Vic Mensa - 'Heathens' (Freestyle)

Suicide Squad was one of the biggest films of 2016, but the soundtrack proved to be even more massive. Several songs (as well as the soundtrack itself) has been nominated for GRAMMYs, including the twenty one pilots hit 'Heathens.' The song is now the backbeat of Vic Mensa's new freestyle.

Vic Mensa is known for being direct. This freestyle is all about the struggles of living in the ghetto, but with a badass, threatening vibe to it. It may seem pretty clichéd at this point, but Vic Mensa kills it in his freestyle. The song is introduced by Tyler Joseph's iconic hook (the chorus of 'Heathens'), Mensa kicking into his verse full force. His lyrics all have a sense of fear to them, in one form or the other. The first lines reference his dark upbringing, Mensa claiming "Grew up around heathens, the streets made us Tarzans... Number two can puncture you, better wear a vest / We packing like a Lunchable, we live in constant threat... They killed my brother dead, wonder why I'd be faded."

Vic Mensa's 'Heathens' freestyle isn't just about the struggles of his beginnings, but also how his success now makes it all worth it. He had to earn that, too. His lyrics are never over-glorifying, though some are pretty grandiose in their descriptions: "I be with heathens but I've earned my stripes / Keep a SIG, I'm too pretty for fist fights / Until these niggas kill me I just wanna live life / Cop a palace in the city, buy a little ice / But y'all know me, I don't rock diamonds / Only the Roc diamonds, that's how I'm shining." The song seamlessly transitions between the two subjects, connecting them. He even changes the flow up at the end to accentuate his swagger, making the freestyle even more threatening.

Vic Mensa killed it on this freestyle. 'Heathens' provides a haunting backdrop to his dark freestyle. His past made him who he is today, and he owns it. That's the impression that leaves you after you're through with this track.

Rating: 85 / 100

J. Cole - 4 Your Eyez Only

2016 isn't done giving just yet. Rap's signature sadboy J. Cole is back amidst rumors of retirement with his fourth record 4 Your Eyez Only, and it lives up to its expectations.

J. Cole isn't the average hip-hop artist you may be accustomed to. His style can be classified as "sleepy rap," sounding slightly distant in his delivery while still maintaining confidence and flow. There are moments on 4 Your Eyez Only that do wish they could go a little further, but J. Cole's flow is never one of them. He's always spot on with his delivery, nailing different rhythms and grooves across the record. This all becomes apparent right off the bat with 'For Whom The Bells Toll.' His vocals don't seem to be anything special, but delving into the song shows that under his smooth flow is a seething sense of anger. Elevated by the instrumental, 'For Whom The Bells Toll' rings with that subtle rage as J. Cole progresses it with great flow and fantastic melodies.

Lyricism is another one of J. Cole's strengths, and that doesn't really come as a surprise. 'Immortal' comes with a narrative of how volatile life can be. The first verse sets the song up with hope, the narrator reminiscing: "I was barely seventeen with a pocket full of hope," those dreams ultimately being crushed by the end of the track, hauntingly concluding with the lines "At the bottom and hanged / The strangest fruit that you ever seen / Ripe with pain." There are plenty of smaller moments, too, that just really mesh well with each other. The duo tracks 'She's Mine, Pt. 1' and 'She's Mine, Pt. 2' both have a dejected, depressed mood surrounding them, J. Cole's flow somber and distant, the piano instrumental making the mood even darker. While all of this sadness builds the track, J. Cole sings rather hopeful lyrics: "I've never felt so alive" resonates particularly powerfully, the stark contrast of the songs' hopeless optimism and its depressed vibe really accentuating its mood. J. Cole can also ace the lazy style flow - 'Neighbors' bashes the haters who limit his success, his laidback posture sending the message that they really don't phase him. The closing track '4 Your Eyez Only' runs for nearly nine minutes, J. Cole speaking to his newborn daughter about how life goes on. His chill flow paired with the very pure and reassuring lyrics really add some sincerity to the end of the record that otherwise felt very oppressed.

This record couldn't be complete without some fittingly great instrumentals. This record is full of them - all raw, no bullshit. There's no abuse of the Future formula - the same repetitive beat on top of the same bass synths. From beginning to end, this record is full of fantastic hip-hop instrumentals. There's lots of variation, as well, such as the 'Ville Mentality' with its sweet bluesy mood. The soundscape strongly supports the meaning for a lot of tracks, such is the case with this track. The bluesy vibe helps paint the picture of the sad childhood 'Ville' discusses. Groovy basslines and guitars are the foundations of 'Foldin Clothes,' showing that J. Cole isn't afraid to bring other elements into the record. He even furthers a rock influence, channeling his innre Radiohead in 'She's Mine, Pt. 2.' 'Change' is perhaps the ultimate example of form follows content, the driving beat and effected keyboard giving the song a sense of confidence, which is what J. Cole attempts to emulate in the track.

Maybe it isn't exactly the energetic hip-hop you're used to, but 4 Your Eyez Only is a beast of a record. It's another record without any features, as J. Cole has become known for, and it has all the tools it needs to surpass it's predecessor 2014 Forest Hills Drive. 4 Your Eyez Only is not only lyrically genius, but it has underlying groove that allows you to enjoy the messages as they come. This is hip-hop innovation. This is the stuff that can start a new era.

Favorite Tracks: She's Mine, Pt. 2; For Whom The Bells Toll, Change

Least Favorite Track: Deja Vu

Rating: 87 / 100

Buy or listen to 4 Your Eyez Only now:

Tech N9ne - The Storm

Tech N9ne may be a sort of meme in the hip-hop industry, but his new record The Storm may help him achieve more of a serious position as an artist, because, for the most part, it's a pretty solid record.

The Storm is a bumpy ride, but it has its promising moments. The record's start is fairly strong, 'Godspeed' opening up with some good ideas. The first verse is pretty funny, which doesn't really help solidify his position, but that's only a small fault. Much of the rest of the track actually goes pretty hard, filled with some drive and confidence. 'Need Jesus' featuring Stevie Stone and JL follows through, this one really bringing the best of Tech N9ne out. The flow has a Jamaican vibe to it, adding some color and taste to the track. The hook is dark both melodically and sonically. The song is overall just darker, and it pays off as Tech N9ne has a rock and metal past.

That past is referenced towards the end of the record in 'The Needle.' It's one of the two tracks that help bring the album back up from a low. There are plenty of name drops in this track, from Jimmy Kimmel to Slipknot and Deftones. This track is thankful, discussing the memorable moments of N9ne's career. It has a solid flow, too, really standing out from the rest of the record. The final track 'The Long Way' flows with some average pop hip-hop melodies, but the instrumental helps bring it all together, ringing sweetly and dramatically under the verses an chorus.

A lot of the record is unfortunately quite forgettable. There's not really a truly awful song on the record, but there's not much that stands out. Sandwiched between very solid tracks are many run-of-the-mill tracks that don't make any memorable mark while listening through it. There are tracks with promise, too, that don't quite live up to what they could. The most pristine example is 'Starting To Turn' featuring Jonathan Davis; Davis brings all the Korn vibes into play, creepy instrumental included. Tech N9ne sounds like he's back in his element to, being carried by the heavier instrumental. The song proceeds nicely, but after the first chorus, everything falls apart before coming to a very disappointing end. The brassy instrumental of 'I Get It Now' also feels like it could've been a lot more. There's nothing other than the brass elements making the song standout, which is really disappointing. There are songs that just feel uninspired, too. All that needs to be said for that is the lyric "I'm like the L in salmon / They can't hear me." It speaks for itself.

Tech N9ne has had a long career. It doesn't sound like he's quite ready to call it quits yet, though. The Storm has a lot going for it, and while it may be largely disappointing, there are promising moments. There's something. You can give it that much.

Favorite Tracks: The Needle, Need Jesus

Least Favorite Track: No Runnin To Ya Mama, Starting To Turn

Rating: 54 / 100

Stone Temple Pilots - Core

It's been just over a year since former Stone Temple Pilots frontman Scott Weiland died. It was a sad way to herald in the end of the year, but that loss spawned a newfound respect. 2015 was not a great year for Weiland, all things considered. Lots of bad publicity surrounded him throughout the year as Stone Temple Pilots toured with Linkin Park vocalist Chester Bennington and Weiland delivered some pretty nightmarish performances with his own band.

There are times where you need to look beyond someone's faults, though. Yes, Weiland was cursed with drug abuse amongst other things, but that did not lessen his artistry or his message. He was a key voice in the grunge generation, and continued to make something of his signature voice right until the very end. Taking a look at where it all began, Stone Temple Pilots' 1992 debut Core, is just what you need to remind you of what Weiland truly stood for.

The album kicks off with the lo-fi intro of Weiland's raspy voice in 'Dead & Bloated,' one of the band's signature tracks. The groovy, chunky riffs usher you into a true grunge experience, with Weiland's voice melodically yet angrily singing with true rock flair. This album came about at the peak of the grunge scene, and this record really puts the rawest elements of the genre forward. 'Naked Sunday' is much the same, its funky riff electrified by its rebellious nature, particularly a result of Weiland's great vocal performance on the track. Another track that's truly grunge to the core is 'Wicked Garden.'

The band's debut single 'Sex Type Thing' is what truly set their mark, though. The song's blistering riff and pure grunge antics really set a fire in the genre. There's something intrinsically badass about this song, and it comes in many different forms. It could be the thick guitars. It could also be Weiland's spectacular vocals, too. Whatever it is, this song really set the bar for grunge of this caliber. The song did spawn some controversy, though; the second verse chants "I am a man, a man / I'll give ya something that ya won't forget / I said ya shouldn't have worn that dress," which many took as an advocation of rape. The song is largely the opposite: it's an anti-rape track about a girl Weiland dated in high school who was raped by members of the football team. Weiland explained the song as being "about control, violence and abuse of power."

You can't have a rock record in general without a slower track or two. This record comes with two, both of which became singles. The first of them is 'Creep' - not a cover of the Radiohead track from the same era, but a different type of slow mover. 'Creep' is a song about being on the edge of suicide amidst drug abuse (ironically), the somber chords creating a moody background behind Weiland as her defeatedly sings about his own self-destruction. The lines "Take time with a wounded hand / Cause it likes to heal / Take time with a wounded hand / 'Cause I like to steal... I'm half the man I used to be (This I feel as the dawn / It fades to gray)" really sets the tone of the track and it's distant but hopeful nature.

The second slower track is the slightly more upbeat 'Plush.' The song is electric and has more drive, but at it's core it's still a pretty sad song. The song's loosely based around finding the body of a dead little girl, as proposed by the lines "When the dogs begin to smell her / Will she smell alone?" The song battles with internal conflict, Weiland singing about feelings of loneliness and a fear of no one caring about him if he were to die. The song resolves in a strange way, the haunting words gaining more strength and confidence, as if he becomes more accepting of the fact. "Life's a wasted go," as the first verse claims, and there's no point pondering over what'll happen after it ends.

Core has some weirder tracks that aren't all about the rock n' roll vibe, but each track still maintains those elements. 'Sin' has a big intro, the song resolving into a sweet bridge that builds up into an electrifying guitar solo to bring the song to its climax. 'Piece Of Pie' adds some groove to its huge grunge tonality, Weiland's soaring vocals full of delay in the backing vocals of the verses and in the choruses. There's a weird ending to 'Crackerman' that leads it into the rolling ending song 'Where The River Goes,' which builds up with drive to form a solid, grungy ending.

Core was Scott Weiland's first mark in the world, and it's a timeless effort. Stone Temple Pilots' debut was a key record in the world of grunge. To this day, the power of Scott Weiland's voice still resonates as something unique and powerful. His life was tumultuous, but his music helped craft the very direction of rock music and, furthermore, stood the test of time to be by each fan's side. No matter what he did in his life, he gave back to the world through the avenue he knew how to, and that's all you could ask of him.

Favorite Tracks: Sex Type Thing, Plush, Creep, Dead & Bloated

Least Favorite Tracks: Wet My Bed, No Memory

Rating: 82 / 100

Romans - Valere Aude

Droning electronica does not work well (under most circumstances) if they go on for too long. That's the trap New York duo Romans fall into, their new record Valere Aude sounding far too long and without enough content to really get the record going.

Valere Aude is a very chilled back record, and perhaps it's for the better reason of aesthetics that this record doesn't really climax; the duo never really sounded like they wanted to reach new levels of sonic epicness. It doesn't feel like the record even wants to have pronounced growth or mood. The glitchy, twitchy electronica of the record really fit it well, and it deserves that much praise.

While it fulfills its own reasons, from a listening standpoint, it's easy to get lost. Not in terms of being so entranced in the music that you lose sight of reality around you, but in that you lose focus on the record really quickly. The first track 'Cirta' washes over you progressively, but doesn't really offer much outside of a single changing movement and its bouncing synth loop. That is true for a lot of this record - it channels mysterious and weird vibes in songs like 'Legia' and 'Via Arpagga,' but songs don't really offer up much outside of what goes on within their first minute or so.

Valere Aude is not fully devoid of interesting times, though. 'Dura Agameia' spirals nicely throughout its six-minute play time, actually taking time to develop and build like a cool chillwave track. It's not centered around one idea; it has parts that move in and out, reprising themselves throughout the track before coming back into play. Different elements come into play, as well, making the track have more punch and contrast than others. It's not amazing, but it's great considering what the rest of the record has to offer.

Valere Aude is the record to go to if you need to take a late night drive through the city. Otherwise, it's probably better to skip out on this record in nearly every other case. Romans' new record is highly unsatisfying and doesn't really develop anywhere; it fulfills its purpose, but nothing else.

Favorite Track: Dura Agameia

Least Favorite Tracks: Aquilla, Zerai, Sabratha

Rating: 51 / 100

Grace VanderWaal - Perfectly Imperfect

Age is but a number. Grace VanderWaal hit it big on America's Got Talent, but she's ready to take on the world with her debut EP Perfectly Imperfect.

It's truly hard to believe that VanderWaal is only twelve. This record feels like there's been a lifetime of sweet joy and heartbreak ingrained in its writer's experience. Hopefully her life has been nothing but joy (though I hope she hasn't experienced any heartbreak yet), because her music truly reflects her personality, and if that's anything to say about her, she deserves all the best. The opening song is the viral hit 'I Don't Know My Name,' the original song she delivered a heartbreaking performance of on America's Got Talent that won her the golden buzzer. The song remains just as unique and raw as its debut performance, VanderWaal's raspy and gentle voice ringing beautifully above her twinkling ukulele, a bright orchestra joining her by the end of the track for a final moment of revelation.

The rest of the record isn't quite as bright - in fact, it's pretty bittersweet. That seems to be the trademark of her music. 'Clay' follows through, an uplifting track based around the piano. VanderWaal's voice is showcased a bit more in this track, her sweet timbre rising with power at just the right moments as she sings about being yourself.

The next two tracks come as much a surprise, not for any reason other than whether intentional or not, these are some of the best love songs written this year. 'Light The Sky' continues on from 'Clay,' celebrating individualism with someone else. Two people are the subject of the song, two friends having pure fun under the moonlight. 'Beautiful People' has a more direct love vibe, VanderWaal abandoning her sweeter tone and adopting a more bittersweet timbre. The song is about her sister, but it can easily be put in the context of someone you love; whoever the subject is, this song resonates love. The swelling piano rings sweetly under the heartbreaking chorus, as she chants "You're a beautiful thing / We're a beautiful thing together / Even when the weather is low... We can find the rainbow / Up in the sky / You'd say don't you cry, it's all gonna be alright / That's a beautiful thing." The song reaches an emotional climax by its end, the piano swelling with her emotions. This is the most emotional moment of the record, and perhaps one of the most emotional moments of music in 2016.

Grace VanderWaal is so young, and she has a great career ahead of her. Whether or not she pursues music, she deserves all the best. Her soul is pure and her purpose sweet, and that's all you can ask for in. Perfectly Imperfect is a beautiful EP - when her debut LP is released, it's bound to make it big.

Favorite Tracks: Beautiful Thing, I Don't Know My Name

Least Favorite Track: Gossip Girl

Rating: 88 / 100