Hip Hop, Review

Album Review: Cyhi The Prynce – No Dope On Sundays

Hip Hop fans had no clue what to expect when word got out that long-time Kanye West affiliate and former G.O.O.D. Music signee, Cyhi The Prynce, was finally releasing his long awaited solo debut, No Dope on Sundays. After years of displaying his lyrical dexterity with clever double entendres on several mixtapes, writing on every West album since My Beautiful Dark Twisted Fantasy, radio show freestyles, and of course his breakout verse on West’s So Appalled off of 2010’s Dark Fantasy. Cyhi finishes off the fourth quarter of 2017 strong with No Dope on Sundays.

Like many black Americans in the south, the Stone Mountain, Georgia native grew up in the church, and that remains a consistent theme throughout this album. He recites a Bible verse at the end of the title track which then seamlessly goes into the third song on the album, Get Yo Money. The album is jam-packed with autobiographical double entendres depicting Cyhi’s former life selling marijuana throughout his teens and 20’s, in a way that doesn’t glorify the lifestyle but are more-so cautionary tales. At the same time, he continues to bring back the recurring theme that, even on Sunday’s, no drugs were sold.

“There’s only three ways out this, shit/ Dead, jail, or get your legal hustle on/ Get Yo money and get out the game” says a recurring character throughout the album, on who Chyi speaks to on the phone– who, in a way, becomes the narrator of the album. It verbalizes, through conversation, the points that Chyi is expressing throughout the album, ones the lamen may not understand.

“I was barely seventeen, rollin with some killers that was 30 plus/ Shoulda left these niggas earlier/ But I was broke as fuck in the street I was tryna get me a burger, bruh.” Says Cyhi on Amen, the album’s intro. Autobiographical lyrics like this are what make this album. Cyhi gives context to the circumstances that can potentially lead to youth living a life of crime by humanizing these individuals with vivid stories that don’t glamorize the lifestyle but function more like cautionary tales.

No Dope on Sundays has a little bit of something for everybody. For the true hip-hop heads who appreciate wordsmiths, try Amen (Intro), the title track No Dope on Sundays (feat. Pusha T) and God Bless Your Heart. For the more casual fans songs like the lead single Dat Side (feat. Kanye West) and Looking for Love allow Cyhi to show off his crossover appeal while at the same time not sacrificing his integrity as an artist to conform to radio.

If you haven’t listened to No Dope On Sundays I suggest that you do. I consider it a top 5 rap album of last year and, although it came out a little too late to be nominated for Rap Album of the Year for the 2018 Grammy’s, I expect that nomination in 2019.

Dream Pop, Hip Hop, Indie Pop, Interview, Jazz, RPM, Singer-Songwriter

We Carry Us: A Conversation With Bell’s Roar

When the world at large polices your expression, limits your resources, and overlooks your creative efforts simply for being yourself, carving out new and unconventional avenues to success becomes imperative.

Bell’s Roar, the solo project of Sean Desiree, personifies this struggle. The Albany, NY-based musician released We Carry Us last month, a collection of ten gorgeous tracks about trans community, perseverance, rectitude and self-love. Across the record, Desiree meticulously cultivates the most tender and worrisome of feelings around a glut of sounds: it’s alternative soul, jubilant synth-pop, and oceanic dream-jazz from one moment to the next– a viscous, mystifying bedlam.

On the outset of their Art Funds Art Tour, a wonderful funding initiative for marginalized artists, we invited Bell’s Roar to our studios to chat about their newest record, independent musicianship, activism, table-making and more!

This interview was conducted by Hayden Fisher on February 2nd, 2018.

All bed music by Bell’s Roar.

The Art Funds Art Tour:



Donate to the Art Funds Art Tour


South End Pallet Works

Hip Hop, Jazz, Review, RPM

Album Review: King Krule – The Ooz

Archy Marshall is royalty, but you might not know it if you haven’t heard his music. The 23 year old London based singer, rapper, and multi-instrumentalist extraordinaire is back with The Ooz, his second full length album under the moniker King Krule. He gets his performing name from a Donkey Kong character, but more than that it’s a great descriptor of his music. Marshall’s harsh, gritty vocals create an interesting juxtaposition with the smoother beats that accompany most tracks on the album. The record fuses elements of punk, jazz, indie, and hip-hop to create an end product that sounds like a mellowed out version of John Zorn’s Naked City.

Musically, the album is extremely consistent. Most tracks feature very tight, suppressed drums, reminiscent of J Dilla or Young Marble Giants. Marshall uses catchy guitar riffs, such as those on “The Ooz” and “Slush Puppy” in unison with spacey and subdued keyboard synths (present on most every track), building tension to create beautiful, sprawling harmonies.  The last, most important ingredient to every track is his vocals, where he ranges from soft and somber to loud and aggressive depending on the lyrical content of the song.

“The Locomotive” is an introspective slow burner where Marshall describes himself waiting at a train station, plagued by his own thoughts. On “Logos” he describes a lost relationship with a woman: “We were soup together, but now it’s cold / We were glue together, but it weren’t to hold”. On these tracks, Marshall sounds more like an orator or a poet than a singer. He deals with themes of depression and isolation in a way that’s brutally honest. The accompanying instrumentals are slower and more toned down to put more of an emphasis on his vocals.

Some of the more fast paced songs include “Dum Surfer” and “Half Man Half Shark”. Marshall’s use of native jargon and his thick, clumsy accent create a clear vision of life as a punk in London. In “Dum Surfer“, he finds himself disoriented and intoxicated in a club where he scams a “dumb surfer” out of some cash. He pukes on the pavement and takes a cab home with a girl from the club, paranoid the whole trip home that the gods are out to punish him for his misdeeds. These songs feature somewhat cynical, more snarky lyrics as opposed to the introspective lyrics of most other tracks. Contrasting the more somber tone of most others on the album, these tracks serve as great changes of pace to keep the listener on their toes.

Archy Marshall presents an album that should leave any fan of alternative music excited for the future of the genre. The project marks a maturity and precision in his lyrics and showcases deep, catchy and well produced music. True as his name suggests, Archy is the new King of jazz-rap-punk fusion, if there even was one before.  

SCORE: Ooz/10

BEST TRACKS: The Locomotive, Slush Puppy, Czech One, The Ooz, Lonely Blue