Hotel California is far from high brow hip-hop. Tyga knows his schitck and he sticks to it for the most part; That is the holy pop-rap trinity of money, drugs and women. In terms of lyrical skill, Tyga is most similar to rappers like Big Sean, CyHi da Prynce or Wiz Khalifa. He has a just-okay flow that can be impressive in flashes, like the smooth first verse of “Enemies”. Tyga also has a couple nice punchlines, or witty turns of a phrase, but he is far from the best at this out in the industry. He also takes the time to reference a number of other famous west coast rappers like Dr. Dre or Ice Cube with borrowed lines. This never really comes off as plagiarism, but rather as a poorly thought out allusion to the past legends of the west coast. I guess at least Tyga recognizes the history that has come before him, but the references don’t really work as intended, as I’m sure the vast majority of Tyga’s listeners won’t catch these homages. The most egregious example of this is Tyga’s re-imagining of legendary 2Pac diss track “Hit ‘Em Up” as a snare and piano driven track more reminiscent of 2 Chainz’s “I’m Different.” The cliché complaints about rap music also abound. Misogyny. Objectification. Glorification of drugs. Materialism. You know the drill. So if that stuff will prevent you from enjoying the album, don’t listen to Hotel California.

In all, what makes Hotel California sort of work, despite all the flaws and sometimes absurd lyrical content, is Tyga’s penchant for hooks that are way too catchy for their own good, and solid beat choice. While repetitive, the combination of the crazy bass driven MDMA inspired “Molly” will tear through the clubs and house parties this summer. Wiz Khalifa shows up on time to rap a typical Wiz verse, but the star of the show is clearly the Dez Dynamic instrumental. More radio ready pop moments abound with the acoustic guitar led “Diss Song”, the wavy chilled out vibes of “Palm Trees” and slow jam “For the Road”. There is no doubt that a number of these tracks could be radio hits, especially with big name guests like Chris Brown, 2 Chainz and Lil Wayne. The Game makes an appearance for g-funk ode to L,A titled “It Neva Rains”. A number of the other tracks just fall into very stereotypical “Rack City” styled strip club anthems. However, they are not nearly as ridiculous or catchy as “Rack City” itself. I’m still undecided whether that is a good or bad thing.

There are two tracks that stand out head and shoulders above the rest of the songs on Hotel California. First is the surprisingly vulnerable “Dad’s Letter,” where Tyga talks to his absent father. This is by no means a novel topic in rap music, but it is well executed and surprisingly heartfelt from an artist that is rarely tactful. It is also an upbeat take on this issue, with a very addictive hook to bring even casual listeners in to hear the more deep verses. It is by no means the best ode to a lost parent in hip-hop, and probably isn’t even the best this year – Tyler the Creator’s “Answer” comes to mind – but it is a good song. The crowning achievement of the album however, is “Drive Fast, Live Young”. Built over a perfect balance of drum machine bass, piano riffs and scorching electric guitar lines, Tyga raps about his favorite topics: fast cars and fast women. Again, a very catchy hook in addition to the beautiful beat sets this one apart. While the topics may be nothing special, the whole is more than the sum of the parts, as it perfectly evokes warm summer nights driving around with the windows rolled down.

Hotel California is also a bit more than the sum of its parts. Despite an incredible array of flaws, I found myself enjoying Hotel California for exactly what it is: an over the top, well produced, hook drive hip-hop record. It is the equivalent of a slapstick comedy, or Michael Bay movie. It isn’t terribly intelligent, you make fun of it half the time, but despite all this it still entertains.

Rating: 6/10

-Ben Perotin is the host of My Beautiful Dark Twisted Radio Show, a journey through hip hop’s past, present and (sometimes) future from 4:00 – 5:00 PM EST Saturdays.

A Long Island native, Hoodie Allen strays far from the typical stereotype of a white rapper – and the typical stereotype of a Jewish New Yorker. After graduating from The Wharton School for business, Hoodie started a job with Google but soon quit to fully embrace his passion for music and rapping.

On Crew Cuts, Hoodie gets a lot more in tune with his inner singer-songwriter. His singing to rapping ratio skyrockets as well, in comparison to  his previous albums. Stylistically, there is a stronger R&B vibe than his other mixtapes, but he still maintains and refines his classic “Hoodie Allen touch.” The songs are fun, his lyrics are witty, and he walks a fine line between egotistical playfulness and baring his soul.

First, there is the jokester/playboy going to town on tracks like “Fame is for Assholes” featuring Chiddy Bang, another fellow musical act educated in West Philadelphia, and “Cake Boy.” On “Long Night,” Hoodie does what he does best, ripping into the pop culture references with a stinging wit; such as likening his sleep deprived eyes to that of Macaulay Culkin’s and his fame to that of Ron Burgundy’s.

While he keeps the fun and games rolling, Hoodie also makes sure to set the record straight about his life on the path it is now. “Where Do We Go Now” takes the listener on both sides of the record, mixing humor and the story of his struggles starting out. Uncle Jesse from Full House gets two shout outs on this track and the Hoodie lets out his nerdy side, rapping, “I’m an educated bastard, and rapping is how we get our masters.” It may sound like a weird combination, but the song works; he makes it come together not as a track but as the closing song on the mixtape.

Though I cannot say I don’t miss the rap-heavier Hoodie Allen from his older material, I must admit, Crew Cuts is a fantastic mixtape given that it is released to fans for free. And even if people have to pay to legally have it, it’s still some of Hoodie’s good stuff. It’s personal, it’s real.

Rating: 7/10

-Michelle Zhou, co-host of The Thieves of Indie-Uh, Mondays 3-4pm

Full disclosure: I am a Kid Cudi fan. For more information you can check out my column last week on the importance of Man on the Moon II in my life. Kid Cudi makes a very specific, distinctive brand of hip hop. He could never really be accused of being derivative, and that uniqueness is one of his strengths. However, if you have not enjoyed previous Kid Cudi albums, particularly Man on the Moon II, you will likely also not enjoy Indicud.

With that out of the way, lets get to the album itself. The main difference between Indicud and previous releases is that the disk is produced by Cudi alone – instead of usual collaborators Dot da Genius or Emile. In terms of production style, it is still very much in line with the direction that Cudi took on Man on the Moon 2: dark, ominous, atmospheric and even a bit industrial. This is particularly accentuated on the instrumental intro and outro “The Resurrection of Scott Mescudi” and “Flight of the Moon Man,” respectively. Cudi mostly relies on space age-sounding synth tracks to acts as his melodic drivers over standard drum machine beats, often with guitar parts as well. It is relatively simple stuff, this isn’t My Beautiful Dark Twisted Fantasy or anything with extremely ornate production values, and Cudi is not a first rate producer. However, he is more than satisfactory, and the soundscapes he crafts fit his rapping style perfectly. Unfortunately my main complaint about Indicud is the strange sing-song rapping style that Cudi adopts on some tracks such as “Solo Dolo Part 2” or “Girls”. It is as if Cudi couldn’t decide whether he wanted to sing these tracks or rap them, and we are left with a weird in-between that doesn’t work nearly as well as just choosing one style. Cudi doesn’t have a bad voice, as shown by previous tracks like “Erase Me” or his hooks on Kanye West’s “Gorgeous,” or even Big Boi’s “She Hates Me.” but However, his singing voice isn’t enough to carry a track without also showcasing his rapping.

The thing is, when Kid Cudi decides he wants to rap, he reminds everyone why he is so beloved in the first place. Cudi brings some nice verses on “Cold Blooded”, lead single “Just What I Am” and “Brothers” among other tracks. The lyrical content is the standard Cudi blend of bravado, girls and partying mixed with a massive amount of self loathing. It isn’t anything we haven’t heard before from Mr. Rager, but it works well here as well. The guests on the album are interesting and diverse and add a significant amount of variety. The trip inducing “Afterwards” featuring Michael Bolton actually works surprisingly well. The A$AP Rocky assisted track “Brothers” is a standout as well. Kendrick Lamar is shockingly forgettable on the decidedly mediocre “Solo Dolo pt 2”, marking Lamar’s first subpar verse in probably two years. However, Wu Tang Clan head honcho RZA steals the show with his murderous verses on “Beez”, which is another fantastic track. What is surprising is how perfectly Cudi captures the old school Wu Tang vibe and then combines it with his own modern psychedelic twist on “Beez.” The track shows Cudi’s talent as producer, as  he could have easily deferred to RZA, a legendary producer, for the track. “Beez” certainly shows a strong creative impulse and confidence in creative direction out of Cudi.

It is this strong creative mentality that is both Cudi’s greatest and worst asset. Like it or not, he will never make the same album twice; he will take huge risks and experiments with his style that may or may not pay off. He is the archetypical artistic personality: braggadocio and confidence mixed with deep internal conflict, and a desire to constantly change and experiment despite the critics. In some cases, Cudi’s experiments go south such as “Lord of the Sad and Lonely” and “Solo Dolo pt 2”, but he does have more hits than misses on Indicud. It is an album that will grow on you, and while not quite as strong as his previous two studio efforts, it is a strong return to form from everyones favorite lonely stoner.

Rating: 7.5/10

-Ben Perotin is the host of My Beautiful Dark Twisted Radio Show, a journey through hip hop’s past, present and (sometimes) future from 4:00 – 5:00 PM EST Saturdays.

I should preface this by saying I don’t listen solely or even mostly to this type of rap. In fact, I tend to prefer more independent stuff like Cage, El-P, and Aesop Rock or elaborately produced material from people like Kanye in terms of mainstream hip-hop. But I get tired when people, especially rap fans, completely turn their nose up at more simple, mainstream guys simply because they are mainstream or lack the kind of lyrical depth found elsewhere. I’m not saying you should become some sort of bourgeois rap listener and toss out all your Common; that sort of rap, all in all, is certainly better and vital to keep rap from losing its power as a social commentator or being totally overrun by commercialization. What I’m saying is that in small doses and at the right times, rappers like the ones I mentioned at the beginning are damn entertaining.

The best analogy I can offer in defense of this type of rap is in comparison to movies. I usually prefer watching “good” movies, the ones that may not screen at the megaplex and show up on critics end of the year list. At the same time, however, I’d be lying if I said I don’t like to pop in over-the-top blockbusters like Independence Day or campy classics like Red Dawn from time to time. To me, artists like 2 Chainz or Waka Flaka Flame or the rap equivalents of these types of movies. With their booming bass and larger than life boasts, their tracks may not be highbrow, but I’ll be damned if they’re not entertaining. It’s good to prefer Citizen Kane, but you shouldn’t be afraid to kick back and watch Transformers when the time is right.

You can’t drink Chardonnay all the time; sometimes you have to enjoy Franzia. The same is true in my opinion of pop culture, especially rap. Somebody like Gucci Mane is in many senses shallow and probably shouldn’t be a staple of your musical diet, but to completely scoff at it simply because it’s not something like Talib Kweli shuts you off from some entertaining tracks. So next time you’re at a party and “Hard in Da Paint” comes on, don’t turn to your buddy and bitch about how much better Nas is (though he unquestionably is). Enjoy it for what it is and realize that while certainly not brilliant, from time to time it is damn fun.

Sam Wolter is the co-host of “Endless Summer with Nick and Sam” which airs Tuesdays 3-4 pm 

These guys are cool and aloof, showcasing a darker indie edge in their hipster hip-hop style, which all plays through in “Revolution.” The song really transcends the genres of indie rock and hip-hop, a sound that is further explored in The Wyld’s debut album, Preface, released last summer. As for “Revolution,” you’ll bop your head, tap your toes, and you’ll hear the song’s raw sound in black and white.

-Michelle Zhou, host of The Thieves of Indie-Uh, Mondays 3-4pm

Kid Cudi started his meteoric rise to fame in 2008 with the fantastic mixtape A Kid Named Cudi. He had a hit single, and was quickly brought under the wings of Kanye West. Cudi’s commercial debut “Man on the Moon” was a success as well. It mixed electronica, pop-rap and some dark synths with a nice combination of catchy hooks, emotive verse writing – and some timely guest appearances by big brother Kanye. A year and a half later, in 2010, Kid Cudi released his follow up Man on the Moon 2. It was weird, space-y, atmospheric, dark and ominous. I was a passionate follower of Cudi, but the first time I listened to MoTM2 I thought “What the hell is this garbage?”. I hated it. But I also couldn’t stop listening to it. Like a musical black hole it was pulling on me, and soon enough I had crossed the proverbial event horizon. There was no turning back, I had to keep listening to Man on the Moon 2 on repeat.

As I was crossing the point of no return with Kid Cudi, I was also descending into one of the most horrific episodes of my life. I was severely depressed. I was a college freshman who hated college. Who did not feel like he had any friends. A California kid stuck, alone, on the east coast, who felt like no one understood any of the variety of emotional difficulties he was going through; That is, except that 26 year old rapper from Cleveland. I listened to the brooding, dark tracks of Man on the Moon 2 and felt comforted. Finally, someone “got it”. I didn’t have much in common in terms of life experience with Kid Cudi, but I had everything in common with the way he felt. Man on the Moon 2 was not constructed for the radio, it was in Cudi’s own words “to show the kids that they ain’t the only ones that up at night”. It was made for me and people like me. The crushing loneliness of “All Along”, the alienation of “Ghost!”, and the hopelessness of “Trapped in My Mind”, and the way the songs melted into each other spoke to me in a very powerful and personal way. There was no turning back, I had fallen in love with Man on the Moon 2.

But unfortunately the story was not over. As I kept falling in love with Man on the Moon 2, I kept falling into a further depression. A few months after its release, and my initial hatred, I would have to listen to Man on the Moon 2 at least once a day just to make it through. I would sit there for hours, sobbing, confused, depressed and scared. Scott Mescudi was my best friend, my therapist and my favorite musician all rolled into one. I trusted his words and music when I couldn’t bring myself to trust anyone else. I would fall asleep listening to Man on the Moon 2 and I would wake up with Man on the Moon 2 still playing through my earbuds. I can honestly say that if Kid Cudi never released that album, I would not be here today. While listening toMr Rager, I realized; There was no turning back, I had to get better.

With the help of many in my life, and music, I did. In the coming months and year I listened to Man on the Moon 2 relentlessly. If you look at the most played songs on my computer or iPod, every single track is in the top 25. “All Along” is my most played track, with over double the number of plays of the second most played song. These days I don’t listen to Man on the Moon 2 as much as I once did, but whenever I do it is like meeting an old friend again. And just like an old friend, I may go months without talking to them, but when we are together again it feels like the conversation never really ended. I still smile at the soaring chorus of “Mr Rager”, sing along with Cee-Lo Green on “Scott Mescudi vs the World”, rap with Cudi on “The End” and laugh at Kanye’s pun laden verse on “Erase Me”. Man on the Moon 2 has been a good friend to me for years. And like your friends, you don’t choose them because they are the most attractive, smartest or most successful. You choose your friends because you enjoy their company, they bring you comfort and you have good times with them, and they help you make it out of the bad ones. Man on the Moon 2 is not the most successful, critically acclaimed or highest selling rap album. Its not even objectively the best rap album I personally have heard. But it is my favorite album.

- Ben Perotin, host of My Beautiful, Dark, Twisted Radio Show, Saturdays 4-5pm

By 2013 and one slightly disappointing album later, J. Cole, while still a respected rapper, has lost a lot of steam. Kendrick Lamar is now hip hop’s lyrical golden boy, A$AP Rocky and 2 Chainz have taken over the airwaves and Cole’s position as “the next hip hop great” seems dubious at best. In the face of all this doubt, J. Cole released an EP, entitled Truly Yours, a collection of songs that didn’t make the cut of his upcoming sophomore release Born Sinner. And in five songs, J. Cole proves that he has recaptured at least some of the magic that made him such a hot commodity to begin with.

As previously noted, Truly Yours is not a long release, clocking in at just over seventeen minutes. But in an age of mixtapes sprawling well over the twenty song mark, Cole’s relative brevity is welcome. And in the case of Truly Yours, the quality of the tracks outweigh the lack of quantity. Cole sticks to relaxed, laid back production style, reminiscent of his earlier mixtapes like Friday Night Lights and The Warm Up. These tracks may not be overtly poppy like radio ready songs such as “Work Out” or “Nobody’s Perfect” in J. Cole’s catalogue, but they are also accessible to a non-rap listening crowd. Of particular note is the excellent horn line driven production of “Stay”, an instrumental that was previously heard on Nas’ 2012 effort Life is Good. Lyrically, Cole is an interesting rapper, his high points are extremely poignent, well written and personal stories, but he also has a penchant for unnecessary vulgarity and some really dumb lines(“You think you are the shit but you can’t out fart me” is the famous example of both). Both sides of Cole show on Truly Yours, but thankfully more of the former. On “Can I Holla at Ya?”, Cole addresses concerns with a number of people from his past, including a particularly excellent verse to his absent and abusive step-father. Cole delves into the problems both personal and professional of a young woman on “Rise Above”. He waxes inspirational on “Crunch Time”, my personal favorite track of the EP. While there is the occasional clunker of a line, Cole largely avoids some of the lyrical problems that befell his debut album.

Hook wise, everything is serviceable but not particularly note worthy. The emphasis on Truly Yours is squarely on Cole’s verses, and deservedly so, they nearly all are quite good. All told, Truly Yours offers a glimpse of the Cole rap fans grew to love in 2009 and 2010: solid production accompanied by strong lyrical ability and personal topics. And certainly, in its role as a teaser for Born Sinner is hugely successful. But more than just an appetizer for the main course, Truly Yours is a worthy offering in and of itself.

8.5/10

Sadistik is an alternative rapper in the vein of rappers like Atmosphere, Grieves and Cage, a unique tradition in many ways apart from the rest of hip hop. This isn’t a run of the mill hip hop album, and that is both a good thing, and a bad one.

Sadistik is clearly influenced by his forebearers and his rapping style and content reflect that. He goes for the same mix of rap and spoken work as others such as Macklemore, and lacks tight rhythmic flow often that is characteristic of many other rappers. While many will likely use this as a critique of Sadistik and his peers, I believe it is simply a matter of stylistic choice rather than artistic failing. Lyrically, Sadistik is heavily defined by his life struggles. The title of Flowers for My Father is telling, as much of the album is defined by the death of Sadistik’s father, and the crippling depression that ensued for Sadistik. But despite these very dark notes, particularly on songs like “Snow White”, “The Beast” or “Melancholia”, Sadistik manages to wax inspirational on a number of tracks. Particularly touching is the tribute to his friend, rapper Eyedea who passed away several years ago, on the track “Michael”. Sadistik narrates knocking on Eyedea’s door ready to record a song, only to find his friend laying dead inside. But far from simply being just a downer, Sadistik manages to take a tragic event, and use it as a vehicle to remember all the great times with his friend, finally proclaiming “Thanks for being someone I could come to, a friend/I hope I make you proud – I love you, the end”. While the rhyming may be a bit predictable, the sentiment and emotion in Sadistik’s voice is touching to say the least.

The same can be said for the album as a whole. Sadistik isn’t an amazing rapper from a technical standpoint. While he often switches things up and raps quickly, his rhymes and flow are a bit predictable. This leads to a number of songs blurring together. What makes Flowers for My Father memorable is the emotions and storytelling, rather than Sadistik’s actual rapping capacities. Musically, Sadistik tends towards dark, brooding tracks, again evoking previous works by alternative rappers like Atmosphere or Grieves. There is also a bit of a Kid Cudi cica Man on the Moon 2 influence on certain tracks. Many tracks again tend to blend together, as often musically songs are based around simple piano, drum and synth lines. It is not bad, and the tracks are technically well put together, but no one would claim that Flowers For My Father is particularly well produced. What can be said is that the beats fit Sadistik’s style very well, and that is a valuable trait to have.

Overall, the standout tracks are assuredly “Exit Theme” with its catchy hook and emotive verses, the touching elegiac “Michael” and the exploration of depression on “Melancholia” and “Russian Roulette”. Sadistik’s album may not excel in several aspects, but his ability to tell a story and convey emotion make Flowers For My Father a worthy listen.

6.5/10

-Ben Perotin

Sunless ’97 – Aurora I: Boy girl sing along worthy vocals put into a house/club track framework.

Wink – Strut 89: Some people say that this is the side project of James Franco, some people say that this is the side project of Paul McCartney.  Either way it’s good and people will probably think that you’re cool if you listen to it before it gets big.

Impolite Society – The World: From A$AP to Pro-Era, hip-hop crews are all the rage these days and out of all of them I’m most excited about the future of Chicago’s Impolite Society.  Lead by the philosophically cool Sidewalk Kal, Impolite Society is a name we all should get used to hearing about.

LVL UP – Nightshade: Kids who grew up during the 90s are starting to take over the music world.  Grunge and emo are coming back, just a smarter, cooler, more buzz worthy version.

Julia Brown – to be close to you EP: Remember when I said emo and grunge are being brought back by 90s babies?  Here’s some more proof.

- Peter Kelly

a tasteful and aesthetically gratifying album that, aside from occasional and overlookable lyrical shortcomings, triumphs with its dreamy, smoked-out anthems and unique, stylistic samples. A$AP certainly pushes the envelope, probing the societally entrenched notion of genre and thus creating more universally accepted and appreciated music – in other words, he masterfully achieved his initial goal of strengthening the old and attracting a new fan base.

Rocky’s initial fame came from the likes of online blog and video posts, despite his concurrent battle with the negative feedback from his hometown of Harlem, New York. He quickly drew attention, and after purposefully holding off from any label deals – for the sake of “exploring his other pursuits” – he submitted to the courtship and, following an admirable bidding war, signed with Polo Grounds and RCA in mid-October of 2012. This funding went beyond carrying his solo work, as he was propelled into the business realm with an additional $1.3 million of funding to support his own label, A$AP Worldwide.

A$AP Rocky heightened the buzz with his two singles – both of which were radio-level, mass-appeal hits – and further promoted this release with his LONGLIVEA$AP tour, boasting up-and-coming rappers Schoolboy Q and Danny Brown. Rocky’s dual stint on the Billboard chart (for both of his singles) appropriately foreshadowed the positive reception of his actual debut; Long.Live.A$AP has since snagged a #1 Billboard 200 spot and sold 245,000 copies.

The acclaim is fairly justified. A$AP’s work exemplifies malleability and distinctiveness, and plays to a tasteful and diverse palate, a dynamic that is often neglected in today’s rap scene. The album aims to impress with a plethora of collaborations, from the broad mix of producers (A$AP Ty Beats, Soufien3000, Clams Casino, Friendzone, Joey Fat Beats) to an even wider and more striking assembly of guest appearances, ranging from the predictable Schoolboy Q and Danny Brown, Kendrick Lamar, 2 Chainz, Drake, and Big K.R.I.T to the indie and unusual Santigold, Florence Welch, and Skrillex.

The latter artists typify A$AP’s apparent objective and offer an enticingly unconventional, trendy flavor to an otherwise unimpressive score. “Hell”, A$AP Rocky’s team effort with eclectic artist Santigold, heavily leans towards the more indie end of the rap spectrum, making a clear divergence from Rocky’s characteristic more beat-heavy slaps. Conversely, the highly-anticipated collaboration between A$AP and Skrillex, “Wild For The Night” ended up too hard-hitting, with a screeching, dropped bass that is too stressful and forced to be enjoyable.

The other half of his supporting cast – Schoolboy Q, Danny Brown, etc. – is fairly successful in highlighting the appealing cadence of Rocky’s voice and his innovative and artistic production, as any effectual collaboration should. Rocky states that he “took it upon [himself] to feature all the people who [he respects] as artists of [his] generation”, made clear by the sheer number and breadth of accompanying artists. While his samples are undeniably pronounced and impeccably produced, A$AP Rocky gets a little lazy with his lyricism, and tends to rely too heavily on his creative beats and guest artists to balance his often lackluster flows and stale, predictable themes (pussy, money, and weed). Embodied by his track “PMW (All I Really Need)”, this tedium is characterized by an overly repetitive, unsophisticated message. Some of his songs are simply slow and unexciting, but the variety of featured appearances and cross-genre beats maintain a respectably decent level of listenability, although there is nothing striking or especially spectacular about the majority of the album. “Long.Live.A$AP”, the first song of the track list, can be subsumed under this general category, evidencing Rocky’s verbal dexterity and an effective, refreshing chorus paired with unremarkable, colorless lyrics. “Goldie”, A$AP’s first single, is reminiscent of this same phenomenon, but its wide and very positive reception shows that this rapper is well-grounded enough to get away with this subtle shortcoming.

That’s not to say that the end result of A$AP Rocky’s risky compilations isn’t listenable or respectable. “Fashion Killa”, a mellifluous ballad blatantly centered around underscoring A$AP’s rapper-chicness, has an incredibly smooth lull (despite a few blazingly amateur lines), and “Phoenix” is a sample-heavy, slow track that gradually unfolds to draw attention to A$AP’s true rapping finesse. Both of these tracks are on the deeper side, serving as evidence of  the underlying potential for A$AP Rocky’s lyrical content. Even in the weaker parts of the album, Rocky’s talent is unmistakable, and despite failures in the realm of complexity and excitement, the work as a whole is successful in what Rocky set out to do: prove his musical flexibility and, more importantly, enrich smoke sessions everywhere with this widely accessible and enjoyable album. Long live A$AP.

Rating: 7/10

-Katrina Zheleznyak, co-host of The Omnichord’s Dilemma, Monday mornings from 8-9AM