Nathaniel Clark, Features Editor

nuc5002@psu.edu

The fall semester has begun and as we say goodbye to summer, I wanted to review a few of the bigger albums that were released while we were gone.

Kendrick Lamar – Mr. Morale & The Big Steppers:
Releasing a week after the semester ended and with little publicity, Kendrick Lamar released his first record in over five years. Following up his Pulitzer-prize winner DAMN, Mr. Morale & The Big Steppers shows Kendrick at his most personal. Breaking down his psyche in a therapeutic fashion, Lamar crafts an unfiltered image of himself, tearing down his savior persona which has been present since 2015’s To Pimp a Butterfly.
To be expected from a personal dissection, Mr. Morale has various moments which may be hard for some to witness. From discussions of parental trauma on “Father Time” and a full-fledged domestic dispute on “We Cry Together,” Kendrick’s content varies immensely. The most controversial song is “Auntie Diaries.” Telling the story of his homophobic past and how his relative’s transition affected him, Kendrick uses a derogatory slur to characterize his old self. While the placement of the word makes sense in context, its usage is still shocking in our modern world.
Even though the record has its issues, Kendrick Lamar removes himself as a savior and paints himself as a person with all imperfections that comes with it. – 8.6/10

Harry Styles – Harry’s House
Harry Styles released his third solo album Harry’s House to the public in late May. Following up his (still-popular) 2019 record Fine Line, the British singer-songwriter’s newest record continues the pop rock direction found in the former, adding tinges of synths into the mix.
Continuing down a similar lane, Harry puts out more music to satisfy his fans but may leave outside viewers possibly disinterested. The main benefactor that may lead people to be disinterested would be the album’s overall lack of variation. “As it Was” is an excellent first single and one of the album’s highlights, but nothing grows past that. Most of the time, the album stays at a consistent level of okay to good. The only real outlier on the tracklist is “Matilda” and its acoustic-led story of a found family.
While there are some good tracks to take away from Harry’s House, there is not enough variation to bring me back for more. – 6.4/10

Drake – Honestly, Nevermind
Released as a complete surprise, Drake “blessed” his fans and the rest of the music-listening public with his seventh studio album Honestly, Nevermind. Suddenly moving away from his standard rap and R&B sound, Champagne Papi and a collective of producers have crafted a whole record of house and club music. While he was not the only musician to suddenly go down a club route with their music this year, I would say that Drake’s contribution is one of the weakest to come out of this sudden genre reintroduction.
Even though Aubrey is one of the largest artists in the world, Honesty, Nevermind shows him at his laziest, with some of the most simplistic production choices on any record this year. Most of the songs are cookie-cutter and repetitive, but some good tracks shine. “Sticky” is one of the only tracks where the house production works using a variety of good wordplay from Drizzy and a decent-enough beat. “Jimmy Cooks,” featuring 21 Savage, is the only song on the record that is not house-based and rises above as the album’s best track.
A majority of this record may be weak, but this may be Drake’s most enjoyable album in years. Honestly, Nevermind rises the ranks in his discography of recent medicore records. – 4.8/10

Steve Lacy – Gemini Rights
Directly in the middle of summer was when Steve Lacy decided to deliver his second studio album Gemini Rights into the world. Named after Lacy’s star sign, the record continues down the R&B and psychedelic funk pathway he has become known for as a solo act and with The Internet. Throughout the project, the musician is heard lamenting about love and all the ways, expressing his emotions with a chill, vibey wonder.
The biggest single off the record is “Bad Habit.” While not as experimental as other cuts on the record, Lacy crafts an excellent chorus and melody along with a bridge you cannot help but be enamored with. “Mercury” is another highlight with its Latin-inspired sound and baby-esque vocals.
In essence, Gemini Rights is one great piece of psychedelia that never overstays its brisk runtime. – 8.4/10

Beyoncé – RENAISSANCE
Near the end of June, Beyoncé came out of her long hiatus to announce her newest album RENAISSANCE would release at the end of July. The first act of a currently unnamed trilogy by the artist sees her taking a shift into dance-pop. Unlike her contemporary Drake though, this change undoubtedly succeeds.
Even with over an hour runtime, Beyoncé and company were able to craft an album that makes you want more. With fantastic grooves and production choices, the project’s whole soundscape gets your body moving. Throughout the record, Beyoncé pulls from all different subgenres of dance. From the more experimental sounds of “ALIEN SUPERSTAR,” the more psychedelic nature of “VIRGO’S GROOVE,” to the heavy trap and house influences on “AMERICA HAS A PROBLEM,” it is an absolute shocker than this record melds as well as it does.
If you listen to any record from this summer, make sure that you bear witness to Beyoncé’s RENAISSANCE. – 8.9/10

This wraps up our summer round-up. Make sure to pick up the Beacon for more music reviews throughout the semester!