I liked the part where he said "it's a party it's a party it's a party" shoutout Waka Flocka Flame.

YA ROCK OUT YA SLATT

it’s facts

anthony fantano ahh review

where the F*** on WLR do u hear songs like inferno? FMJ? maag drop?

yea he could try harder lyrically and flow wise

he do be having bars u gotta listen real hard tho

Ok im coming around to this more

Addicted to inferno is the best song stretch ive heard since idk when

Its great to see mental illness personified hit the mainstream stage

If u throw in in it and function its the best stretch ever

This is the evolution ken spoke of

Why does hell sound so good

If someonr asked me to play the best song ever i jus might pick function

Now some1 tell me if i nalied the sound vocaroo.com/1eo625Tqgpe9

Where osama bin fly at

This is actually a really good review and describes well my current frustration with the US underground scene as it relates to artistry, drowning in influences, and this kind of drive to strive for something greater.

I remember when all the Fakemink drama was happening last week and people were upset at him for calling himself the best, but that's honestly how you should be feeling and especially in Rap music.

I honestly kind of blame this phenomenon on the specific audience of these underground guys and how these fanbases can never be satiated. It's going to take an artist to subvert all that noise from the fans in order to really become a star and currently I feel like in the US lacks that and especially in comparison to all the guys rising in the UK rn.

The last paragraph of this review sums up what I'm speaking to best:

"The new artists of our time should be taking pride in subverting the formulas of their predecessors. Kill your f***ing idols! Remember when Young Thug wanted to one-up his GOAT Lil Wayne so bad that he tried to drop Tha Carter VI before him? What resulted from that turned out to be more subversive and more iconic than anything Weezy has dropped since. Someone let the kids know they’re just as capable of pulling that off."

Jump Out has Insta

Unmusique is a better project than WLR

imo these new guys like Che & Osama definitely strive for something greater / already act like they're better than their influences (to be honest, after MUSIC, they are...)

The lack of a star in the US is apart of a bigger topic imo, like how much of a niche bubble each new music scene / bundle of artists is. Nobody really over 25 will give this type of music attention; it's only the youth. But even then, it's becoming interchangeable in terms of the audience that become die hard fans of these acts. The same people going to a Che & Osama show are the same kids going to a Carti, Ken or Lone show. There's no real difference in audience; and much like the Opium bubble, in what world will these acts cross over into the mainstream and become a superstar?

Lonely and Ken are meandering even with a Carti co-sign no matter which way you spin it. Since their initial mainstream success with projects like No Stylist/If Looks Could Kill and A Great Chaos, they can't seem to come up with anything half as good as their breakouts. Lonely's last project essentially did the exact same streaming wise as Psykotic just did...and Ken is clearly lost with where to go after the success of his Gore aesthetic and AGC sound, with him naming his next project "The Experiment."

There's also an aspect that anybody who's hot/popping right now, isn't making really accessible, mainstream friendly music (not that should be the goal, it's just something that doesn't exist in this new scene of music). The best chances at this could be Nate Sib / 2hollis, but their squeaky clean version of Pop music that's Justin Bieber/Lady Gaga inspired isn't really connecting, despite it gaining them a cult fanbase around Boylife. Osama & Che could achieve this if they get a very ear wormy, catchy hook driven song like Lil Pump did, but to be honest, I feel like if that were going to happen, it would've already occurred.

Whoever does become the next legitimate star, if it's even possible in 2025, has to be something familiar and nostalgic, but hellbent on being anti everything that's been popular in the last 5-6 years. Different in terms of aesthetics, and sonics. Not remotely Carti inspired, aside from Carti's aspect of building a world around his music. Imo it's going to be something very poppy, that has rap influence but ultimately is influenced by pop acts like Foster the People, Charli, SOPHIE, etc.

It'll have to be based around a movement that actually subverts what is expected of a musician in 2025, and isn't so focused on being "cool" like every new, popping act is today. Maybe something like Chainsmokers or Kid Cudi...who knows...my intuition says that something like Brockhampton, Odd Future, TDE, A$AP is needed again.

There's a lack of grandiose treatment put into artists...nowadays musicians just blow up, have a moment, have a steady fanbase, but no one gets to that Michael Jackson, Drake level, no one is becoming an icon...I wonder who will during this decade...I could talk for hours about this.

couldn’t have been said any better

I agree with a lot of this actually a few things tho cuz its interesting

"lone and ken are meandering since ILCK/AGC"
ken went #1 on billboard om his last album that was a part 2 to agc whenhe never reached top 10 before that and while i feel the same thing about sound we dont rly know yet

lone artistically had fallen off with one album yet it was still his most comemrcially sucessful yet last year, this mixtape is being beloved across the board and is a mixtape so isnt promoted the same. If u acc look at lone's progression commercially hes only gone up every year since 2020, other than this mixtape. I do agree that i dont think hes going at star status anymore tho. he was p close at one point tho and i do think its still possible and if he doesnt hes still a legend to me and id rather get the best music from him i can

osama and che arent focused on being cool really they just dont really listen to their labels and purely just make music they like like a lot of new artists. I dont think having "stars" matters nor is it necessarily true there arent any new ones, yeat is a star.

however yes there is a lack of the grandiosity, im not sure if this is just a rap thing i do think the whole star thing only applies to pop rn, and i do think for that its more like you would need someone whos very willing to do commercial moves and sacrifice what they wanna do for label manufactured commercial moments, because tbh thats what basically all stars did, other than carti. Even carti did it a bit.

You gotta be the type of guy to sacrifice an album you may love like asap rocky did for hits and clout, while also being talented and authentic. damn near all those guys got songs directly from the label and had song ideas in cages they had to origami into something they kinda like. Although maybe not, mink is shaping up to be a star if he gets signed and keeps going how he is but his version of a commercial song is his entire own lane and hes the face fo the uk underground

how would asap rocky turn out if the label didnt force him to reach for radio, if he didnt have the industry where he couldnt just make the album he wanted? how would long live asap look? the thing is even on ktt, a very pro commercialization and old industry board, mans still dont like when someone is an industry plant or reaching or whatever and one bad move can lose ur good will, its contradictory, because these have always been industry machine pieces of music for the most part and not just someone making a song they like for the most part, the era of 2010s everyone glazes is a product of that. Yea blog era was full of great authentic work but the commercial aspect was very beholden to that and its thing ALL of them talk about years later. not just that, a lot of ppl like mink deadass just dont even want to be on a label or are on like an indie label

i dont think being a superstar is that important like a lot of artists just arent interested in that and the sacrifices u have to make on ur art and freedom for that. nobody ever mentions that. Lone couldve made his most poppy acessible ass album even with the ILCK sound but he turned left and made the most inacessible pit of ambience, noisy guitars, and droning atmosphere when he had the most eyes on him ever. even though that was the least popular s*** on NS.

then again, its a weird world with a dif industry rn, psykotic could actually be bigger than we imagine because every album and star rn is made by an album that doesnt sell much first week and grows in love overtime like agc and becomes a moment. doechii and yeat good examples of current stars onnat. i looked at the google stats of osamason and psykotic is his peak of interest rn (other than the leak) its 3-4x what it was when jumpout dropped.

ass review tbh just reads like this person had a phase of issue with the scene instead of taking the album at face value. him saying the hoes stop breathing ting like ok sure but he doesnt sound like carti on any of this lol its a whole lineage of underground these people love like duwap kaine, weiland, sigilkore, dark plugg (the scene osamson is from), uzi, bladee etc etc etc that people always try to attribute to carti lol like dawg hes one guy in that scene hes not even lone's top 3 rapper

its evolved way past wlr yea lol... wlr is EAAARLY rage mixed with like a lot of songs that are just kinda tread, poppier, or whatever. saying she woke up sounds like a pierre impression is RIDICULOUS to me, osama doesnt even rap like carti at all on this album lol other than gintama which sounds like some v2 s*** i guess? dawg thats a whole vocal style lol he also sounds like uno, duwap, fauni if they wanna be reaching like taht lol
s*** he prolly rap more like fauni than carti on half this s***

i never realized how sad get away is. that song is depressing like damn

I mean it's kind of a critic's job—and especially in the format of a a written review through a traditional media publication—to kind of not just take the music at face value. I read the review as basically saying despite the music being "good", it leaves a little to be desired if you're viewing this project as conforming back to the contemporary Rage sound because of some of the response to Jump Out. Which in that case, I can totally understand where the author of this review is coming from.

Also, I feel like y'all get too caught up when trying to dispel these guys from some of their blatant Carti influence.

Does this sound exactly like WLR? No. But, the pathos that album has is obviously still felt and informs the overwhelming majority of these guys even if that said influence isn't 1-to-1 or as apparent as it is for someone like Che on RIB.

It's a weird dynamic because I totally understand seeing the sort of trailblazing Carti was doing pre-MUSIC and being inspired by that and I don't blame these guys, but I think the issues that people have with it are more than valid and goes back to what I was originally saying ITT.

Also, She Woke Up is very Pi'erre-esque. Even from the from vocal melody alone which sounds like something straight out the TLOP-series playbook.

Ok at his best is probably one of the closer producers to replicate that sort of surreal and psychedelic type feeling that was inescapable in prime-Pi'erre's production.

its not conforming to a regular rage sound tho its like a just more extreme version of his sound, jump out was just more melodic this album is part of osamson's individual vision of rage and it doesnt even sound like more chaos its just more in the extreme hardcore new wave of it. its not that im tryna dispel anyoen from blatant carti influence its just its wrong yes hes inspired by carti but he is just as much as the other people hes said hes inspired by that are from the scene hes from hsi flows are not like carti he flows like glokk40spaz and fauni these guys grew up listening to uno and duwap WLR is an influential album yes its a modern classic thats to be expected but its so weird how people wont let that go or be educated its just to dispel how overblown it is.

can we just appreciate the music for what it is rather than always tryna make shoddy thinkpieces about every possible comparison we can make lol. the guy just likes jump out which is cool but like its just very offbase i seen mad great reviews about the music. yes your supposed to take miusic at face value u can pull from other things ofc but i wanna hear a nuanced view of the music im sick of tryna talk about interesting boundary pushing music and people reduce it to the fact yea a movement of multiple artists have similarities or anyoen they can find as an influence as if having influences that are audible discredits u or ur work. rage is an entire subgenre that carti DIDNT START man by the time osama got off dark plugg into rage it had been established for a couple years. theres so much interesting stuff to write about with this album. the descent into what feels like audio hell, the way his rapping has improved, the excess of gintama if u wanna talk about wlr v2 influence, the sad moments like get away that most wouldnt catch, the f***ed up drum on yea i kno, the album the cover takes inspo from and drawing comparisons to that. also yea u right she woke up does sound pierreish in the beat but not enough to where its a cheap knockoff lol cmon

i do think tho like the part about him being a jump out fan and saying it feels like hes appealing to ppl is like valid even if i disagree, having issues with mixing, his vocals feeling understated and not enough in them, the structure, sequencing, something just not sounding good like thats all valid.

I don't disagree with you saying Che and Osama strive for that, but I think this discussion is part of a larger conversation about what it takes to get to that "level" and the components that one needs in order to achieve such.

To kind of simplify this, I feel like it does take building a "world" around your music and I think that all these artists that you named here try to do that. However, it's also a much larger task than it seems and requires an insane amount of agency from the artist standpoint to curate everything at a high level.

Now, I don't think this is an impossible feat or anything, but looking at it from an "underground" perspective, it makes sense as to why there seems to be a ceiling that few seem to be able to solidly breakthrough.

The biggest factor most likely will probably be that aspect of subversion and having this sort of utmost confidence and belief that what you're doing is different and stands out and is really f***ing good. I have hope that someone will do it, but once again when you're this kind of internet artist starting from somewhat ground zero and are expected to shoot at all cylinders without the support and infrastructure of a label... it could get tricky

I think Yeat obviously is the closest to kind of do this properly and really reach such a high level, but even that has caveats in terms of him capitulating to outside noise.

This is honestly a really multi-faceted topic, but at the end of the day I do believe it is possible and seeing s*** like last year and how all these Pop artists or whatever broke through confirms that for me but it just really takes a lot of effort and actual thought for an artist of this sort of stature/position to really do and not fold.

That's fair and yeah I do give credit for Osama ushering his own "sound" because that's actually something he accomplished for himself on Flex Music which many others went on to be inspired by... even Carti himself on MUSIC lol

I always had an issue with the name "Rage" because I feel like it never really encapsulated just how multi-faceted the subgenre was at the time and especially now with how it's evolved. You can argue about who actually started Rage, but I'm not really concerned with that because we all know that the hallmark project for the genre is WLR and that will never not be the case.

You can point to Trippie, but he never would've leaned more into things such as dedicating a whole project to the sound with Trip at Knight if it wasn't for Carti. You can point to Ken, but Ken doesn't make that first Teen X EP if it isn't for him being at the WLR sessions and rapping on Carti's throwaway beats when he isn't around.

Also, the review speaks to Carti's influence outside of just the music that's on DSPs which I agree with more and was kind of alluding towards more when I'm referring to Osama because I don't think he sounds much like Carti on Psykotic.