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Album Review:Rich the Kid “The World Is Yours”



The current generation of rappers, particularly those coming out of the trap music bull market that’s housed in Atlanta, typically arrive onto the scene atop viral hits. Rich the Kid, a demonstrable talent with his own imprint (Rich Forever) rode into the mainstream on a wave of critical enthusiasm and industry interest atop “New Freezer.” That it includes the holy grail of features from Kendrick Lamar suggested that, yeah, Rich’s made it, but the album that came with the explosive single rarely shifts out of a default rap scheme.

While the Rich the Kid we meet on The World Is Yours clearly considers himself a big-leaguer, the album is short on the deftness and polish that was promised on “New Freezer.” He ably deploys the standard stop-and-go triplet flow across its 14 tracks, but does so without ever shifting from a self-limiting rap model, leaning heavily on concussive, bass-heavy beats and lyrical contributions from a bounty of veteran and trend-setting artists.

The title track is a comparatively honest introduction, lacking in the “yuhs” and “ayys” that soon begin to overwhelm and distract. “World Is Yours” lays out the devil-may-care posturing and slight bits of humor (“No Biggie but I used to trap in the Coogi”) that listeners should expect for the next 40-plus minutes. The clarity of the leadoff bleeds into the glut of trap motifs that is “New Freezer,” wherein Rich gladly ingratiates himself with the album’s talking points: money, women, cars, and big jewelry.

Rich shows off his lyrical styling, but even that remains far from revelatory. While his voice suffuses the album, it exhibits only a handful of emotional states. For Rich, who has noted that he does not write his bars down, but rather, “I just go in there and—boom,” his enthusiasm doesn’t make up for his lack of styles and flows. His insistence on rapping about “money, hoes, and clothes” as Biggie waxed 23 years ago puts Rich in a position to get consistently outshone by the many co-signs scattered across the album.

This is pointedly clear on “End of Discussion,”a dismissal of perceived haters that is piqued by a curious beeping sound and the noise of a money-counting machine at work. Lil Wayne does the heavy lifting here with a bodied rollout of well-paced, self-referential rhymes: “Pull of fast like a loose cheetah/One diamond ring on two fingers/Cheating on these hoes, call me Tune-cheater.” He sounds as if he were running a clinic on the song; a rap alum at homecoming mingling with the popular freshman. Meanwhile, Rich is somewhat adrift in his unremarkable feints. It makes the notable absence of female voices significant as woman contribute little to the album save as unnamed dalliances, anonymous tricks, and forget-me-nots.

The exception is “Too Gone,” a track with a metronomic xylophone trill produced by the Canadian beatmaker WondaGurl. Khalid levitates the song with his crooning, modest refrain about being too faded to connect with someone who wants your affection. Rich, though, continues to assail his doubters while suggesting just a bit of openness: “Really not used to you calling me/I’m in love with a coupe.” It’s the greatest concession to romance as we’ll get on the LP.

However, Rich appears in peak form on “Dead Friends,” widely regarded to be a Lil Uzi Vert diss track. The album’s finale has Rich channeling Meek Mill in the drill rap cadence familiar from his mixtape days. The caustic clap backs, even if muddled, are best in the chorus: “All them dead friends (dead), you a middleman (what)/You a little man (little, huh)/Your money getting shorter (shorter).” Given some direction, Rich’s best when he’s got a real target in his sights to slight.

In an album that touts a reputable lineup of producers and contributors, it smarts as Rap Caviar bait rather than as a collective trap triumph. Algorithms are the new inroads to platinum after all. Still, braggadocio is a trap rapper’s default setting, and the kid may be rich now, but The World Is Yours wants for all of its wealth-inspired imagery and allusions to amassed clout.

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Selena Gomez Releases Highly Anticipated Spanish Language EP “Revelación”



12 MARCH 2021 (TORONTO, ON) – Receiving unanimous acclaim for her long awaited return to Latin music, Selena Gomez released her first Spanish-Language EP, REVELACIÓN via via Interscope Records/Universal Music Canada, the country’s leading music company. Gomez envisioned creating a project that would be a reflection of her journey, allowing her to share her story through the connection to her Latina Heritage. About the EP, Selena expresses, “This new music is a labor of love for all of my Latin fans. Whether you speak Spanish or not I hope you can feel the emotion and passion. For me, that is the beauty of Latin music.”


Almost entirely recorded remotely due to COVID, Gomez wanted to work with artists that she “admired and respected within the Latin community.” She tapped multiple Latin GRAMMY® Award-winner Tainy [Bad Bunny, J Balvin] and NEON16 as executive producers. Tasked with bringing Selena’s musical vision to life, Tainy expressed, “To be reunited with Selena on this project was amazing. We wanted to merge work I’ve been doing with the pop arena Selena has always mastered, to create something that was authentic to who she is. I’m a huge fan of her work and to have this responsibility has been an incredible honor.”

True to her vision, Gomez’s first Spanish EP presents a collection of 7 tracks, featuring collaborations with Latin GRAMMY® nominee and urban phenomenon Rauw Alejandro, multi-platinum urban artist Myke Towers and renowned international producer and DJ, DJ Snake.

From a visual perspective, Gomez collaborated with most influential Latin creators to bring her vision to life through beautiful imagery. She enlisted the duo of Los Pérez—Tania Verduzco and Adrián Pérez— and Fernando Nogari to direct the project’s first two accompanying music videos, and also tapped Erica Hernandez and Camila Falquez to create the EPs artwork concept, connecting imagery and the artist’s Mexican heritage. For their most recent single “Selfish Love,” Selena and DJ Snake recruited the award-winning filmmaker Rodrigo Saavedra.

Earlier this year, Selena revealed her first Spanish-language recording in a decade “De Una Vez,” which trended at #1 worldwide. Attracting widespread praise, Vogue raved, “The tale told through ‘De Una Vez’ has resonance no matter what language you speak,” and Billboard called it “empowering.”

“De Una Vez” was followed by the reggaeton infused and seductive track, “Baila Conmigo,” featuring Latin urban phenomenon Rauw Alejandro. The video portrayed “the sense of isolation we all are experiencing right now and how music really does connect us all no matter where we are in the world.” Produced by Tainy, Albert Hype, Jota Rosa, and NEON16, the track merges energized reggaeton rhythms and guitar with an empowering hook and seductive verses. Meanwhile, Brazilian filmmaker Fernando Nogari directed the accompanying music video. Shot between Los Angeles, Miami and a remote fishing village in Brazil, the visual integrates bold performances and breathtaking landscapes.

Target will have an exclusive CD featuring an alternative cover & poster. Purchase REVELACIÓN HERE:


  1. De Una Vez
  2. Buscando Amor
  3. Baila Conmigo w/ Rauw Alejandro
  4. Damelo To’ ft. Myke Towers
  5. Vicio
  6. Adios
  7. Selfish Love w/ DJ Snake
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