posted on: October 19, 2020
Conway The Machine has altered the tracklist of his upcoming album From King To A God.Just a few days before its September 11 release date, … Still, these odes to love’s highs and lows ring hollow when compared with Blackpink’s image of unshakeable composure. ‘Jesus Khrysis’ is one of the album’s less vital moments, but finale ‘Nothing Less’ places Conway The Machine against DJ Premier, illustrating the levels he is aiming fore. But at a spare eight tracks, and in light of the years-long wait, it seems more like an appetizer than a main course.
NIGGAZ GOTTA MAKE REAL ALBUMS OH AND THAT LOX ALBUM IS DUMB FUCKING WACK! This isn’t a particularly orchestral album, but the way that judicially placed drums and softly struck keys ring against Berninger’s deep vocals makes it sound like the songs are reverberating throughout a theater full of rapt listeners.
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Freeman’s contributions, especially a delightful rejoinder on the midpoint interlude “Snitches & Rats,” are performed with a mock gravitas that 21 Savage and Metro Boomin frame with equal parts levity and seriousness.
The Kanye of this album is the least likable one yet, and even more repelling for his apparent proximity to the real Kanye: Unlike those of the “monster” on My Beautiful Dark Twisted Fantasy or the “god” on Yeezus, there’s always a sense that the narratives here—the one about Taylor Swift, the shot at Ray J, etc.—are his own. Though the rapper pontificates on his wealth and street cred, the album’s biggest boast is his vulnerability. Mac, Like Prince’s Black Album, Yandhi was pulled from release at the very last minute and shelved because its creator felt that its content was too explicit. His third full length project in 2020, ‘Conway The Machine has hit escape velocity – where he goes from here is entirely his decision. 1/LP: No Past. The sentimental “Distant Axis” finds his usually biting lyrical deadpan replaced with a certain kind of longing: “I feel like I’m as far as I can get from you,” he sleepily sings on the track. Corgan’s mother inspired plenty of animus throughout the Pumpkins’ catalogue, but none quite as conflicted and harrowing as the kind that fills the song sharing her name. The pandemic forced him to record a lot of his latest project From King To A God at his home. Conway The Machine hasn’t been immune from this. Required fields are marked *. But while the subject of Miller’s intense focus hasn’t changed since his last album, his music’s sonic reach has expanded on Nectar—at least to the extent to which he’s assisted by featured artists. The album’s bouncy, Motown-inspired opening track, “Here We Go Around Again,” an unreleased song from Mariah’s demo tape, and “Can You Hear Me,” a Whitney-esque piano ballad from the Emotions sessions, find her in fine voice but offer little insight into Mariah the burgeoning artist. Mortality and loss haunt the album, which is interspersed with monologues from DJ Shay, a producer and mentor figure to Griselda who passed away just weeks ago. Soon after, plaintive strings emerge, setting the tone for a mournful, grandiose album that never materializes. It’s emblematic of a record underpinned by an absolute feast of hip-hop production - as DJ Premier puts it: “the illest producers of all time, doing what we do...”.
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It follows the Blackpink blueprint to a tee, though its loyalty to it feels predictable.
As the standard bearers of K-pop’s “girl crush” style, Blackpink eschews schoolgirl innocence and embraces a harder, femme-fatale edge.
It also puts into stark relief the thinness of her vocals on the album’s new cuts, “Save the Day” and an acoustic rendition of the Butterfly deep cut “Close My Eyes.”. The “pink” of Blackpink’s performance ethos peddles sweet, light-hearted songs that sidestep the stifling cuteness that many Korean girl groups lean into, but these sugary offerings lack verve. The producer samples very carefully, using a snippet of Diana Ross’s “I Thought It Took a Little Time (But Today I’m In Love)” on “Runnin,” the wisps of the vintage cut nudging each line forward. Conway has risen.
As Greg Kot of Guitar World once quipped, “the [Smashing] Pumpkins remain an island unto themselves.” That was in 2001, when the band had spent a decade carving out an impressive art-rock niche, and long after a shortsighted music press had once smacked them with unenviable and laughably off-base label of “the next Nirvana.” But even to this day, the two bands are often clumped together as vanguards of the scathing, grungy brand of alternative rock that defined the early ‘90s. But the thing is, amplification is Kanye’s art: Sounds are always getting bigger and sharper, production progressively more expansive and diverse, and emotional honesty is taken to the most vivid of extremes.
Label: Annie Melody Release Date: October 16, 2020.
With From King to God, Conway returns to this familiar street sound but doesn’t constrain himself to it. “They’re dropping the bomb/So put a beat on,” Annie sings, resigned to a fate of partying until the end of days.
His flows aren’t remarkably diverse, but he always spits with precision, and his speed of delivery on “Many Men” and “Brand New Draco” is impressive. The National spent the 2010s pushing the boundaries of their music, allowing for nervier, more impressionistic sounds and experimentations with song structure. ‘Seen Everything But Jesus’ makes space for a standout Freddie Gibbs feature, a rap artist whose own 2020 trajectory rivals Conway’s own in pure creativity.
DON’T GET TO THE TOP AND GET LAZY SMH The impulse to leave things unsaid motivates My Echo’s sound, which often involves a contrast between acoustic folk instrumentation and electronic flourishes—in other words, between Veirs’s need to stay grounded and her tendency to drift off.
Travis Scott collaborator Murda Beatz presides over “Anza,” an antsy, tempo-hopping track, while “Fear of God” boasts production from Hit-Boy and a spine-chilling hook from Detroit’s baby-voiced Dej Loaf. The unexpected highlight of The Rarities, though, is the previously unheard original version of 2001’s “Loverboy,” reworked after Jennifer Lopez dropped a song using an identical sample of Yellow Magic Orchestra’s 1979 hit “Firecracker.” While there’s no denying the campy splendor of the official Glitter track, the original mix slaps hard à la 1997’s “Honey.” A melodic nod to “Loverboy” can be found on 2012’s “Mesmerized,” on which Mariah cracks, “I’m testing the microphone because the regular folk went home,” a sentiment that’s unfortunately reflected in too few of the selections here. Instead, track two, “Another Space and Time,” is a sonic outlier, embellishing bossa nova with glitchy electronics and lyrics about ditching the internet for “peace of mind.” It’s a diversion, a vacation to a California that isn’t on fire (one of the album’s many eerily portentous details—though any album about loneliness and destruction could be said to have predicted the events of 2020).
Locked indoors, each of us – whether we’re in the spotlight or not – has been forced to look inwards, to re-assess our lives, paths, and motivations.
Conway the Machine on From King to a GOD and how he, Westside Gunn, and Benny the Butcher put upstate New York rap on the map.
From King To A God, Conway The Machine rises with his latest album.. Straight from the “Front Lines“, Conway leads the way with the stand out single and then connects with Method Man for the gritty banger “Lemon“.
But the catalogs of artists like Jonghyun, BTS, and late-era 2NE1 prove that shows of vulnerability are quite possible, even refreshing, amid K-pop’s manicured perfection. The album’s prevailing mood is braggadocio, ever Ye’s true north, and the greatest basis for his boastfulness is, familiarly, the resilience with which he’s carried himself on the path to commercial and personal success. Berninger seems to thrive under these lower stakes, as many of the album’s songs evoke a wistfulness missing from his work with the National. On the “divorce album” spectrum from Vulnicura to Utopia, Laura Veirs’s My Echo falls closer to the latter.
On “Lemon,” he’s outstripped by Method Man’s elaborate multisyllabic rhyme scheme.
No matter how roomy or tight the mix is, or whether he’s caught in a moment of self-doubt or soaring confidence, he brings a sweet buoyancy to his music that carries Shamir, while also peeking into the torment of being inside his own head. Sam C. Mac, Ye’s emotional claustrophobia is at times effective: As a chronicle of living with mental illness, this is Kanye’s most unsparing work to date.
But despite his moniker, penning bars straight from the heart is Conway’s greatest strength.
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