Drake - If You're Reading This It's Too Late

Every year, there is often talk among music critics about who the "King of Hip-Hop" is. This constant search for the "King" is unique to hip-hop, most likely due to the genre's association with machismo and competition. Depending on who you ask, and which year you asked it, you could get a multitude of answers: from mainstays like Jay-Z and Eminem, to perennial dark horses like Kanye West and Lil Wayne, to newcomers like Kendrick Lamar (Complex has a very interesting list that compiles the "best" rapper in each year since 1979). One name, especially in recent years, has come up more often than the others, however: Drake. Since his first EP was released in 2009, Drake has stayed at the forefront of the hip-hop industry with each of his releases. His newest mixtape, "If You're Reading This It's Too Late", is no exception. Unlike Drake's other records, IYRTITL was dropped with little to no fanfare involved. There was no marketing strategy, no advertising; just a cold release. Despite the lack of any effort on Drake's part, the mixtape has still seen more exposure than most rappers see in their entire careers.

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One thing that I noticed upon first listen is that this sounds a whole lot like Drake's previous releases. The hazy, emotive style that he pioneered with his masterpiece "Take Care" has now become  Drake's modus operandi in hip-hop. While his music is very euphonic and pleasing to listen to, I would be lying if I said that I was satisfied with him continuing on the same path for yet another release. Drake has essentially been releasing the same songs over and over again since 2012, and I've begun to notice. Now, I get his mentality behind this trend -- if it ain't broke, don't fix it. However, it would be great to see one of hip-hop's giants start to take more artistic risks, like he did with "Take Care". While his emo-rap hits the spot on many the occasion, I am growing slightly tired of Drake's constant soul-baring. Tracks like "Legend" and"No Tellin'", while making some interesting choices production-wise, sound like they are straight off his previous album, with murky beats and Drake's trademark moan prevailing throughout. "Energy" is probably the most interesting song on the record due to its sampling of one of my favorite Jamaicans, Shabba Ranks.

All of this doesn't mean that IYRTITL isn't a solid record. There is a reason why this man holds much of the industry in the palm of his hand. Personally, however, I am getting fatigued by listening to what seems like the same release every year from this artist. Many people think that IYRTITL was just a quick release to hold fans over until Drake's next big album (among other theories, including one postulating that this mixtape was Drake's carefully calculated exit strategy from his record deal with Cash Money). Hopefully this new album on the horizon makes some of the artistic leaps and bounds that I know the current King of Hip-Hop is capable of.

SCORE: 3/5

HIGHLIGHT: "Energy" 

Father John Misty - I Love You, Honeybear

For many, young adulthood is a time of great emotional polarity. Young adults come out of their youth with their guns blazing, ready to take on the world. They often realize later, however, that the world doesn't exactly welcome everyone with a gleaming smile and a warm hug. Loneliness is more common among emerging adults than any other age group in America, and the "disenfranchised youth" are an actual demographic talked about by sociologists. While actively being alienated by society, however, these young men and women are also hitting on many important milestones: first house, first real career--and first true love. "I Love You, Honeybear" gives this combo of cynicism and passion life in just under 45 minutes. Hidden within its sarcastic and surprisingly humorous lyrics are references to the dilemmas of young adulthood.

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"Honeybear" is former Fleet Foxes drummer Josh Tillman's sophomore release under the stage name Father John Misty. Despite being a former member of the popular folk band, Tillman writes music that is uniquely his. His sound bears only a passing resemblance to the Celtic-sounding folk ballads of his previous group. Father John Misty is much more keen on embracing psychedelia and odd instrumentation, and seems to match up with Tillman's mystifying persona. Also, while most of today's indie folk music tells tales of fairies and magic, "Honeybear" is filled with many explicit references to contemporary problems facing young adults. The track "True Affection" is a great example of this--over electronic textures, Tillman wails about how texting women is no substitute for physically meeting them. Also, in "Bored In The USA", he laments the state of the economy and society that he and his fellow 80s kids have been thrust into recently. In this track, he unconventionally employs the use of a laugh track, likening himself to a cynical stand-up comedian. When looking closer at his lyrics, one finds out that this comparison is not very far from the truth. On "The Night Josh Tillman Came To Our Apt.", Tillman complains about a one-night stand that he isn't very in to. His exact words are: "She says, like, literally, music is the air she breathes". The girls that Tillman associates with are often vapid, and they lack the depth and profundity that he so desires.

Contextually, this album was released soon after Josh Tillman got married to his fiancee, photographer Emma Elizabeth. After "The Night", "Honeybear" takes a turn for the optimistic. In the lyrics, Tillman turns down aggressive women at bars, telling them about the absolutely gorgeous woman that he is taken by. Also, in the very same song, he threatens any man that hits on his wife at said bar. This slow road to optimism leads to the powerfully titled "Holy Shit"--a song that was written on Tillman's wedding day. Although he doesn't use the prettiest language, and sometimes even seems a bit crass in his descriptions, you can't help but feel the passion and excitement that Tillman obviously had for his beloved. This upswing then culminates with a track called "I Went To The Store One Day"--a track that tells the story of the day he met his wife. The song ends with the lyric "Seen you around; what's your name" which, supposedly, are the first words that he said to his wife-to-be. In the end, "Honeybear" becomes a fantastic look into the experience of a young adult in American society, including the disillusioned but never-ending lust for life that young adults possess. Despite its eclectic musicality and dreamy sound, "Honeybear" is a very sensible and down-to-earth record.

SCORE: 4.5/5

HIGHLIGHT: I Went To The Store One Day

Joey Bada$$--B4.Da.$$

Could any of you imagine having a successful music career before turning 20? Brooklyn-born rapper Joey Bada$$ lives this dream every single day. Born Jo-Vaughn Virginie Scott to a St. Lucian mother and Jamaican father, Joey Bada$$ was always interested in the arts. At first, he intended to study acting, but in 9th grade changed gears and started writing raps. This stemmed from his precocious love of poetry. By his current age of 19, Joey has released a mixtape to widespread acclaim,started rap collective Pro Era with the late Capital STEEZ, and spearheaded the Beast Coast hip-hop movement with other rappers from the Flatbush neighborhood of Brooklyn. Not bad for somebody who can't even drink, wouldn't you agree?

Joey Bada$$'s new release, "B4.Da.$$" (pronounced "before da money") is actually his first full-length studio album, having only done mixtapes and features up to this point. "B4.Da.$$" mostly follows suit with his previous releases. In true Beast Coast style, this album is really an homage to classic east coast rappers. Joey obviously idolizes artists such as Nas and Biggie Smalls, as he emulates them throughout the album. This usually is done well, although some of his rhymes that hearken back to the golden age of hip-hop seem a bit clunky and forced. Overall, production is very good, too. The record is full of jazzy, downtempo beats perfectly compliment Joey's assertive, bouncy style.

The album starts out with the track "Save The Children", opening with what sounds like fanfare at a Joey Bada$$ concert. It then grooves through many different tracks, interspersed with the occasional skit. These skits include simulated voicemails, interviews, and radio lead-ins, and make the album feel almost like a news story. As a whole, the album flows very well, climaxing with the leading single "Big Dusty". It is a very cohesive record, which at some points makes it slightly uninteresting. While the overall quality is good, the artist didn't really take any creative risks, which could get stale by the end of the hour-long record. However, the quality of Joey's flow and the production overcomes this in most spots. Also, his ability to emulate classic rappers whose heyday was long over before he was even born makes Joey Bada$$ a force to be reckoned with in hip-hop. I wouldn't be surprised if we see a lot more from this teenager in the coming years, as well as his cohorts in the Beast Coast movement.

SCORE: 3.5/5

HIGHLIGHT: "Big Dusty"