Jay Rock [Redemption] (2018, TDE/Interscope)

 

 

We human beings all need an experiment and I know I am experimenting with writing down a music review in fucking English..!!! Come on man, but it's fine for me because I don't think I am bragging with using Enlgish as my English is not perfect and I am not a native English speaker or writer or whatever. But, we need this. Why? Because my laptop doesn't have the Korean keyword, and I am tired of using my tiny little cellphone to write down. But this doesn't mean that I am stopping using Korean on my Blog so please don't panic. What's funny is using English may sound bragging but what if I use Malaysian or something would that still sound bragging? Heck no, Implict Bias still occurs into our mind, Mane. We need a training. We need a training. The only problem that I have is how I can maintain my tunikut style alive using this fudging English. 

 

I am now personally listening TDE albums on a daily basis because I'm sure it is impending that TDE will be bombarding us with series of albums this summer into fall. Zay? Soul? SZA? or Dot? Right? 

 

What's lovely in listening to TDE artists' music is that each TDE fellow has its own unique character so it's not like listening same all stuffs. Even though Q has the same gangbanging concept and background as Rock but their styles are quite different. While Q is aggressive and more bragging, and becomes more serious and attentive to hazardous ghetto and drug life, Rock always gives listeners a trust in his maturity as a person who had gone through all the harsh struggles. Especially this album which is his 3rd coming out after the fatal motor vehicle accident that he had gives us a more catharsis like the title suggests.

 

When released, this album was slightly slept on in the middle of Kanye West's crazy Wyoming projects and Jay-Z/Beyonce album, etc. What I feel from Jay Rock after multiple listens of his albums is that he now is becoming pretty consistent in making an album as an 'artist' with a certain level of quality as well as mature, albeit not too hilarious lyricism with a great flow and delivery. What I mean is that his flow might not be as crazy as a person like Freddie Gibbs or his lyricism might not be that great as Kendrick or Soul. However, because his styles and character are so settled and consistent, we can have almost an infinite loyalty to his music with a less chance of being disappointed. That's how I feel about Jay Rock. 

 

Going back to the album, even though from the beginning "The Bloodiest" he spits out with a vivid picture of gangbaning, it feels more like "nice uncle Jay" tells us a tale rather than making listeners feel scared or threatened like we always feel toward him. Let's take "For What it's Worth". It tells about murder and bitches, but Rock refers this as a way of how he contemplates this as a sin but not as just a gangster lifestyle. On many other songs, he draws a picture of gangsterism but does not finish the song only with it but connects it to his feelings about his family and guilt. This concept and style goes througout the album, and like he always does, he finishes the album with giftful sound messsages ("Redemption"), and specifically on this album, with a hope ("WIN"). Please don't forget to check his lyriciam on "OSOM" in regards to what the people's relationship and betrayal are like (I am not a fan of J. Cole, though). 

 

Soundwise, as you can expect from TDE rap albums, fair mixture of groovy trap and head-bobbing boombap seems pretty enjoyable. I like that discordant-ish violin intro of the opener "The Bloodiest" which fits well with the song title in terms of its cruel/bloody-type of concept, and I extremely love the (ironic) Super Mario-sampled boombap with machinery and gritty heavy base on "ES Tales." "Rotation 112th" is definitely a trap-banger, which gives me a hard time not moving my entire body (not just head) like I do with Q's "Dope Dealer" or "JoHn Muir". We already know that "King's Dead" is another banger with that stupid (good meaning) verse from Future. The tight interaction with K Dot on "Wow Freestyle" is also an interesting track to check. I love how Kendrick gives listeners a joyful listen on this album with minimizing his roles but lifting up Rock's voices. See how Kendrick is awesome on "WIN" with such a minimal but memorable adlib "Mommy". 

 

Again. As I am writing down Jay Rock's review, I feel like I am becoming like him. I don't want to be too exaggeraging and I don't want to use too many words to describe this album (partly because of my limited English vocabulary hihi). But I would like to be simple but definitive like him. "Redemption" is a truly a "good album" without showing much flaws. Of course you might find a couple of unnecessary filler tracks, but still, this album is far from disappointing to any TDE fans (or hip hip fans, let's say). Job well done, Bro!