Music
Charlamagne Tha God Unfavorably Compares J. Cole To Drake And Kendrick Lamar
Is J. Cole a step below his two closest peers? …
Just a day after outspoken radio host Charlamagne Tha God issued a confusing commentary on Drake’s superstar status, his latest episode of the Brilliant Idiots podcast is stirring things up thanks to his unfavorable comparison of J. Cole to Drake and Kendrick Lamar.
While the three artists are widely acknowledged as the top triumvirate of hip-hop, Charlamagne parsed their standing even further in the episode, declaring J. Cole to be an inferior artist to the other two. “You would have to put Drake and Kendrick [Lamar] in the ‘greatest of all time’ combo, right?” he theorizes. “When you play in that era, when you come out in that class with GOATs of that caliber, and even [J.] Cole. Cole got rings but– I don’t put him on the level of Drake and Kendrick. I don’t even put Drake on the level of Kendrick. Skill-wise. Cole is dope. Cole is amazing. I’m not taking anything away from him, he’s a hall of fame all-star. All I’m saying is it’s a difference between what a Kendrick does and what everybody else does to me.”
He does try to ease the sting of his assessment by accepting “Some people may say that about Drake, some people may have Drake the way I have Kendrick and say everybody else is after him,” but continues his Basketball Hall of Fame metaphor. “My point with saying that is those two guys are such GOATs that they make everybody else look almost normal. Charles Barkley looks normal to a Michael Jordan.”
Skating over the fact that Charles Barkley does not have any rings, as Chrlamagne notes Cole does, it’s a surprisingly well-reasoned point from the host, even if his final conclusion is debatable. J. Cole fans might feel a way — actually, they already do, almost constantly — but the subjective nature of art makes it impossible to truly compare the three talent-wise. Drake has the most Hot 100 hits of the three — in fact, he has more than anyone as of this summer — but K. Dot’s got a Pulitzer Prize while is the king of the “platinum with no features” club. Numbers don’t lie, but fans will continue to find ways to make the facts fit their fight, so while Charlamagne might be wrong or right, it all depends on which artist you’re rooting for.
Watch the full episode above.
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Sadie Brown delivers a heartfelt illusion of a fake life with her new single “Counterfeit”
At the heart of “Counterfeit” is a tale of love manipulated for selfish purposes, yet still feels captivating. Sadie Brown’s new single “Counterfeit” invites listeners into the deceptive lull of beautiful and bleak love, one that promises everything while lacking genuine vulnerability, ultimately delivering only heartbreak. Brown adeptly illustrates the anguish of being entangled in a romantic relationship that never fully reveals itself, leaving listeners caught between longing and the painful acknowledgment of reality. Through ethereal pop sensibilities and a bittersweet melody, Brown explores the complexity of a “counterfeit love life” alluring yet reserved, a love that’s perpetually poised to “cut its losses.” The outcome is a sonic experience that feels as vast and unreachable as a memory of love gone awry.
“Counterfeit” doesn’t just touch on the hurt that comes from unrequited love; it captures the quiet resignation accompanying it. With “Counterfeit,” Sadie Brown steps into a new creative direction in her music, mixing introspective storytelling with emotional resonance.
Written during the lockdown and produced by Cashybear (Tim Ross, formerly of Cash+David), “Counterfeit” builds a hazy, indie-pop atmosphere that feels grounded and otherworldly. The collaboration with guitarist Jimmy Sims (known for his work with George Ezra) lends a retro warmth, creating swirling riffs that complement Sadie’s soft yet piercing vocal delivery. This subtle instrumentation mirrors the song’s themes: a relationship built on false pretenses, with its sweetness fading away like mist.
Brown draws inspiration from artists like Camera Obscura, Kate Bush, and Lana Del Rey, bringing a charming and restrained sense of vulnerability. Like Joni Mitchell, Brown leans into the contradictions of love, evoking nostalgia but never retreating from the reality of unfulfilled desire. “Counterfeit” is a thought-provoking piece that establishes Sadie Brown as a voice that can authentically convey both the charm and the ache of illusion.
For more information about Sadie Brown, please visit [website].
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Indie
“Is Everything Okay?” by Tom Minor drops an anthemic vibe wrapped in a gold question
The newest single by Tom Minor, entitled “Is Everything Okay?” presents a compelling fusion of introspective lyrics and vibrant soundscapes, establishing a unique intersection where self-reflection meets the assertiveness of indie rock. The song commences with an almost casual inquiry, “If you are unhappy and you do not know it, what value does it possess?” This opening lyric serves as both a reflective mirror and a cautionary prompt; it suggests that well-meaning inquiries from others may compel listeners to confront uncomfortable truths they might prefer to overlook while seeking clarity within their complex emotions.
What renders “Is Everything Okay?” particularly noteworthy is Minor’s effective amalgamation of contemplative lyricism with a multifaceted, genre-defying composition. While indie rock sound with splashes of new wave and power pop have a discernible influence, the track ventures into unexpected realms of psychedelic music. Under the meticulous production of Teaboy Palmer, the song radiates the vitality of garage rock, simultaneously incorporating subtle elements of soul and R&B. The arrangement, characterized by vibrant guitar riffs and a fluid rhythmic structure, conveys the emotional depth of the message without appearing overly burdensome. Minor skillfully employs melody to construct an engaging groove that embodies optimism and challenge.
Additionally, Tom Minor’s vocal delivery demonstrates notable sincerity, reflecting his earnest intent to engage with the audience personally while allowing them space to process their emotional responses. By the conclusion of “Is Everything Okay?“, this work emerges as a significant addition to the contemporary musical landscape. It acts as a dialogue that invites contemplation of one’s current circumstances. The composition provides a form of sonic therapy that avoids offering simplistic solutions. This piece may represent Tom Minor’s most substantial achievement to date, as it fosters a more profound understanding among his audience.
CLICK HERE TO STREAM Tom Minor’s “Is Everything Okay?“ on Spotify.
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