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