Within 2 songs, Sudan Archives brought the entire theater to their feet. Everyone clamored to get as close to the stage as possible. The intro to “Freakalizer” surged over the speakers, promising an impossibly exhilarating performance. Sudan Archives yelled, danced, and walked into the crowd at times, commanding the stage with the passion and raw energy of a seasoned performer. The show blurred into a stream of relentless excitement, emotion, and pure fun.

Performances of “Ciara” and “Loyal” kept grooves and energy high, but it was during more intimate moments like “Milk Me” and “Homesick” that Sudan Archives’ unreal range was on full display. Her vocal skills elevated every song, and her violin skills were unbelievable. The instrument felt like an extension of herself, seeming almost like second nature to the artist. She launched into the Irish violin song that inspired her to learn to play, and it felt perfectly integrated into her set of self-described “fiddle-funk.”

Her skill with the violin, however, was still not the full scope of her talents. “ChevyS10” turned the entire Englert Theatre into a nightclub, thanks to live mixing changes via a drum pad. Sudan Archives redefined the track with sample chops, bass hits, and mind-melding grooves that kept people on their feet. “NBPQ” was an unforgettable experience, with an entire crowd of people screaming the hook to one of the most exciting songs on “Natural Brown Prom Queen.”

Sudan Archives only took a few breaks to sip her drink and hype up the crowd. Her energy was seemingly boundless even as she danced, ran, and crawled across the stage. To say she put her whole heart into her performance would be an understatement. It was a spectacle on every level, with top-notch vocal performances, a level of raw passion rarely seen, and a cavalcade of immaculate violin and mixing masterpieces. It was a night to remember, and certainly an amazing addition to Mission Creek’s fantastic performances.

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The album wastes no time in establishing its tone. “Lean Beef Patty” sets the stage for two of rap’s strangest figureheads to do what they do best. Its instrumental is as glitchy, eclectic, and warped as one would expect from JPEGMAFIA, and both artists deliver performances just as energized as the beat itself. The hilariously titled “Steppa Pig” employs a more focused (but still uniquely JPEGMAFIA) instrumental that allows the lyrics to shine through, and the results are ridiculous. Lines like “Boy, you ain’t Kai, one twitch and you banned” and “They off that 2chan high, incels just can’t let it go like Frozen” are as absurd and hilarious as one would expect from such a duo.

The title track brings jazz-rap to a new cutting edge, with an often squeaky saxophone lead paired against incredibly abrasive percussion and deep bass. It also provides some of the project’s catchiest material. The tongue-in-cheek hook declares that “We don’t wanna hear that weird shit no more.” “Fentanyl Tester” again allows JPEGMAFIA’s production to flourish. An expertly chopped sample from Kelis’ “Milkshake” provides a beat that alternates between poppy simplicity and intense distortion. Nevertheless, it keeps a head-bobbing groove throughout.

“Burfict!” is possibly the most fun track on the album. Triumphant horns serve the perfect backdrop for another set of hilarious lines from Brown and JPEGMAFIA. “Like NASCAR, you better not go there” and “But you better get your mind right before I leave that shit all over that windshield,” Brown says. It’s all gas no brakes after that. JPEGMAFIA’s declaration that he’s “Feeling like Speed who gon’ stop me? Not you” is another great follow-up. The song is a perfect demonstration of the two artists’ magnificent chemistry.

“Orange Juice Jones” and “Kingdom Hearts Key” showcase JPEGMAFIA’s sampling skills at their very finest. The former interpolates a Michael Jackson track, highlighting a uniquely smooth basis for Brown and JPEGMAFIA to flourish on lyrically. The latter is mind-bendingly gorgeous, and its atmosphere is uniquely enveloping. A gorgeous Japanese-pop sample is matched with light, airy percussion and bell hits, featuring a fantastic guest appearance from redveil.

“God Loves You” is a big tonal shift. The dance-gospel sample makes it stand out against an already insane instrumental selection. The song is laced with explicit biblical references, but it’s hard to focus on lyrics against the amazing instrumental. “Jack Harlow Combo Meal” is a similar case, where an unbelievably jazz piano sample matches with JPEGMAFIA’s eclectic percussion and distortion. It sounds like an excerpt from the “Peanuts” holiday specials, nothing out of the ordinary for either rapper.

“HOE (Heaven On Earth)” brings a great organ sample and a compelling outro. A beautiful chop of choir vocals creates a perfect conclusion and segues perfectly into “Where Ya Get Ya Coke From?.” The final track feels fittingly like an end credits roll for a movie. Lines like “Should be in the psych ward for what I do with vocal chords” and “Like terms of services, they all in agreement” close out the project with the same tone that it started with: ridiculously fun.

“SCARING THE HOES” is two already established talents doing what they do best. JPEGMAFIA’s unreal production and raps and Danny Brown’s hilarious deliveries feel simultaneously effortless and finely tuned. It’s fun, loud, and consistently exciting, and every fan of alternative hip-hop should absolutely check it out.

JPEGMAFIA & Danny Brown – SCARING THE HOES: 8.5/10

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Kali Uchis hasn’t ever been one to disappoint. Her 2018 debut album “Isolation” and its 2020 follow-up “Sin Miedo” defined her as one of pop’s most exciting new stars, and many waited eagerly for her next move. “Red Moon In Venus” is not only a third fantastic project, but possibly Uchis’ best work yet.

The production on the entire project is absolutely outstanding. It’s evident right from the start with “I Wish you Roses,” which welcomes the listener into an atmosphere unlike any other. It’s warm, it’s smooth, and it’s magnificently gorgeous. A sultry guitar lead and distant synths bring a sunset-like ambience to the album’s sonic palette. Uchis’ vocals are stunning as always, and the track sets the stage beautifully for the rest of the project.

“Worth the Wait” with Omar Apollo is a very sultry serenade. The downtempo funk-and-soul-influenced production perfectly underscores Uchis’ sentimental and characteristically excellent vocals.  “All Mine” then dials this up to 11. Uchis sings about being protective and possessive of her lover in yet another beautifully orchestrated sonic landscape. The warped synths and organic, simple drums allow Uchis to shine even brighter than usual vocally.

“Fantasy” enlists Don Toliver for one of the project’s grooviest cuts. A killer layer of subdued bass keeps a good bounce going over Uchis’ immaculate performances and Toliver’s excellent guest appearance. The following track, however, is a true show stopper. “Come Te Quiero Yo” is scored by light and airy chords that give way to Uchis’ stunning performance. She sings in both Spanish and English for this beautiful love song, and the background vocals alone are enough to warrant a complete discussion. The only issue that the track faces is that it doesn’t last forever.

The album manages to maintain its beautifully warm atmosphere even when recounting the unsavory aspects of a breakup, evidenced perfectly by “Moral Conscience.” Uchis sings of an ex realizing they were in the wrong, but the atmosphere she creates both vocally and sonically dispels any idea of bitterness or spite. Instead, she favors a more self-assured and confident mood.

“Blue,” marks a sharp tonal shift. The very emotional cut is stripped back to give way to a somber performance from Uchis detailing the pain of missing one person in particular. “What’s the point of all the pretty things in the world if I don’t have you?” Uchis sings, highlighting the track’s beautiful sentiment. Brief saxophone sections bring even more life to the track. The song feels reminiscent of some of Sade’s early balladry in all the best ways.

“Moonlight” is yet another smooth and infectious jam. Twinkling synths and a deep, warped instrumental paints the perfect background for another beautiful ballad from Uchis. “Happy Now” closes out the album beautifully with a more upbeat and bright experience on both the production and vocal ends. Airy guitars and fluttering vocals from Uchis puts a smile on any face. The project ends leaving the listener wishing it could last forever.

“Red Moon In Venus” presents Kali Uchis as a fully formed artist delivering a project that only she could, and I strongly urge every pop or R&B fan to give the project a full listen. Across 14 songs she manages to bring her unique style to life in a way that few others could. It’s hard to find flaw in such a concise and well-crafted project, and the album will no doubt be in rotation for quite some time.

Kali Uchis – Red Moon In Venus: 9.0/10

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Since the release of 2021’s “Life Of A DON,” Houston native Don Toliver has been a very busy man. Placements on albums from Kanye West, SZA, Baby Keem, Metro Boomin, and plenty more have marked a meteoric rise in popularity for the Travis Scott signee. Naturally, then, his latest project “Love Sick” was very heavily anticipated by fans both old and new. The end result, though, while solid at times, feels half-baked and monotonous for most of its duration.

There is plenty to commend Toliver for on this project, with several standout tracks presenting some of his best work. “Let Her Go” with James Blake is a great example of this, showcasing a perfect stylistic fusion between Toliver and the prolific producer. Blake’s instrumental feels finely crafted for Toliver, who flourishes vocally over bursts of punchy bass and wavy chords. The song closes with a beautiful outro from Blake himself.

“4 Me” with Kali Uchis is another highlight, and the lovers’ duet feels perfectly placed on the album. It’s cute, flirtatious, and charmingly simple, and the chipper instrumental makes it stand out.

“Honeymoon” is a strange case, its off-kilter groove bringing an entirely different vibe than anything else on the project. It’s warped, wonky, and above all else, exciting. “If I Had” employs the legendary Charlie Wilson for a somber and laid-back cut that sees Toliver again meld his style with an unexpected collaborator.

Perhaps the greatest standout, however, is “Bus Stop” with Brent Faiyaz. The bouncy, sample-led beat lays the groundwork. Pair that with Toliver’s excellent vocals and melodies, plus a characteristically gorgeous appearance from Faiyaz, and it’s a recipe for success that works just as well as one would expect.

Although there are several songs that display Toliver in top form, the majority of the project unfortunately isn’t the same. Tracks like “Leave The Club” and “Private Landing” feel incredibly bland despite having two guest appearances each. Both songs feel bogged down by boring instrumentals and lackluster features. “Do It Right” feels like an attempt to score radio play, with a very drab instrumental and obnoxiously simple writing.

The issue that plagues the majority of the tracklist, however, is an endless feeling of similarity. Tracks like “Company Pt. 3,” “Go Down,” and “Leather Coat,” while not terrible, feel indistinguishable from each other due to incredibly similar and basic production. Many songs simply fail to grab any attention because of this, leaving the album feeling like one long drag.

While “Love Sick” is not a terrible body of work, one can’t help but feel that Don Toliver could release a more engaging and exciting project. Despite the album’s issuese, Toliver still provides some solid songs. I have faith that he can release something much more consistent in the near future.

Don Toliver – Love Sick: 5.6/10

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