Why Your Favorite Rappers Will Never Collaborate Together

by Andrew Katsiris


Let’s stop acting like there will ever be another time when a group of three or more rappers, on separate labels, with their own unique skillset, will collaborate on a few tracks, ultimately releasing an album together.  Timbaland asked/trolled Twitter with the idea of a Drake/Kendrick/JCole collaboration album (queue the unrealistically hopeful, immature rap fans…).  With those three artists being some of the most influential in the hip-hop genre as of this moment, it’s a fantasy for fans of the three to someday witness history like that.

Why will this never happen?  To keep a long story short, because it would be trash.  Allow me to explain…

When two artists collaborate, be it on a single track or a full album, the two of them have to vibe together in a way that would show on wax, giving the track a unique sound that could only come from the joint effort of two artists.  If that vibe isn’t there, the track will not achieve what it set out to do.  How many times have you heard about a track by one rapper, featuring a completely different rapper?  It happens all the time, but every so often the track is expectedly awful.  Drake, JCole, and Kendrick would not vibe together in the slightest bit.  Let me break it down by artist: what they bring to the table, and how they’d mess it all up.

Drake, with his last project, “If You’re Reading This It’s Too Late,” and the events that followed, has made it clear he is not playing nice with the other boys on the playground; he isn’t taking competition lightly.  While “IYRTITL” did not lack the soft, singing Drake persona we listened to on “Nothing Was the Same,” there was the kind of Drake that wasn’t taking just punches and rolling with them, but returning the blow.  Who can forget the not-so-subtle Tyga diss, “you need to act your age and not your girl’s age?”  Twitter hasn’t forgotten it.  Tyga probably hasn’t, but I’m not about to listen to his (expectedly trash) mixtape trying to find a response track or lyric.   The fact is that although Drake considers Cole to be a brother of his, the vibe wouldn’t be there in the studio.  His OVO team would have a folder of beats lined up, and Cole wouldn’t be able to find an instrumental suiting his conscious lyrics, whereas Drake would do what he does best: essentially rapping about nothing but still sounding dope.

But why wouldn’t Kendrick and JCole vibe together?  Let’s not forget the infamous “Control” verse Kendrick wrote- the one that called out a multitude of rappers, including Drake and Cole.  Is Kendrick willing to set aside the competitive spirit he possesses, the same spirit influenced by west coast hip-hop legends that separates him from Drake’s competitive attitude?  Part of me says no, that JCole’s apparent lack of that spirit would not vibe properly.  Despite the fact that on “To Pimp a Butterfly,” Kendrick let everyone know that he was tired of people sitting in his throne, he also brought up the plight of the black community in America, a topic Cole touches on constantly.   So maybe the two of them will find some common ground with such an important topic.  But where does that leave Aubrey?

It’s no secret that Kendrick and Drake are “frenemies.”  Do they respect each other?  Drake probably does, but Kendrick is no stranger to calling out the Canadian; from his verse on “Control,” to the line about ghost writers from “King Kunta,” Kendrick has gotten his fan base used to the sneak dissing Drake.  After Meek Mill tried (and failed) to call out Drake for having a ghostwriter, the Toronto native does not stand where he used to in comparison to Kendrick and Cole, as far as lyrics are concerned.  But Drake has never been the one to rap about social issues, aside from problems with his ex, so what does that leave Drake to rap about?  How he’s the best to ever do it?  How his girl used to call him on his cell phone?  Does the former actor have any common ground with Kendrick and Cole, especially when they are all on the SAME track?

I say no, and given my reasoning behind it you should know I’m not just some kid who thinks it would be “lit” for the three rappers on one track.  After I first heard “Watch the Throne,” or even old Eminem/Dr. Dre tracks, I knew it was special but I couldn’t figure out why.  As it turns out, the reason these collaborations are so special is because two hip-hop artists having chemistry like Kanye and Jay-Z, or Eminem and Dre, is rare to find.  The fact is that Drake, Kendrick, and Cole simply don’t have that chemistry between the three of them.  So you can stop holding your breath, because the “legendary” collaboration is never happening.


ALBUM REVIEW: Big Sean–Dark Sky Paradise

by Andrew Katsiris


I have never listened to a Big Sean album from beginning to end, nor have I ever purchased an album of his.  To be quite honest, I have only listened to Big Sean when he is featured on a track by Kanye West, Drake, etc.  That is, until “Dark Sky Paradise” was available for preorder on iTunes.  And I think it was worth preordering.

Granted, that’s not what I thought in the weeks leading up to the album’s release.  Initially, the only track available for download was the single by the name of “I Don’t F*** With You,” featuring E-40.  Right off the bat, I wasn’t happy with it, and for one reason: I cannot stand E-40.  When G-Eazy released his debut album, “These Things Happen,” one of my favorite songs (“Far Alone”) had an E-40 feature; in a nutshell, he ruined the song for me.  He threw down a verse on the first single off of “Dark Sky Paradise,” and ruined it as well.  Aside from the nonsense beat (a DJ Mustard signature), the song played its part well, as a post-breakup song for Sean’s male fan base.

His second single, “Blessings” featuring Drake, gave a hint that the album would address more mature topics than telling off one’s ex.  Drake drops a verse, as well as the hook on this song, which I thought was…decent. Not bad, but I could’ve been done better.  The track was met with positive reviews, and a second version was released by DJ Skee, with an additional Kanye West verse.  Although only 30 seconds, the Yeezy feature was praised by fans everywhere (I was not one of them).  The second version never found its way to the album, which in my eyes is not a total loss.  But after hearing the features in the first two singles, I was beginning to feel skeptical about the upcoming album.  However, I was worried for nothing.

While the act of releasing a single or two from your unreleased album to build hype for said project is not a method pioneered by Big Sean, it was a method he executed perfectly.  “I Don’t F*** With You” and “Blessings” are not the best tracks on the album, not by a long shot.  While they touched base with the childish, break-up topic and the cocky, “we’re better than you” topic, the album starts off on the right foot.  “Dark Sky (Skyscrapers)” provides an introspective look into the life of Sean, with an instrumental that pulls the entire track together.  And it’s only the beginning.

Track 3 gives us the second collaboration between Big Sean and Kanye West, “All Your Fault.”  Hard drums, soul-style samples, Kanye singing the bridge, and an uplifting hook is what makes up the recipe for one of my favorite tracks on this album.  It works beautifully, and the third verse even has Sean and Kanye swapping lines, reminiscent of the Kanye West/Jay Z collaborative album, “Watch The Throne.”  I couldn’t help but want to listen to it again before moving on to the next track.

All in all, the album is a quality piece of work.   With features by Jhene Aiko, Ariana Grande, Lil Wayne, Drake, Kanye, and more, there is no shortage of talent.  Am I glad I pre-ordered “Dark Sky Paradise” on iTunes?  Absolutely.  Do I recommend it?  No question about it.

My favorite tracks (and in my mind, most noteworthy) were “Dark Sky (Skyscrapers),” “All Your Fault,” and “One Man Can Change the World.”

Find out more about Big Sean’s new album at his website!

And be sure you listen to Andrew Tuesdays at 1:00 PM on WIUN!

ALBUM REVIEW: Windmills — Broken Record

by Matt Sapita


From Windmills’ Bandcamp

At first listen, Windmills’ “Broken Record” is an example of how polish can make an underground artist a contender against AAA artists. Looking closely, however, “Broken Record” becomes a truly notable up-and-comer: a combination fresh breath of air and throwback in a genre choked with juggernauts the likes of Kanye West and Jay-Z.

Windmills is made up of Framework and Rex Ray, and together they’ve worked to create a cleanly cut and edited album, with a sound that reminds me of the golden age of hip-hop and R & B. “Regular Handshake,” “The Beach When it Rains,” and “Graffiti in the Night” have a level of honesty to their sounds that modern hip-hop too often confuses with confidence and ego. For the most part, Windmills seems to have found the right level of complexity to their beats, mixing in guitar and saxophone enough to be complimentary to Framework’s vocals, rather than distracting.

That being said: the primary issues with “Broken Record” are the lyrics throughout. Framework’s flow is respectable, as is much of the content, but sometimes it can be lacking. Many of the songs chorus’ are fairly weak, and towards the end of “Regular Handshake” and “Bring Out the Sun” I found the level of repetition off-putting. Worse, though, I found my eyes rolling at “Underground Gem’s” call to “spread love.” Lyrics such as these bring to mind artists such as Twenty-One Pilots and their awkwardly PG lyrics, and feel out of place compared to the rest of the tracks. The final, and most disappointing aspects of “Broken Record,” are Rex Ray’s back up vocals. His voice often comes off as droning and out-of-place, a style best left back in the age of Biggie.

Over all, Windmills second album is definitely worth a listen, bringing an honesty and originality that modern hip-hop could sorely use. “Broken Record” promises a strong future for Framework and Rex Ray: one that I hope is realized.

Notable Tracks – “Regular Handshake” “The Beach When it Rains”

Find out more about Windmills’ new album here!

And listen to Matt on WIUN Thursdays at 7:00 PM CST!

ALBUM REVIEW: Thom Yorke “Tomorrow’s Modern Boxes”

by Andrew Katsiris

From Radiohead.com

From Radiohead.com

Chances are, if you’ve been scrolling through Tumblr sometime in the past month, you may have seen Thom Yorke dancing.  While his age is no secret, thanks to his children, he does not shy away from anyone noticing.  No cover-up would be used to disguise his appearance, and he seems to like it that way.  With his second solo album, Tomorrow’s Modern Boxes, he shows us that while he may seem to age, his voice certainly has not.

With the Internet making the availability of free music more common, Yorke seems to have beaten the system by selling his album through BitTorrent.  Many music-lovers have used websites like BitTorrent to illegally “steal” entire albums, and by relation they are stealing from the artists themselves.  Despite how rich your favorite rapper may say he is, chances are he did not make all of his money from people illegally downloading his mixtape.  Yorke however, does; at a mere $6, you too can download his album through unconventional ways and still support the man himself.

Yorke is not the first to release an album in an unconventional way.  Hip-hop legend Jay Z released his 2013 album, Magna Carta, Holy Grail a month ahead of his intended release date, by providing one million digital copies of his album to Samsung users.  He had justification to say on “Somewhere in America,” “million sold before the album dropped…”  Very recently, rock band U2 attempted to do the same, but for iPhone users, and for free.  However, they were quick to receive negative comments from anyone who does not appreciate a free album.  Although it does not help that it took up the memory space I needed to update to iOS 8, so their/our negativity may have some reasonable support.

For his first solo album since 2006’s The Eraser, Yorke seems very modest.  In my personal opinion, the album has potential but does not capture my attention as a great album.  In a way, it is seems to be more of a teaser; the way movies have modest trailers to tease the future release of a blockbuster hit, Tomorrow’s Modern Boxes feels like a teaser for something more to come (perhaps more from Radiohead..?)  All in all, Tomorrow’s Modern Boxes is definitely an album worth listening to; the tracks “Interference” and “Brain in a Bottle” stood out to me the most.  Enjoy listening, and tune in to WIUN every weekday for more music!

Thom Yorke doesn’t have a website of his own, but he has a Twitter!

So does Andrew, @fromWIUN!

Okay!  You can go back to listening to WIUN now!

ALBUM REVIEW: Perfume Genius “Too Bright”

by Ari Starks

From Matador Records

From Matador Records

Perfume Genius’s “Too Bright” is an album that is full of ambiguity and wonder.  Released September 2014, it’s absolutely perfect timing for the season.  This album fits autumn due to it being sparse, empty, and transitioning into something new.  “Too Bright” probably is not for a listener who is not willing to understand Perfume Genius’s message throughout his eleven tracks.  Being that it was my first time listening to Perfume Genius, this album didn’t leave the impression that I was hoping for.  I personally did not feel like this album did not live up to the hype that it was given.

Listening to this album for the first time was difficult for me.  As a music lover, I tried to understand Perfume Genius’s artistry and aesthetic towards this album. I found appreciation for the scarcity at some points throughout “Too Bright”.  Those few times of vastness pushed me to try to comprehend the various choices of words in his songs as well has how he sang them.  Unfortunately, the only way that I could try to attempt to understand the story for each song was to look up the lyrics.  Even though Perfume Genius has a very neat and unique voice, the strong vernacular made it a little challenging.  Also, the album is only thirty-three minutes long which made me feel like it was too short.  It is a possibility that Perfume Genius did this in order to make a statement to the listeners—a way to draw us in and take a closer look and achieve an understanding of the story that Perfume Genius gave through his vocals.

Overall, the album “Too Bright” is an album that takes multiple listens to achieve a connection to Perfume Genius. Like I said earlier, this album is not for a person who wants meaningless lyrics to dance to. Even though it was difficult to understand the point of  “Too Bright”, I wouldn’t mind listening to it again in the future.

Perfume Genius’s website is right here!

Ari’s on the air Wednesdays at 3PM and her twitter is @sorryitrhymes!

WIUN Radio is always on!!!!



by Carla Gaviola

syro cover

Aphex Twin, “Syro”

The release of Syro was heralded in the most ‘Aphex Twin’-est way possible: by a blimp featuring the Aphex Twin logo and the year 2014 floating over London last August, as well as graffiti scattered all over New York City and the album’s tracklist hidden in the deep web. It has been 13 years since the prolific electronic musician Richard D. James released his last full-length album, Drukqs, and Syro marks another milestone in the evolution of the Aphex Twin sound.

The beauty about Aphex Twin is that the music sounds like nothing else, but it still retains the trademark Richard D. James touch–whatever that is—that keeps it engrossing despite being something that almost seems alien. However, Syro, in comparison to his other works, appears as something more palatable and accessible, almost something that you can hear playing in your car radio (albeit maybe in a more underground music sort of station?). This could possibly be attributed in part to James’ family who provided edited vocal tracks in songs such as CIRCLONT14 and XMAS_EVET10.

The tracks may seem disjointed and chaotic, not following a single theme and seeming like merely a collection of songs tied up only by the sublimity of their arrangements, from the glitch-hop dance-floor friendly minipops 67 [120.2] to an almost jazzy electronic produk_29, to the jungle music of PAPAT4. The album ends with a characteristic uncharacteristic somber piano piece in the vein of Avril 14th with the warm Aisatsana, providing a fitting end to one of the best albums of the year as well as the beginning to the next metamorphosis of the Aphex Twin sound.

One can’t really only listen to Syro once, for each repeated listen unveils so many more intricate details, from a rubber duck to an out of tune piano, lying beneath the cacophony.

Standout tracks: minipops 67 [120.2], XMAS_EVET10, PAPAT4, CIRCLONT14, Aisatsana

For more information on Aphex Twin’s new album, visit his website!

And you can find Carla on Twitter @CarlaWIUN and on her show Thursdays at 11:30 AM on WIUN!


Today, April 24th at 12 PM CENTRAL TIME, WIUN will have a special showcase bringing you all up to speed on what we’ve accomplished this semester and what we plan on accomplishing next YEAR!  We will also be discussing world, local, pop, and music news!  Make sure you give us a listen!  How do you get there, you ask?