ALBUM REVIEW: C.W. Franz – Peloponnesian Grove

“Peloponnesian Grove” is the newest album from Chicago new-age multi-instrumentalist, producer, singer-songwriter and poet C.W. Franz. Recently, I covered his “C.W. Franz II” project, which I praised for its sprawling, cinematic, MASTERFULLY arranged and deeply personal portrait of the American Midwest.  As with his other releases on Bandcamp, C.W. gives a basic description of what his latest instrumental album has to offer: “A reflective journey through my years at George Washington University in Washington D.C.  Conceived as an outlet to get my more danceable cuts out there, Peloponnesian Grove has evolved into a force of its own”

I imagine many university graduates – and dropouts, I guess – find themselves reflecting on their formative years of tertiary education at some point in time in their lives. Roughly 10 years ago, I spent an academic term as a foreign exchange student at Trinity College in Hartford, Connecticut. Though I spent four months in the U.S., I absorbed so much from my time and experiences at that college, and I’ve never been the same since then.

Similar to “C.W. Franz II”, “Peloponnesian Grove” doesn’t require deep analysis into every note, instrument, melody or arrangement in order to understand the man and the messages behind the music. At surface level, you can treat this 7-track album as one of those self-explanatory ‘beats to relax/study to’ YouTube channels or videos you’ve probably checked out at least ONCE in your life. But if you go into this project knowing that it’s based on C.W.’s university years (and as a side note, the title is a reference to the orange groves of the Peloponnesian Island in Greece, where his grandmother resides and which he visited in 2014), you may find yourself projecting some of your own college and university experiences onto it.

A groove or tone may conjure thoughts and feelings you had back then, or still do, thus making the album resonate with you on a more personal level. In other words, what C.W. gave us with “Peloponnesian Grove” is a thematically ambiguous, yet incredibly relatable and heartfelt look back at his alma mater and the larger world around it.

The opening track “Windows (Looking Out)” begins with a hypnotic and quite catchy combination of cowbell, djembe and cabasa melodies over some Fender Rhodes piano keys. The piano itself perfectly matches the rhythms of the aforementioned instruments whilst maintaining a sense of tension which, surprisingly, DOESN’T build over the song’s 10-minute runtime. Around the middle, the track slowly evolves into a crescendo of airy synths hovering over the opening melodies, creating the feel of a grand, cinematic wide shot of the George Washington University and its environs. We also get a FANTASTIC baritone and electric guitar solo near the end, which wind up being two of the song’s major highlights. Interestingly, two speech snippets, both placed at the middle of the mix, show up on “Windows” – and I couldn’t help but view them as both a thematic reminder of the political foundation of the University and D.C. as a whole and a hint at the social and educational climate that probably impacted C.W.’s stay in general.

“A Moment’s Answers”, one of my favourite songs on the album, treats us to a bouncy, party-oriented, MASCHINE + crafted beat laced with a slow, wavy Roland Juno-60 passage. The intentional mixing of the Roland Juno-60 over the MASCHINE beat, and in particular the superimposition of a moodier version of the Roland passage over the existing one, creates this euphoric, off-kilter vibe throughout the song. The acoustic guitar which comes in after the first half adds some much-needed serenity to the already odd and spacey combination of vibrant and low-spirited sounds.  Thematically, the track sounds like the encapsulation of campus life’s highs and lows, joys and sorrows, victories and failures – and the emotional overwhelm we experience as a result. Bookending the track is another vocal snippet, this time from what sounds like a despondent student or athlete going through an overwhelming situation of his own concerning his basketball skills.

On the subject of Connecticut, the following track “I Remember Weatogue” is a calm, laid-back, instrumental ode to the Hartford County village of the same name. Its relaxed snare drum, escalating Roland synth passage, gorgeous viola and string arrangement and soft acoustic guitar strings congregate into a half-hopeful, half-melancholy but altogether pleasant and beautiful composition. C.W. returns to D.C. on “Mount Vernon”, a track which utilizes bluesy pedal steel guitar, drums and an unexpected French horn near the end to deliver a downbeat and admittedly depressing counterpoint to the dreamlike vibe of the previous song.

“Monument” finds C.W. applying a pulsating, almost military-like wadaiko / bass koto combo melody (reminiscent of his experimentation with Asian instruments on his previous albums) over some increasingly spacey synths. Admittedly, this is my TOP FAVOURITE track on the album, and I imagine it’ll be the same for many listeners thanks to that ear-grabbing melody which, shockingly, doesn’t run out of steam before the song’s conclusion with a ring of a Tibetan prayer bell. The blend of hypnotic Roland TR-606 drums, ethereal electric guitar solo and majestic horns (the latter of which appears at just the right moment on the song) on the penultimate track “Lights over the Potomac” create a picturesque mental image of the sun setting over the Potomac River, and the subsequent reflections of street lights over the water itself.

And then we have the album closer “Better Days Ahead”, which is easily the most cryptic track on “Peloponnesian Grove” – not in terms of sound, but in meaning. Sonically, it’s the moodiest and most nocturnal-sounding song in the tracklist, with its cascading udu rhythm, gloomy Roland Juno-60 synths and haunting acoustic guitar solo. Like “Windows (Looking Out)”, we hear two vocal snippets, but this time, much clearer. The first is a rendition of the iconic, cryptic and legendarily short William Carlos Williams poem “The Red Wheelbarrow”, which admittedly, I was completely unaware of until I saw it referenced a few times in one of my all-time favourite TV shows, “Mr. Robot”. The latter is the second half of a rendition of the Carl Sandburg poem “Chicago”, which starts with the following: “Come and show me another city with lifted head singing so proud to be alive and coarse and strong and cunning”

With C.W’s poetry background, we can easily assume both poems must have resonated with him and helped shape the way he viewed his experiences in Washington D.C. in relation to that of Chicago. And yet the song title hints at something unfulfilled, unrealized and perhaps unattainable. Or maybe it hints at something already experienced, like his university years, which have been and never will be again, except in memory. We never really know, and the album brilliantly keeps it that way.

As a whole, I found myself enjoying and appreciating “Peloponnesian Grove” way more than I expected.  While not as expansive and wide in scope as “C.W. Franz II”, the album’s sonic consistency and slightly narrow focus into an experience many of us can relate to made for some of the most emotionally resonant musical moments I’ve felt so far this year! And it’s easily the most accessible project I’ve heard from C.W. thus far, so first-time listeners needn’t worry about getting lost or overwhelmed in his expertly composed and arranged soundscapes. It’s a downtempo affair, so don’t expect this album to bring back memories of the wildest on-campus party you’ve ever attended (and believe me, you WON’T be getting that with “A Moment’s Answers”). But if you’re looking for some emotional potency, reflection and reminiscence to go with your selection of beats to relax, study and/or simply vibe to, then by all means, give “Peloponnesian Grove” a listen!

OVERALL RATING: 8.5 out of 10

Now available on Bandcamp

BBB S07E07 – The Falcon & The Winter Soldier (Series Premiere), Zack Snyder’s Justice League (THE BAILEY CUT)

In this special, superhero-themed episode of the Beers, Beats & Bailey podcast, Ricardo Medina, Tracy Hutchings, Sommerleigh Pollonais, Alice Oscura, CC Lilford and I do a spoiler-free review of the series premiere of the new Marvel Studios/Disney Plus mini-series “The Falcon & The Winter Soldier” and a spoiler-heavy, ‘Bailey Cut’ review of the long-awaited, HBO Max-exclusive “Zack Snyder’s Justice League”. 

LISTEN TO THE FULL EPISODE HERE

BBB S07E06 – High-Rise Invasion, Alice in Borderland, Pacific Rim: The Black, Raya and the Last Dragon, Minari, Cherry

In this episode of Beers, Beats & Bailey, special guest Ashton Menzies returns to share his thoughts on the anime series “High-Rise Invasion” and sci-fi thriller series “Alice in Borderland”, while I review Season 1 of “Pacific Rim: The Black” and “Raya and the Last Dragon” (the latter with Ashton), along with the family drama “Minari” and crime drama “Cherry” with Ricardo. 

LISTEN TO THE FULL EPISODE HERE

ALBUM REVIEW: Echo Strike – Dirty Clean Sexy Mean

“Dirty Clean Sexy Mean” is the latest album from pop rock band Echo Strike, and not only does it promises listeners (according to their official site) that they’ll “understand what the band is all about” but it also boasts one of the BEST ALBUM COVERS I’ve seen so far in 2021! You can stop reading at this point if you’d like to dissect this multi-layered album cover on your own. I’ll give you five minutes to do a true deep-dive, and don’t you worry; I’ll be RIGHT HERE waiting.

And now we’re back to our regularly scheduled album review!

My introduction to the eight-man band – led by vocalist Randy Van Gelder – began with their 2020 record “Not Inside Your Mind” which I praised for its simple, heartfelt songwriting, catchy hooks and warm, laid-back production which drew from genres like jazz, electronic music, new wave and synth pop. Supported by the theme of getting out of one’s comfort zone (mental, emotional and even physical) to live life to the fullest, “Not Inside Your Mind” was the sonic comfort many listeners, myself included, needed within the depression and uncertainty 2020 gave us.

With “Dirty Clean Sexy Mean” however, Echo Strike also promises listeners a “roller coaster of emotions combined with a brilliance of genre fusion that puts (them) in a genre of their own” – which is exactly what we get on this record. Its central theme is a more ‘heartfelt’ one as it explores the ups and downs – and emotions involved – of love and relationships. And compared to their last record, “Dirty Clean Sexy Mean” finds Echo Strike crafting a concept album of sorts; giving us a loose, emotionally-driven storyline involving hook-ups, toxic relationships, heartache, self-doubt and eventual self-realization.

The album starts off on an upbeat note with the track “Bad Intentions” which features some groovy guitars, crisp drums and a psychedelic, 70s-inspired wah pedal. Lyrically, Randy sticks with the ‘take a chance with me’ theme which was prevalent on “Not Inside Your Mind”. However, he frames himself as the ‘bad boy’, unashamedly telling a woman that he “made wrong decisions (he’s) not gonna mention” and he “got bad intentions”. He’s the risk-taker here, and he wants this woman to take a risk with him “if she’s going to survive”. I love the bit of self-awareness on the hook – and the possible heartbreak he’ll feel if she says no – when he sings “Got to get through to you……soon”.

Speaking of 70s-inspired, the following track “1978” places listeners smack-dab in the middle of a nightclub during the glory days of disco. Sonically, Echo Strike show little concern in fully re-creating the aesthetic of disco songs, opting instead to tap into the vibe of those songs with their own unique flavor. Randy delivers some dance-centric, slightly risqué lyrics over an incredibly fun and carefree disco throwback beat, complete with horns, hand-claps and synths.

Afterwards, Echo Strike time-travels a FULL DECADE forward and treats us to an unexpected remake to the TIMELESS Guns N’ Roses song (and staple of many karaoke nights since its 1988 release) “Sweet Child O’ Mine”. Admittedly upon first listen, I did find Randy’s dual vocals in the first and second verses to be a tad bit distracting, as it sounded like the equivalent to a second lead singer trying to outshine the main lead. But with more listens, I accepted those dual vocals as both Randy adding some Echo Strike uniqueness to a much-beloved song and him simply letting listeners know just how much he LOVES this song (emphasized by the passionate ‘second’ vocal). The band keeps things pop-friendly with the instrumentation with some subtle additions of the original song elements so as not to alienate die-hard fans of “Sweet Child O’ Mine”.

On “Making the Jive”, the first single off the album, Echo Strike pays tribute to the similarly TIMELESS – and karaoke night staple – Bee Gees song “Stayin’ Alive”. And while the band wisely foregoes re-creating its iconic beat, Randy reworks the cadences of the first verse, pre-chorus and first half of the chorus. As a homage / sort of modern update to “Stayin’ Alive”, “Making the Jive” WORKS shockingly well, thanks largely to its witty, tongue-in-cheek, ‘after-party’ lyrics by Randy.

The following track “Everything Hums” treats us to some genuinely pleasant and sunny instrumentation, which Randy uses to express how everything around him feels heightened, now that he’s in love. In the song’s opening bars, he assures listeners that we all deserve love, despite the broken hearts it may take to attain it (“The journey is where you are / Not where you come from / Doesn’t matter who you are / You feel the same warm sun”). It’s a truly beautiful moment on the album, and one which unfortunately heralds the beginning of the end of what might have been a long and fruitful relationship.

We’re then treated to a trio of heartbreak-related songs, starting with “Work to Do”. Over some slow, disenchanted instrumentation, Randy finds himself at the conclusion of a fractured relationship. He pins the blame on his ex-to-be for her attitude and disrespect, and on the hook, comes to the realization that she’ll never change her ways for him. From one great song to another, we get “Her Smile” which, upon first glance, is a song about infatuation. Randy’s smitten by a woman whose smile and frown, as expressed in such a lovely fashion on the hook, “makes everything” and “makes this all true” respectively. But you can clearly tell his infatuation comes from a lonely place. He’s alone at this point on the album, hoping this woman can see, know and believe that he “can be whatever she needs”.

On the beautifully melancholy “Leaving”, Randy analyzes the broken relationship from his ex’s perspective, well-aware of her eventual departure due to her inability to keep things afloat. He suggests that she takes her time in making her final decision and not going about it in a quick, bitter manner. I particularly appreciated how on the first verse, he says “Once in a while / I remember your smile”, which adds some self-reflexive context to the previous song “Her Smile”.

The second half of “Dirty Clean Sexy Mean” begins with a trio of deceptively upbeat songs with dark undertones. The first is “Up for It” which, with its nightclub-oriented vibe, creates the perfect background for Randy’s attempt at finding a rebound. As expected, he finds one and fueled by basic attraction and nothing else, wants to “get down to it”. There’s a great moment of irony on the second verse when he emphasizes just how half-hearted his romantic endeavor is: “Let’s play a game…..baby / Do you know my name…..maybe”.

The next two songs center specifically on Randy’s deep-rooted insecurity.  On “Dangerous Woman”, he uses witty, playful lyrics to express the fear he has of disappointing his new girlfriend whilst framing her as a “bad girl” (a dynamic switch in character from what was presented on “Bad Intentions”), likely to get him in trouble. His insecurity is so outrageous on this track, he’s worried that any disappointment he brings to the relationship will result in her leaving……or worse. The last thing he wants to do is get in the way of her happiness, so he’ll do anything to keep her ‘satisfied’ (“Let me drain the pool so you won’t drown / Let me call you a cab, so you’ll get out”). Over the nocturnal, 80s thriller-like beat for “The Stranger”, Randy adopts a Michael Jackson “Thriller”-esque persona as he vows to protect his new love interest from a dangerous, shadowy stranger (i.e. his own insecurity) who – just to quote “Billie Jean” – ‘goes around breaking little girls’ hearts”. Speaking of little girls, Randy unwisely frames the woman as ‘immature’ and ‘inexperienced’, with “no idea of what’s to come”, and even telling her on the first verse “Don’t post on Instagram”.

Randy gets introspective on the following two tracks “Demons” and “Alone”. As the title for the former suggests, Randy confronts his innermost demons, and while it isn’t explicitly stated what they are, it’s clearly obvious they are at the roots of his insecure nature. I really dug the subtle, horror movie-themed pianos on the opening, along with the sporadic distortion of guitars and Randy’s vocals, giving the track a ‘possessed’ feel. On “Alone”, we get a surprisingly upbeat and glitchy beat, with a talk box-like filter added on the outro vocals, for what is essentially an appropriately depressing song on the loneliness Randy’s experiencing. The emotional contrast between lyrics and music is quite effective here, with Randy’s self-loathing leaving a lasting impression over the production.

The final two songs bring a sense of hope for our crazy-in-love bad boy turned forlorn anti-hero, beginning with “Listen Hard”, where Randy literally listens to his gut, looks in the mirror and realizes there’s still time and room for him to change for the better. Most importantly, he learns that for this change to occur, he must take action (“You know, the problem won’t fix itself / Just recognize, that these are the cards you’re dealt”). On the album closer “Wait and See”, which features a SUPERB vocal performance by Randy himself, he picks himself off the floor and proceeds to move forward with his life. There’s still a marginal amount of doubt on his mind in terms of finding his one true love and being the best person he can be for her (“Who ya gonna be?”, “What do you need?”, “What do you see?”). But eventually, he has to confront that fear in order to move forward, as emphasized on the hook. The song itself ends with the sound of a mic drop, which I interpret as Randy feeling so inspired by the song he just recorded, he literally ran out the studio with a new lease on life.

Overall, I REALLY enjoyed this record! Echo Strike came through with a thematically conceptual record (hopefully not the last) where they took their creative strengths and musical influences to craft a highly relatable narrative on the highs and lows of love and relationships. The end result is easily their most consistent, emotionally resonant and enjoyable record to date, and a true showcase of their distinct musical style. If you’ve enjoyed Echo Strike’s music from “Honest Lies” onwards, you’ll absolutely ADORE this album! If you’re new to the band, I suggest starting with their debut or “Not Inside Your Mind” before jumping into this one. But overall, if you’re looking for some well-written, well-produced, genre-fused pop rock – WITH ONE OF 2021’s BEST ALBUM COVERS, by the way – to add to your playlist, make sure to check out “Dirty Clean Sexy Mean”!

OVERALL RATING: Strong 4 out of 5 stars.

Now available on Apple Music/iTunes, Spotify and Deezer

BBB/RETROSPECT CROSSOVER II – Planass Music Video, Magonolia Episode 2, New Jack City (RETROSPECT REVIEW), Coming 2 America, Wandavision (Series Review)

For the second crossover episode of Beers, Beats & Bailey and Retrospect Reviews, Ricardo, Tracy Hutchings and I take a virtual trip to “New Jack City” as we celebrate the 30th anniversary of the classic action crime film, Zamunda and Queens, New York, with the review of “Coming 2 America” and Westview with our thoughts on Marvel Studios’ “WandaVision” mini-series. Before departure however, Ricardo and I give a quick review on both the music video for Trinidadian rapper/producer Profess’ “Planass” single and the second episode of the Trinidadian superhero series “Magonolia”.

LISTEN TO THE FULL EPISODE HERE

ALBUM REVIEW: nic. – something about rain

“Things are tough all over, cupcake, and it rains on the just and the unjust alike….except in California” – Alan Moore (“Watchmen”)

Yeah, I know. Odd way to kick off what is essentially the 50^th (THE….FIDDY…..ITH) music review I’ve written on Fiverr since getting my feet wet with the site last year during quarantine. But even more odd was how that particular quote – from one of my all-time favourite graphic novels, in case you were wondering – popped up during my third listen of “something about rain”, the debut album from Trinidad-born, New York-based hip-hop/R&B artist Nicholas Bullock a.k.a. nic. 

The Watchmen quote references the Bible verse Matthew 5:45 which states that the Father makes the sun “rise on the evil and the good” and sends rain “on the just and unjust”. Interestingly, on the Soundcloud page for nic.’s album, the verse Jeremiah 29:11 (“For I know the plans I have for you, saith the Lord, they are plans for good and not for disaster, to give you a future and a hope”) is listed.

Jeremiah 29:11 is the thematic backbone of “something about rain” which, admittedly, is the furthest thing from a Christian hip hop or R&B album, yet never loses sight of the verse’s basic notion of the potential for greatness and positive change we all possess. The title itself may seem matter-of-fact but it’s actually quite fitting, as rain is used thematically, symbolically and as a literal mood-setter throughout this project. We also get contemplative, introspective and oftentimes bold lyrics from its host, all of which are backed by some incredibly atmospheric and moody production. In short, this album is a sonic journey through nic.’s frequent thoughts and feelings on life, love and his craft, but amplified by some wet, worrisome weather.

On the subject of production, “something about rain” boasts a substantial amount of producers which, at first, had me worried that the album would stylistically be all over the place. But there is a startling level of cohesion and consistency throughout this project, thanks in part to nic.’s ear for great, mood-inducing beats.

Take the album opener “april showers”, produced by Jaminx, which has this hazy, jazzy, piano-driven instrumental which sounds like the type of music that’ll play in your head automatically while you stare outside through a window covered by raindrops. Its mood is further amplified by the sound of rain (which appears on numerous tracks throughout the album) in the back of the mix. It opens with an audio clip of the Honorable Minister Louis Farrakhan talking about the human body being a temple of God and concludes with a similarly profound statement about the ‘supposed’ possibility of feeling less than God if we’re all created in His image and light. Between these clips, nic. delivers a captivating verse on his purpose in life and how his faith (established at a young age by his mom figuratively “dragging his ass to church every day”) keeps him sane amidst the negative elements surrounding him.

Producer Van Goh brings a murky, trap-flavoured beat with a digitally-distorted bassline and some cascading synths to the table on the following track – and straight-up BANGER – “free jewelry”. nic. shows off his cocky, braggadocious side on this song, along with a slight Wu-Tang “God body” / Kanye West “I am a God”- inspired demeanour which is emphasized on his catchy-ass hook. Bookending the track is a brief interlude of sorts which does feature some well-delivered vocals from nic. but is unfortunately hampered by some heavy procession to his voice, making the lyrics difficult to comprehend.

Speaking of interludes, the album provides a few more after “free jewelry”, a couple of which appear near the end of a certain track and a couple more which have their own spots in the track listing. “summer rain”, for example, starts off quite promising with its slightly upbeat chillwave beat from Jaminx and great singing from nic., but ultimately feels like a build-up to an unfinished song more than anything else. “Monsoon” however, which appears on the second half of the record, sounds structurally complete with its reversed synth-based beat provided by ajsounds and affirmation-like lyrics from nic. centered on him “not losing”, “not wanting to lose” and doing things his way with regard to his art.

The final ‘interlude’ shows up at the tail end of the album’s title track, where we get this atmospheric instrumental with some 80s-like synths (which sound like something out of a thriller movie) and a 90s, ‘bling-era’-esque drumbeat. nic. comes through with some ‘chip on my shoulder’-type bars as he addresses those who remained ignorant about his come-up in the music world. And though his verse stops abruptly near the last 15 seconds of the track, it still manages to leave an indelible mark on the record as a whole.   

The album also focuses on love and relationships, specifically the feeling of distrust one may have for the significant other. Early on in the record, nic. gives us a first taste of that theme with the Aisosa-produced track “trust”, whose hypnotic, nocturnal, chillwave beat is one of my favourite instrumentals on this project. Here, he’s trying to break through the wall of uncertainty a girl feels towards him.

On the title track (which features a moody, quiet storm-influenced beat also provided by Aisosa), nic. comes across as emotionally fragile, opening himself to his girlfriend and hoping that she looks past his flaws and insecurities (“I need you to care for me carefully / Especially when I don’t want to care for me”). On the flip side, he’s willing to be there for her as well, despite their respective imperfections. It’s a truly vulnerable moment on the album, and one that feels like an unofficial sequel to the previous track “do you” which is, hands down, one of the BEST songs on this project!

Produced by Lee and featuring a smooth, heartfelt hook from guest crooner Ashtn Mrtn, “do you” finds nic. verbally articulating both sides of a heated argument between a woman who finds her boyfriend too emotionally distant and inconsiderate and the man himself whose reasons stem from an unclear grasp of what it means to be loved. nic. wisely uses slight vocal inflections during his ‘performance’ as the woman in the first verse without going too overboard or overly dramatic as tensions build. But it’s the second verse where he sounds way more sincere than you’d expect, which makes the moment where he reveals how a lack of love in his family at a young age made him less willing to reciprocate his girlfriend’s expressions of love to him INCREDIBLY impactful!

But it’s not all “808s & Heartbreak” on this album, as we do get a sizeable amount of thematic diversity. We get another trap banger in the form of the song “I might”, where nic. balances wealth-driven flexing with the idea of thinking long-term with regards to acquiring said wealth. There’s an EXCELLENT beat switch halfway, which nic. opens with one of my favourite lines on the album (“When’s the last time you heard a rap with three verses / How I give you one song….well, like three hearses / Flow perfect, like it or not / I need money, power, respect and it’s word to the LOX”) and leads into a fiery, passionate verse on not following trends and focusing on longevity and legacy instead of short-term fame (points for that Busta Rhymes reference, by the way) that is, by far, a TRUE highlight on this record!

nic. also provides some socially-conscious content with the tracks “black (wo)man and child” and “ends”. The former has a bluesy, mellow instrumental produced by Gambi, which nic. uses to deliver a powerful, poignant look at the struggles black people have endured for centuries, and how he channels those struggles into his art to bring about positive change. Dvnsounds provides a laid-back, moody beat on “ends” for nic. to share his thoughts on how the lack of financial literacy keeps a majority of people reliant on paycheck-to-paycheck, 9-to-5 jobs to survive. On the first verse, he tells a story of travelling to work via a subway train and spotting a “dope boy, a prostitute and a homeless man” seated in the same car he’s in. He then says “It’s funny how I see myself in every one of them” which, in itself, is a rather stark and provocative statement on the influence of money in our daily lives. A moment of irony follows afterwards where he kindly refuses to give the homeless man some money, only to highlight the Air Jordans he has on his feet.

Despite the album’s rain-drenched, New York backdrop, nic. also incorporates some Caribbean, specifically Trinidadian, flavor as well. Over the FANTASTICALLY immersive chillwave vibe of the half sung/half rapped “synergy nights”, nic. incorporates his Trinidadian accent – and a bit of dancehall-influenced slang – on the first verse as he talks about keeping his mind focused on his goals and his eyes open for those who want to see him fail. The track begins with a clip from an episode of the cancelled talk show of the same name (my jaw hit the floor when I first heard this!) and leads into an interview with the legendary calypsonian David Rudder where he brings up a serious point that I wholeheartedly agree with concerning the ‘disposable’ nature of Trinidad’s mostly soca-centered music.

Speaking of soca, in yet another jaw-dropping moment on the album, we get the track “kids to kings” where producer Jffrs samples the track “Lorraine” from the legendary calypsonian Explainer. As someone who’s always wanted to hear more vintage soca and calypso sampled in today’s hip hop, this track truly brought a smile to my face. And despite its dark bleakness at the very beginning, the beat itself becomes quite optimistic as the sample and its trap drums are brought in. nic. gives listeners some inspiration as he raps about his come-up as a musical artist and how he’s been able to overcome the obstacles thrown at him in his journey.

Jffrs also provides a club-friendly, afro-fusion instrumental for the irresistibly smooth and sultry dance track “slow motion (Commotion Riddim)”. nic. sounds surprisingly natural over this beat with his flow, cadences and sticky hook, and I’d love to hear him do more afro-fusion songs (or collabs) of this caliber in the near-future. Also, if this is an actual riddim, I’d love to hear some more artists on it. It’s that damn good!

And finally, speaking of riddims, the album concludes with the Juwonmix-produced “Immigration Riddim”. Upon first listen, I figured this song was going to be the beginning of what would become a ‘full’ riddim with other artists on it (similar to my hopes for the “Commotion Riddim”). But given the wide-reaching dedication nic. gives to “all immigrants” on the outro, it gives the sense that this song is THE anthem to immigrants the world over. Juwonmix’s bright, guitar-driven, afro-fusion-flavored beat evokes the feel of the sun finally peering through the clouds, signaling the end of the rainfall prevalent on the album. nic. thematically connects this song to the Jeremiah verse from earlier by assuring listeners through some genuinely comforting and heartfelt lyrics that God has a blessing….or should I say a “plan for good”…. for each of us.

As you can see, “something about rain” left me with a LOT to write about. Then again, it is my 50^th review so I had to go all in! But I am truly grateful that I was able to celebrate this writing milestone with a review of one of the best albums I’ve heard so far in 2021! nic. truly outdid himself on his debut, with a collection of SUPERB instrumentals at the ready, versatility in terms of his hip-hop and R&B pen games, and personal yet highly relatable subject matter to draw creative inspiration from. Yes, the rain falls on the just and unjust alike – EVEN IN CALIFORNIA – but at least we got a great album out of it. An absolute must-listen!

OVERALL RATING: Light 4 ½ out of 5 stars.

Available on all streaming platforms today.

ALBUM REVIEW: Ren – From Me to Me

“From Me to Me” is the newest studio album from Springfield, Illinois rapper Ren. Released on the last day of Black History Month 2021, this album marks his official return to music after taking an extended break to tackle his own self-doubt and depression, lack of support with regards to his music and the advancement of his professional career. With this album, Ren adopts a more personal and introspective approach to his songwriting. Additionally, there’s a ‘minimal’, concise feel to this record with a 10-track, 36-minute runtime, two producers behind the boards (Kofi Cooks and ThatKidGoran), two guest performers (Ronnie Novak and Sally Freelance) and Ren himself handling mixing, mastering and recording.

And it’s this concise feel which makes “From Me to Me” an easy listen from start to end.  There’s no filler tracks, no interludes or skits to slow the momentum down, no extra ‘fat’ attached to each track to extend the runtime and, if I’m being honest, NO reason to click (or press if you’re listening to this in your car or on your phone or whatever) the NEXT button. With the exception of one song (the reasoning behind it may surprise you), every track feels like it’s just the right length.

But where this album truly shines is in its lyricism and thematic content. Ren approaches each song with a sense of maturity and self-awareness, ensuring that every bar, regardless of whether it flies over your head or lodges into your memory bank, has some sort of meaning or depth to it.  Thematically, what he gives listeners on “From Me to Me” is the equivalent to a series of therapy sessions. Even the final track is appropriately titled “Therapist’s Couch” where he compares rapping over beats to lying on the couch of a therapist’s office, exposing your innermost thoughts and emotions.

Lifting the proverbial veil to reveal the human being behind the on-stage, on-screen and on-wax musical persona isn’t anything new in the world of hip hop. But for many listeners, myself included, there’s always a slight fear that the topics being addressed won’t be comprehensible or the least bit emotionally captivating. Thankfully, that’s not the case with this album. Ren keeps things grounded and relatable, with topics ranging from his daily grind and black excellence to his estranged father and his own mental health.

On the album opener “Code Switch”, which features a mellow, wavy head-nodder of a beat from Kofi Cooks, Ren raps about his constant growth as both an artist and a man and how, unfortunately, this growth is either ignored or criticized by haters and naysayers. He also acknowledges the neglect he felt from his absentee father and vows to be an integral part of his children’s lives. A moment which stuck with me from this track was when Ren spits: “Damn, dummy, you know the joy that you was missing / Sincerely from a broken soul with several pieces missing / No time to be stuck on cruise, I got a mission / Found that if I’m grinding, then niggas won’t catch me slippin’”.

The following track (and one of the album’s singles) “Spectators” features a slightly bouncy, trap-flavoured instrumental from Kofi Cooks, some determined and braggadocious bars from Ren and a catchy hook encouraging listeners to keep grinding for what they want in life – and to be mindful of those watching you climb that ladder of success. It did take a few listens for me to acclimatize to the digitally-distorted ‘echo’ added to Ren’s voice throughout his verses, but overall, this was a really solid track!

ThatKidGoran steps in for the next track “Prosper” and delivers one of my favourite instrumentals on the album. His smooth, emotionally-driven beat (which incorporates some GORGEOUS vocalizing in the mix) adds an extra level of gravitas to Ren’s weighty lyrics centered on self-motivation amidst the harsh treatment of African-Americans throughout the decades. Growing up without a father, and living within a broken justice system, Ren has no other option but to ‘prosper’. Easily the best track on “From Me to Me”, “Prosper” also boasts some of the album’s most memorable bars like: “Thanos snapping, they asking me what it cost / But face to face, I tell him ‘I gave my all’” and “Rapping ass nigga, but my story ain’t the same / I ain’t never had a teacher that had something bad to say / Well, not as far as ‘I’d never amount to shit / I worked hard, still knowing the outcome’s rigged”.

Interestingly, a huge section of the album (6 tracks to be precise) is produced by ThatKidGoran, and even though all the beats are pretty dope, most of my favourite instrumental moments come from ThatKidGoran’s output. And as expected, Ren crafts some fantastic and genuinely heartfelt songs out of these beats.

Take the single “Shine” which AT FIRST, I felt started on a rough note with Ren’s singing on the intro (it’s since grown on me with more listens), but eventually leads into a motivational call to action, backed by a soulful, optimistic beat, to strive for greatness in everything you do. I especially LOVED where on the hook, he says: “I gotta shine ‘cuz my whole life, I had to fight / Ain’t no giving in, this melanin was chosen for the light”. On “Lavish Ambiguity”, ThatKidGoran offers some laid-back and…..yes…..LAVISH R&B-esque grooves for Ren to rap about being non-complacent in a country which continues to remind him of its history of racial inequality towards black people. To lighten the tone, he throws in a few brags, witty criticisms towards haters and even a reference to the legendary wrestler Shawn Michaels which, as a wrestling fan myself, cracked me up!

The R&B vibes continue on the following track “Unhealthy Obsession”, which is actually the song I had an issue with in terms of length. Over a serene, quiet storm-like beat, Ren examines how one’s personal barriers can be erected out of self-reliance. The song utilizes self-reflexive criticism to show how one’s need to handle things on their own can ultimately lead to emotional isolation. After that, we get a genuinely touching spoken outro, and while it’s a great way to bookend the track, I can’t help but feel as if the song needed at least another verse.  Don’t get me wrong – the song is GREAT and it’s one of my favourites on this project, but one more verse could have made it greater in my opinion.

Another minor gripe I had with the album was the mixing of guest crooner and hook provider Ronnie Novak’s vocals on the song “Again” which, like “Unhealthy Obsession”, consists of one verse and a chorus. Though this issue didn’t ultimately affect my enjoyment of the track, I still felt that Novak’s vocals should’ve sounded more prominent. As for the song itself, which treats us to an appropriately disenchanted, piano-driven beat, Ren addresses his issues with depression and how it continues to affect his life despite his occasional successes. Ren bares his soul on this track, dropping one poetic, poignant bar after another, ending his verse on a gut-punching note: “Lately, I’ve been feeling so stuck and can’t move / So I’m U-haul boxing it up, the rent due / Ain’t no space in my brain for no joy / I’ve been seeing skies that were grey since a boy”.

Over the murky, nocturnal, R&B beat for “Selfless”, the final ThatKidGoran-produced track and another favourite song of mine on the album, Ren shows how this deep-rooted depression combined with the lack of love he felt at a young age can deteriorate his relationship with his significant other. Usually, you don’t hear rap songs which deal with the inability to express love due to the person never really feeling love or seeing it expressed naturally in the household. And I can safely say that “Selfless” is one of the rare few I’ve ever heard that does that so well! Supported by a great hook by Sally Freelance, Ren exposes his emotional scars throughout this track, along with a stellar second verse which uses blueprints and moats to describe the strong foundation of this relationship and how it can easily fall apart once its weaknesses are exposed.

Kofi Cooks returns to close the album off with two distinctly moody yet superbly-produced instrumentals. For “Never Get Away”, Kofi creates a hard-hitting beat with a dramatic organ melody and glitchy horns which undulate slightly in volume. Here, Ren explores his insecurity as an artist, desiring to relive the past even though that’s far behind him and questioning his talent and his achievements in his career thus far. He adds a bit of dark humour at the end of the first verse when he spits “Got these demons that I’m fighting, tryna knock out homie / And they tap me on my shoulder, like, ayy, clock out for me”. Speaking of demons, I will admit the devilish, pitch-shifted, talk box-like vocals on the hook (which sound even creepier with this squeaky echo effect added to them) took a little while to grow on me, but they do add a dark, sinister tone to the song without taking away from its message. We all deal with self-doubt in some way, shape or form, and it’s even harder when we don’t know why, given the little success bestowed upon us, we constantly deal with it.

On the final track “Therapist’s Couch”, we’re treated to a relaxed, R&B-esque beat with some hard drums and a triumphant synth melody. Ren is clearly in his comfort zone with this instrumental, as he opens what is essentially a sole, lengthy verse by talking about how “it’s kinda crazy what (he) shits over these beats”. There’s a great moment where he raps about how conscious he is of the amount of personal info he gives to listeners in his songs (“Introvert to say the least, I just move and be discreet / Pressing out these records, you press PLAY and get a peek / This microphone’s a therapist’s couch, I’m just expressing / But not too much, nigga, I ain’t trying to give you leverage”). His insecurities slowly reveal themselves, as he mentions trust issues, his reserved mannerisms and in the stunning final third of the song, an incident where his father, after years of abandonment, shows up at his house. And while I won’t spoil how that story ends, Ren closes the album on an emotionally high note, finally freeing himself of the one burden he was forced to bear throughout his life, and moving forward to a brighter future.

Overall, I really enjoyed and appreciated “From Me to Me”. Though sonically, there wasn’t anything overly unique or spectacular, its consistent and cathartic introspection, coupled with its relevant and resonant themes of achieving one’s goals, accountability for one’s decisions and letting go of one’s emotional burdens, make for a truly worthwhile listening experience. Clearly, making an album of this magnitude wasn’t easy for Ren, but he did – and truly showed himself to be a truly gifted rapper. Here’s hoping we get another great project from the Illinois native in the near-future! But in the meantime, if you love your rap music with depth, meaning and some soul-searching, by all means, give “From Me to Me” a listen!

OVERALL RATING: Strong 3 ½ to a light 4 out of 5 stars.