Beyoncé

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5min390

YOU remember how impeccable J.Cole’s 2014 Forest Hill’s Drive was. I think he was also shocked with how good that album came out. I think Solange Knowles felt the same way after making A Seat At The Table.

But the difference between the two artists, is that Cole tried by all means to steer away from anything remotely similar to like F.H.D when he made 4 Your Eyez Only. Beyoncé’s younger sister on the other hand, attempted to make another Seat At The Table-or at least a more esoteric version, with When I Get Home-but failed.

The album lands on the ear as an incomplete project because of the annoying number of interludes. As soon as I tried to engage with a track, it abruptly ended. It’s like she made the album based on research by scientists, about the short attention span of today’s youth. Over 10 tracks are less than three minutes, not to suggest a great song is defined by its duration, but one gets a sense that Solange didn’t have an idea of what to do. Instead, she horrendously used Seat At The Table as a template.

This album lacks direction and makes me wonder how much of a contribution she had in her previous album. The legendary Raphael Saadiq was the executive producer of the project, along other producers and musicians who’ve been in the game for decades.
When I Get Home seems like Solange’s way of being young and hip, to be more appealing to the youth. Some of this album’s producers include Metro Boomin, Dev Hynes and has contributions from Tyler the Creator and Earl Sweatshirt.

Sonically this album isn’t far off Seat At The Table, but it’s short of a solid theme and cohesiveness. It’s the kinda project that makes the producer look bad. But having shat on the album, I admit there are some enjoyable ditties on the project like Way to The Show and Down with the Clique. True to its name, Dreamy was quite dreamy and airy, I didn’t mind repeating the song. These are tracks that didn’t hit me at first go, but with time, I got into their vibe-if the album was a stand-up comedy special, I’d have to watch it again for those few jokes I had to nit-pick for laughs.

Time (Is) is the only track that hit, from the word go. I enjoyed it, especially the switch of the beat later in the song, where Sampha’s backing vocals give it so much body.
Most artists have a bad album in their career, but I didn’t expect Solange to deliver it right after A Seat At The Table. That I’ve mentioned her previous album countless times on this review tells you that When I Get Home ain’t that ayoba.


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7min29890

Make up sex is awesome but does the same energy translate into good music?

Following Solange’s karate kid antics in the elevator in 2014, Beyoncé’s revelations on Lemonade and Jay-z’s explanations on 4:44, it would appear that the Carters have overcome whatever issues they had in their marriage. Predictably , they are not the type of people to let a good crisis resolution go to waste, thus they dropped a surprise album on June 16 in order to add a couple of zeros to their already overflowing bank accounts, cementing their position as king and queen of American urban music.

The album opens with a ballad-like slow jam titled Summer in which the Carters lyrically paint pictures of sex on the beach, or on a yacht, surrounded by crystal blue waters without a care in the world. Luxury and marital bliss is the stuff that a big girl’s dreams are made of and Beyoncé flawlessly delivers with her sensually subliminal lyrics; I want you to come inside right now…so you know just how I feel, with Jigga expressing teenage boy like excitement with his adlibs. The whole joint feels like a honeymoon anthem which is meant to convince the listener that everything is love. I thought the whole album was going to carry this mood but on the following three records in the project, the Carters make it clear that they are on another level when it comes to the cheddar cheese.  On the bouncy joint accurately named Boss, Jigger goes off on his haters, stating Niggers rather work for the man…than to work for me…just so they can pretend…they on my level…that shit is irking to me. Throughout the project the Carters make it clear that they are building a legacy for generations to come, which is a refreshing reprieve from the typical hedonistic tendencies of modern day Hip-hop.

The Pharell-produced Nice has to be my favourite joint on this project. It has a playful demeanour about it, with a funny moment in the song where Beyoncé gives Spotify the middle finger; Patiently waiting for my demise…cause my success can’t be quantified…if I gave two fucks about streaming numbers…when you pull up my name on Spotify…fuck you…fuck you…you cool…fuck you. I couldn’t stop chuckling by myself as I was walking to the shops to get some cigarettes.

Listening to the joint 713 it dawned on me that this might be the first time in Hip-hop history that we get husband and wife conversations on an entire Hip-hop influenced album. The Carters’ consistent Hip-hop references in the album feel organically refreshing, with Beyoncé pulling a young Snoop Dogg impression on 713I’m representing  for the hustlers all across the world…still dipping in my low lows girl…I put it down for the 713…and we still got love for the streets followed by a Jigger’s impression of Common I never knew a… love…love…love like this…got to be special for me to write this…queen…I don’t mean no disrespect -its disgustingly cute.

This is a strong project from the Carters, they manage to mix Hip-hop and R&B without sounding too pretentious, which was a pleasant surprise for me as someone who generally can’t tolerate sentimentality. There are no true radio bangers on this album, which is surprising considering the mainstream appeal of both artist. Perhaps the first single of the project, Apeshit might dominate the charts but I doubt it. The video drips with opulence but I think it will go over the heads of Trap-lords who are the main target of the song sonically. Niggers wanna see racks and Lambos, not the Carters mean mugging in front of the Mona Lisa because niggers don’t read. But regardless, Hovah and Queen B are gonna stay winning, best believe that.


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6min1570

Kiernan Forbes is a little bitch. His side chick, who stole him from his baby momma, to become his main thing, was smashing other ninjas while they were in a relationship, and now he is surprised.  Now he is reading us a passage from his feelings-diary over a dope beat, throwing shade, shit and shame around like a PMS’ing teenage girl. Pathetic!

It has become clear that the oppressive patriarchal gender stereotypes of the twentieth century will not hold in the twenty first century. Generally, the natural and harmful reaction by a man to relatively drastic changes is anger and confusion. We do not know how to deal with women owning their sexuality by behaving in the same manner we have been behaving since time immemorial. Which is evident in AKA’s new single Beyoncé.

To all my black brothers out there, learn from Kiernan’s bitch assary.

He nostalgically takes a trip down memory lane, lyrically painting pictures of bliss between him and Bonang, globe-trotting and living the high life as a young black power couple. You can feel his confusion as he has an imaginary conversation with Bonang asking “how you think you gon be my fiancé…acting like Rihanna. Thinking you Beyoncé…holidays with the small planes…all I wanted was the small things”

Then all of a sudden he starts throwing shade and shit on the second verse. Claiming “all I can do is go get my bread up…I can’t just compete with all your DM’s and airbrush…I can tell you…super quick with the real…waited two years just to see you with your weave off…tell me what that say about your character…we was fucking while I was paying damages…baby momma stressed out” That is some bullshit, this man is acting as if he had  nothing to do with Zinhle’s pain when Bonang threw the brick, and this business about the weave and airbrush is just petty. This man is just mad that he could not tame one of South Africa’s original bad ass.

To all my black brothers out there, learn from Kiernan’s bitch assary. Do not go into a situation with a bad bitch hoping that you can tame her because the truth of the matter is you will lose either direction. If you succeed in locking her down there is a good chance that you will end up resenting her because her wildness was one of the major things that attracted you to her. If you fail you’ll end up resenting her anyway for turning you into her little bitch. Love should be free of social expectation and the limitations of time. If it isn’t, it becomes a source of pain, shame and hate, as Kiernan Forbes has undignifiedly showed us.

With that said, the joint is dope as fuck. The wobbling synth and his add lips are the stars of the record. What truly impresses me about AKA over the past seven years is his ear for beat selection. They are urban and modern, without being completely imitative of American popular trends. Which is what you get from a Nasty C or a Frank Casino, they are dope, no doubt about it but their sonic preferences come across as unbearably imitative to me, which is not the case with AKA. While people complain about AKA’s consistent use of automation on his vocals to cover up the fact that he can’t sing. I feel it is necessary considering the personal nature of his music. Nobody can deliver those bars with his interestingly unique swag and presence. It seems to me he got a hit with this Beyoncé joint.

AKA photo courtesy of cnnct.co.za



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