Boomiverse by Big Boi

When Big Boi gets on the mic, you know you’re going to get some of the best flows around, with lyrics that effortlessly switch between the playful and thoughtful, and punchlines galore. The Southern drawl is unmistakable, and so is the swag. Set aside him being half of OutKast – Big Boi aka Daddy Fat Sax aka The Son of Chico Dusty aka Antwan Andre Patton deserves every accolade that comes his way as a solo MC. With his debut arguably being a classic, and a solid follow-up, Boomiverse sees Big returning to his roots and proudly waving his flag. This is an album from a legendary MC his strengths that puts on display, and it’s almost good enough to forgive that atrocious album art – for like that cover, there are a few questionable choices Patton makes here that undermine the strength of the project as a whole.

The songs that work the best are where Big Boi taps into his years in the rap game to ooze swaggering confidence – In the South is a classic Atlanta banger, with a slow-burning, bass-rich beat that see Patton assert his status as a Southern icon, along with a hook by Pimp C, gone but never forgotten. Big Boi always brings out the best in Gucci Mane, and that shows here too. The sneering Made Man with Killer Mike and Kurupt, and Follow Deez with one of the best hooks on the album courtesy of Curren$y and another Mike similarly feature self-assured, braggadocios raps brimming with quotables. Kill Jill has a thumping, war-ready beat and some of the best rapping on the album – save for that terribly unnecessary Bill Cosby line (just, why, Antwan?). Get Wit It has a delicious funk to it, and Snoop Dogg rapping like he hasn’t in a long time.

Then there are the tracks where Big Boi takes on the role of rap’s elder statesman, such as on the decidedly pragmatic Order of Operations, where he traces his financial and business decisions throughout his career and offers up advice to the youngsters. Overthunk, one of the best tracks here, sees Big take stock of his environment and the lessons he’s learnt with an excellent Eric Bellinger hook and laid-back (if slightly weird) production. These songs are lent credence by Big Boi’s many years in the game, and might come off preachy in the words of several other MCs.

Unfortunately, besides the extremely catchy and hedonistic Freakonomics, there’s a lack of great ‘playa anthems’ here. All Night and Chocolate sound rather obnoxious in their production and hooks, which are the key components of these songs that are supposed to be fun; although the former fares a tad better. Mic Jack has a rather bland beat, and an atrocious hook – another song Adam Levine ruins.

There’s little quibbles too. Some of the sequencing is messy – Freakonomics is weirdly sandwiched between two bangers. Da Next Day is probably Big Boi’s weakest intro track, even with Big Rube’s deep, gravelly voice sounding as purposeful as ever.

Rap is not nearly the same genre as it was in the two-odd decades since Big Boi first started rhyming. But he has continued to stay relevant in the chaos of its changes, evident in the fact that new music always gets hip hop heads excited. Boomiverse may not be Daddy Fat Sax’s best work, but there is enough great hip hop here to remind us why there are some MCs that we would do well to always exalt in rap’s history books.

 

 

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Boomiverse by Big Boi

Melodrama by Lorde

About the sixth time I listened to Melodrama from start to finish, I was walking along shaded roads, the sky settling into swirls of faded orange and yellow, set against a vastness on the cusp of turning from blue to black. As Green Light swells and bursts into life, its chorus rising and consuming the moment, it was all I could do to not burst into song and dance right there, a la Lorde herself in the song’s music video.

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Melodrama by Lorde

RELAXER by alt-J

alt-J are a band of their time and place – they’ve got more than a bit of hipster aloofness, but their music sounds volatile enough to be earnest – their indie-gone-global catapult is reflected in their need to make music that is ‘true’ to themselves, yet appealing enough to their wide audience. With RELAXER, while they have created quite a bit of music that reflects that mosaic, along the way, they seem to have have lost the plot.

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RELAXER by alt-J

All The Beauty In This Whole Life by Brother Ali

Brother Ali is a rare voice in hip-hop, one of positivity and thoughtfulness, delivering personal and social commentary through lucid lyricism. Given the uneasy social climate prevalent in the USA, this album comes as a shining beacon of light and optimism that acknowledges Ali’s trials, but focusses on seeing ‘all the beauty in this whole life.’

The tone is set on the opening track, Pen to Paper, that acts as an accelerated trip from his childhood to Ali’s current time in life.  Immediately, he explores the ideas of using rap as an outlet for his ideals, while touching upon the troubles that this activism brought upon him and his career. As if to indicate to the listener that he does not intend to dwell on his past, the next track is a celebration of life, with Ali’s animated flow and warm guitar riffs and bright instrumentation courtesy of longtime collaborator Ant (who produces the entire album). It’s impossible to not be affected by Ali’s infectious joy. His Muslim faith is a cornerstone of Brother Ali’s music, and he explores the role it’s played in his attitude towards life and himself in a manner that never comes off as preachy or moralizing, instead showing the listener how it’s been essential to his optimistic worldview.

This isn’t to say the entire album is a saccharine affair – there are sober moments that offer a nuanced take on America’s racial problems in a deeply personal context. The incredible Dear Black Son is a beautiful letter to his titular son, offering advice on navigating the trenches of America’s societal and police discrimination, and wisdom on what it means to be a parent. It’s a wonderfully all-encompassing song that explores the psyche of a minority parent. Before They Called You White is thought-provoking, laying out the origins and consequences of race prejudices and ‘whiteness.’ There is the danger of such a song turning into a sermon in the hands of a less-capable MC, but Ali handles it with grace, extending a hand to the oppressors and seeking peace. What distinguises these tracks is a sense of optimism and looking towards the future, despite the powers-that-be, in whatever form, attempting to bog people down.

A few other standouts include Uncle Usi Taught Me, a fascinating retelling of Brother Ali’s trip to Iran, resulting in legal tangles and a hurried escape from the country. No spoilers, but it’s a testament to Ali’s storytelling skills that the track keeps the listener gripped throughout. Similarly, Never Learn is an absolute winner, combining braggadocio with Ali’s signature appreciation of those ideas greater than himself. The beat is alive, while Ali soars over it with a melodic, dynamic flow. This will be on loop for a long time.

 

All The Beauty in This Whole Life is a truly beautiful album, expressive in the range of human sentiment. Coupling Brother Ali’s powerful lyrics and creative flows with partner-in-crime Ant’s complementary production, with its lush, live-instrument based sounds, has birthed one of Ali’s best albums to date, and easily one of the best of the year. It’s telling that the album is not explicit, with the rare cuss being bleeped out. Brother Ali had clearly set out to create a source of hope in a time that sorely needs some, and he’s succeeded in leaps and bounds. This is hip-hop at its finest, and worthy of every accolade that comes its way.

All The Beauty In This Whole Life by Brother Ali

Big Sean Is the Underdog on ‘I Decided’

– Prem Sylvester

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Big Sean is an uncommonly positioned rapper – by all metrics, he’s a commercial success, familiar to even casual listeners, but he hasn’t been accepted into the elite of rap; his rapping skills still have plenty of detractors, and he doesn’t have that singular body of work to prove them wrong. This is, in his own eyes, Sean’s biggest hurdle – feeling like the underdog despite his success, like he has something to prove – a hunger that has driven him from his earliest days as a musician.

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Big Sean Is the Underdog on ‘I Decided’

Process by Sampha

Sampha is an enigmatic musician, working from the shadows with the upper echelon of the industry (Kanye, Drake, Frank Ocean) – he doesn’t have much music out, but he’s left an indelible mark on everything he’s been a part of. But it’s clear that he’s taken his time finding his voice, so to speak, opting to quietly work on a body of solo work that wears its heart on its sleeve, delving into heavy introspection with a maturity rarely seen in debut albums. Sampha’s confessional songwriting style is wistful, exploring his anxieties and regrets with imagery that can be disarming and affecting in turn. Few songs have the emotional brevity of tracks like (No One Knows Me) Like the Piano, a melancholy reflection on times gone by, or the strange, listless sensuality of Under. His vocal range is effortlessly expansive, with a knack for coaxing out vestiges of emotion in the listener, while making his own explicit. The music should sound familiar to those who have listened to his work with SBTRKT, and his (slightly underwhelming) Dual EP, maintaining an atmosphere of evocative electronica with smatterings of delicate piano.
The process that the title refers to then, seems to be one of contemplative reconciliation, a conversation with himself and the people in his life about his growth as a person, and where he seeks to go from here, ending with an assurance to himself that he can “always come home,” a sentiment which we all aspire to.
Process by Sampha

Culture by Migos 

The omnipresent DJ Khaled aggressively yelling “How the fuck you fuckboys ain’t gon’ act/Like Migos ain’t reppin’ the culture?” over the intro to Culture might come off aggressively,  but it’s an oddly fitting tribute to the Atlanta trio that have come to be some of the most creative and successful of the new generation of trappers.

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Culture by Migos