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For over a decade, J. Cole has rapped as the enlightened everyman, navigating issues of race, class, and gender like a thoughtful jock. His latest release, The Off-Season, finds him pondering inventive gun violence prevention measures one moment, and lobbing sexist locker-room insults the next (“Check your genitalia, pussy-niggas bleedin’ on yourself,” he raps on “95.South”). Still, the album is generally absent the overt social critiques that have built his reputation as a rapper of substance.
Last summer, on “Snow on tha Bluff,” his last lengthy engagement with ideas of Black liberation, he began by disputing that reputation: “Niggas be thinkin’ I’m deep, intelligent, fooled by my college degree/My IQ is average, there’s a young lady out there, she way smarter than me.” From there, the song becomes a well-intentioned but wildly insecure and paternalistic confrontation of the rapper Noname, likely a response to tweets in which she questioned her peers’ participation in the moment’s anti-racist movement. Noname, who has spent the last couple of years publicly learning and sharing anti-capitalist, anti-racist, and anti-imperialst ideas, responded with “Song 33,” a one-minute eviceration of his tone-policing with reminders of the tragedies people across the country were rectifying. After, in a series of tweets, Cole reiterated his incapacity to act as a thought leader: “a nigga like me just be rapping,” he relented.
His next songs came and went with much less fanfare, a two-track EP announced as the first singles from his upcoming album, The Fall Off. Instead came The Off-Season. The album was preceded by a short documentary on the rapper’s mindstate while making the music. The film isn’t particularly revelatory, but indicates that Cole was prioritizing the technical proficiency of The Off-Season’s songs over the construction of an arc between them. “Let me try to reach new heights from a skill level standpoint,” he says in the doc. In turn, the album is as highly proficient and non-revealing as the documentary foreshadows. Over a tight twelve tracks of nimble songwriting and outstanding composition, J. Cole continues to muse on the themes weaved throughout his discography: life and death, success and lack thereof, the divine and the mortal. He does this with personal and interpersonal anecdotes that are interesting but safe, as he leans into his passion for rap and sport and away from his predilection for social commentary.
Musicality drives The Off-Season, where Cole croons, hollers, and spits through a tangle of satisfying melodies and complex rhyme schemes. In standouts like “Amari,” “My.Life,” and “100.Mil,’ ” there’s drama and power as he alternates between agile rapping and serious singing. He harmonizes with fellow Fayetteville, North Carolina native Morray on “My.Life,” and enlists Dreamville veteran Bas — an impressive rhymer himself — as a singer in two places, where his performances are careful and calming. Dead center, “100.Mil’ ” feels like the thesis of Cole’s efforts here. He dances through a handful of flows in just one verse, sounding like he’s bounding through drills on the court. “How come a nigga ain’t enter his prime? Still gettin’ better after all this time,” he boasts. He’s right. Cole has become a top-tier composer, marrying rhythmic acuity with lyrical dynamism.
There are quick, vivid bursts of imagery scattered throughout The Off-Season, moments in which he tells stories without laboring over them. On “Close,” Cole bobs and weaves in and out of vignettes of his life and that of a friend who is ultimately slain, returning to the titular word as like a home base. He gives visceral exposition on “Interlude,” where he raps about EMTs carrying a woman’s child away from her “like surrogate mothers” in the unbearable southern summer heat. Together, Cole’s tales paint a picture of himself as a survivor who has traded in remorse for gratitude. He refers to his fear of death in the past tense on “Let.Go.My.Hand,” says, “I’m thankful ’cause I made it past my thirties, no one murdered me,” on “Pride.is.the.Devil,” and sets out to celebrate the life of a dead friend on “The.Climb.Back.” Making it out of Fayetteville used to torment Cole; now it gives his life a sense of meaning. “That’s why when niggas throw a shot or two online, I pay no mind to their benign gestures,” he raps on “Applying.Pressure.”
But with The Off-Season, Cole has made an album nearly devoid of spaces for the kind of rigorous critique that “Snow on tha Bluff” warranted, because he doesn’t offer thoughts that are new, challenging, or socio-politically charged. The rapper, who admittedly “hasn’t done a lot of reading” instead talks about what he knows best — his own life — with undeniable acumen as a lyricist. There is an uncomfortable finger-wagging at broke people hating on millionaires on “Applying.Pressure,” but he does so in the context of the jealousy he once harbored. The album’s biggest revelation comes with “Let.Go.My.Hand.” where J. Cole admits that he once had a physical altercation with Diddy, as was rumoured. The idea of any tension between them is quickly rectified when Diddy shows up on the outro.
After a year of social and political upheaval, it’s notable that Cole retreated into himself, setting out to be the greatest rapper and a professional baller rather than a voice of reason. That’s not a bad thing, per se — maybe it leaves space for listeners to engage more deeply with performers who have stronger ideas about race, class, and society, like a Noname. But when Cole raps that he “can’t let the fame scare me off from speaking candidly,” on “Punchin’.The.Clock,” it feels like it might have.
ALBUM REVIEWS
Grandeur sits at the heart of ‘This Music May Contain Hope’, RAYE’s second album, and the result feels nothing short of breathtaking. On this record, the singer born Rachel Keen explores a wide spectrum of sounds across its 73 minute length, moving from emotional ballads to lively funk moments and the jazz pop style she has become closely associated with. It can feel overwhelming at first, yet the magic that comes from RAYE fully committing to her vision makes the experience rewarding from start to finish.
‘This Music May Contain Hope’, a conceptual project about pushing through insecurity and heartbreak, unfolds like a lavish stage production. RAYE takes on the dual role of main character and guiding voice throughout the story. “Allow me to set the scene. Our story begins at 2:27am on a rainy night in Paris. Cue the thunder,” she says during the opening track ‘Girl Under The Grey Cloud’, which arrives with sweeping orchestral strings. Spoken passages appear across the album, helping shape the narrative and giving the project a sense of direction, almost like hearing the official recording of a Broadway show.
With this framework in place, the South London artist allows herself to fully explore the album’s diverse musical palette, and most of the time it works in her favor. Sometimes she fully embraces the theatrical side of the concept, especially during the closing section of the smooth R&B track ‘The WhatsApp Shakespeare’. Other moments are delivered more straightforwardly, such as the emotional slow building ballad ‘I Know You’re Hurting’. She also revisits her earlier dance influences with the impressive house track ‘Life Boat’.
Across the entire album, two things stand out clearly. RAYE’s flexible vocals sound better than ever, and her songwriting feels sharper than it has before. Take the playful highlight ‘I Hate The Way I Look Today’, a swing jazz inspired track reminiscent of Ella Fitzgerald, where she admits “I’m okay to be lonely / If I’m lonely and skinny / I have such silly self-loathing thoughts, it seems”. Then there is the emotional storytelling in ‘Nightingale Lane’: “It was right there, early June / Next to Old Park Avenue / Standing in the rain, I watched him walk away”.
Despite all the vulnerability and emotional struggles explored throughout the record, RAYE ultimately reaches a place of optimism, staying true to the album’s title. She gathers her close friends on ‘Click Clack Symphony’ with support from Hans Zimmer, finds closure with guidance from Al Green on the smooth seventies soul inspired ‘Goodbye Henry’, and reaches toward something greater alongside her sisters Amma and Absolutely on the uplifting ‘Joy’ as she searches to be “free of all the pain and every fear”. After the stormy opening imagery of that “rainy night” and “thunder”, RAYE eventually realizes that “the sun exists behind the clouds”, as she shares on ‘Happier Times Ahead’.
‘This Music May Contain Hope’ shows RAYE performing at her absolute peak. The album feels huge in scale and emotionally powerful, yet it remains rooted in honest experiences and real feelings. Yes, it asks a lot from the listener, but that is also what makes it so special. Every dramatic moment and musical shift feels like RAYE claiming her independence and finally creating music entirely on her own terms.
