top-to-bottom performance since TPAB . The stylistic discoveries Lamar made following Mr. Morale & The Big Steppers have completely reinvigorated my enthusiasm for his music. His 2022 record hit the right critical spots and had a passable share of highlights, but the stylistic persona he put forth in his return from a 5 year absence felt safe, as if that time away left him tight and self-limiting. GNX is anything but. “wacced out murals” , while it's a bit lengthy for an intro track does a great job of introducing Kendrick Lamar’s latest vocal persona. Using audible restraint to create breathier cadences, Lamar is able to build tension and excitement with his words without expending a lot of energy. It’s a skill that Pusha T enlists so that his audience hangs on every word and his lyrics cut deep. Now Lamar can do the same, but with the added advantage that he has more in the musical tank. Here’s what I mean track 6, “reincarnated” , is the album’s most intense track. Lamar’s most conceptual exercise of the record attempts to place him in the shoes of his past lives in order to critique the choices they made and the extent to which they used their gifts. A demanding undertaking like that requires performative chops and an energy level he’d yet to exert through 5 songs, so when he screamed ‘REINCARNATED’, the track popped the way he clearly intended it to. Energy isn’t the only performative improvement Lamar made on this record, his package of flows and cadences has gotten as strong as ever. Evidenced by his recent feature work, take Beyonce’s “AMERICA HAS A PROBLEM” or Baby Keem’s “family ties” , Kendrick has been expanding his bag of flows and that process was only accelerated by the creative flurry that Drake brought upon himself. At this point it feels safe to say Lamar’s days of somewhat regularly defaulting to well-worded but averagely-performed verses are over (RIP 2017-2022). Look at “hey now” , Lamar hops on one of the two Mustard beats on the record and dominates with career-best confidence and charisma fueling a generous display of the many entertaining flows he’s accumulated. While "tv off" and "peekaboo" are the next best displays of pure spitting, nearly every track on this LP brings something vocally fresh to the table, and the impact that consistently entertaining performances have on an assorted album like this is invaluable. In addition to the variety of vocal projection Kendrick Lamar brought to GNX , his production has been retooled as well. In his departure from Top Dawg Entertainment production personnel was bound to change to an extent, but what I didn’t expect was to see Jack Antanoff’s name on every track. The current king of pop production is a fellow Grammy darling, and his influence on GNX is clearest in the cleanliness and atmospheric aspects of the record. My initial reaction was my usual anti-mainstream gag reflex, but upon listening I can see how Antanoff’s capabilities could contribute to the gloomy feel that makes “reincarnated” and “heart pt. 6” effective and the pop factor needed to elevate "Luther" to one of the album's most popular songs. Given, Antanoff also contributed to some of the pop-sensible misses like “men at the garden” (which sounds like DAMN and Mr. Morale had a really ugly baby), the boring “dodger blue” , and the chivalrous but misplaced last track “gloria” , his versatility will still go down as a positive influence on this record because ultimately it allowed for Lamar’s successful plunge back into the west coast. As his career progresses, Lamar feels increasingly calculated in who he chooses to associate with, but not since 2016 have I heard Lamar thrive in the West Coast bounce like he does on GNX . He made a point of it. He filled his feature list with newer names from the greater LA/Compton scene (Dody6 , Lefty Gunplay , Wallie the Sensei , Siete7x , AzChike , Hitta J3 , YoungThreat , Peysoh , even Roddy Rich ), and the pop-star cleanliness Lamar lent to his raw but hungry guest artists left them in their best form. Combine that with the long-time collaborator Sounwave’s presence on every track and you’ve got a musically holistic homecoming for Lamar (with SZA in tow). While there are moments throughout the record that carry that West Coast aroma - take the Eminem /D12 -like chorus on “hey now” or constant remnants of Black Hippy in his music - I really knew LA was present the moment “squabble up” began. The unique blend of 2000s club-tinged g-funk is ridiculously catchy. Imagine a YG song with the sonic layering and atmospheric control Lamar fans are accustomed to, plus the synth performance of a true techno madman. It's the kind of song I wasn’t sure Lamar could make after his last project - the kind of song that makes you wonder what else he could possibly do. I saw criticisms of Lamar as a person in regards to this record - complaints that his narrative has become too self-indulgent since his feud with Drake making this braggadocious record difficult to swallow. Personally I disagree. While it can be enticing to think of an artist as someone you know based on the extensive material they’ve presented, the truth is you really don’t. The introspective Kendrick Lamar persona we know has been as much of a product as his music. It makes sense that the public persona of the artist would change in tandem with their newest product. Therefore, it also makes sense that following the most substantially publicized victory of his career he would release a sort of victory lap record. It is not a reflection of his character or ego as much as it is the logical next step in an increasingly lengthy career that has rightfully resulted in his superstardom. This record is not his best, nor is it his worst. A smaller undertaking than Kendrick’s all-time great concept albums of the 2010s, GNX had a lower ceiling to begin with, however, he still packed the record with a variety of new creative angles. Aside from creating the ever-elusive flawless tracklist, cultivating a variously entertaining and passably cohesive group of songs is the ultimate goal of any record that focuses on the collection of songs rather than a core concept. By that measure GNX is a success. It’s also a success as it exists in the world. The album’s reception can be just as important as its content, and the exposure he brought not only to his features but to that g-funk sound might be what I love most about the record. GNX is a 8.6.

11/3/2023 BY IAN SHERRY THREE PIECE VOL. II On October 13: Westside Gunn released And Then You Pray For Me . MIKE released Burning Desire . Troye Sivan released Something To Give Each Other . Westside Gunn embodies a very special lane in contemporary hip-hop. His unique, adlib-heavy committee rap combines with semi-organic instrumentals for a truly recognizable sound. He combines Buffalo NY pride with themes of grandeur like high-society fashion, which thrusts him further into his niche. He is the one of the key faces of an off-center breed of hip-hop artists that includes Action Bronson , Freddie Gibbs , or Gunn’s longtime collaborators Benny The Butcher and Conway The Machine . It’s hard to understand Westside Gunn’s world from the outside. Luckily, he invests his time and talent time fleshing it out for the benefit of his audience. One listen through Pray For Paris or Hitler Wears Hermes 7 should do the trick, as will a listen through And Then You Pray For Me . Because Gunn has settled so specifically on a sound, it’s reasonable to assume you know what’s coming stylistically. He’s consistent, and if you enjoy his style, chances are you’ll come away with at least a few favorite tracks from every album. What really makes a Westside Gunn album at this stage in his career is the thematic exploits and the collaborations. He delivered in both categories in 2023. Artists flaunting their lifestyle is absolutely nothing new, however, it’s cool when he does it. With consistent references to Paris Fashion Week and a variety of globetrotting ventures, Gunn displays himself as a man of international intrigue and his world as something straight out of the movies. The addition of DJ Drama , who recently brought Tyler The Creator into a similar realm, sets that tone early on, reenforcing Gunn's ability to construct an album. Composing cohesive albums and replicating his creative, yet formulaic sound are certainly accomplishments, however, the strongest moments of this new release involve new faces. Aside from the usual suspects, several artists supplied great features: JID , Rick Ross , and Denzel Curry to name a few. All three of them excel in featured verses, and Westside Gunn excels at accommodating them, especially Curry. The best, most unexpected success is “Chloe” featuring Ty Dolla $ign . To be clear, Ty is quite possibly my favorite feature artist, but I didn’t envision him here. His mark on track 12 is immediately clear. He harmonizes with Gunn throughout his verse, then gives his own bars. The atmosphere of the song is different than anything else on this record, and the sonic smoothness, which Ty Dolla $ign always brings, takes it to another level. That’s just one song though. The biggest contributor on this album deserves his own review: Stove God Cooks . I’ve seldom seen someone so underground make such a big impact on a big name record, a la Mr. Fantastik . He raps like an expert in different styles and cadences, doing whatever the song needs on all five of his features. “KITCHEN LIGHT” and “1989” are my favorite, but if you listen to this album and see Stove God Cooks’ name under the next song, just know it'll be good. On Then You Pray For Me, Westside Gunn put emphasis on his belief that music is more than its face value, it's art. He backs that up. Granted, it’s not a perfect album, there are misses. But, this is how you construct a 21 song album. It moves along nicely with both diversity and consistency, while delivering surprising successes. I’m very pleased, and while there’s nothing too innovative to boost its score, it’s my favorite rap record of the year thus far. Am I biased? Yes, but consumption without preference is impossible. Westside Gunn makes music to please his audience, and as a member of that audience, I’m more than satisfied. That makes this a success for me. I’ll leave you with a Stove God Cooks lyric, “Then West turned me from a rapper to an artpiece” (“Babylon Bis”). Then You Pray For Me is a 8/10. MIKE is making a push to join the next generation of influential rappers from New York. Much like the other Bandcamp success stories, his influences are rangy. Bandcamp is a music listening alternative to the typical streaming model, meant to more directly support the artists. Artists like Bjork and Radiohead re-released their music there, industry legends like Waajeed reside there, and other musical acts like Car Seat Headrest , Quadeca , and now MIKE have seen growth through the platform. It is a pro-artist attitude that draws musicians to the site. That attitude is responsible for a wide variety of creative results, levels of success, and quality. Variety can certainly be found on Burning Desire , and the record’s high points should secure MIKE the respect and standing within hip-hop he’s pursuing. MIKE is a sort of studio do-it-all, but he has one area that needs improvement. He can rap, but the best performances don’t take place until the end of the record. I recommend “Golden Hour” and “Let’s Have a Ball” , and I’d like to highlight the latter. The last song on the album, track 24 is built on a spacy instrumental that places MIKE’s rapping in center focus. He lays down a clear and patient verse, feeling more comfortable on the mic here than anywhere previously on the album, and sticking to the same cadence but allowing himself subtle pauses. He raps with a laid-back swagger that gives the audience the choice of where to focus their attention, without fading into obscurity behind the instrumental. Unfortunately, and this is my biggest issue with MIKE: his vocals often disappear on this record. MIKE is a production machine, using heavy samplework and audio filters to create impressive soundscapes, but his rapping can’t always keep up. He feels like he’s just trying to hold pace, other times his energy doesn’t match the beat. On top of that, his flows often are unchanged for the length of songs. With production as creative as his, there’s pressure on the performance to be equally entertaining. That’s where JPEGMAFIA or Danny Brown excels; I eat up their verses. While he isn’t a bad lyricist, I can’t digest MIKE’s lyrical content on an empty stomach. To be fair, the majority of his rapping isn’t horrible, but the discrepancy between production and vocal performative ability stands out. This doesn’t kill the album by any means, but it puts a ceiling on an artist that feels like he shouldn’t have one. I’m confident he’ll improve, the flashes are potent. Album construction is very important to me. I review albums subjectively and score albums holistically, and MIKE has given me a lot to work with. This album, despite its flaws, has such highs that it could’ve been an album of the year candidate. Unfortunately, it’s 24 songs long. If it was 35 minutes instead of 50 this is a different conversation. He does a good job of keeping songs at reasonable lengths, but it is still a dense listen. Density, in this context, means there’s no time to come up for air. The audience is forced to take in every second of every song for the entire 24. Density in itself isn’t bad, in fact, Marvin Gaye ’s What’s Going On (the greatest album of all time), is extremely dense. However, Marvin’s masterpiece is 9 songs over 35 minutes with zero wasted space, zero misses. This ain’t that. Aside from the length though, MIKE seems to know what he’s doing. The introductory and final tracks masterfully guide the audience in and out of the album, the sole interlude is on point, the majority of the features are fantastic, and the song placement and transitions are well-executed. This is the work of a veteran, but after a quick google search you’d see, like I did, that MIKE is 25 years young. I was very critical in reviewing this album. That’s because it deserved it. Burning Desire is the best produced album of the year, bar none. It’s so good that I couldn’t do it justice through description; you need to hear it for yourself. Music I can’t pretend to properly describe is rare, and for that alone it deserves mentions in the end-of-year conversation. It has its weaknesses that limit it in ways comparably successful albums aren’t limited, but, its high points are undeniable. Burning Desire is a 8.5/10. Prior to this Troye Sivan album, I only knew one of his songs, and I don’t like it. The judgment I passed following my brief introduction to Sivan was that of another perpetuator of the dying pop standard. The critical success of the whiny male vocalists, simple instrumentals, repetitive choruses, and predictable builds, that defined a generation of pop music, is coming to an end. The monetary success will be more stubborn, but that too will fade without the support of critical voices. It is the nature of cultural cycles; they turn over and new eras defined by new artists roll in. It seemed to me that Troye Sivan would be one of many swept out with the tide. While I can’t rule that out, his 2023 album Something To Give Each Other makes me think twice. Many artists lose sight of their vision when they overcomplicate things. Troye Sivan, on the other hand, must have complexity. Without it, he is like any other artist. Luckily, I learned he has the ability to set himself apart when he chooses. Vocally and lyrically, he is nothing unique, but when he alters his delivery he can set himself apart. “Rush” is the first example. The upbeat dance track thrives on simple and clear verses, however, what makes the song for me is the chorus. The washy group vocal creates an atmosphere and his solo refrain audibly pulsates, creating a sonically mesmerizing effect. It elevates an already catchy track, and that’s what pop music needs. Vocal effects can also save an otherwise nondescript song like “Silly” . There are various species of vocal tampering across the album. I’m no production expert, but pitch and volume changes, audio filters, and classic autotune are all noticeable additions. Autotune in particular is very polarizing. Many mainstream pop acts avoid it, especially if they fancy themselves pure singers. That’s why someone like Post Malone exists: he chose to embrace autotune and cultivated an audience who ‘doesn’t normally like rap’. The truth is Malone is nowhere near rap, but the association is there. Troye Sivan doesn’t shy away from an unconscious affiliation with hip-hop and I appreciate that, however, I need more. For every positive experiment on this record, Sivan has an equally negative failure to branch out. For example, he dips into EDM at times. That’s a genre that suffers from simplicity and repetition, but he is able to take it further on “Got Me Started” . By beginning with the Bag Raiders ’ “Shooting Stars” sample, he hooks the audience before laying down the classic EDM drum beat. From that point he keeps layering the instrumental and showing different looks vocally to keep it fresh. It’s a well executed song. But, he also visits the opposite end of that spectrum with a song like “Honey” . Aside from a very basic and lonely EDM beat, his vocals feel uninspired. He relies on the energy build, and while that aspect is executed to an extent, it falls flat if the audience isn’t hooked in the first place. Everyone is allowed a miss or two, but in Troye Sivan’s position it’s crucial that those misses don’t come at the hands of creative shortcomings. Something To Give Each Other has been very well received. I understand why. It is one of the cleaner records all year, and it still ventures into somewhat unexplored territory. However, in comparison to the album I reviewed just above, it’s beyond safe, more like secret service protected. I just cannot get on board with that. I’m not asking for the next musical renaissance, I’m asking for something I might not hear in the sock aisle at Target or the Starbucks bathroom. Sivan delivers at time, making it more perplexing and frustrating when he doesn’t. That said, even with the flat verses, uninspired production, and choruses I can sing before I hear them, there are strong moments on this record. I hope he keeps heading in the direction of tracks 1, 3, and 7. Those aren’t the only successes out of the ten, but those songs will set Troye Sivan apart and could earn him a spot in the new era I believe is approaching. I’d be happy to have him. Something To Give Each Other is a 5.5/10.

Coverage Vol. I 12/2/23 BY: IAN SHERRY Cover songs are one of my favorite music industry phenomena. When done well, cover artists pay homage to the original song while offering their own spin or twist. Sometimes they see massive success, surpassing the original, such as Aretha Franklin’s “R espect” , Johnny Cash’s “Hurt” , Chaka Khan’s “I Feel For You” , and I could go on. One of my favorite exercises is digging through versions of a song that’s been covered over and over, and picking the best version. You can often find great performances by legendary artists that you didn’t even know existed. I always seem to find at least one. Would you like to try one with me? The Beatle s are one of the most covered artists of all time. For my first in a forthcoming series of articles, I felt it would be fitting to start with a Beatles original: “Got To Get You Into My Life” . One of the bigger songs off their culturally essential Revolver, this track has settled into an interesting niche, like much of the album. The cinematic instrumentals sit in back with a more restrained vocal in front that branches out on the chorus. I heard someone call it The Beatles’ Motown song. In short, it’s a song with great bones and lots of moving parts, making it an enticing candidate for covers. MENTIONS Chicago (Live in 75) - This is a fun live performance, and while it’s well done, they play it fairly straight. It doesn’t separate itself from any live Beatles or McCartney version. Joe Pesci- I only mentioned this because it’s crazy to hear such a prolific rapper branch out. There's lots of ‘ohs’ and ‘heys’ to be had here - if you’re into that kind of thing. Daniel Johnson- Johnston’s awkward low quality performances h ave touched many people. He thrives in a raw emotional space, but sometimes he can be grating, and unfortunately this cover is one of those instances. Blood Sweat & Tears- It pains me to rank this band within the ‘Mentions’ instead of slotting them above the Beatles original. Blood Sweat & Tears scratches a very specific big band/raw vocal itch for me. They often elevate songs with their arrangements and instrumentation, but this time they didn’t do quite enough to surpass the original for me to justify bumping them up into the Top Four. TOP FOUR I can’t explain why four is the right number, especially as a believer in the rule of three. Maybe I just want to be different. Lucky for me, this time around, the top four are a step above. NUMBER FOUR The Beatles, 1966 Yes it’s the original, and that certainly counts for something. In fact, if it weren’t the original it might have slipped out of the Top Four, which may happen at some point in this series. But not this time because th e original is a creative masterpiece. A massive song with room to get bigger, the Beatles really nailed it instrumentally. However, I have an issue with the vocal performance: the energy and tone feel a bit meek in comparison to their backing. McCartney elevates his vocals for the chorus, but it feels a bit sudden. While the initial surprise factor pays off the first time around, you only hear The Beatles for the first time once. Did they do anything wrong? Not necessarily. This is just the Revolver sound in a nutshell. It strikes a unique balance between all of what makes The Beatles great, but in a semi-chaotic way. That organized chaos is responsible for the large number of fans that choose Revolver as their top Beatles album. However, I’ve always preferred the cleanness of Abbey Road, and my next pick reflects that. But, I have a final note: The Beatles are so good, this song included, that I have to argue against them in order to justify them sitting anywhere but #1. NUMBER THREE Dave Koz And Friends Summer Horns, 2013 When you talk about covers, you want the artist to elevate the song and clean up some missteps the original artist may have taken, such as the Beatles safe vocals. I don’t listen to much instrumental music, and this isn’t the only instrumental cover out there, but this one really stands out. Although it’s difficult to strike a balance between the vocal arrangement and backing instrumentation on a purely instrumental song like this, Koz’s cover has a remedy that elevates the song: just add more horns! This same sentiment is shared by the group occupying the top slot, but the pure woodwind firepower on this track is unmatched. Instrumental music can be boring to some, but thi s energized cover couldn’t possibly bore anyone. Check it out. NUMBER TWO Ella Fitzgerald, 1969 Nobody claims songs like powerhouse Black female vocalists of a certain era. Nina Simone, Etta James, Aretha Franklin, and of course, Ella Fitzgerald. Incorporating many of the same elements as The Beatles, Fitzgerald plays it as close to the original as anyone on this list, but her subtle changes set this 1969 cover apart. Her version opens with a subdued and simplified instrumental approach, making it easier to execute her clean jazz sound above the slightly chaotic arrangement of the original version. The instrumentation dances through her verses throughout, keeping the song upbeat, simple and clean. Then Fitzgerald elevates vocally and the music follows suit, rising to a crescendo at the high point of the hook. She yells ‘Got to get you into my life’ as the horns and background vocalists swell in unison. After the high point, the elevated sound continues, as she vocally freestyles through the final fade. She takes full ownership of the song by redesigning the builds and adding her signature vocal flavor. I can’t ask for more than that. NUMBER ONE Earth Wind & Fire, 1978 I suspect this is the second best known version of the song (behind Joe Pesci, of course). This isn’t just the best version of this song, it’s one of their best tracks ever. Earth Wind & Fire is one of the greatest American bands of all time, so that says a lot. I heard this version when I was a kid and didn’t even realize it was the same song until years later because it is so far elevated. The horns are clean, their signature background vocals are perfect, the addition of the stand-alone electric guitar is genius, the bass is more present than any other version, even their swagger elevates the song. Maurice White also outsings everyone on this list with sustained superior vocal range, rising up with the instrumental instead of joining it for brief splashes on the chorus. This was a track waiting to be done perfectly, and nobody is better suited to rise to the specific demands presented than Earth Wind & Fire. I think you’ll agree.

Tabs On Tigers: Harris Oversleeps Alarm 8/1/2025 BY: IAN SHERRY The trade deadline was July 31st, and in a display of confident mediocrity, the Detroit Tigers addressed just one aspect of a battered playoff-bound roster. Tabs On Tigers Vol. 4 Well, it was bound to happen. Our first-place Tigers hit a rough patch. It has been 10 years since the Tigers had more than 2 all-star players, which makes it laughably ironic that the moment Detroit secured 7 (yes the number seven) all-stars, their skid began. Sparked by the consecutive shellings of Tigers rotational leaders Tarik Skubal and Casey Mize (both named all-stars), the team’s tailspin ran into the break and only picked up speed through a shoddy ASG showing and 3 series losses to begin the second half (2-9). This properly grateful fanbase was patient, though the grouchiness was palpable in public spaces across the city (especially National Coney Island). But soon, the elusive Kerry Carpenter returned to the lineup, Riley Greene shaved his beard, and the Tigers were back. Their dominant sweep of Arizona was fueled by nonstop touching of Greene’s new stache, a big game from the sorely missed Kerry Bonds, good team pitching, and a dazzling bat retrieval by the American League’s premier bat-boy, Frankie Boyle. Nothing more satisfying than a righted ship – a return to form. These Tigers have a secret formula. AJ Hinch’s mad-scientist managerial style took tireless, borderline excessive balancing across several years to take root, but they’re dug in now, and it’s the league’s puzzle to solve. Puzzle: Detroit’s roster continues to fit that description all too well. Upon the gracious return of Carpenter, Reese Olson’s season ended with a shoulder strain and Parker Meadows hit the IL with a hamstring injury (which again calls into question the necessity of the hamstring – domestic pigs come stringless and sustain far fewer injuries). To his credit, Scott Harris immediately addressed the Olson shaped hole in the starting rotation, squishing the 6’-4”, 29-year-old Chris Paddack into his place. A day before the trade deadline, the former Twin took the mound to seal a series sweep with 6 great innings where he showed off a Chris Fetter-friendly arsenal, filling the strike zone with a good changeup, some loopy curveballs, and a mid-90s fastball with a bit of run. However, the puzzle is not yet complete. Heading into the Trade Deadline, The Tigers had undeniable needs, and as the dust settled at 8 PM on July 31st, those needs are still standing. First, the average age of the Tigers’ starting lineup falls under 30, and their playoff experience, aside from Javy Baez, Gleyber Torres, and Matt Vierling, is limited to their brief visit last season. And, while the slugging took a much-needed jump this season, teamwide, the individual power threats are still limited in stock and consistency. The allegedly aggressive pursuit of Alex Bregman this past offseason proves an awareness of this issue, and the submissively-swept Diamondbacks had the solution. Over the past 5 years, few players have hit more home runs than the renowned yet underrated Eugenio Suarez. The former Tigers prospect would’ve been an iron-clad edition to the Tigers patchwork infield at the hot corner, but Scott Harris wasn’t able to move Detroit past the ‘name-in-a-hat-phase’ of trade discussions, and Suarez escaped to Seattle (along with my dreams of an additional slugger). Second, the Tigers feature zero 100+ MPH arms in their bullpen, and just one on the whole roster in the reigning Cy Young winner. In today’s MLB, particularly against amped-up playoff competition, well-located pitches and matchup-seeking only go so far against pro scouting reports and hitters who’ve faced 90+ MPH pitching since high school. Will Vest is the Tigers’ hardest chucker and the closest thing to a closer Hinch’s play-it-by-ear bullpen strategy will concede. Vest has generally delivered on his end of the bargain this season, but, his go-to flat-flying 97 MPH fastball is a caliber bellow the weaponry of a Major League closer. It’s not about velocity, it’s about stuff, and the Tigers bullpen doesn’t have much. Still. In a series of conservative moves, Harris compiled a scrapheap of arms who may not have earned roster spots on their respective franchises next season. Paul Sewald is a former SEA/ARI closer who found open pasture in Cleveland this season and settled comfortably on the IL at the age of 35, where he’ll remain for Detroit. Rafael Montero is a journeyman reliever, most recently of Atlanta, whose 5.40 is a reflection of his lacking control. The 11-year vet keeps securing roster spots because of his swing and miss upside, but has only mustered 2 good complete seasons to date. Charlie Morton is a well-respected and well-loved starter who, at the age of 41, has posted a meager 5.42 ERA so far this year. While this season hasn’t been his strongest by any means (due in large part to his playing for Baltimore), and the end may be near for Uncle Chuck, his is a lefty who may offer Hinch’s bullpen flexibility in the forecasted playoff run. Kyle Finnegan rounds out Detroit’s additions. The former Nationals closer is having the worst year of his career with a 4.38 ERA, and while his previous seasons imply the ability to perform closer to a 3.50 ERA, he’s always allowed an unintimidating .250 BAA – much too high for a closer. Scott Harris had a big opportunity last month: to not only strengthen his roster for a deep run this season but stamp his name on some of the Tigers’ recent success. He proved the opposite. AJ Hinch is the leader of this organization. His idiosyncratic strategies and ability to get the most out of a utility roster have defined this new brand of Tigers baseball, and while Harris has been a stellar collaborator, no-doubt, he’s failed to provide any significant improvements to this savantly reorganized roster. Significant improvements were proven available. Suarez could’ve taken a short walk from dugout to dugout. Instead, he’s trekking to Seattle. As far as big-name relievers go, Mason Miller, Ryan Helsley, Jhoan Duran, David Bednar, Camillo Doval, Dustin May, and Griffin Jax all moved to towns not named Detroit. The silver lining lies in the Tigers’ undamaged farm system, but the solvable challenges this young, injury-riddled squad may face in October outweigh that moral victory. If I had to sum up this Deadline performance in a word? Flop.

WALK WITH ME (2) 9/17/2023 BY: IAN SHERRY I Don’t Know If I’m A Dog There’s this rapper named Drake , and he’s reached my last nerve. I woke up this morning to finish off my Teezo Touchdown review. Unfortunately I was sidetracked by the news regarding Drake’s upcoming album For All The Dogs . A few weeks ago, the second most streamed Canadian artist of 2023 announced he’d be releasing his eighth studio album on September 22. The excitement was, of course, evident all over social media. Drake has remained in the center of the industry for a decade now. He has leveraged the perfect mixture of palatability, swagger, industry firepower and occasional skill to amass one of the most widespread and dedicated fan bases in the world. So, what does he give those fans? A delayed release. The new date: October 6. Well, at least this gives me room to knock out my top priority articles before deciding if I’ll give Drake the time of day. I recently wrote about the importance of album releases in my review of Earl Sweatshirt and The Alchemist ’s Voir Dire . Allow me a brief call-back (to this article ). Album releases are the trendiest way to energize a fanbase for new music. The rollout of a new music release should be tailored by the artist to appeal directly to their unique fanbase, and it should fulfill one objective: adding value to the fan’s experience. For a true artist, making art is the foremost pleasure, followed by setting the stage for its reception. Now let’s compare that approach to Drake’s For All The Dogs. I don’t hang out with Drake much these days, so from an outside perspective this doesn’t feel artistic. His line of reasoning, which is logistically reasonable, is that he needs to finish his tour with 21 Savage to allow more time in the studio. He doesn’t want to deliver a substandard product. My question is this: was he planning on releasing a substandard product on September 7 when he announced the original date? I’m reviewing Teezo Touchdown’s debut on my other browser tab. I could expect this kind of indecisiveness from him because he’s never released a full length album before. But this is Drake’s 8th studio album. Number eight. Drake is the most popular rapper in the world, and he certainly knows what he’s doing. If he really thought the original date would work, he wasn’t considering quality. If he didn’t think it would work, he just crossed a line by stirring up the public and his die-hard fan base, only to postpone for the sake of grabbing some headlines and building more suspense. By manipulating his audience in this way Drake has violated the purpose of the album rollout. Either way, Drake knows better. Now that my bone’s picked, I'd like to address the music. I’ve been labeled by some as a ‘Drake hater’. I disagree. I think he just does a lot of things I don’t like. In fact, I’m hoping and praying that this album will be great - I want to be won over. Drake’s albums often feel rushed or bloated, which is understandable when you’re under pressure to satisfy an audience so large and hungry. The last Drake album I enjoyed was 2017’s More Life , but I drew the line at 2021’s Certified Lover Boy . First of all, what kind of a title is that? The cover wasn’t any better, and shockingly, neither was the music. Too many features, too little effort. Drake was looking to do big numbers, and he did. He always can, from his Virgil Abloh-dedicated record that he dropped unannounced, to the 21 Savage collab that he’s touring on right now. What I need from him this year is to lock in, ignore the hype, forget about the charts, and make great music. His lead single doesn't give me a lot of hope: “Slime You Out” features SZA and is a typically unconvincing and formulaic performance from a rapper who knows he’s safe. However, there’s still a lot to be excited about for this record. For me, it starts on Travis Scott ’s Utopia . “Meltdown” is one of the better songs on Scott’s latest record, due in large part to Drake’s verse. He delivers it in an aggressive whisper, providing a convincing level of intensity that we’ve been missing for years. But his audience deserves more. I also need more L il Yachty production, he’s on fire in the studio these days, and he’s a member of the production crew on For All The Dogs . If you’re familiar with Yachty’s 2023 album, or his growing list of production credits, you should be excited like me. For All The Dogs should also benefit from the relationship between Drake and Nicki Minaj . The long time friends and collaborators have produced some of their catchiest work together: “Only” , “Truffle Butter” , and “Make Me Proud” come to mind. Drake’s reunion with Travis Scott went very well, I expect his reunion with Nicki Minaj to hit hard as well. I expect a good album, I expect fans to receive it on the 6th of October, and I expect Drake’s son’s drawing skills to take leaps and bounds forward in the upcoming years. (For All The Dogs cover art by Adonis Graham) The stage is set - it just keeps moving. Stay tuned for more insights next month… Cover art for Drake's upcoming album For All The Dogs , by Adonis Graham

WALK WITH ME 8/13/2023 BY: IAN SHERRY Walk with me for a moment. Or rather, jump, with me, into a world where music is nonverbal. There are no vocals. Conversations discussing the greatest musicians of all time don’t include Prince or Aretha Franklin. Instead they focus on the giants of the ‘classical’ music era or the pioneers of Jazz. Genres like rock and roll or hip hop, genres which rely on a balance between instrumental and vocal rhythm, don’t exist. At least they don’t exist as we know them. Celine Dion works at a coffee shop, Marvin Gaye has recently taken a step back from his lengthy yet local career as an activist for civil liberties in the greater Washington D.C. area. You’ve n ever heard of Elvis Presley and you don’t need to have an opinion on him. Rodriguez was able to retire just a few years earlier from his factory job on Detroit’s west side and Marshall Mathers’ relationship with his mother withered to an uneventful conclusion at the hands of bitter yet mild-mannered and mutual avoidance. I could go on. You love music, as you should. It may be at the center of your life. You might listen to it every night with your family over dinner, or as you work through your days. Maybe it puts you to sleep every night or wakes you every morning. It might perfectly encapsulate a feeling you can’t otherwise explain, or make you feel ways nothing else does. You might even go as far as to say it's the most important thing in your life, that if you couldn’t hear you couldn’t go on. And that may be true. But even then, you would have no idea what you’re missing. It’s a crazy thought right? Vocals are an intrinsic part of what we know as music. Not all of it, but at this point, to me, it’s more noticeable when a track doesn’t have vocals than the reverse. There’s no point in attempting to pinpoint the invention of ‘singing’ as we know it. Instead, I offer the assumption that it can be traced back to before the human race reached its current genetic resting place. It’s inseparable from the human experience. Lyrics are responsible for the basis of much of the world’s shared culture, and the entirety of old-school educators’ beloved Classics Department. (I’m a fan too, don't get me wrong). Lyrics are not only a musical luxury, they are a mankind essential. They tell stories, plural. They have their own message (ideally), but beneath that they tell the story of whichever world and worldview birthed them. Whether it be a world of po litical turmoil, a world of prosperity, a world of famine or economic depression, a world of emotional depression, or a world seen through the eyes of love. This world is delivered through the filtered consciousness of the writer on paper, then again through the voice of the performer. Whether it be the same person or not, there are several stops on the road to the audience’s ears, but all trace back to their perception. Their point of view. Instrumental arrangements can deliver excitement, composure, emotion, and co untless other equally important feelings. But, one thing they simply cannot deliver is a point of view. This makes the most important job of the vocalist to deliver that exactly. A point of view. Otherwise, you’re doing nothing a powerful bassline or horn solo couldn’t deliver in its own right. Otherwise your voice is no more than an instrument, one with organic flaws and inconsistencies that Robert Cray’s guitar and Dizzy Gillespie’s trumpet don’t possess. Those flaws are less justifiable when the innately human component, that is perspective, is absent. This brings me to my daily union-supplied diss: Mac DeMarco. Believe it or not, I value my time on God’s greenish Earth, yet I still decided to listen to 9 hours and 30 minutes of Mac DeMarco. I did so with the intent of writing a review on his lengthy 2023 album, but a day later I was so severely mentally and emotionally beaten I withdrew in an attempt to salvage faith in mankind. Could I have written a lengthy Applebee’s Yelp-style revi ew? Yes. Could I turn this into that in an instant? Yes. But, because this is a sort of love letter to music, like that text you send your friend at 3:00 that is unintentionally received as concerning instead of wholesome, I’ll be prompt. Mac DeMarco barely says words, and when he does, they add nothing lyrically and little to nothing rhythmically. It’s neither helpful nor welcome in my book. No thank you Mac. However, it does make me appreciate real vocalists. Take D’Angelo, and I’m thinking Voodoo specifically. His best album, in my opinion, might as well be an instructional manual for what Mac DeMarco attempted to assemble without unboxing the directions. In the year 2000, aided by Questlove on Drums and a long list of heavy-hitting studio artists across hip hop, jazz, and r&B, D’Angelo headed the production for his brand new atypical r&b sound. Voodoo focuses almost exclusively on finding and holding grooves. Much of the time, the vocals come across as a sonic afterthought, there to decorate the sound. (“Untitled (How Does It Feel)” is the exception). However, the lyrics don’t get a break just because they aren’t at the musical forefront. There is no better example than “Devil’s Pie” which I believe to be one of the best songs of this young century. Instead of attempting to go in depth at the risk of failing to do D’Angelo justice, I’ll opt to encourage you to, please, listen for yourself. While you’re listening, if unpacking lyrics isn’t your jam (music pun), you could imagine D’Angelo is the first person you’ve ever heard sing over what you previously knew as music. Imagine how you’d feel as the worlds of poetry and music collide. Imagine the weight this new combination might carry. You could even compare it to any track of Mac DeMarco’s musical boot camp or perhaps your favorite instrumental tracks. The difference is palpable, because good vocals add something that no other instrument can: a point of view. Thanks . P.S. Here is a short, semi-random, list of songs I consider to have perfect vocal performances. “Hope She’ll Be Happier” , Bill Withers “Change” , Big Thief “Pink Matter” , Frank Ocean feat. Andre 3000 “Save The Children” , Marvin Gaye “Nude” , Radiohead “Never Dreamed You’d Leave In Summer” . Stevie Wonder “Heaven - Live” , Talking Heads “That Feeling” , Durand Jones

A Perfectly Timely Review of Head of the Love Club BY: Ian Sherry 5/22/23 I discovered Hänlyn shortly after the release of this EP and after spending the last few months listening to her I decided she was the final piece to an article I’ve been wanting to write for some time. As I attempted to properly unpack Gretel Hänlyn’s talent in her section of “Putting You On Three” , I realized this EP needed its own review. So, months after the release, it’s here. On March 13, 2023 Gretel Hänlyn released her sophomore EP Head of the Love Club. Gretel Hänlyn’s debut Slugeye showcased a clearly defined and developed sound coming from a talented artist. Its production, song structure, and stylistic flexibility, (all things young artists often struggle with) were all standout quality. She thrived when creating complicated soundscapes and then singing right down the middle of them, allowing the music itself to shine while her voice pulls everything together. It was a musically diverse and well-rounded EP, but after this most recent release it feels safe. Gretel Hänlyn’s 2023 Head of the Love Club is exciting to say the least. Let me tell you why. “Dry Me” is a perfect start. Immediately Hänlyn brings an intensity, both vocally and instrumentally, she’s never shown before. She ranges up and down vocally within lines, hitting highs and lows in just one sentence. The vocal performance itself pulls the listener in close through the 1:30 mark, at which point she begins to build tension. Rising synths and a repeated acoustic guitar progression lead to the payoff at the 2:45 mark: her voice reaches peak intensity, and heavy piano slams in the low end along with the drums as a much lighter piano riff is sprinkled over the top. The intense soundscape provides the perfect release of tension, and though it lasts just over 15 seconds, it is a fantastic preview of things to come. Moving chronologically, “Drive” puts this EP in motion. Employing a lot of the keys to the success of Wet Legs debut project, Hänlyn nails the more raw end of this modern indie pop sound. The electric baseline rolls over and over, setting the pace alongside punchy drums. Her buzzy spoken vocals sit on top, letting simplicity command the audience’s attention, until the chorus serves as a well-timed interjection. She brings in poppy feminine vocals and electric guitar to do so. Sending the audience seamlessly in and out of witty verses is essential, especially with these kinds of spoken vocals, which can wear down an audience over long terms of exposure. “Drive” is a challenge, but a simple and effective one: Hänlyn is bringing the energy and you have to absorb it. “King of Nothing” immediately addresses the other end of the modern indie pop spectrum, and its placement directly behind “Drive” feels like no mistake. To use a literary term, it is essentially a foil of its predecessor. The baseline rolls just like before, but the distortion from the previous verses’ baseline is placed on the chorus’ guitar in “King of Nothing”. The distortion is also removed from the vocals, and the higher, more delicate layered vocals take hold of the verses instead of the choruses like before. Using a similar song structure to boot, Hänlyn is able to create a completely different sound with just a few small switches. Whether or not this particular contrast is intentional, Hänlyn’s technical and artistic abilities are on full display with “King of Nothing”. “Wiggy” provides more of a stylistic continuation than the previous transitions. Hänlyn amps up the vocal layering. The song moves along nicely, once again being subtly guided by the baseline. She uses the higher pitched guitar to insert air into the track by separating the upper and lower ends of the mix. Together, these factors create a very catchy sound. For most of the song she layers the instrumental up and down more seamlessly than any of her other work, even to a fault as the final chorus is frankly built up too much. While it doesn’t have the most sonically pleasing conclusion, track 4 is another detail-oriented success that transports the audience to a happy wiggy world. Yet another stylistic swerve, “Little Vampire” revisits the Slugeye vibe. Using acoustic guitar and drowsy vocals (a combo that reminds me a lot of Nirvana), Hänlyn begins to build tension like she does so well on this EP. As the song progresses, a buzzing sound creeps up and she begins to mix in eerily delicate vocals. She even sprinkles in some keys in place of vocals. As the buzzing persists and the wall of tension continues to build, her delicate vocals start to feel crushed under the weight of what’s coming. Then, the song ends. Gretel Hänlyn knows exactly what she’s doing. She knows how well she builds tension. She knows the power of her vocals to set the mood. She knows that her command over the mix only adds to that mood. And she uses this knowledge to trick us: leaving her audience with a conclusion that should be unsatisfying, yet somehow is completely the opposite. “Little Vampire” might not be the most exciting song on Head of the Love Club , but it's a masterpiece. Hänlyn knows that too. “The Head of the Love Club” is probably the worst song on the album. It begins with a grinding distorted guitar and it continues without much pause for 2 minutes. It is just too much. The points where it releases and is replaced with a pleasant baseline are very enjoyable, but it's not nearly worth the payoff. It also disrupts the flow of the song, preventing the instrumental from building properly, removing any chance for airiness, and taking away from an enjoyable vocal performance. I know what Hänlyn was going for, but the result is disappointing, especially considering she successfully executes this concept elsewhere in this EP. Thankfully, “Easy Peeler” is a complete release of tension. Weaving in three different acoustic guitars at some points, Hänlyn creates an elegant sound. Her beautiful vocals only add to it. She adds an electric guitar on the chorus and later verses, ensuring she won’t lose that familiar low end, as she thrives atop the mix. My only gripe with this song is its occasional struggles layering the instrumental, however she nails it on the last try. She lets the vocals rest a bit longer on the last attempt, allowing herself time to layer the final high point, piece by piece, and give this pretty song the ending it deserves. “Today (Can’t Help but Cry)” is as good of a conclusion as “Dry Me” is a start. The sharp contrast between the two allows the audience to reflect on the 26 minute journey as they enjoy the Kate Bush-like world Hänlyn creates down the stretch of this final track. A classic indie pop intro is followed by soaring verses. She clears out any distortion in favor of echoing vocals, for a dreamy sound. Hänlyn sings in stride with the music on this track. Instead of looking for a pocket in the mix for her vocals, she floats alongside it. She minimizes the instrumentation of the bridge in favor of those echoed vocals, before bringing it back to ride out the album. She lets the audience admire this soundscape as it fades away, taking her 2023 EP with it. My initial thoughts centered around how many risks she took considering the quality and consistency of her first EP. However, I now realize that for Hänlyn, executing risks comes naturally. She stays within her abilities, and those abilities are responsible for one of my favorite releases of the year. Things like building tension, mid-line tone shifting, vocal layering, and messing around with song structure, are occasional tools for most artists (something to try once in a while for effect). For Gretel Hänlyn they are an integral part of her sound. She is so advanced, it's hard to believe her streaming numbers aren’t higher, but it won’t be long. Of course, there are kinks to work out on this EP, but to me, they feel like the musical equivalent to first-world problems. There is one glaring miss on this album, but there are so many good things to unpack, even on that song, I have no problem looking by it (except when I’m rating). If you haven’t listened to Head of the Love Club please do, and if you haven’t heard of Gretel Hänlyn, you’re welcome. Head of the Love Club is a 9.25/10. Suggested Listening Balance

Return of the Clipse By Ian Sherry 7/23/2025 On July 11, Clipse returned with Let God Sort Em Out . One of hip hop’s greatest duos is back in all-time brotherly form. Before I share the upshot, let’s talk about the Fall-off. The gist is this: at some point every rapper hits a wall, loses the juice. After years in a game that demands killer instinct and inter-industrial connections, there comes a time when artist can no longer create in the rat-race-space that is hip hop. Did you listen to Music To Be Murdered By (20) ? That was a falloff. Did you listen to Donda (21) ? That was a falloff. Did you listen to Tha Carter VI (25) ? That was a falloff. Pusha T is 48 years old. That’s older than Eminem, Kanye, and Wheezy at the time of their respective Fall-offs, which only makes more impressive the fact that rap’s champion of old-school weight-moving is only getting stronger. Upon entering what would be a tricky period in the average rap career, Pusha T has released 3 consecutive catalog-topping records, and this time it’s a family affair. Sometime in the early 90s, brothers Gene and Terrance Thornton were kicked out of their family home, onto the streets of Virginia Beach when their father found a brick in his kitchen. Now living on the same streets they served, the brothers had no choice but to make some shit shake. Luckily, they had some talent tucked behind all the 1s in their pockets. With moving being their specialty, they soon discovered their ability to move people with their raps. As Terrar and Malicious tore across the VA underground, it wasn’t long before Pharrell made that same discovery. And the Clipse was born. The duo made an immediate impact on the 2000s rap landscape, locking down their place in Southern rap history and influencing the following wave of hip-hop-heads (Tyler The Creator especially) across their first two records. But as The Neptunes p assed on production responsibilities to Mr. Combs and the brothers’ life paths became, divergent their work together came to an end in 2010, with Pusha T entering the Kanye-sphere and Malice stepping away to find God and write his memoir. For a long time Clipse felt like a part of hip-hop history, a part of that time I just barely missed, a dynamic connection I never quite got to experience. Eclipses are a powerful rarity of nature: an otherworldly cycle beyond our control brings into alignment two massive looming figures in our sky, turning out our lights and placing the world on pause. Its been 15 years since the last Clipse, and the moment VA’s finest realigned, my world went on pause . 'Chivalry ain’t dead, you ain’t let her go alone, Found you in the kitchen, scriptures in the den Half-written texts that you never got to send Combin through your dresser drawer, where do I begin? Posted Noted Bible quotes, were you preparing then?. Malice’s words on “The Birds Don’t Sing” hit me harder than any other lyrics released this year, and they gave it to us in track 1. There’s not personal information readily available on the internet regarding the Thornton clan (a self-ensured blessing on their part I’m sure), which only adds to the mystique of Clipse as they dive into both family and personal matters for the length of Let God Sort Em Out . The record's first offering begins a pattern of ferociously confronting the elephants and skeletons scattered across the Thornton household, their beginnings which they’ve revisited in metaphor for years now – all with the help of John Legend's golden vocals. It’s a phenomenal first track content-wise as it flips the narrative on Clipse’ past from a place they escaped to a place they feel the need to revisit, with Pusha spewing his regrets from an apologetic place he’s seldom displayed and Malice recounting the tragic, consecutive passings of their parents with a special focus on his painfully retrospective appreciation for his father. Malice’s tirelessly constructed perspective works to offset his hotter-headed brother, deepen the album’s content, and link its chaotically corresponding takeaways. I had small but reasonable concern about the brothers’ chemistry, considering the 15 years that passed and the changes they’ve undergone. It seemed Clipse no longer had their collective focus, dope dealing, but in a satisfying show of maturity and a will to succeed, they found common ground. With their feet on familiar soil: the skateboard beats of the man who discovered them a quarter century ago, the brothers Clipse stand back-to-back ready to spit (with K Dot in tow). And as the second Pharrell instrumental rumbles to life, a storm of thought approaches. Scene by: Allie Larpenteur Clipse bursts into motion “Chains & Whips,” as lyrics slice through the air publicly eliminating internally burdensome and real-life targets alike. Kendrick Lamar drops in beside them to tack on a third fantastic verse – his relentless assessments of self and surroundings blend perfectly with his hosts, a pattern that’s common among this return album’s carefully sorted guests. Just like that, God’s sorting has sprung into full effect. The fashionista thug persona Pusha has been cultivating over his last two solo projects goes beyond lyrical content; his increasingly heady beat selection and ever-expanding industry access have allowed his sound to reflect this era of his career. Now, with Malice by his side, Pusha seems to have a reinvigorated sense of urgency in his words. Both brothers preach lifestyles, and while they differ in certain respects, they’re able to coexist within cohesive tracks thanks to a comfortable chemistry and like-mindedness in the most key areas. "M.T.B.T.T.F." is my favorite example. The underlying source of Let God Sort Em Out’s holistic synergy is Pharrell Williams. The sonic platform of this album exudes royalty and palpably high stakes – the perfect climate for Thorntons. Williams played big role in Pusha T’s recent stylistic progressions, and his wall-to-wall effort on this record only further solidified a sacred scene at the crossroads of contemporary hip-hop. It goes beyond banger beats like “Ace Trumpets.” The album feels like a collective vision. Take the flow from “M.T.B.T.T.F.” into “E.B.I.T.D.A.” : track 7 is a thumping beat. The choppy drums perfectly set up heavy bass drops, like tossing a ball up and slamming it down over and over and over as the brothers let their punches fly. Track 8 follows with Pharrell riding his light, spacey beat from the needle drop. His synth-work and atmospherics on “E.B.I.T.D.A.” replicate the elevated tension of a “Summer Madness” and maintain it as a backdrop for his fellow emcees. He is the glue and one of the many forces that brought these titans back into alignment. Following the seventh track, every song on the album has a feature. When track 9, “F.I.C.O.” presented a beat in the tonal valley between its successors’ sounds, Stove God Cooks swept in with the perfect hook to match. When Pusha laid down one of the hardest verse-chorus combos to start “Inglorious Bastards,” Ab Liva was there to deliver an on-par capping verse in a refreshing bassy tone the nasally Virginians lack. When Pharrell introed the eleventh track, “So Far Ahead” in his computer hip-hop gospel bag (which I could take or leave), he perfectly set up the sturdy beat drop into a relentless Pusha T verse. It worked so nice, they did it twice! (Which I didn’t need). This time dropping into a superior Malice verse, before trotting that flow-stopping chorus out one more time (which I really didn’t need, perhaps the only decision I disagree with record-wide). Nas stopped by quick on “Let God Sort Em Out/Chandeliers,” taking over the second half after a no-sweat-vet beat switch and riding a rolling beat for the album’s most memorable stand-alone feature. As the notorious number 13 rolled around, the sun started to emerge as "By The Grace Of God" introduced light to the previously stark sonic setting. The triumphant ending track finally eased the constantly applied pressure, allowing me to reflect on the album. And as I searched for chinks in the armour, I soon came to realize there are none. My expectations were massive for this record that I never thought I'd see, and my expectations were met. Does one small song-flow decision on a passable tune with great verses negate that fact? No. Let God Sort Em Out is a 10.

GNX : LA's Latest Victory Lap By Ian Sherry 12/10/2024 On 11/22/2024, Kendrick Lamar released his 6th studio album, GNX . Kendrick has been a very busy man. In the months leading up to the release of GNX Lamar returned to the public eye, challenged and disposed of Drake, held a historic concert showcasing unity in LA’s Hip-Hop scene, and was named the halftime performer for Super Bowl LXI. Riding that wave, he dropped this record. More than any other record this year, GNX is impossible to separate from its context. It is and always will be the record that came after the Drake feud. While Lamar tastefully refrained from including any of the diss tracks, he brought the most important spoils of his mudslinging war to this record: the sound that took “Not Like Us” to no. 1 and the local scene he stood up for. Neither was guaranteed, but in the end they accounted for his most spirited top-to-bottom performance since TPAB . The stylistic discoveries Lamar made following Mr. Morale & The Big Steppers have completely reinvigorated my enthusiasm for his music. His 2022 record hit the right critical spots and had a passable share of highlights, but the stylistic persona he put forth in his return from a 5 year absence felt safe, as if that time away left him tight and self-limiting. GNX is anything but. “wacced out murals” , while it's a bit lengthy for an intro track does a great job of introducing Kendrick Lamar’s latest vocal persona. Using audible restraint to create breathier cadences, Lamar is able to build tension and excitement with his words without expending a lot of energy. It’s a skill that Pusha T enlists so that his audience hangs on every word and his lyrics cut deep. Now Lamar can do the same, but with the added advantage that he has more in the musical tank. Here’s what I mean track 6, “reincarnated” , is the album’s most intense track. Lamar’s most conceptual exercise of the record attempts to place him in the shoes of his past lives in order to critique the choices they made and the extent to which they used their gifts. A demanding undertaking like that requires performative chops and an energy level he’d yet to exert through 5 songs, so when he screamed ‘REINCARNATED’, the track popped the way he clearly intended it to. Energy isn’t the only performative improvement Lamar made on this record, his package of flows and cadences has gotten as strong as ever. Evidenced by his recent feature work, take Beyonce’s “AMERICA HAS A PROBLEM” or Baby Keem’s “family ties” , Kendrick has been expanding his bag of flows and that process was only accelerated by the creative flurry that Drake brought upon himself. At this point it feels safe to say Lamar’s days of somewhat regularly defaulting to well-worded but averagely-performed verses are over (RIP 2017-2022). Look at “hey now” , Lamar hops on one of the two Mustard beats on the record and dominates with career-best confidence and charisma fueling a generous display of the many entertaining flows he’s accumulated. While "tv off" and "peekaboo" are the next best displays of pure spitting, nearly every track on this LP brings something vocally fresh to the table, and the impact that consistently entertaining performances have on an assorted album like this is invaluable. In addition to the variety of vocal projection Kendrick Lamar brought to GNX , his production has been retooled as well. In his departure from Top Dawg Entertainment production personnel was bound to change to an extent, but what I didn’t expect was to see Jack Antanoff’s name on every track. The current king of pop production is a fellow Grammy darling, and his influence on GNX is clearest in the cleanliness and atmospheric aspects of the record. My initial reaction was my usual anti-mainstream gag reflex, but upon listening I can see how Antanoff’s capabilities could contribute to the gloomy feel that makes “reincarnated” and “heart pt. 6” effective and the pop factor needed to elevate "Luther" to one of the album's most popular songs. Given, Antanoff also contributed to some of the pop-sensible misses like “men at the garden” (which sounds like DAMN and Mr. Morale had a really ugly baby), the boring “dodger blue” , and the chivalrous but misplaced last track “gloria” , his versatility will still go down as a positive influence on this record because ultimately it allowed for Lamar’s successful plunge back into the west coast. As his career progresses, Lamar feels increasingly calculated in who he chooses to associate with, but not since 2016 have I heard Lamar thrive in the West Coast bounce like he does on GNX . He made a point of it. He filled his feature list with newer names from the greater LA/Compton scene (Dody6 , Lefty Gunplay , Wallie the Sensei , Siete7x , AzChike , Hitta J3 , YoungThreat , Peysoh , even Roddy Rich ), and the pop-star cleanliness Lamar lent to his raw but hungry guest artists left them in their best form. Combine that with the long-time collaborator Sounwave’s presence on every track and you’ve got a musically holistic homecoming for Lamar (with SZA in tow). While there are moments throughout the record that carry that West Coast aroma - take the Eminem /D12 -like chorus on “hey now” or constant remnants of Black Hippy in his music - I really knew LA was present the moment “squabble up” began. The unique blend of 2000s club-tinged g-funk is ridiculously catchy. Imagine a YG song with the sonic layering and atmospheric control Lamar fans are accustomed to, plus the synth performance of a true techno madman. It's the kind of song I wasn’t sure Lamar could make after his last project - the kind of song that makes you wonder what else he could possibly do. I saw criticisms of Lamar as a person in regards to this record - complaints that his narrative has become too self-indulgent since his feud with Drake making this braggadocious record difficult to swallow. Personally I disagree. While it can be enticing to think of an artist as someone you know based on the extensive material they’ve presented, the truth is you really don’t. The introspective Kendrick Lamar persona we know has been as much of a product as his music. It makes sense that the public persona of the artist would change in tandem with their newest product. Therefore, it also makes sense that following the most substantially publicized victory of his career he would release a sort of victory lap record. It is not a reflection of his character or ego as much as it is the logical next step in an increasingly lengthy career that has rightfully resulted in his superstardom. This record is not his best, nor is it his worst. A smaller undertaking than Kendrick’s all-time great concept albums of the 2010s, GNX had a lower ceiling to begin with, however, he still packed the record with a variety of new creative angles. Aside from creating the ever-elusive flawless tracklist, cultivating a variously entertaining and passably cohesive group of songs is the ultimate goal of any record that focuses on the collection of songs rather than a core concept. By that measure GNX is a success. It’s also a success as it exists in the world. The album’s reception can be just as important as its content, and the exposure he brought not only to his features but to that g-funk sound might be what I love most about the record. GNX is a 8.6.