The Standards Issue #3: Ayra Starr, Peggy Gou, BossMan Dlow, and More

It's time for The Standards, where we tell you if some albums are worth the listen, featuring Ayra Starr, Peggy Gou, BossMan Dlow, Anycia, A Boogie wit da Hoodie, Concrete Boys, Yeat, and more.

The Standards Issue is your go-to place to find out if the latest popular albums/singles are actually good. We’ll tell you straight up if an album/single is worth your time or if you should skip it. No confusing words or fancy talk here, just honest reviews from people who know their stuff.

In each Standards Issue, we’ll look at the most talked-about albums in the mainstream. We’ll tell you what works and what doesn’t and give you the real deal on the lyrics, beats, and overall vibe. By the end, you’ll know if an album/single lives up to the hype or if it’s just a bunch of noise. So if you want to stay up to date on the latest music without wasting your time on the duds, keep checking back for new Standards Issues.

Ayra Starr: The Year I Turned 21 (Afrobeats/Pop/R&B)

Ayra Starr’s journey to stardom has been meteoric, with her accomplishing the rare feat of graduating college, signing with the prestigious Mavin Records, and releasing her first album, 19 & Dangerous, all before the age of 21. Her latest offering, The Year I Turned 21, signals a new era in her evolving pop narrative. Where 19 & Dangerous revealed a young artist battle-hardened by toxic relationships, TYIT21 delves into the contemplative realms of her psyche, transcending the realm of simplistic, upbeat melodies. The album confronts the concept of turning 21, both as a personal landmark and a cultural cliché, yet Starr’s portrayal is one of refreshing complexity, teeming with paradoxes and doubts. The track “21” stands out for its reflection on the quest for self-identity. Through her music, Starr continues to bare her soul, with her lyrics retaining the intimate quality of a personal journal. The Year I Turned 21 celebrates the verdancy of youth and posits that clinging to the carefree essence of our formative years is not such a bad thing; perhaps there’s room for a little youthful exuberance even in the throes of adulthood.

Favorite Track(s): “Commas,” “21,” “1942”

Rating Recommendation: Thumb Up (👍)

Peggy Gou: I Hear You (Dance)

Peggy Gou has carved out a unique space in the DJ world with a style and influence that few can match. She stands out not just for her DJ skills but for her impressive collection of deep house 12”s, which have become synonymous with style. Her fashion sense has also caught the eye of the industry, with appearances on the covers of prestigious magazines like Vogue, Dazed, Elle, and Harper’s Bazaar. While many DJs may enjoy the perks of international jet-setting, Gou is the rare 32-year-old Korean woman who manages her career. Eight years after her first single, I Hear You channels the same retro fantasia that made “Nanana” a hit, drawing on iconic sounds from the ‘80s and ‘90s heyday of house music. Her ability to evoke nostalgia for a bygone era of Disco Europa resonates with a generation that yearns for the freedom and optimism of dance music’s golden age. However, the album is a study in contrasts, struggling to reconcile the two sides of Gou. It lacks the authenticity of her earlier hits, yet it never fully embraces the party-ready vibe promised by “Nanana.” Despite this, Gou’s talent is undeniable; she writes, produces, mixes, and plays her instruments, all while maintaining her status as an exceptional DJ. It’s clear that Peggy Gou is born to win, and her debut album is just the beginning of what promises to be a remarkable career.

Favorite Track(s): “I Believe in Love Again,” “I Go,” “Purple Horizon”

Rating Recommendation: Thumb Up (👍)

BossMan Dlow: Mr. Beat the Road (Hip-Hop)

In a period marked by widespread economic hardship, with the cost of living soaring and employment uncertainty, BossMan Dlow’s unapologetic tales of street entrepreneurship resonate deeply. His music, a raw and unfiltered reflection of the struggle to get ahead, provides an escape from the relentless cycle of financial worry. The aptly titled “Get in With Me” from his latest commercial mixtape, Mr. Beat the Road, captures the essence of this pursuit. It’s a relentless stream of 17 tracks that paint a vivid picture of the high-octane dreams of excess and the opulent life that seems just out of reach for many. Dlow’s style is not one of versatility; his approach is consistent, drawing comparisons to the likes of the Big Tymers. Yet, it’s this very consistency that makes his music so authentic and relatable. The familiar sounds of urban life—pots scraping, stoves clicking on and off, and tires on asphalt—serve as a backdrop, immersing the listener in the world he portrays. Dlow’s exuberance is tangible as he shares his stories of grandeur, inviting listeners to share the thrill of his lyrical exploits. His music is an invitation to live vicariously through his words, a chance to feel the excitement of a life lived large.

Favorite Track(s): “Get In With Me,” “Lil Bastard,” “Talk My Shit”

Rating Recommendation: Thumb Up (👍)

Anycia: Princess Pop That (Hip-Hop)

Within a year, Anycia has found herself featured on Flo Milli’s Fine Ho, Stay, cruising in a classic muscle car alongside Latto, and collaborating with Jetsonmade, a seasoned hitmaker known for producing with DaFuck, sorry DaBaby, for her introductory album, Princess Pop That. This has been her allure since last summer when the rough-hewn preview of “So What” propelled her from a life of revelry and eclectic employment—to a life where partying and spitting rhymes reign supreme. Anycia’s laid-back delivery is heavily dependent on the beats, which must exude a certain vibe to counterbalance her consistent flow that can otherwise wash over the listener. Jetsonmade excels in crafting booming, minimalist instrumentals that allow larger-than-life personalities to shine. When the beat aligns perfectly, Anycia’s rap style is undeniably enjoyable. “BRB” stands as the quintessential Anycia track. She delivered with a nonchalance that suggested she was either unimpressed or perhaps even weighed down by her Atlanta cool-girl reputation.

Favorite Track(s): “Back Outside,” “Splash Brothers,” “BRB”

Rating Recommendation: Sideways Thumb (👍🏼)

A Boogie wit da Hoodie: Better Off Alone (Hip-Hop)

A Boogie wit da Hoodie’s fifth studio album, Better Off Alone, arrives as the sequel to his 2022 release, Me vs. Myself. He delves deeper into his life’s narratives, emphasizing his relationships with friends and foes. His distinctive melodic delivery and polished trap production, which have become synonymous with his chart-topping success, are again front and center. Paradoxically, the album’s title seems at odds with its content, as some of the most compelling moments feature collaborations with other artists. Despite this bloated effort, Better Off Alone showcases Boogie’s usual stylings, where he infuses the grandiose synths of “Steppas” and the melancholic introspection of “Did Me Wrong” with a shimmering pop sensibility.

Favorite Track(s): “Let’s Go Away,” “Steppas,” “Did Me Wrong”

Rating Recommendation: Sideways Thumb (👍🏼)

Concrete Boys: It’s Us Vol. 1 (Hip-Hop)

Lil Yachty’s career has seen him transition through various iterations, from a middling attempt at emulating Michigan rappers to a Tame Impala-inspired side project and, most recently, a collaborative album with James Blake. Before that, he went into a new venture as the frontman of a rap crew, Concrete Boys. This five-member ensemble, in addition to Yachty, comprises rappers Camo!, Draft Day, Karrahbooo, and Dc2trill. Over the past few months, the group has made a name for themselves with a series of stylish music videos, a buzzworthy On the Radar freestyle, and coordinated photo shoots, all leading up to their first compilation album, It’s Us Vol. 1. However, the album lacks a cohesive identity, which is somewhat ironic given the Concrete Boys’ strong visual aesthetic. The crew’s essence seems to revolve around being cool, but this coolness doesn’t translate fully into their music. It’s Us Vol. 1 ends up being more of an unobtrusive, light-listening assortment of tracks—ideal as background music for social gatherings.

Favorite Track(s): “Not da 2,” “2 Hands 2 Eyes 10 Whips/Rent Due”

Rating Recommendation: Thumbs Down (👎)

Yeat: 2093 (Hip-Hop)

Over the past few years, the Portland-based rapper has built a dedicated following, transitioning from a basement internet marvel with the explosive 4L in 2021 to a chart competitor clashing with Drake in 2023’s For All the Dogs. His fascination with extraterrestrial themes is a well-documented thread in his work. With his latest release, 2093—a nod to a distant future, though not quite as far as six million years—he perches atop a mist-shrouded urban rooftop, cloaked in a futuristic black leather duster, crafting sounds meant to resonate across the cosmos. This is Yeat’s interpretation of what’s to come. However, it falls short of being truly captivating or groundbreaking. The album is adorned with flashy soundscapes, tempo shifts that flicker in and out, and stark robotic vocalizations. The lavish production values are clear, giving 2093 the feel of an off-brand Travis Scott effort. It would be a mistake to confuse the album’s surface-level concepts and themes with genuine artistic ambition. Its play-it-safe approach and overly familiar territory may fill venues, but more is needed to solidify Yeat’s musical identity. Despite this, there’s a silver lining: Yeat has yet to venture into the world of sneaker endorsements. That’s a future many of us would happily opt out of.

Favorite Track(s): “Tell Më,” “Familia”

Rating Recommendation: Thumbs Down (👎)

Sexyy Red: In Sexyy We Trust (Hip-Hop)

It was clear that Sexyy Red would be one of these controversial rappers. But I still didn’t see it coming. She didn’t outrage me. On the contrary, she completely made sense to me from the beginning: she is just Gucci Mane. And we all love Gucci by now, don’t we? She said it herself on the outro of her first tape! Hood Hottest Princess was one of those crusher mixtapes to which you would like to drive to the metro parking lot with a gigantic Bluetooth box. But In Sexyy We Trust now means more than just nasty basses and Crunk sports spirit. It is the first album on which Sexyy not only understands herself as a rap star but also really has to deal with the (partly unpleasant realities) of celebrity status. This means, above all, Big Sexyy is a meme, and she knows it. She has to cope with the fact that the whole world is watching, and this translates into tracks like “U My Everything.”

I really don’t know what to say about this track. It’s not the best basis for criticism, I know. First of all, it must be soberly stated that he is extremely shitty. But then you also have to object objectively to the fact that it is an absolute masterpiece. First of all, there is Sexyy, who makes her best drunken-aunt-sing-soul-shreds-from-the-seventies-karaoke voice, who breaks exactly three syllables into her performance and then runs through to the bitter end. There is Drake who is as extremely audible as he is uncharming: His part hits flow-wise super, he interpolates the “BBL Drizzy” beat, and it further proves K-Dot’s point. It’s a strange, almost inexplicable, pop-cultural artifact that will make absolutely no sense in ten years. But if you would say you see two bad bitches, Drake and Sexyy, then this track is right. For better or for worse (spoiler: this tape is much worse).

Favorite Track(s): “Ova Bad,” “Fake Jammin”

Rating Recommendation: Thumbs Down (👎)

G-Eazy: Freak Show (Hip-Hop)

No. Just no. I walked away with one halfway decent track.

Favorite Track(s): “South of France”

Rating Recommendation: Thumbs Down (👎)

ian: Valedictorian (Hip-Hop)

Dallas rapper ian gained widespread attention with the release of Valedictorian, a 19-minute waste of a mixtape (can we call it an EP, dammit?). The cover art reflects the title, which portrays ian as a youthful, suburban prepster. The disparity between his wholesome appearance and the assertive trap music he creates has been a subject of considerable discussion. Setting aside debates about cultural appropriation, ian’s music lacks distinctiveness. However, Valedictorian seems to be ian’s attempt to conform to mainstream trends, leading to a collection of uninspired and cookie-cutter tracks. It’s a release that’s easy to pass over.

Favorite Track(s): Don’t even try it. No further comments.

Rating Recommendation: Thumbs Down (👎)