Ronald Bruner Jr-Triumph

So I’ve recently entered the “Domesticity of Justin” chapter. The other day I was
“cooking” dinner with my girlfriend and I decided we’re going to listen to some jazz. This is because obviously I’m 58 years old. Miles Davis’ Kind of Blue kicked this night off. Then I transition to some of my old favorites that I used to listen to when I was heavy into jazz. This morning at work, I wanted to create a playlist of a bunch of this music and just have a nostalgia boner while I worked. Melody Gardot, Jamie Cullum, Avishai Cohen, Kneebody and more fill up this playlist. I wanted to add some tunes from the Grammy winning album Stanley Clarke Band. Ronald Bruner Jr anchors this album but I remember that he released an album of his own. Ignoring the extensive playlist I just created, I dive into Triumph. Image result for triumph ronald bruner

Ronald has been a mainstay in the jazz world for years. His brother, acclaimed musician and documented weirdo, Thundercat has also been killing it as well. Ronald Bruner Jr. is better than your favorite drummer. He can LITERALLY play any style but is known for his immense speed and power. He’s so good that when listing favorites he is oft forgotten about until mentioned and then the “Oh, well duh” and “Yeah, of course” phrases come out. He’s so good, it’s unfair and it makes me want to practice and retire at the same time. Now, history denotes that drummers usually can’t/don’t make good albums. It’s a fact, sorry. Many times the music is just a basic foundation for the drummer to just go crazy. Elementary musical ideas with drumming brilliance. It gets old.

Triumph ain’t that.

This is a well made project with engaging ideas and masterful musicianship. Ronald sets the tone early though; displaying sheer skill and command of his instrument in the first ten seconds of the album. He’s here to show off. The first track, “True Story,” is a driving, inspirational number that is interlaced with ridiculous drum fills. I’m impressed because I’m just such a fan but a seed of doubt is sewn because if he just loses his mind on each track it will get indulgent real fast and that would be disappointing. “Take The Time” features his brother Thundercat and begins with a groovy riff with busy drums behind them. It reminds me of Mark Guiliana’s work on David Bowie’s Blackstar. Bruner’s skill is once again on display while the guitars just calmly sit over top as a welcome juxtaposition. “She’ll Be Back” and “One Night” are more in line with a good chunk of the album. Neo-soul, R&B, jazz, and hip-hop elements all fuse together for several mid tempo offerings that fill out the track listing.

Most of the instrumentation is live because Ronald definitely has access to incredible players. There are some absolutely absurd solos sprinkled throughout Triumph. In another review I mentioned how nobody was going for blood in the moments they have…not the case here. There are lengthy fusion instrumentals that allow musicians to stretch out and they take full advantage. This include solos from Bruner himself that are just confounding. Like…what do you even do? How is that even fair?

There are some moments that dip into a more electric pool. “Doesn’t Matter” has electric drums and its hypnotizing synth makes for a very cool track. “To You/For You” is two completely different songs with the last two minutes being this hard-hitting, super produced rap song. It’s weird but whatever, if he wants to make beats and rap on his own album he can. Unfortunately, it is by far the weakest moment on the entire album.

That one instance of rapping is a good segue into the vocals on Triumph. There are not a ton of features on this project which means with the exception of Mac Miller, Danielle Withers and what I would assume some vocals from lil bro, Ronald is doing all the singing. Bruner has a really nice voice. At some points it sounds A LOT like Usher and his rhythms and melodies are cool enough to keep you invested. He uses layers and background vocals quite well to create full sounding singing parts. He stays in his bag and times he seems to push his voice it feels like it is on purpose to convey emotion.

I enjoyed Triumph but I could say that maybe it’s two albums in one. One is this R&B, soul  sometimes poppy project while this other is a modern jazz/fusion masterclass. They fuse together into an album that I enjoy thoroughly with my admittedly rose colored glasses.

Peep the album here:




Taylor Swift-reputation

About time you jerk


Okay so here we go.  Taylor Swift finally let the streaming services have her newest album reputation after blue balling us for nearly a month. I’m not going to act like I’m Taylor’s biggest fan but she is talented, a drama magnet and immensely popular. I was looking forward to this project for those same reasons but after hanging out with some white people recently two things became very obvious. The first is that I know so little of Taylor’s catalog. The second is that I know waaay more of it than I thought. First comes cryptic Instagram posts which means, finally new music is just around the corner.

“Look What You Made Do” drops and holy moly this song blows. Reception is either “Yay!” or “Wow this is terrible.” Here is my review of the song and I will touch on it again in a bit in context of the album. So out the gate I’m skeptical; we’re getting a different Taylor. She’s no longer the girl next door, she doesn’t care about her…reputation (roll credits) any more. Completing this single drop are the album cover:
And video:


Her next couple singles were leaps and bounds better but then I had to wait to listen to the full album. Jerk.

Honestly, I didn’t hate reputation. I’m very happy that Taylor didn’t have this petty, emo attitude throughout the whole project because unless the production was incredible would have been a turnoff.  There are some “I’m a strong woman, idgaf” tracks on here and that’s totally fine. A majority of the subject matter is relationships, boys, breakups, the usual stuff. Some attack these subjects from cool angles like “Ready for It.” She’s letting her subject know that she’s coming for him and that he better get ready for the games. The instrumental matches both her aggression and the more softer parts of the track and is a rather enjoyable way to kick off the album.

Next up (I’m not breaking down every song, chill) is the swagged out “End Game” featuring Future and MY FAVORITE MUSICIAN, Ed FUCKING Sheeran. AlrightIlikethissongalot. Taylor sings about how she wants to be the last girl you are with, not some stop on the road, and not “just another ex“. She doesn’t want to go through the pain of missing you or hurt you like those other girls. There’s a pre-chorusy chant that talks about her reputation and the last verse by Taylor speaks on how she cant help the drama that just happens to follow her. First off, the chant just sounds cool. It’s catchy, rhythmic, and the features are cool. So now two songs in a row that I like…well alright alright alright.

The next three tracks are cool solid middle of the album songs even though they are 3-5 on track listing. “I Did Something Bad” is another song with Swift as the villain with solid chorus. “Don’t Blame Me” is a slower but synth heavy tune about being addicted to her lover. My favorite of this bunch is “Delicate”. It’s a light vulnerable bop that is quite cute. It shows that Taylor is taking her time with this new guy as her past relationship may have ended because she jumped into them rather quickly…then wrote a hit song.

I’m gonna speed this up.

I still really hate “Look What You Made Me Do” but the production of the song makes a little bit more sense in the context of reputation but the writing and general attitude still just isn’t interesting. I feel like it just doesn’t fit. Right after that though, comes “So It Goes” which has the best 45 seconds on the album right at the beginning which then you find out is just the verses. The melody, muted basses and bass drums sound so great then tease like they are about to crescendo into something great. The chorus actually isn’t bad but personally I disagree with the drum programming. I would have preferred something a hair more epic by removing some of the bass drum hits and hi hats. I really enjoy it though and I’m glad it follows the disaster before it.

“Gorgeous” was another single and there seems to be a little whimsy to the synth line which coincides with Taylor gushing about her partner being so attractive. It’s goofy and it works. There’s always a point on an album that you feel like an artist has explored all of their ideas out and everything that comes next is just a rehash. We get there at track nine, “Getaway Car”. There isn’t really anything wrong with this song but it’s kind of just there. “King Of My Heart” feels like Taylor is just using the same melodic rhythms that we’ve heard before but then some cool, tom-filled drums kick in that got me dancing a bit. There are a few more throwaway songs that bring up the rear. “Dress” where she only it bought it so you could take it off. Fine. “This Is Why We Can’t Have Nice Things” is probably about Katy Perry or…idk she mad. The album wraps up with “New Year’s Day” a nice little piano tune and it closes out Taylor’s project nicely.

reputation grew on me as I listened to it a whole bunch today. I can’t see more than two or three songs really sticking with me but the album is cool. I didn’t realize that she sung so rhythmically and quickly at times but it didn’t take anything away from the tracks. The album is heavily produced and at times I thought the instrumental could have done less; less hip hop tinged drums and less synth here and there. Despite the ridiculous album cover, general vibe I got from the album art and first single, she kinda stuck to what she knew subject wise. One theme that popped up a lot is how her reputation has affected her ability to be in “normal” relationships. We know her as one who is constantly followed around by drama which has tainted her image and could make her hard or even scary to date. Anyway like I said, I didn’t hate it and I would even say I kinda liked it.


Thandi Ntuli-The Offering

Alright, so another music post but at least this time I focus on one project…Right!? Guys?? Please don’t leave!

Well, last night I had an epiphany. I’m picky about my jazz. The problem is that I really can’t afford to be. Jazz is a well established genre complete with sub-genres and strange offshoots but it is probably the least popular form of music in the world (idk this is conjecture). These artists need our support though; they deserve all the recognition and attention that pop garners. The problem is that when your favorite pop artist makes a song with a little jazz influence, it is heralded while true jazz musicians starve. For example, look at the acclaim To Pimp A Butterfly received or how popular La La Land was upon release. Jazz can work if properly presented to the public but only in small doses because the attention span just isn’t there. I got way off topic. My point was that I’m picky because like EDM, there is so much jazz and so much of it can be similar. For me it takes something special; some innovation, a new approach to rhythm/melody or extreme skill to keep me engaged and win me over. This isn’t the birth of jazz, you don’t get brownie points for knowing how to play your instrument and presenting a solid solo.

That brings me to Thandi Ntuli and her album The Offering released in 2014. I had never heard of this South African pianist until yesterday when I was told to check her out. She hails from Capetown where she studied jazz in college there as well. My initial reaction to the album was that Ntuli has a strong grasp of the things that make great jazz as well as a formidable command of her instrument. Technically, there is nothing wrong with the project. The players execute things very well and Thandi makes commendable songwriting decisions that hold my interest. There is a wealth of solos by everyone and, I will contradict this later, a lot of them are very non-masturbatory. This sentiment actually bleeds out to the whole album and I appreciate the restraint. There is no “Look at me! I can blaze over these chord changes!” My favorite solos occur in the tracks “201 Aa”(the first piano solo) and “Uz’ubuye(Intro)”, the latter of which is just a five minute piano solo. I was told that which makes Ntuli so great is that she has great command of the the alto region and after listening I can understand that statement. She stays in her bag and does so much in that space.

But…but…I…I just want more. I set super high expectations with this album for two main reasons. I have recently listened to Mark Guiliana’s Jersey and Christian Scott’s Emancipation Procrastination and those projects blew me away. I thought I was hitting a hot streak. The second reason was all I knew about this project was it is South African jazz. I was strapped in and ready for new rhythms, possibly a wealth of auxiliary percussion and other musings that represented the artist’s home. Sure we get track listings and the DOPE cover art but outside of that, it is just a jazz album.

The other issue is that the lack of risk/innovation. Now, I’m very aware that this could be a personal opinion but I stand by it at the risk of sounding stupid. This lack of risk taking is mostly felt through structure and in the solos. I applauded this safeness earlier because its ideas are executed well but I will contradict myself here. At no point did I feel like any of the players were just going for it. I wanted blood. I wanted to imagine that after a solo people were exhausted, someone’s mom was crying, wigs tossed. Obviously that doesn’t belong on every project but The Offering definitely had some room for it. There is a trumpet solo on “H.T.” where I feel like dude was heating up a little bit but then the guitar solo afterwards does in fact cook. Outside of that and half of “Uz’ubuye”…*shrugs* tasteful and controlled solos. There is one exception. On the second track “Contemplation” and the last song, “In Between Spaces” we get pretty lackluster drum solos which is a shame because the space given is so perfect.

Overall, The Offering is really good. I can always appreciate well made music that is recorded well. Highlights for me include the aforementioned “201 Aa” and  both “Uz’ubuye” tracks. Thandi Ntuli is now on my radar and she has an album coming out this year. Hopefully she continues to grow and comes with fresh ideas. I appreciate this recommendation and this album.

Check it out here:

Fresh Bop Friday 10/6/2017

Kinda light week but here we go. I was greatly distracted by stuff.

I was busy today. 

As I type out this intro I am listening to Kelela’s Take Me Apart It’s good and unlike the Latina wave that’s rising, I’m all for this women led modern R&B movement. SZA, Syd, Solange (AND MORE DON’T @ ME) have lead the way in this vibe but you can add Kelela’s name to that list. Maybe she’s been poppin’ but I haven’t heard of her until this week. Sweet almost delicate voice that dances over well produced tracks. It’s relevant and it sounds good. I’ll have to finish it when I’m done talking about the other stuff.

Sam Smith-“Pray”

The first seven seconds of this song are very confusing for me. “Ooh we’re gonna get a bouncy piano driven diddly…no it’s an islandy bop because that first measure of drums definitely felt spicy. Oh, it’s a slowish Sam Smith song.” I promise I don’t hate Sam Smith but I just want more. This song is Sam looking for answers to his problems and finally turning to prayer. The problem I have with this is that he spends a good chunk of the song letting the listener know that he doesn’t believe in God or religion. “Everyone prays in the end” yeah they suuuure do but that’s not how it should work and WOW I’M ABOUT TO GET ON A SOAPBOX. Growing up in church I’ve become very skeptical of people that randomly turn to prayer. You were an atheist yesterd…HOLY MOLY I’M DOING IT AGAIN. Choir sounds good even though they are being used to reinforce not believing in basic church things and then the tropey double clap at the end. Ugh. Whatever. Whatever. Whatever. Production and vocals sound good. I don’t know why the religious aspect of this rubbed me the wrong way.

Lauv-“Easy Love”

I haven’t heard of this dude before but I liked the album art. This song bumps. I like how it begins with the synths and vocals. The drums come in at the chorus and really turns into something really groovy. Lauv uses cool rhythms to sing over the instrumental and the whole thing is just…cool. There are strings that hang in the back, well crafted harmonies and a random guitar bit during the bridge. “Easy Love” is put together well and I will be checking out some of Lauv’s other stuff.

Charlie Puth-“How Long”

So I’ve been listening to “Attention” and “We Don’t Talk Anymore” A LOT recently. Those songs are good. No qualifiers needed. Good voice, production and interesting. So when I saw this, I figured I’d check it out. This song is fine. Pretty unoffensive and formulaic. Decently upbeat, slow bridge. Meh, it’s there.

Metro Boomin’-“Blue Pill” ft Travis Scott

Just saw this. No way am I not about to talk about this. Beat wunderkind Metro Boomin’ and soon to be father, Travis Scott dropped this hazy, kinda hard track presumably about drugs. I like the beat with its deep bass tones and high pitched synths. Feels like there’s a bunch of auto-tuned singing in the middle but I will listen to Travis rap verses all day. It’s not super hype but I got a lil stank face. I’ve been THIRSTIN’ for new Travis so this was a welcome surprise. Thank you for this.

Other Stuff

Marilyn Manson dropped an album. Out of pure curiosity, I skipped through a few songs and I’m worried I may like it…so I stopped.

Maroon 5 is an embarrassment to who they once were. I do not care at all if it has made them more famous. “Help Me Out” is wack.

P!nk released another single.

The Blade Runner 2049 soundtrack came out and I’m excited to hear it….after I watch the movie. I saw the original Blade Runner earlier this week and thoroughly enjoyed it. The music was also AMAZING. I have full faith in the Hans Zimmer so I’m sure this is fantastic but I’ll wait.

A bunch of hip hop came out by lesser known artist the past two weeks that I have just ignored because I’ve been busy but go listen to it. I’m sure some of it is good.







Fresh Bop Friday 9/29/2017


But last week was trash I didn’t/still don’t care about Macklemore. This week was much better and things that I cared about dropped.

So I’m back yo!

J Balvin, Willy Williams-“Mi Gente” Ft Beyonce

Did not get to work and expect to see new Beyonce. Apparently the original song came out awhile ago but this version with Bey is brand new.


A majority of it is in Spanish by all three artists but there is a verse in English by the queen. Her Spanish doesn’t sound bad and obviously her English is fine. Overall the vocal performances are great and flow over the instrumental quite nicely. The instrumental is dominated by what sounds like a some sort of vocal sample which repeats throughout the whole song. I love it. I’m still weary if this Latin vibe is the new wave because of how excessively boring “Despacito” is but maybe “Mi Gente” is a step in the right direction. I like this a lot, good job yall.

Kimbra-“Everybody Knows”


She’s back. ALERT ALERT ALERT! SHE. IS. BACK. Ugh, I love this woman so much. Kimbra cannot make bad music. After her last full length release three years ago (help) us Kimbra stans were starved. Sure we got little nibs here and there but it is confirmed that dinner is almost ready. “Everybody Knows” is exactly what I wanted to hear; from the slowly building, layered instrumental to her always stellar vocals. The ever present groove to her music is there along with her just as prevalent quirk. YES!

Demi Lovato-Tell Me You Love Me

We’ve been waiting for this and now it finally here. First let’s lay down some facts. 1. Demi has always been my favorite girl to come out of the Disney/Nickelodeon wheel 2. She can flat out sing. 3. She’s so hot.

Anyway, Tell Me You Love Me is good! I would say the average tempo of the entire project is lower than usual? I don’t know, it felt like the whole thing slowed down right in the middle and only picked up a smidge as we approached the end. Don’t confuse slow with boring though, the songs are well made and still interesting. “Ruin the Friendship” is an absolute highlight for me with it’s pronounced bass line, tasteful horn lines and is seemingly one of the few tracks that don’t have much studio affects on the vocals. I’m sure they all do but it seems a lot more obvious on many other songs and I’m not sure if that’s on purpose or not. My favorite section of the album is the last four songs from “Games” to the end. Hit after hit after hit ending with the hype and dancey “Instruction.” This is nicely put together so well done Demi.

Tennyson-Uh Oh!

My man is a genius. Tennyson has the best drum programming in the glitchy electronic game. Don’t @ me. This new EP has a lot to live up to considering Like What is a masterpiece. Well, Uh Oh! is darn good. All the random real world sounds, interesting synth lines, intricate beats and pauses are back in classic Tennyson fashion. Throw Aloe Blacc’s dope voice on track and this is a wholly enjoyable sixteen minutes of music


Other stuff:

Miley Cyrus dropped “Younger Now” which I have no reason to listen to AND heard was gaaahbij

Pink released a song. It sounded like a Pink song.

Shania Twain released an album. Sorry, didn’t listen to this.

PARTYNEXTDOOR put out an EP. I’ll listen to it but I’m tired of writing and this paperwork is piling up on my desk.


Fresh Bop Friday 9/15/2017

Look up the songs yourself

OK well New Music Friday might have blew its load last week because this week was LIGHT when it came to releases I cared about. I decided to start a series and apparently my brain won’t let me stop it after one week…my adoring fans are so lucky. Here is the new stuff I cared about listened to today:

Niall Horan-“Too Much To Ask”

This song is boring. I’m trying to give the 1D boys a chance to be on their own but I think I’ve liked one song from the stuff I’ve heard. This song is clearly about a break up but the lyrics are nothing special. Sure one line in the chorus pulled on a string that I didn’t want it too and I think I got mad at it for eliciting any emotion at all (I have a problem). Niall’s voice is fine but like I said it’s boring.

Bjork-“the gate”

So like, I think I like Bjork. I saw that she put out a new song and figured I’d give it a shot. Oh, it’s six minutes and the title is all lowercase. *groan* The first half is singing and woodwinds ambiently doing stuff. The second half is full of swelling sounds and words that I can now understand. There is still no beat which is fine but it seems like there is no direction either. She cares for you because she says it over and over again. This seems half-hearted from me so I’m not gonna just bash it because I didn’t like it. Song just seemed unnecessary.

Post Malone-“Rockstar”

This is very laid back and trappy. Post’s voice is great and works over this kind of instrumental so well. He speaks about being a rockstar and it’s not game breaking lyricism but I really like this track. There’s a 21 Savage feature that has some fun lines. “Ask me Savage why you got a 12 car garage and you only got 6 cars” and “Your wifey say I’m looking like whole snack” are just hilarious to me. The song is called “Rockstar” and 21’s first line mentions that he’s doing something that makes him feel like popstar. Purposeful or not, I love it. For Post, the chorus is cool with rhymes that I wouldn’t even think of. Rockstar, rasta, shottas and mouthed gun sounds (ala Big T) that he makes rhyme too. I do actually hate gun sounds being spoken but it rhymes so…no wait, I still hate it. Anyway, the vocal performance overall is nice and makes for a really solid song.

Lorde-“Homemade Dynamite(Remix)”

Not gonna lie I didn’t look at the name of track before I played it. Just saw Lorde’s name and played it. It’s a remix featuring Khalid, Post Malone (double tapping this list) and SZA (squeals) of a song from Melodrama. I’m pretty sure they kept the instrumental pretty much the same and just added the features. Khalid and Posty sound good but don’t add too much to the song. The male voices on the chorus honestly do fill it out quite nicely similarly to Tove Lo on Years & Years “Desire” but that’s it. What I like about this track the most is hearing the two distinct styles between the two ladies and how they approach rhythms in their melodies. Lorde and SZA both have rhythms they are clearly comfy with and I love it over the same instrumental.

Angus & Julia Stone-“Sleep Alone”

These two released an album today! It’s called Snow and upon first listen, it is pleasantly pleasant. Well made indie folk music that was great to have on while I did work this morning. One song that really stood out to me was “Sleep Alone.” I love the drums and the trading between Angus and Julia during the verses. There are some production affects to Julia’s voice throughout the chorus and the bridge that add some flair. Angus kind of sounds like Mac Miller here? This is quite nice.

Randomly, I remember listening to “Big Jet Plane” over and over and over again a bunch of years ago. I was entranced by it.

Nick Jonas-Find You

Not really a super fan of Nick Jonas’ stuff.  Joe is doing better with D.N.C.E. That being said, I didn’t absolutely hate this.


Ok that’s enough. Other notable releases:

Gucci Mane-“Curve ft The Weeknd” Meh

The Killers-“Some Kind of Love” It’s slow


Foo Fighters-Concrete and Gold Will probably listen to this later

Rebecca Black-RE/BL Yes, that Rebecca Black. Will be listening to this EP because the first song was cool. Don’t sleep

Bye. Enjoy your weekend. I love most of you.

Fresh Bop Friday 9/8/17

Every Friday I get to work and check Spotify. There’s usually a ton of new music by artists I don’t know and some that I do. I try to listen to it all just to see what’s happening and maybe discover someone new. In any case, I look forward to Fridays. Today (9/8/2017) there were a bunch of songs that I actually cared about. Let’s talk about them, whether I liked it or not. It’s not all the new music but just the ones I took interest in.

Sam Smith-“Too Good at Goodbyes”

Oh snap, new Sam Smith! His last project was in 2014 and he released a banger with Disclosure soon after. Was everywhere and then kinda faded. He’s back with this track and I was excited….*Sigh* It’s fine. Slow start then beat kicks in. A comment I saw that perfectly described the song was “It’s a Sam Smith song.” “Too Good at Goodbyes” could have been on his last album. It’s good to be reminded that Sam can still sing his butt off but the song itself is just more of the same. Where is the growth? It’s a good song but I’m a little disappointed. It’s probably gonna be everywhere soon though.


My new wife is back with “Quicksand” off the Insecure album. I might end up reviewing that entire project but no promises, it’s like 23 songs. Anywho, “Quicksand” is so good. SZA has such a modern and hip sound that is relatable to my age group. The instrumental is a hi hat heavy, synthy hip hop groove that switches to a straight forward R&B feel with deeper, open snares for the chorus. It works and SZA rides the beat with her vocal melody so well. I love it and I’m here for SZA’s wave.

Demi Lovato-“You Don’t Do It For Me Anymore”

“I see the future without you…” Oh, so that’s what we’re doing? Demi dropped a new single like a week ago but I guess we needed a ballad. This song has to be about Wilmer, right? I would hate to breakup with a girl who will then write a song about me that will be heard by millions. This particular song would make me feel super bad because basically Demi was just over the dude. That first line is rough. In news you already knew, Demi can flat out sing. She is giving it to us here, hitting those notes and pouring the emotion into the words. The instrumental isn’t groundbreaking and kind of reminded me of The Weeknd’s “Earned It” but it serves its purpose. Looking forward to her album.

Tove Lo-“Disco Tits” 

I can’t really discern how the general public or even more critical popheads feel about Tove Lo but I’m a fan. She’s makes really good music, had dope features in the past, has a voice that I love over electronic music…and also flashes her tits at shows. This ridiculously titled song is such a bop though. Driven by a muted bass line, steady kick and claps (+1) this song is a perfect representation of Tove Lo’s clubby, sexy, drugged fueled fun. There’s randomly pitched down vocal parts and the chanty chorus is super catchy and easy to sing along. Yes yes yes.

Syd-Always Never Home 

Syd is dope. The end. Go home.

OK fine, I’ll talk about it. Syd is taking time from her band The Internet (they’re dope) to focus on her own music. She released Fin in February aannd I don’t remember listening to it. How did that even happen? I love Syd! Well, she released a short three song EP today and I thoroughly enjoyed it. I love the production and she has a great voice. Also, it’s always interesting hearing songs about women from a woman’s perspective.

Syd is dope. The end.

Yung Thug-“Homie” ft Meek Mill

This is aggressive. I’m not super certain of Jeffery’s mental state…really at any point but “Homie” is hard. I thought the grunting, guttural rap for the chorus was funny but he’s definitely flowing during the verses. I swear I could also understand most of his words. The beat knocks with its organ sample and banger trap drums. I love Meek’s feature as well because it just sounds great. Plain and simple. Same flow and stays on the same rhyme scheme but he’s SPAZZING and it’s awesome. This is great and I will bump it at home with proper speakers. I’m still scared to listen to Beautiful Thugger Girls for whatever reason.

There was also a TOKiMONSTA song released today with Isaiah Rashad but I didn’t feel like writing about it. It’s good, she’s great. So yeah, those are the new tracks I cared about today.   Maybe I’ll do this every Friday but we’ll see, I’m lazy. Check these out and enjoy your weekend.