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Music Monday Analysis


“DOOR” - Ron Suno

3.5/5

As expected, Ron Suno bursts through the door on an energetic Drill track that will have you feeling ready to take on anything that comes your way. Although the beat doesn’t have much variety to it and is a constant loop, the sound is absolutely chaotic. Ron Suno’s delivery matches the beat well up until a little over halfway into the track. He starts to wind down, but the song is already coming to a close at that point, letting the instrumental ride out and fade off. The lyrical content is more or less the same as other Suno tracks, talking about how he runs up on his opps, with cautionary messages of watching those around you mixed in between. It’s a nice Ron Suno track, and most likely reserved for my gym playlist, as the pump to this track must go crazy.


“Bestfrenn,” - Gloss Up & GloRilla

4/5

With pop stars even using Trap drums now, the influence Atlanta has had is undeniable. However, with the exception of a handful of ATL heavyweights, the sound lacks the variety and differentiation that made it so interesting in the first place. In its place has come Memphis, which is no stranger to the Trap sound, but has been reinventing it for the future. Gloss Up is a perfect example of where Trap is going in the future. With fellow Memphis native GloRilla assisting her on this track, Gloss Up hops on a Trap beat that was perfectly designed for big, booming club speakers with the bass turned all the way up. Another best friend anthem, Gloss Up warns other ladies not to mess with their best friend, lest they face the consequences from two girls who do not play. Her opening verse is quick and punchy, and the hook is simple yet catchy. GloRilla comes to help close it out, reinforcing everything Gloss has been saying. The “F.N.F.” rapper’s signature tone allows her to slide all over the latter half of the track, especially during its second-half breakdown. The track has piqued my interest in Gloss Up, and I’ll definitely be tuning into her debut project on QC.


“Good Night,” - B-Lovee & DJ Nogood

4/5

With another Sample Drill beat, B-Lovee returns to our ears with DJ Nogood for a track that samples the classic Black Eyed Peas hit, “I Got A Feeling.” Taking the intro riff from the track and using it as the basis of this track was an interesting creative choice. Not all Sample Drill tracks are able to make interesting use of the songs they originate from, but this track does not follow suit. The additional Drill elements on this track are in tune with the sample, and allow it to elevate the track instead of hindering it. B-Lovee slides on the track, riding along well with its melody. It’s a short and quick track and a great example of some variation within the Drill genre. Although the subject matter is more or less the same, the use of the sample gives the track a poppy feel that’s sure to help it out if it gets radio play. B-Lovee has done it again with another low-key track that’s sure to find long-term success within his cult fanbase.


“KRZY TRAIN,” - Trippie Redd & Travis Scott

1.5/5

On a single from his upcoming “MANSION MUSIK,” Trippie Redd calls in Travis Scott for another collaboration. Trying to fuse elements of Trap and Hard Rock, the track is somewhat ambitious in its approach but sloppy in its execution. Mixing Rap and Rock is not something that’s as novel as it used to be. Especially since the burgeoning of Playboi Carti’s “Whole Lotta Red,” the blending of different elements of Rap and Rock has expanded in various different directions, pulling influences from the various subgenres found within both larger genres. Trippie’s opening vocals on the track don’t sound like his own, rather than an imitation of Don Toliver, another Travis Scott collaborator and signee to his Cactus Jack label. The loudness of the shreddin guitars clashes with the booming bass too often. Both are reduced to background noise when they overlap, and ultimately downgrade a mix that was already pretty shoddy. Trippie deserves his flowers for putting what feels like his all into the track, but I can’t say the same for Travis and whoever mixed his vocals into the track. I’m sure it’s a stylistic choice, but the decision to have his vocal essentially phase Trippie’s vocals and the instrumental into a grainy background was far from a good one. The lack of audio cohesion makes for a difficult listen, regardless of how catchy the guitar riff. I wanted to like this track, but I could not find anything better about it.




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