Yet Ace Hood circled the drain for so long that the Gold-certified ‘Bugatti’ felt more like a clog. After all, as a premier artist in DJ Khaled’s stable, the Floridian has had exponentially more chances than most rappers boxing in his weight class. But let’s not pretend this pandering middlebrow affair is anything more.įour full-length albums into his career, it strikes one as odd that Ace Hood should remain so preoccupied with his come-up.
Guests are scarce yet curated, and the return of the inimitable Prince Paul’s smarmy Chest Rockwell persona on ‘Twin Hype Back’ is worth heralding. Lean and springy, cuts like ‘36 Chain’ and ‘DDFH’ shake some dust off the boom bap rap template. Without obvious defects to fixate on, the record shines simply for its inherent acceptability.īeyond the stuttering sonance of ‘Get It’ and the Big Boi assisted ‘Banana Clip,’ Run The Jewels has about as much to offer as any other backpacking okayplayer of the past decade-and-a-half. The praise doled out to Run The Jewels, then, is symptomatic of a bigger problem: the systematic lowering of the bar to decumbent levels akin to limbo contest qualifiers. Music, and their continued collaboration makes sound business sense. Now a decade removed from his Stankonia-sanctioned debut, the former Outkast satellite’s waning career was jumpstarted by the El-P produced R.A.P. It’s an idea so simple that it almost seems lazy, and conceptually it is just that. Indeed, the reaction from fans and critics alike has been deafeningly positive. Like Watch The Throne in miniature, the project combines two critically acclaimed rappers for a collaboration practically guaranteed to generate press attention and fan enthusiasm in our indulgent, demanding, hard-to-navigate era of social media noise.
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Relatively fresh off two of the best records of their respective careers, Brooklyn’s El-P and Atlanta’s Killer Mike continue their back-scratching fraternization with this ten-track tag team set, available as a free digital download.
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In a year full of conveniently assailable rap albums, Run The Jewels stands out by default. One expects debate and dispute surrounding divisive records like Kanye West’s Yeezus, but even 2013’s biggest sales successes have encountered significant levels of derision, from Jay-Z’s smartphone scheme to J. Consensus - specifically the positive kind - has proven elusive this year for hip-hop artists.
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