Robyn stepped onto The Late Show stage to deliver a live performance of the title song from her upcoming album Sexistential, marking her first full length release in almost ten years. The Swedish pop artist appeared on the program just hours after revealing the album announcement, with the project scheduled to arrive on March 27 via Young. Performing alone, she gave an energetic and expressive rendition, moving freely to the beat and stretching out across the stage as the song unfolded. The upbeat track finds Robyn rapping about casual encounters while being ten weeks pregnant through IVF. She explained that the idea came after Andre 3000 remarked that nobody would want to hear him rap about having a colonoscopy. “It was my cue,” she said. “I have to do this, I have to write a rap about IVF.”

Sexistential, which Robyn co produced with Åhlund, is her ninth studio album and follows 2018’s Honey. She has described the project as something intense and physical, comparing it to a spacecraft tearing through the atmosphere and crash landing. According to Robyn, the songs reflect a period of pushing far outward emotionally before being pulled back inward, capturing the feeling of returning to herself after a long stretch of searching.

She explained that the album title began as a private joke before she realized how accurately it captured the spirit of the music. “Exploring my sensual life is the same feeling as when I make a good song,” she said in a statement. “It’s such a beautiful kind of sensitive vibration that takes so much work to keep afloat. I feel like the purpose of my life is to stay horny it doesn’t even have to be about sex but it’s feeling sensual and attracted to things that I enjoy and not letting anything take over that.”

Earlier, Robyn introduced “Sexistential” alongside “Talk to Me,” the record’s first official single, during a New Year’s Eve performance. That night included a show at the Brooklyn Paramount, which followed her appearance in Times Square, where she also performed “Dopamine,” the track she released in November.

There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.

If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.

On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.

It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.

While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.

He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”

That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.

Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.

The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”

Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.

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