On the back, the Vlone logo is present as always! On the front we find the white rose and the inscription The Woo. The Vlone The Woo Pop Smoke T-Shirt has a black cotton base. After the incredible launch of his album "Meet The Woo 2", Vlone takes the rapper's universe for this T-Shirt. 4916983890029 Pop Smoke The Woo T-Shirt 150.00 ///s/files/1/2358/2817/products/pop-smoke-the-woo-t-shirt-102515.png?v=1642173509 ///s/files/1/2358/2817/products/pop-smoke-the-woo-t-shirt-102515_large.png?v=1642173509 EUR OutOfStock Accessory Collection Triple White Exclusion Black Friday Exclusion Wethenew Day Promo Sneakers Men's Streetwear Streetwear The famous brand Vlone with the 'V' logo pays tribute to the death of the iconic Pop Smoke. Sign up for the 10 to Hear newsletter here. Where will we draw the ethical line? How far are we from the days where it’s commonplace for labels to put on hologram live shows and pay some tech company to recreate a voice? Faith is a bleak reflection of the reality that nothing is off-limits if it will help record labels pocket a few more dollars.Ĭatch up every Saturday with 10 of our best-reviewed albums of the week. Though it’s hard to be optimistic, there’s a long history of shameless, money-hungry posthumous albums and now, after a tragic couple of years in rap, a new generation of fans is being terrorized and exploited for their streams. The only signs of that on the project are through the brash “Brush Em” with fine fellow Canarsie rapper Rah Swish and the hectic “30” with Bizzy Banks.Īside from those brief moments, the only good that comes out of Faith is a reassurance that artists cannot be replaced. 2 was how Pop expanded and built on the foundation laid by drill. One of the more interesting elements of Meet the Woo Vol. If this album was actually about Pop Smoke’s legacy, like his managers and label would like us to believe, there would be a larger emphasis on paying tribute to those drill roots. But again, the shepherds of this album couldn’t care less about the quality. It doesn’t work and feels out of line with Pop’s music-he never had to sacrifice his drill sound or intensity to make a hit. The most confusing record is “Demeanor” with Dua Lipa, where a short Pop verse and rough hook are laid over the type of bubbly production that could backdrop an episode of Gossip Girl. “Look, Tyler got the album of the year… for now/But Pop about to drop/I see the platinum in the clouds,” raps Pusha, and I’m sure the record label didn’t even care what it sounded like it’s just there, like a handful of the album’s features, to fill space and generate clicks. The Kanye and Pusha-T-assisted “Tell the Vision” has the energy of a college paper struggling to hit the word count.
I feel dirty listening to the “ So Sick”-sampling “Woo Baby” with Chris Brown, which was so obviously made to fill the radio airwaves with white noise. Similarly, the hokey Swizz Beatz instrumental on “8-Ball” makes Pop, one of the most energetic and dynamic rap voices to come out in years, come across dull.īut beyond stripping Pop of his personality, the most offensively bad records on Faith are the ones that have no shame in hiding their financial intentions. Too bad the sweet-sounding beat doesn’t fit the sinister mood of Pop’s raps, it sounds like a mashup you might accidentally play on YouTube.
“Catch a op and I’m takin’ his jewelry, catch a op and I’m takin’ his jewelry/I said, ‘Don’t get it twisted, just ’cause I smile a lot, that don’t mean I’m with the foolery,’” he raps. Take the Neptunes-produced “Merci Beaucoup,” featuring one of the strongest Pop verses on the album.
But so often, music made for everywhere sounds like it belongs nowhere. Meet the Woo, his debut mixtape, was packed with tracks that felt designed to soundtrack a couple of blocks in Canarsie, Brooklyn, and managed to trickle far outside of those borders because of his smooth yet intense personality, the sharp drill production, and that one of a kind growling, deep voice.įaith leans into a direction that was experimented with on Shoot for the Stars, Aim for the Moon, which is to make music for everywhere. Whoever devised this Frankenstein creation doesn’t seem to get the appeal of Pop Smoke. The album is filled with unfinished records, demos, and reference tracks that were sliced together and completed with features only selected to juice streaming numbers. Faith is unconcerned with anything outside of financial gain. It’s not to say that making a profit wasn’t a goal of Pop Smoke’s music or that money-making isn’t one of the inherent purposes of posthumous albums, but it should also seek to preserve the spirit of the artist’s music.
0 kommentar(er)
