Calum does an interview with Aaron LaCrate and within a week ScHoolboy Q, who’s a big fan and rep of Milkcrate Athletics, goes and drops an album…All in the name of good timing and smooth journalistic segues.
Featured in every Things-to-Look-Forward-to-in-2014 list made, ever, Oxymoron has been dubbed to be the most anticipated album of the year, by self proclaimed “Man of the Year.” ScHoolboy Q’s asserted himself as a strong lyricist, his tracks of late conjuring up images of life in L.A and the parties and pitfalls it involves. Three albums down and Q’s still delivering uppercut narratives to beats crafted mostly by TDE producers THC and Digi-Phonics.
The album circles around bouncy party tracks, occasionally falling into the murky waters of heavy, sombre introspections on drug addiction. It’s good to want to get this kind of balance, but it’s even more difficult to get the balance right – which is where Oxymoron falls a little short. Overall the album comes across as disjointed. The production on it, although very strong for some tracks in the latter half of Oxymoron, is underwhelming at best on others.
Oxymoron has already, and will continue to be compared to Kendrick Lamar’s magnum opus good kid, m.A.A.d City. It’s a comparison I’m not necessarily going to dwell on, because despite both artists being label-buddies, their personalities and therefore their albums are very different. It would be like comparing a SZA album to one by Jay Rock. Having said that, it’s easy to ascertain how Oxymoron can be viewed shrouded beneath G.K.M.C‘s shadow, moreso in terms of production and mixing, rather than narrative content.
Oxymoron is not a bad album, at all. But there’s an overwhelming sense of dissatisfaction post-listen. There’s a lack of cohesion
and structure, making it stand weak amongst its pitted label ‘competitors’.
On a lighter note though, here are the songs I got hyphy to: Collard Greens, Studio, Hell of a Night, His & Her Friend, Grooveline pt. 2 and Fuck LA.