Reviews

Big collaborations amongst a strong group of individuals can either go brilliantly or flop epically. The return of G.O.O.D. Music boasts the likes of Kanye West, 2 Chainz, Travis Scott, and more. Lead single from the follow up of the 2012 debut Cruel Summer 'Champions' shines the light on the fame of these artists and what their stardom has brought them. The question is, is this song conceited and cocky, or rightfully optimistic?

Before delving into the overarching questions this song beckons, the instrumental has to be accounted for. It's banging. Cinematic synths fill the verse instrumentals, creating a big party vibe. Deep bass synths provide the track its powerful low end, creating lots of space between the deep groans of the bass and the high dancing chords of the main synth. The track's beat is perhaps the least notable thing about the instrumental, incidentally. The synths do all the work here. The beat does take over during certain parts, such as behind Big Sean's big verse, where the beat takes a solo before the synth returns in the same pattern.

The track is pretty evenly split - half of the verses are great, and the other half are awful. The good half sees the song's subject in a thankful light; or, at least, in a non-conceited way. Quavo's verse is the in between - it has no clear side, and it's more neutral if anything. It merely discusses the media's interpretation of his fame, referencing his fame as a source of attraction in the world. Kanye West, ironically, has one of the more grateful verses on the track. He discusses how his outwardness is what crafts him; he says things no one else would dare to say. He then switches subjects to say he has overcome his difficulties and the nonbelievers in the lines "I done lost and made money / Now I'm makin' somethin' they can't take from me / And I'm fresh out of debt in this mothafucka! / And they still ain't ready yet for a mothafucka," the alleged fourteen million dollar debt he was in being easily paid off by the success of his more recent material. Big Sean's verse is, also ironically, probably the best on the album. It is charged and fiery, putting forward his fame like the bullets to his loaded gun of his words. He attacks his opposition (the haters, as it were) with his fast-flowing verse, even going as far to claim he's sorry their hatred can't best him: "Look, I say a prayer for my enemies / They cannot slow down what's meant for me." It's just a generally badass verse. The chorus is sung by Travis Scott, very fittingly placed on top of the deep bass synths which compliment the layers of vocals and harmonies, meanwhile the lyrics serve as a bridge between the good and bad perspectives of fame.

The rest of the collaborators bring the track down in the second half of the song. Desiigner's ad libs on the subsequent choruses just ruin it, and it's his only contribution on the track! 2 Chainz's verse serves no other purpose than to say that every girl he's finds (including the one he's currently engaged with) will bring him to the next girl, and the cycle repeats. Yo Gotti delivers a very conceited verse next, the trashiness of the verse complimented by the tacky samples of "Yuh!" and throaty "Yeahs." Gucci Mane follows up without the transition of a chorus, and it honestly would have been a good verse had it not been for all the ridiculous sounds in the background and his pathetic attempts to try and vocalize the last few lines.

'Champions' is split straight down the center. The first half is worth listening to again and again, the verses strong and from grateful and restrained dispositions, while the second half is almost pathetically sad in how conceited it is. The track's purpose is to shine a light of all these "champions'" fame and how they see it, or, in some cases, how others see it. The choices the rappers made to either thank it or brag about it really crafted a hit-or-miss scenario. That being said, there's a lot of hope for the upcoming Cruel Winter. Lot's of it.

Rating: 8.5/10

Nick Jonas has hopped on the going-solo boat. His new record Last Year Was Complicated is interesting - it's not what you'd expect for him, but it doesn't fully shy away from being a standard pop record. Infectious grooves here and there carry the record to its end, but after the first few songs it mellows out.

This album has a good chunk of highlights in it that bring it success. The first track 'Voodoo' is my favorite song on the record - I'm a sucker for songs with Middle Eastern vibes. Jonas' melodies during the choruses are fantastic with fantastic harmonies backing it. The theatrics of the song beg for grand live production, the thrilling percussion and layers of vocals make this song so groovy and such a standout from the rest, it's hard to beat a song like this. Melody carries the song 'Under You', the vocals in the bridge being particularly fantastic. The effected vocals add a lot of flavor to an already colorful instrumental. Some songs like single 'Champagne Problems' just ooze pop appeal, infectious hooks on top of deep beats being on the dance vibe and make the song a big hit. Among the guest spots on the album is Tove Lo in 'Close', where her contribution makes the song a great experience - her duet with Nick in the bridge is brilliant. There are little elements in many songs that also give a fresh taste, such as the groovy guitar parts in 'Touch'.

This is about as much credit as this album can get, though. Outside of these few tracks, the album is a very standard listen. Some songs lack any niche, tracks like 'The Difference' sounding like any other pop song. Some guest spots are wasted, Big Sean being placed in the throwaway track 'Good Girls' and Ty Dolla $ign in the strange 'Bacon'. Other songs have elements to them that bring them down as a whole, while the rest of the song may be fine. A prime example of this is 'Don't Make Me Choose', a good song with a good hook but an utterly cringeworthy chorus, the line "Don't make me choose between my left hand and my right" ruining the whole sentiment of the song. There's no substance after the record's beginning. There a few flashes of creativity hidden few and far between the tracks, but the negatives unfortunately outweigh the majority of the album.

Last Year Was Complicated isn't a failure, but it isn't quite a success either. The album begins triumphantly and perfectly, with a lot of original flair and color to it. The rest of the album unfortunately sinks into a hole of standard pop music that is easy to forget. There's nothing separating a good chunk of the album from any other pop song on the radio, and that really brings the album down after a fantastic beginning. Nick Jonas needs to build off the abilities he showcased at the start of the record when he goes about recording his next album - potential exists.