And with lyricism that could maybe hold its own at a primary school poetry contest and a lineup of the most disposable beats from hip-hop’s hottest producers, it’s hard not to see why.
However, with less desperate ploys at radio records, They Got Amnesia could well be his “rappers’ album”. The 37-year-old should be comparing himself to the likes of Tyga and the individual members of the Black Eyed Peas. Reviewing this album is honestly like doing a comedy routine - the least necessary figure in rap recently bafflingly claimed that he’s a better hitmaker than Kendrick Lamar against objective judgement. Sadly, the exploitation and mishandling of artists who die young will likely only ever have a few rare exceptions.Ī top to bottom embarrassment, French Montana is deserving of placement on this list. In an ideal world, there would be repercussions for how Victor Victor and Republic Records dealt with this utterly repellant release. A po-faced stab at top 40 pop with overly-sanitised disco production, ‘Demeanor’ is an uncomfortable listen - there’s no way he would have entertained this idea. The biggest sin on Faith, however, is Smoke being coaxed into a filth-encrusted Dua Lipa collaboration. KEYMAG has covered the genius of Pharrell and the Neptunes before, but the plastic tropical beats Smoke is laced with by them are eyebrow-raising to say the least. Smoke’s contributions on Faith are stretched so thin, it feels like he lingers on here like a poltergeist.Įven more questionable are the directions he’s pushed in, some of which border on shameful. Despite his first posthumous album being a resounding success, the rapper’s second is a show of the true colours of those who arranged it, more concerned about banking on his star power than keeping his legacy in good shape.Īfter a 34-song deluxe album just the year before, those managing his recordings in his absence saw fit to triple-dip, this time resorting to even more guests to pad out songs. Pop Smoke was a Brooklyn hero, rising to the top and carrying his city with him. Let us smite the easy targets, because they have earned nothing but scorn in 2021. These are the boardroom-controlled products the industry pushed for - lazy, trend-chasing works that do the very worst thing for culture - nothing.
There has been a growing trend of poptimism in the past few years as more underground artists have flipped the script to ride for the pop’s elite, but the records that fall into this category exemplify pop music at its very worst - cold, manufactured feelings that should always be in the back of the mind when praising pop.
Even the biggest albums of the year had cover designs ranging from unimaginative to downright grotesque - this became somewhat of a defining characteristic of the year in music for me.)Īside from another entry into the poorly-managed work of a deceased young artist, and a cringe-worthy addition to the rap-rock canon, the albums that hold a spot here are popular artists that see a lot of criticisms come their way. (Side note: We need to talk about the album covers of this year, and how bad they were.
#French montana album covers full
Artists I love came good and sometimes better than expected, and the uninspiring artists, naturally, delivered a cold takeaway meal full of mealworms and body hair. 2021 went largely as expected - if you gave me a list of the releases for 2021 at the start of the year, my expectations and the outcomes would be roughly the same. Every year comes with its surprises, and that happens nearly every week with each new set of albums to eat up.
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