The Best & Worst of February
I considered writing about the latest releases from Don Tolliver and Lil Yachty but could not bring myself up to the task. Tolliver unfairly falls victim to my high expectations set by Heaven or Hell, with no album giving me a similar rush of energy. Lil Yachty’s latest album, Let’s Start Here, is a terrible project (in my opinion) that he uses to experiment with alternative rock. Lil Yachty has been open about his desire to bend barriers and move beyond rap. Yet, with such an aggressive swing — and miss — it will be interesting to see how he recovers, if at all. Instead of focusing on the negative, below are my favorite albums released in February.
Girl in the Half Pearl
Few artists have Liv.e’s combination of songwriting and musical imagination. The Dallas native’s 2020 album, Couldn’t Wait to Tell You (CWTTY), is a carefree project with Liv.e treating each song like a retelling of her diary entries. She creatively shares stories without regard for order, randomly offering short recollections that leave you wanting more. Musically, CWTTY effortlessly floats between genres to constantly keep you on edge and entertained.
Liv.e’s latest album, Girl in the Half Pearl, features a musical range equal to its predecessor and with a new perspective. Three years have caused her approach to love to become more nuanced. “Heart Break Escape” is rooted in desperation that one only knows through experience. The album offers a more robust view of intimacy that gives equal voice to the peaks and valleys of love and loss.
Girl in the Half Pearl is a testament to how we change. Liv.e uses “Wild Animals” to showcase a blooming confidence that only happens when you develop true self-love. She is strong in her desires and is unwilling to compromise for the sake of another.
Liv.e’s lyrical and personal growth makes Girl in the Half Pearl a pleasing listen. She continues to find her voice and embrace wherever her journey takes her. Liv.e’s artistry continues to cut through genres but never finds her out of step. “Our Father” is a demanding instrumental that she manipulates with her soft voice and sporadic screams of passion.
Her ability to be limitless is a unique skill. Thankfully, Girl in the Half Pearl leans into her ability to be fluid in her sounds and topics. She continues to be the connective piece that makes every and anything work.
2MM DON’T JUST STAND THERE!
Despite the District of Columbia’s cultural relevance, its rap scene is underwhelming. Outside Wale, no rapper has developed a consistent national following. Yet, DC is home to artists like Foggieraw and Ciscero, who have gained respectable fanbases in indie circles.
Lost in DC’s underground talent is Sideshow. The Maryland rapper’s latest album, 2MM DON’T JUST STAND THERE!, offers a depth rarely seen in artists today. At his core, Sideshow is ruthless — detailing stories that show no empathy for those who stand in his way.
All the while, Sideshow is intimately connected to the people he has lost and those still with him. Losing loved ones has caused him to be relentless in war and graceful in peace. Throughout the album, he affirms his family and concludes songs by laughing at old stories with friends. Sideshow’s urgency on 2MM DON’T JUST STAND THERE! stands out. He raps as if time is limited, to both achieve success and enjoy time with those he still has.
Over time, his violence is a means of preservation. Sideshow’s ability to balance cruelty with compassion makes 2MM DON’T JUST STAND THERE! a unique album. For Sideshow, chaos and kindness are always one line away. His ability to find comfort in both subjects makes him one of the best DC rappers you’ve yet to discover.
