Music

Megan Thee Stallion’s Boisterous ‘Good News’ Is A Carefree Club Album With Rotten Timing

Marcelo Cantu As it is, ‘Good News’ is a breath of fresh air for a year that left many feeling stifled and stuck indoors. …

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.

Next year, Megan Thee Stallion’s rollicking new album Good News will be the perfect complement to carefree nights out and liquor-fueled house parties. This year, however, it has the rotten luck to have been released into a nightlife-dulling pandemic, blunting its sharp nose for antics. That makes it a weird project to take in; on one hand, there’s intent to consider, while on the other, there’s context. They’re both always a factor in how music is listened to, processed, enjoyed, reviewed, or discarded, but in this case, how you view Good News depends on which aspect you give the most account. As it is, Good News is a breath of fresh air for a year that left many people feeling stifled and stuck indoors.

As a directive work of entertainment, it’s A1. Ever since entering the mainstream consciousness in 2018 with her fan-favorite EP Tina Snow, Megan’s been pretty consistent in offering her tongue-wagging status-quo-challenging brand of femininity and empowerment. She may only have one bag, but Good News demonstrates how impossibly deep it can get, expanding the range of classic 1990s hip-hop and R&B samples she can co-opt to her purposes (Adina Howard’s “Freak Like Me,” Michel’le’s “Something In My Heart,” and yes, The Notorious B.I.G.’s “Who Shot Ya” all make appearances). The production is absolutely stellar and Megan rarely misses a beat.

But as a historical document, a record of the state of the world as of its release, Good News seems mostly disinterested in speaking to the moment. The obvious exception, of course, is Megan’s head-on address of the most devastating event in her personal world: The July incident in which she accused fellow rapper Tory Lanez of shooting her in the feet. Fittingly set to the aforementioned Biggie classic, she defiantly dismantles his mewling defenses of his actions on the night in question and his frankly appalling counter-accusations on his own recently released project, Daystar.

“Talkin’ ’bout bones and tendons like them bullets wasn’t pellets,” she growls on “Shots Fired,” directly referencing Tory’s lyrics from “Money Over Fallouts” to undercut his objections. “A p*ssy n***a with a p*ssy gun in his feelings.” There’s a dismissive, almost perfunctory tone to the opener, almost as if Megan is exasperated she even has to address this nonsense still; this is her getting it out of the way so she can get back to being a hot girl. However, in the process, she inadvertently applies the same treatment to her Breonna Taylor callout toward the end of the song. With only one line devoted to the subject on pretty much the whole album, Meg leaves listeners with only her New York Times op-ed to find her comments on any topic deeper than twerking.

On standout tracks like “Freaky Girls” and “What’s New,” Meg judo flips patriarchal attitudes, turning the male gaze and its resultant criticism back on her critics. “Pussy n****s on the internet talk ‘bout some pussy they ain’t gettin’,” she sneers at them. Meanwhile, on “Go Crazy,” she steals the show from punchline pros 2 Chainz and Big Sean who turn in some of their funniest verses of the year (“Your ho just left, she a southpaw” sent me to heaven and back). And when Megan teams up with Juicy J — as she does on “Freaky Girls,” “Work That,” and “Outside” — their chemistry remains unmatched and every bit as potent as it was on Fever in 2019.

She even brushes up on the weak points from her spring EP Suga: The singing and poppier tracks that dragged down the back half of that effort. While they still aren’t her strong suit, she strategically scatters the dancehall-aping “Intercourse” and synth-pop reach “Don’t Rock Me To Sleep” to keep them from dragging the energy too far down. The latter is even a decent example of its particular species, it’s just not quite what you really want to hear this particular artist trying to do.

One thing you won’t hear her do here is address most of the noxious bad vibes from the course of this year. While you wouldn’t expect an album called Good News to sink too far into rehashing our various shared misfortunes, the “News” part does kind of entail some commentary on current events. That commentary is a no-go, though; the Breonna Taylor reference is about as topical as it gets. Whether that lack comes as a welcome break from the onslaught of terrible dispatches from the 24-hour doomsday documentary cycle or a critical failure on the part of the artist depends on your view.

This is where longtime readers might expect me to complain about the lack of depth on the majority of Good News, but to be honest, I think there’s a lot to be said for knowing your lane and staying in it. If literal legions of male rappers can get away with endless tributes to cars, chains, watches, and elaborate cocktails of drugs, surely Megan can serve up a collection of odes to her body — especially when they’re as well-executed and hooky as the song titled “Body,” which employs a Miami-bass-ish, uptempo drumline for her to chat about her “out-of-control” ass-to-waist ratio and love for herself (“If I wasn’t me… I would have bought me a drink”).

Megan takes enough steps outside her comfort zone to justify her staying in it, while she finds a truly astonishing range of ways to tackle her favorite subjects. If most of the songs here are club anthems they display a lot of variety — “Don’t Stop” is as different from “Body” as “Girls In The Hood” is from “Do It On The Tip” — and they get the job done; TikTok and Instagram are already swiftly filling with choreographed dance routines and confidence-building quotes inspired by Megan’s unbowed persona. If she can continue to pave the way for a wave of unabashed, uninhibited, empowered women with no use for the status quo, well then, that’s good news, indeed.

Good News is out now via 1501 Certified Ent/300 Entertainment. Get it here.

Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Album Review

Eric Schroeder drops a riveting dare into his emotionally charged new album “Cat’s Game”

Eric Schroeder, a distinguished innovator within the indie rock-pop sphere, born and raised in San Diego, has unveiled his ambitious latest album, “Cat’s Game,” a masterful project that deftly explores intricate emotional landscapes. Comprising ten meticulously woven tracks, traverse through landscapes of confessional intimacy, introspection, and sonic defiance that revitalizes classic rock ‘n’ roll aesthetics. Recorded at Mant Sounds under the expert production of Rob Schnapf and engineered by Matt Scheussler, this striking new album premieres today and signifies a potential shift in the contemporary rock narrative.

As a pivotal player within San Diego’s eclectic music scene, Eric Schroeder adeptly navigates the dynamics of chaos and clarity, and “Cat’s Game” showcases his most sophisticated orchestration to date. Collaborating with a tight-knit ensemble featuring Matt Scheussler (bass), Jake Richter (drums), and Aidan Finn (keys), Schroeder breathes life into every lyric, wrapping each composition in swirling authenticity and unfiltered emotional gravity.

Commencing with the soaring rock gem “High And Low,” listeners are immediately plunged into the heart of Eric’s introspective lyricism, capturing a spectrum of euphoria tinged with unintentionality, where moments of sorrow transmute into uplifting sentiments. The follow-up single “Emily” floats a unique form of bittersweet poetry, allowing audiences to resonate with a profound longing through emotive acoustics and nostalgic melodies. Furthermore, the slow-burning “Don’t Wanna Let You Go” effectively merges vulnerability with assertive musical grit in one unforgettable, gut-punching anthem.

Tracks like “As I Sit Here In My Car” and “I’ve Got Problems” demonstrate Schroeder’s exceptional proficiency in turning everyday occurrences into deeply relatable stories, marrying lyrical poetry with infectious grooves and cinematic soundscapes. Meanwhile, “Leave Me Sleeping” arises as a notable highlight, functioning as a haunting lullaby drenched in longing and lucid dreamlike clarity, further underscoring his capacity to encapsulate solitude in a captivating sonic framework.

Mid-album highlights, such as “My Big Brother,” “Slipstream,” and “Summer In The Psych Ward,” explores the chaotic interior of memory and identity, enhancing the psychological dimensions of Schroeder’s artistry. Finally, the closing track, “The Road To Recovery,” presents an achingly beautiful exhale, a tender, tremulous resolution to a defiant, emotionally rich album.

“Cat’s Game” is a crucial addition to any rock enthusiast playlist, reminding us of the enduring significance of music in contemporary culture. The album is an immersive manifesto of emotional honesty, dynamic storytelling, and fearless creativity. Eric Schroeder doesn’t just participate in this artistic endeavor; he is rewriting the rules with his enchanting vocal delivery. His rare gift for transmuting vulnerability into visceral musical encounters cements his reputation as a mesmerizing songwriter, a burgeoning force in today’s evolving music landscape, poised to make a significant impact.

For more information about Eric Schroeder, please visit [website].
CLICK HERE TO STREAM Eric Schroeder’s Album “Cat’s Game“ on Spotify.
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Music

BLACKPINK’s Lisa Signs Major Solo Deal with Universal

Lalisa Manobal, better known as Lisa of BLACKPINK, is making waves in her career by signing a solo deal with RCA Records, a well-known label under Sony Music Entertainment. This is a significant step for her, highlighting her independence as an artist and showing a trend in the K-pop industry where artists seek more creative control and a wider international audience. Lisa is the first member of BLACKPINK to partner with a different label for her solo projects, setting her apart from her bandmates.

This new agreement is about Lisa taking charge of her music. One of the standout features of this deal is that she will own the rights to her recordings, a rare opportunity in the music industry, especially in K-pop, where artists often have strict contracts. With her own company, LLOUD, Lisa will manage her solo music, giving her artistic freedom and financial control.

By collaborating with RCA Records, Lisa gains access to a large global network that includes production resources and marketing support. This is about changing how K-pop artists can reach audiences worldwide. Lisa aims to succeed not just in South Korea but also in places like North America and Europe.

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From a branding perspective, this decision also makes sense. Lisa has built a reputation as a fashion icon and talented performer, attracting millions of fans through her performances and style collaborations. Now, with LLOUD and RCA, she can create music and an image that resonates with international listeners while staying connected to her roots. This flexibility is important in today’s fast-paced entertainment landscape, where artists are cultural influencers.

Lisa’s solo deal has sparked discussions about the future of BLACKPINK as a group and the individual paths its members might take. While they are still managed by YG Entertainment, Lisa’s step into a solo career opens the door for her bandmates to explore their own opportunities without completely stepping away from the group. This creates a new model where artists can balance group activities with solo projects.

From an industry standpoint, Lisa’s contract reflects a shift in power distribution between record labels and artists. As digital platforms allow musicians to build their own fan bases, traditional record labels need to provide better, more flexible contracts to keep top talent like Lisa. Her decision to maintain ownership of her music is a powerful statement about valuing creativity and the long-term benefits of protecting her work.

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Fans are eagerly awaiting what Lisa will do next. Her solo music so far has shown her range, blending hip-hop, pop, and R&B. With full creative control, listeners can expect music that truly represents her style and growth as an artist. The excitement for her upcoming projects is palpable, not only because of her popularity but because she now has the resources to create something special.

Lisa’s signing with RCA Records is a key moment in the evolution of pop culture. It symbolizes the emergence of a new type of K-pop artist who is not just a performer but also a savvy businesswoman and a global brand. As she steps into this new phase with LLOUD and RCA, everyone is curious to see how she will push the boundaries of music and identity. Lisa is no longer just a member of a famous girl group, she is a powerful solo artist in her own right.