Los Angeles fast-riser ScHoolboy Q has unleashed his highly-anticipated new album, Oxymoron.
The artist's first project since dropping sophomore street album Habits & Contradictions in 2012, the set packs 15 tracks' worth of original material. Included are Booth-approved singles "Collard Greens," "Man of the Year," "Break the Bank" and "Blind Threats."
Labelmates Jay Rock, Kendrick Lamar and SZA are joined by 2 Chainz, BJ The Chicago Kid, Kurupt, Raekwon and Tyler The Creator as guests, while production comes courtesy of The Alchemist, Nez & Rio, Pharrell Williams, THC and more.
Fans can also check out ScHoolboy Q's previous albums: ScHoolboy Q - Habits & Contradictions
DJBooth Album Review
While everyone else will claim to have known Q was a rap star in the making since before he was a zygote, I can pretty accurately and honestly track my trajectory into the world of Quincy Matthew Hanley. When I first heard him – probably somewhere around 2011’s Hell Yeah with Ab-Soul - I dismissed him as the least lyrical member of TDE, and in an era when 87 new rappers hit my headphones every day, that was enough to place him on the backburner. Then, about a year later, I heard enough people talking about the new ScHoolboy sh*t that I started paying attention again, really listened to Habits & Contradictions when it dropped, and dug it. But even then I didn’t really get it. It wasn’t until months later, when I had frankly forgotten about the album and stumbled across it again on iTunes, that it started to sink in. Nightmare on Figg St became one of my go-to bangers, and that lead to a deeper (re)listen of the album, and that lead to a lot of late night drives with Q yak-yak-yak-ing through my speakers, and that lead to almost crying to Blessed, and by that time I was hooked.
So, with Oxymoron’s release date finally drawing near, I was starting to get nervous. This would be Q’s first album with the full major label weight of Interscope behind him, and the first time hip-hop’s national spotlight would truly be on him. Would those added resources and the increased pressure and influence that comes with it take his music to the proverbial next level, like it did with Kendrick Lamar and GKMC? Or would it water down his music, diffuse what it was that made him unique in the first place, like it has with so many other emcees before him?
Q has always had a knack for a catchy hook – ScHoolboy there he go! – but while his darker material seems unchanged by fame, it’s really his lighter, more radio-friendly material that gets taken to the next level on Oxymoron. Two songs that have already been released as singles, Collard Greens and Man of the Year, are as good of a blend between a rapper’s more street and party sides as you’re going to hear. The same guy whose grandma showed him his first strap on Gangsta is obviously the same guy who wants to see your hands (and ass, and titties) in the air on Man of the Year. If you’re really going to be “I’m always hard, anti-radio guy”, I assume you’ll levy some criticism at Hell of a Night, although there’s some real grit in the verses surrounding that club anthem hook and bridge, and really lay into Los Awesome. I get why, the beat Pharrell put together for Los Awesome is as uptempo and bouncing as anything Q’s ever rhymed over, but while it’s one of my least favorite songs on the album, I still don’t have anything approaching a problem with it, maybe because as a Clipse fan Awesome sounds like a 2014 version of Wamp Wamp. Regardless, while it’s songs like Prescription-Oxymoron that truly make Q an emcee worth listening to, I’m willing to give Q full “successfully made some party jams without losing touch with his base” credit of Oxymoron.
Let’s close by addressing the real issue here, at least among hip-hip heads. It’s inevitable that Oxymoron will get compared to Kendrick Lamar’s good kid, m.A.A.d city, and Q hasn’t avoided the comparisons. If anything he’s rushed at them head on, because what else would a football player turned prescription pill pusher do? A “classic” album is one you listen to, and enjoy, as much years later as the day it dropped (if not more), but even then there are different grades of classic. Some albums, like GKMC, you know are classics from the first listen; those are the most rare albums. On the flipside, some sneak up on you; one day you suddenly realize, “I’ve been going back to this album for years now, I guess it’s a classic.” Right now Oxymoron is somewhere between those two extremes for me. It doesn’t have the complexity and cinematic scale that made GKMC so obviously powerful, but while there’s some obvious overlap, we don’t listen to Oxymoron for the same reasons we first listened to Kendrick’s major-label debut. If Kendrick was the good kid in a mad city, the genius with a pure soul thrust into hell, ScHoolboy is a mad kid in a mad city: a drug dealer, a drug addict, a self-proclaimed moron prone to intense mood swings. It’s that person we want to hear when we listen to ScHoolboy, not the guy with crazy lyricism or clever punchlines, and that’s the person we get on Oxymoron.
So while only time will tell if Oxymoron truly becomes a classic, I’d be surprised if I wasn’t going back to this album by the time 2014 comes to a close. That kind of growing appreciation for a Q album happened once for me, it will likely happen again. I’ve put in my time, I get it now.
(By Nathan S., @RefinedHype)
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