yegormirnov

[yegormirnov]

British certified hitmaker makes a comeback with a new jam

It's been already 3 years since Dua Lipa’s phenomenal sophomore release, marked by shocking production decisions and extravagant performances by the artist. There was a lot of speculation and rumination about Dua preparing something new and big. With the brand new single, “Houdini,” we are finally entering the new stage of Dua Lipa's discography, which looks fascinating but at the same time concerning.

“Houdini” is a banger. It is catchy, funky, radio-friendly, and ignites dance in your body; however, it is conventional and predictable. Do not get me wrong, Dua has always been nailing this pop branch, despite not being able to demonstrate desired eclecticism, but “Houdini” sounds like the unreleased track out of “Future Nostalgia”.

The problem that I had with “Future Nostalgia” was that I felt like Dua hadn’t fully reached her potential or, in other words, “plays much safer” and neglected her strong sides. I had a strong hope that this time Dua would try something and get out of her comfort zone, but it seems unlikely for this record.

Back to the track. Production is fun, light, and vivid. It is not one of my favorites that Dua has put out, but it works. Nevertheless, I must acknowledge the distinguished synth outro and exquisite touch by Tame Impala at the end. The artist comfortably flows between pitches with the help of magnificently executed vocals.

To sum it up, I’m still looking forward to Dua’s new LP, but just from another perspective.

7.4/10

#album review #music #dua lipa #new music #pop music #pop #culture

[yegormirnov]

Travis Scott’s “UTOPIA” or How You Can Justify the 5 Years for an Album

On the 28th of July, the long-awaited album “UTOPIA” by Houston rapper Travis Scott was released to a global audience. After the commercial success of his 3rd album, “ASTROWORLD,” the bar was set extraordinarily high. This album's hype permeated globally, featuring mysterious briefcases, an Egypt performance (unfortunately canceled), and mastering from Mike Dean. It seemed as if the album was Travis’s version of "Graduation" or "MBDTF," so the question is:

Did the protege manage to succeed?

“UTOPIA” is weird, absurd, creepy, and fantastic. Those four words were the first that came to my mind after listening to the whole thing. In comparison, “ASTROWORLD” was akin to a rollercoaster or entertainment park, offering an experience of entertainment and amusement, which clearly played it much safer than “UTOPIA”.

“ASTRO” was colorful, but not as motley and vibrant as “UTOPIA”. It had risks, but wasn’t as edgy or even half as bold as the latter. Travis’s goal with “UTOPIA” is to engage you in his album atmosphere once more, achieved here by the effect of shock and amazement.

Explosive instrumentals and angelic outros are fundamental in every Travis Scott album, but the variety of soundscapes represented flawlessly in this LP is tremendous. The album is replete with hip-hop beats in disguise, allowing Travis to flow wherever and however he wills. Most of his rap performance is rough and raw, reminiscent of his older “Owl Pharaoh”/ “Days before Rodeo” style evident in “Hyaena”, “God’s Country”, “Skitzo”.

On his 4th LP, Travis ventures into unknown directions. An instance is “K-Pop,” dancehall-inspired music with elements of Latin involvement. “Modern Jam” is another example indicating his new direction. The boom-bap “Beyonce’s Renaissance” house music dominates this project, illustrating the multifunctionality of Travis’s style. The album showcases peak Travis psychedelic beats and performances, entrancing listeners in this natural, spatial feeling of oddness.

Features:

One issue I had with “ASTROWORLD” was that the feature list mostly outshined Travis, leaving little space for him on the song. However, here Travis immerses you by himself, making it the standout of this project for me.

On “UTOPIA,” invited artists deliver some of their best verses with amazing execution. Each artist sounds seraphic and vibrant, finding their niche and contributing to the complete experience. For example, in “FE!N,” Playboi Carti reveals a more mature, rough, and revolutionary style, an incredible opportunity to showcase his new era on such a long-awaited release.

Additionally, Travis introduces newcomers and upcoming talents. “UTOPIA” introduces Teezo Touchdown on “Modern Jam” and KayCyy on “Thank God”. Both were phenomenal; Teezo’s voice, initially found annoying and disturbing, showcased its subtleties and proper implementation on “Modern Jam.”

Even minor elements, such as Sampha’s feature on ‘My Eyes,’ Young Thug’s verse on ‘Skitzo,’ and immersive vocals from SZA and The Weeknd, display the well-mastered nature of this project.

Artistically, “UTOPIA” represents Travis finally merging both alter egos (Scott and $cott) and utilizing them marvelously throughout the album.

Let’s explore his $cott side. He reverts to the rawness, hunger, and desire seen in older projects, illustrating this rage and hunger on “UTOPIA.” He flawlessly portrays his trap image, ready to stay.

Regarding his Scott ego, it delves into the transparency of emotions, offering immersive and complex structures. Here, Travis reaches new heights, potentially patenting this sound and his psycho/bizarre influence in the future.

Now, for the cons of the album, which though minor, are present.

The inconsistency and duration of the album are significant concerns. While most tracks feature amazing progressions impossible to imitate or repeat, their length with complex constructions can cause boredom and distraction for the regular listener.

Favorite Tracks:I Know?, Modern Jam, Hyaena

Least Favorite Track:K-Pop

In conclusion,

“UTOPIA” is many things - Travis Scott’s version of Yeezus, reminiscent of the past, or simply a unique, dark, immersive experience. For me, “UTOPIA” is a loose concept, seen from individual perspectives. It's not just a place or an album. It's emotions that emerge, creating the feeling of UTOPIA within you.

#album review #hip-hop #rap #music

[yegormirnov]

Danny Brown: Quaranta



Detroit musician Danny Brown is a contemporary representative of hardcore rap and experimental abstract hip-hop. Personally, I haven’t listened to many of his projects, and “Quaranta” became my second solo listen of his.

The follow-up to my second experience with Danny Brown was an album by JPEG Mafia & Danny Brown, “Scaring The Hoes,” with an all-over-the-place production and other psychedelic attributes. I was pleasantly surprised by that record; nevertheless, I still felt that I wasn’t the demographic for this project.

Despite Danny’s deviation from accepted norms of melody and tone, I was never a fan of his vocal performance. My experience with his best-acclaimed work, “Atrocity Exhibition,” was itself one big atrocity. Constantly repeated utilization of his specific and, to some extent, annoying voice drove me crazy throughout the whole thing. After that unpleasant experience, I just accepted that this guy is not for me. His yodeling left me off-put, despite the avant-garde production and experimental delivery style.

Who knew that this wouldn’t age well?

His brand new LP, “Quaranta,” gave me another perspective on who Danny Brown truly is, or at least brought me closer to understanding him.

A cinematic, rich, elegant sound is all over the place. I don’t feel as much of the experimental hip-hop production on this one as on his previous records, so I would rather define this album as something delicate and prosperous. I have never heard Danny’s "real" raw voice. His tangible Detroit accent fills up the runtime of majestic chords and the hardcore part of the record. From time to time, the artist comfortably mixes his style with beats, combining more soft and fuzzy bass notes. Additionally, a note I made during the listen is that Danny is a big fan of progressive rock. His production selection frequently leans towards art/progressive rock, which helps him maintain tension and tempo.

As far as I am concerned, on this album, Danny reaches his peak at the confessions and brings out new introspective material. I may assert that this record is an emotional rollercoaster. The artist brings out the best in himself when it comes to reaching the emotional climax of the song. The way his burden is released isn’t the same as I have seen before. In numerous conceivable ways, Danny ranges from aggressive, ominous flow to someone who is already defeated and has lost all of his young hunger.

Furthermore, after the furor that this album induced, I ought to find some drawbacks. A certain number of people believe that this album will lack replayability; however, I believe it comes down to personal preferences. Yes, tracks are hefty and complicated, but they stand out. Overall, the album is only 34 minutes long, which doesn’t allow you to reach a stage of boredom yet and I would say is ideal in terms of mainstream music.

Nowadays, many albums struggle with feeling more like a mixtape than an actual album. Let me explain. Consistency in a record is a mandatory aspect of a well-curated and produced album. For example, "Pink Tape" had lots of potential and experimental sound, with Uzi going beyond acceptable bounds, but it was bloated. Fillers and inconsistent track listings buried the album. Although, this one might be one of the most consistent releases I have ever heard. The artist commences the album with a hard-hitting and bustling record that smoothly transitions to softer, more gentle cuts of the album. Due to the help of his cinematic and breathtaking performance, the album serves as an impressive dopamine booster.

In conclusion, I was left awestruck. This release lifted my hopes for hip-hop and once again demonstrated that there is a place for this genre to evolve. I plan to explore Danny’s discography further in search of another hidden gem.

Final grade: 8.5/10

#album review #hip-hop #rap #music #new music