Nuzzcrew - Tuned Poetry
One thing that has worked for Nuzzcrew - an R&B group featuring junior biological sciences major Uwaoma Silachi, junior pharmacy major Nnabu Eric Enyia and producer Justin Johnson - is how they've been able to subtly combine varying influences. "So & So," for example, combines old-school R&B melody with an attention to lyricism, while Nuzzcrew's most popular song, "Don't Die On Me," is poetic with a simple, radio-ready refrain.
The odd thing about Tuned Poetry is how it sounds stripped of those influences. Instead, what we get are 12 tracks of ballads and club-ready songs, which seems to be a standard into today's R&B climate. Nuzzcrew's mixtape still feels a bit rushed even though it fulfills that mold.
It's not that simplicity isn't a good thing; some of 2012's best tracks have that trait. If it weren't for the change in tempo and title tracks, it'd be hard to differentiate one track from the next. They mostly have this semi-aquatic production that's OK at best and bland at others.
Nuzzcrew doesn't have a lyrical body of work here, either. The group's performance is marked by repetition and straightforward cooing for the female listeners. This seems like a disadvantage on the surface, but for Tuned Poetry's purposes, it works.
Can the "Double O" cover work on a party playlist? Definitely. Is "Tuned Poetry" the type of song a college female would listen to at 3 a.m.? Of course.
Tuned Poetry is worth a few listens, but it does reveal Nuzzcrew needs to solidify its identity. The mixtape shows the trio can make good club songs and romantic tunes - "poetry for the soul," as they call it. But they're just that: good. Listeners can expect greatness as soon as the trio decides what direction it wants to go.
It was a similar problem R&B crooner Miguel saw on his bland debut album. Fortunately for him, he followed that up with Kaleidoscope Dream - one of 2012's best albums.
Nvolv - Ndestructable
Anybody who hangs around a lot of music fanatics is going to have one or two people who make that one slightly obnoxious claim: "I was born in the wrong era." This person can be a fan of any genre, but the main genre many apply this sentiment to is hip-hop and its fabled '90s golden age.
The '90s' best hip-hop albums weren't just achievements for the genre, but for music in general. The decade was also notable for what fans consider its semi-tragic rise from street-boiled lyricism to the mainstream. There are a few rappers who seek to replicate the balance of grit and floss the era exuded with Joey Bada$$ being one of the more popular ones. UB has Nvolv - who is Joseph Mercedes, a senior communication major.
What makes Nvolv and Ndestructable so likeable is he doesn't sound like one of the grumps who refuse to get with the changing hip-hop climate. He instead surrounds himself in the aesthetic instead of fruitlessly trying to pay homage to a time long gone, which makes his performances on this EP relatable even if it doesn't rely on punch lines.
Nvolv's technique is one aspect that easily stands out. He's on beat and unrelenting on each of the eight tracks and his staccato delivery is easily identifiable. It screams "'90s," but just calling it such would be a disservice to the large amount of charisma Nvolv displays on Ndestructable. Nvolv isn't someone who bows in the presence of Illmatic or Ready to Die; he's a character by himself.
It's almost enough to carry the paper-thin production. It all sounds almost too retro with the shallow keys and the boomless baps. Plus, there just aren't any moments that are all that memorable. Illmatic had countless quotables, Ready to Die had "Juicy" and even AZ's severely underrated Doe or Die had that crazily inappropriate rant at the end of "Ho Happy Jackie." It's mostly just flow and hook on Ndestructable, which reveals songwriting issues.
The skills are definitely here, but the hit-making potential is definitely a few steps back.
Pusha T - Wrath Of Caine
It's been about two-and-a-half months since Pusha T hit the Red Room Ultrabar out in Vancouver, British Columbia, for an on-stage live performance. Push blessed the crowd with his first single, "Pain," featuring Future from his upcoming album, My Name Is My Name, and also decided to hit fans over the head with some breaking news - there will be a mixtape before the album: Wrath of Caine.
As if the anticipation wasn't enough, Push let loose two trailers for the mixtape. The first depicted everyone chillin' around the way while two sound bites of Marlo Stanfield from HBO's The Wire played, and the second showcased the Reagan era and a lot of cocaine - all of this before he announced the mixtape's release 24 hours before it actually dropped.
The intro starts off with a Jamaican woman letting it be known that Pusha T is the No. 1 artist in the rap game. After she's finished with her praise, the Norfolk, Va., native lets all know of his return off his first line:
"The dead has arisen," Push exclaims.
The intro served as a medium for Push to clear the air that no one is seeing him or is on his level for that matter. Plus, there seems to be a shot at Lil Wayne in the middle of it all.
"Vengeance is mine says the Lord/Throwing shots at n****s 'cause I'm bored and they whores (p***y!)/I'm Kobe goin' for his sixth ring/While that church choir sing I'm a lean 'til they crown me king of New Orleans," Pusha T raps.
All projects are starting to have singles so this one is no different. "Millions" featuring Rick Ross and "Blocka" were the two bangers that were chosen to scorch the blogs and get radio/club play. Both tracks have the best of today's producers with Kanye West co-producing "Millions" and arguably today's hottest producer Young Chop producing "Blocka."
A different Pusha T appears when Wrath of Caine hits "Revolution." Push goes bar after bar along this timeline of his life. From the beginning where he lived that cocaine dealer lifestyle to going through three different major labels and getting invited to Hawaii for Kanye West's My Beautiful Dark Twisted Fantasy to now being back "full circle," as he describes it. The "revolution" is how Pusha T survived and overthrew what CNN predicted his fate would be by the age of 21.
The Neptunes, who have always had a working relationship with Pusha T, produced "Revolution" and it has been expected that any Pusha T track less than two minutes long will unquestionably be a standout.
The rest of Wrath of Caine holds good substance with a Harry Fraud-produced track that features Troy Ave and a track from new artist Liva that Pusha T shared studio time with to make the mixtape cut.
These mixtapes have been strategically used as filler for upcoming albums and they have held fans over. It can only be hoped that My Name Is My Name lives up to the hype and buzz it's attracting from all over.
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