Drake Appears to Send Shots at Kanye West on New Trippie Redd Song 'Betrayal' - Listen

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Trippie Redd – 'Trip At Knight' review: SoundCloud rap king embraces hyper-pop

NME 21 August, 2021 - 05:10pm

Ohio-born Trippie Redd has risen to the top of the rap totem pole with a harmonious blend of rock croons over his evolving hip-hop production picks. At the start of this year, Trippie finally delivered ‘the rock album’ he’s always promised his fans, a new version of last year’s ‘Pegasus’.

The release, ‘Neon Shark Vs Pegasus’, which was billed as “presented by Travis Barker” of Blink-182, showcased two clashing sides of Trippie’s alternative approach to rap music: ‘Neon Shark’ epitomised his guitar-ridden punk side, and ‘Pegasus’ his emo-rap sound. On ‘Trip At Knight’, he explodes the concept, letting his inner child run free. Rampant, chaotic and high-octane, this album sees the 22-year-old embrace the colourful production of hyper-pop.

The best example of this (and arguably the highlight of this record) is the wrestler-referencing ‘Matt Hardy 999’. It’s clearly a celebration not only of Trippie’s wordplay, but also of the undeniable creativity exemplified by his late peer Juice WRLD. It’s their fourth posthumous collaboration together – and they never miss. Over the wheezing synths and fried 808s, the two exercise their braggadocio perfectly, their back-to-back approach meshing beautiful, as one seems to randomly pick up from the other: “Asking if I love her, I told her ‘hardly’ / Jumping off the top rope on that bitch like Matt Hardy”.

The rest of the album is enjoyable, but not as memorable as that track. There’s a great feature from Detroit’s underground hitmaker Sada Baby on ‘Captain Crunch’, but even that song makes you think: what happened to ‘Betrayal’, the Drake collaboration teased online? The album’s lowest point is ‘Danny Phantom’. The song first was released on SoundCloud weeks after the passing of the scene’s leader, XXXTentacion, and earned mixed reviews from their both artist’s fandoms, especially when MigosQuavo randomly ended up on it. Now Trippie’s reprised the mediocre track into the hyper-pop theme, fitting pre-existing vocals onto the electrocuted rap beat.

‘Trip At Knight’, like many of the rapper’s other projects, is an uneven affair that suggests a lack of quality control. Most record in his bulging back catalogue tend to boast a handful of knockout tracks that keep his name in the zeitgeist, but – with the exception of 2018’s ‘!’ and 2019’s ‘Life’s A Trip’ – don’t tend to reward repeat listens. With four albums, four mixtapes, eight EPs and two deluxe editions to his name since 2016, you wish he’d slow down and focus on longevity.

Release date: August 20

Record label: 1400 Entertainment, Inc. / 10K Projects

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Drake Dissed Kanye West On Trippie Redd’s ’Betrayal,’ Fans React

UPROXX 21 August, 2021 - 12:53pm

Drake seems to take a shot at Kanye in the song. “All these fools I’m beefin’ that I barely know / Forty-five, forty-four (Burned out), let it go,” he raps, which could be a reference to Kanye’s current age of 44. (Pusha T is coincidentally also 44 years old.) “Ye ain’t changin’ shi*t for me, it’s set in stone / Rollin’ stones, heavy stones (PinkGrillz) / Precious stone, let me make my presence known.”

It’s unclear exactly what Drake believes Kanye won’t change for him, but it could be a reference to his long-awaited Certified Lover Boy, as some believe Kanye is delaying the release of his tenth album Donda in order to share a release date with Drake.

You can listen to the song in the video above and check out comments from social media below.

Trip At Knight is out now via 1400 Entertainment/10K Projects. Get it here.

ALBUM REVIEW: Trippie Redd plummets with 'Trip at Knight'

RIFF 20 August, 2021 - 09:05am

Hip-hop heads tend to be a reactionary lot. Criticizing someone’s favorite rapper can lead to unwinnable arguments. That is going to make this a difficult pill to swallow for fans of Trippie Red.

There’s so much to pick apart on Trip at Knight. From the incredibly lazy production and instrumentals to the vapid and half-baked lyrics that plague this album from its opening moments. The overabundance of distorted synth and 8-bit melodies with heavy bass and trap snares wears thin and there’s little effort put into variety; making any significant distinction between beats as the album goes on.

Only toward the latter half of the album does any sonic experimentation take place, with the mild ambient synths finally taking a backseat to percussive leads. Even still, that amounts to three songs on this 17-track album. I want my time back.

The lyricism of Trippie Redd is easily the worst part here. He rambles incoherently from song to song with little distinct focus to be found. His metaphors are uninspired; many are ham-fisted references to television. It’s like reading a page out of “Ready Player One,” with Trippie name-dropping all the things he grew up watching, such as “Suite Life of Zack & Cody,” “Dragon Ball Z,” “Rick and Morty,” “Danny Phantom,” Teenage Mutant Ninja Turtles,” “Transformers,” “iCarly” and “Phineas & Ferb.”Cool shows, but there’s no effort to create a clever bar using wordplay, scheming or punchlines.

Opener “Molly Hearts” is an ode to MDMA. Trippie raps about crushing up and dissolving the drug while making it explicitly clear he isn’t drugging the women around him. He takes a shot at Rick Ross, who infamously rapped about doing that. “MP5” has a late 2000s or early 2010s vibe, sounding like something The Black Eyed Peas would’ve rapped over back in the day. Trippie Redd delivers some terrible bars like, “Yeah, you — squared, divide ’em by pi.” Math. In the first of many moments, he’s outperformed by the featured artist (this time by SoFaygo).

“Finish Line” finds Trippie infatuated with a woman who sleeps with him despite her general disinterest. It’s inoffensive but bland with euphemisms and contradictory messaging. “You hit the bitch one time, then you in love/ I had to hit the bitch one time, then I be done/ Shawty looked me in the eyes and sucked the end of my gun/ That moment forward, I knew she was the one,” he raps. On “Holy Smokes,” he and Lil Uzi Vert brag about their wealth and influence. At first it seems to be a song about how unfulfilled they feel regardless of that wealth and status, but it quickly devolves into standard flex affair.

“Super Cell” is nearly three minutes of Trippie Redd claiming he’s like every character from anime “Dragon Ball.” It reminded me of Open Mike Eagle‘s fantastic work on Anime, Trauma and Divorce, but this song is a polar opposite of Eagle’s “I’m a JoeStar”—lacking any humor, wit and complexity. Trippie flexes his street-cred on “Miss The Rage” and “Demon Time,” once again being outshined by fellow rappers Playboy Carti and Ski Mask the Slump God. Ski Mask takes Trippie’s edgy pop-culture-focused style and knocks it out of the park.

“Matt Hardy 999” features the late Juice WRLD. The two rap about robbing people and making bank. Juice’s verses carry the weight, with Trippie along for the ride. “Vibe” pads out the tracklist with a single verse and two hooks as Trippie raps about his wealth and sleeping around. Somehow, this song isn’t even the most phoned in on the album. “New Money” sees Trippie return to his emo rap roots as he whines about a desire to be left alone by women—while at the same time demanding their attention when he wants it.

The most offending, laziest and most exploitative track is “Danny Phantom.” There’s an argument to be had about using vocals from dead rappers as features, particularly when the rapper making the album was a friend. It could be  an effective tribute, but it could also be seen as a cash grab. This is a cash grab. “Danny Phantom” is a remake of Trippie Redd’s “Ghost Busters,” but features friend XXXTentacion. Trippie Redd performs a lazy repetitive hook (the same as the original song), and slaps what’s easily one of the worst XXX verses on top of it.

The album is well beyond the point of no return by this point, but “Space Time,” “Baki” and “iPhone” perpetuate the same shallow and creatively bankrupt ideas. Not even stellar performances from Polo G and Lil Durk on “Rich MF” could offer any sort of saving grace.

Tim Hoffman is a passionate hip-hop fan which is why he created and hosted "Graveyard Shift" as a DJ at KZSC 88.1 FM. Under the moniker of DJ Dostoevsky, Hoffman covered underground hip-hop shows while also reporting on current events. He graduated from University of California Santa Cruz with a degree in creative writing.

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You obviously don't enjoy Trippie's type of music and the undertones in between all the lyrics no matter how "edgy" they are, it's honestly embarrassing, and while I won't undermine you for being a "Hip-hop fan" it's honestly ridiculous why you'd create a album review, if you disliked all of the melodies and lyrics in these songs anyways, kinda a waste of time for you, and a waste of time for me to read it just to find out you didn't like any of it. You're a certified idiotic moron.

bro you cant even say that shit fr. compare lifes a trip to this one there is no comparison. Trippie lost the style that og trippie fans fucked with

he didnt loose shit he just switched it up for an album same thing he did before with the rock album, shows how much u know

Dude who wrote this clearly is just a hater. Would’ve been better off just not writing up a review. Clearly you are biased. You just sound like a big loser. Sorry

Trippie’s album is honestly fire, that shit slaps. If you dont get it, it’s not for you. You look like you enjoy a good michael bublé.

Hateful review, and I hate to judge a book by its cover; but that dude doesn’t have a gram of swagger. Not surprised that his review was bunz.

This IS The The Best Music To Listen To I Just hop in the car and turn this full blast tho my bf likes the music he just doesnt understand how me being a girl could ever like trippie redd but im supporting Trippie throughout the way

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