Sharing and connecting through music has been a tradition that has brought people together. Whether it be punk, indie, rock or pop- fans hear the music and create their own meanings to the songs. I recommend songs that have impacted me and thousands of other music lovers.
Rina Sawayama just blessed us with her debut album, SAWAYAMA, on April 17th, 2020 and I haven’t had a chance to write about it because I have been playing it for weeks on end. Now that the excitement has settled, and my tears of joy have finally been wiped off my face- I now have a clear head to objectively review this album.
This album is one of the best pop works to date and the best release of 2020. I hadn’t even heard of Rina until this album dropped, but now I am comparing her to Britney and other legends in her lane. Rina is a Japanese-British London-based singer, songwriter, producer and model. The pure talent and creativity that leaks out of this album is next level- and you can tell how much effort she put into this, even the cover art is undeniably hers. Her songs are not only catchy, but they are thought-provoking- touching on topics such as racism, gender roles and personal development. Who else has done this in the past 10 years? Most artists attempt it, but Rina nails it on the head.
The album starts off with, “Dynasty” which is a roaring anthem about family history and passed down trauma. As she belts the chorus, the listener soon finds out this album is about to be a whirlwind of harsh topics mixed over fun playful beats- giving it a melancholy and present tone. The bridge alone gives me chills! After this song, one is left wondering why they have never heard of Rina before if she brings THIS much to the table!
“XS” is the next song and one of the standouts, as she makes it a commentary about commercialism. What a topic for a pop song!
Watch the video for “XS” HERE:
Sounding like some of the pop gods that came before her, this song highlights just how good she is at her craft. Singing about something that hasn’t been touched upon in the mainstream, the chorus is playful but serious. The dark undertones make one want to dance even more. The song sounds smooth when she says, “Flex, When all that’s left is immaterial, And the price we paid is unbelievable.” It is hard to believe that this is her first album when she is writing these provoking lyrics.
“STFU!” is the next song that touches on racism against Asians, which is usually not brought up in the mainstream. Being Japanese, she has decided to write this controversial song showing her struggles being a minority. Bringing metal influences in, it is the perfect song as she goes back between these pop and punk elements.
By this point, I was crying, but the album was only four songs in. I was not prepared for the next song, “Comme Des Garcons (Like The Boys).”
Watch the video HERE:
Touching on gender roles, this song is the anthem for masculine women. Rina, being the queer icon that she is, she gives the gays something to strut down the sidewalk to. The song shines during the chorus as she states, “Excuse my ego, Can’t go incognito, Every time you see me, It’s like winning big in Reno, Don’t fuck with me, hoe, Take you down like judo.” This song makes you want to stand up straight, look yourself in the mirror and make out with your reflection. That’s how hard it goes.
After one of the best pop songs of the last five years is over, it then transcends into, “Akaska Sad” which shows her versatility as an artist. Differing from the other songs on the album, it takes a futuristic approach with its booming chorus. Then the album flows into, “Paradisin’,” “Love Me 4 Me,” and then “Bad Friend.”
Let’s take a moment to acknowledge “Bad Friend.”
WATCH THE LYRIC VIDEO FOR “BAD FRIEND” HERE:
Most pop songs talk about their lost loves, but Rina sings about her own imperfections as a human and her own toxic traits- leading to her failed friendships and relationships. The way she analyzes her own behaviors and can place those unique uncomfortable emotions into a pop song- is ingenious. This shows in the chorus and this song is the taste of where her career is going. Most pop stars want their songs to be easily digestible, but Rina takes a mirror up to her listeners and makes them acknowledge their own shortcomings. Not only is this song controversial and memorable- it has staying power. It is the defining moment of her career. The album then finishes off with, “Fuck This World (Interlude),” “Who’s Gonna Save U Now?,” “Tokyo Love Hotel,” “Chosen Family” and “Snakeskin.”
This album is liberating. It is a breath of fresh air and is the perfect example of what pop music can do and where it can go. Touching on gender, race, inequality and generational curses- it is a lot of statements packed into one album that is upbeat, fast and fun. The duality of the topics and the beats make it extremely memorable as we watch Rina’s debut album become solidified into a pop staple as she reaches icon status in the predicted future.
After spending a good hour listening to the wrong album on Youtube because Nas didn’t upload it to Spotify until after the official release, I have finally finished the entirety of NASIR. This is Nas’ first album since 2012’s Life Is Good so it has been five years since he has had a release- and it is certainly G.O.O.D.. He should take some tips from Kanye since he is set to release a Teyana Taylor produced project next week. It is a really d*mn exhausting time to be a music reviewer right now.
As the fourth G.O.O.D. music release, NASIR follows the highly interpretive albumKIDS SEE GHOSTS that follows Kanye West and Kid Cudi as they take us on a trip through purgatory as they live out their final moments before they die after experiencing an ego death on the second solo Kanye release, Ye. NASIR doesn’t act as the follow-up or explanation for KIDS SEE GHOSTS but rather a stand-alone project that acts more like a poetic statement that speaks volumes. Holding the same level of energy behind Pusha T’s DAYTONA the message stays strong and angry with a very literal theme that covers more than just police brutality but touches on broader subjects that apprises a much harsher truth. It leads with a bigger commentary about the world today that could classify this release as an undercover conceptual album.
Kanye West really told TMZ a month ago that “slavery was a choice” and then a month later he puts out a concept album about black excellence. I’m just trying to keep up with him at this point.
Instead of having a poorly worded and almost career-ending statement- Kanye West finally put his thoughts into articulate themes and messages to fully portray what he meant by that his people were mentally imprisoned. Despite being an exceptional producer, he doesn’t really have a way with words so NASIR will rightfully speak for him.
The album cover is meant to shock. With a black and white horizontal shot, it shows five boys of color up against the wall simulating a police lineup- clearly being too young to experience this sort of profiling.
The scene is under a sign that states, “there will be no drinking, loitering or standing on these premises” to show that they have been arrested for playing with their toy robot which is now being shot at by the guns, representing the death of their childhood. Two boys are shown with their backs against the wall with only two of the boys looking directly into the camera. Underlying fear can be depicted if you read into their eyes but also confusion leading to much deeper emotions of internalized anger. The image carries more than just a dark undertone but tells the harsh reality of the complete loss of innocence due to the injustice of racial profiling kids must face before they can even pick up basic social cues. This not only signifies a loss of a fair life but also highlights the absence of childhood- shouting the quiet things that no one ever knows.
The black and white image takes us back to a time where police brutality wasn’t something that was swept under the rug but instead full and center- and socially accepted.
As told in the intro to “Cops Shot the Kid” the picture visually depicts this Richard Pryor sample:
The black and white photo acts like a portal through time, calling back to the 1950s when racial segregation was still in order- hence the notice sign. But this is an album that holds concepts, underlying messages, references and commentary that should have stayed in the 1950s. Racial intolerance is shown in the media to have progressed when in fact it has not. This highlights media manipulation from the major corporations and news sites, which are referenced throughout the album. This record unveils the curtains of the delusion and brings reality front and center. This is an album that wasn’t meant to come out in 2018- and that is the point of NASIR.
The seven-track album, which has been confirmed to be a reference to the seven deadly sins enters with greed for “Not For Radio.” Nas makes his entrance with, “escobar season begins” referencing the infamous Pablo Escobar, the drug lord who ran the cartel to signify complete takeover and Marxist themed rebellion. Completed with features from 070 Shake, she once again steals the show on the bridge with, “I think they’re scared of us.”The track holds raw anger that has been brewing for over 400 years- personifying the struggle that people of color face in all aspects of life, including Nas’ own struggle within the industry. The title of this track is self-explanatory as it tells the true story behind the false headlines- bringing up political corruption, racial and financial issues. Not only does the title reference the injustice behind fake news, but also hints at the corruption behind the music industry. Songs that sell follow a basic format, molding artists into the same beat and lyrical production to make an array of clones within the business. The radio subconsciously manipulates the public which is why all these album releases aren’t fit to be commercially successful- yet they still prove themselves to be substantial.
His tone is unforgiving with fast lyrics, quick shots and commentary to take out the listener- hence the gun samples. This is a brilliant transition to “Cops Shot The Kid.”
“Cops Shot The Kid” opens with the high strung repetitive Slick Rick sample of, “the cops shot the kid” which acts like the beat on this track. Working off the cover art, Kanye West once again proves that he is a trendsetter with this Trayvon Martin themed track. With lyrics like, “tell me, who do we call to report crime, If 9-1-1 doin’ the driveby?” to make this track an obvious highlight on the record. The Slick Rick chorus then grows more intense as it takes over the track- repeating until the closing with desperate call outs from Kanye- proving that his voice isn’t loud enough to break the injustice.
Listen to “Cops Shot the Kid” here:
The third track is entitled, “White Label” and Nas completely takes over. With two verses starring Nas, he touches on topics of his struggle and the journey it has been to get where he is now- including all the gritty details. The track is short, fast-paced and incorporates clever wordplay near the outro with “so cheers, here’s to the Kanye production this eve”to reference the Bible. The track is not a highlight but it needs to be heard.
The self-titled, oh I mean french titled “Bonjour” compliments the theme of the fourth deadly sin- Lust. It dives into the inner workings of his mind as his desires turn into addictions. Sexual desire is not his only Achilles heel as he earns for an excess amount of exquisite food, a multitude of drugs and lavish undeserved vacations. His demons can be explained by the line in the third verse with, “we long-term affected” to signify that his position in society as a black man forced him to go into this life cursed with dependency and violence- turning his anger into internalized self-hatred.
Nas and Kanye West are finally liberated with “everything.” The reoccurring and purposely placed moment of clarity happens within the fifth track. “everything” is everything. One wouldn’t even notice that it runs for seven minutes because so much is stated that it even breaches the definition of what song can touch on and transform into. Almost acting as a ballad, the haunting and distant vocals simulate being of a higher power as the chorus of angels shine in the background. Kanye West takes the perspective of God as the roles reverse and God begs out to the world for forgiveness. The song also acts as an open interpretation as Kanye uses this record as a sonic apology for who he hurt with his “slavery was a choice” statement. Along with poetic imagery, the verses also carry the message of being celestial.
The-Dream adds a fantastic, raw and blunt verses including:
The songs plays upon the concept of a redefined childhood wonder that is ripped from the hands of these young lives, as trust within the world is broken before age one, setting up the scene of a life that has already been cut short. “everything” is a song that finally makes one think and question the reality of the world that was modeled after the original sin.
Listen and cry to “everything” here:
The sixth track on the album strikes one with vindictive anger featuring samples from Kourosh Yaghmaei’s 1974 track “Gol-e Yakh. “Adam and Eve” is the hands down best track on the album based on the exceptional lyrical content that transforms into a passionate metaphorical commentary on God being a traitor to his own people he created based on a self-fulling prophecy of destruction. On the first verse, Nas switches between “Oh God” and “Oh Lord” to give it a seamless flow and progression that showcases his lyrical abilities. Lyrics are not the only thing that this track emphasizes- transcending it into a collective masterpiece. West and Nas walk through the garden of Eden calling out to God to explain himself.
God’s carelessness in creating humans turned the world immoral- which displays his own reckless self-serving ignorance. The sixth deadly sin is sloth and it is dedicated to the man himself- God, as he betrayed his own scripture- making his teachings entirely illegitimate.
NASIR unveils the curtains of the delusion and brings reality front and center transforming the record into a commentary about the current state of the world littered with concepts, underlying messages and references that should have stayed in the 1950s. Kanye West and Nas take on the role of Adam and Eve walking through the garden of Eden as a metaphoric personification of original sin. With Fast lyrics and quick shots, one can feel the anger behind these tracks as they call out for God for an explanation that cannot be forgiven. The roles are reversed as God is called into question for violating his own teachings- making him the one who has taken the bite out of the forbidden Apple.
This album also tells another truth. After picking up references on, “Not for Radio” and “Simple Things” the hidden message behind Kanye’s consistent releases in June- totaling four projects, coming on five, is finally presented. Kanye is producing actual music that carries a feeling. All these albums are not commercially saleable- there is no huge traditional hit on any of these releases. DAYTONA, Ye, KIDS SEE GHOSTS and finally, NASIR are all extremely conceptual, with every track transitioning into one another- producing almost no stand-alone tracks even though there are certainly highlights. But take a look at the Billboard charts- Kanye West just achieved his eighth Billboard Top 100 album with Ye, marking history and redefining it. Kanye West’s albums with almost no radio hits have become some of the biggest releases of the year. These releases are going to change the music industry as we know it. This is the shift that is desperately needed to add beauty, harmony and expression back into this mindless money-plow. Thank you Kanye West and I’ll see you again next week.
Click herefor my full album review on KIDS SEE GHOSTS
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