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Album Review: Iggy Azalea – The New Classic

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Album Review: Iggy Azalea – The New Classic

iggy-azalea-the-new-classic

Before I get to the task at hand it’s only appropriate I tell you a few things about me. Specifically my work ethic. First and foremost, as a music critic I am obligated to provide my readers with a thorough analysis of the albums I choose or am assigned to review. In the interest of preserving journalistic integrity, my opinions must be unbiased and objective.

I am also a firm believer in teamwork. A team member must contribute to the prosperity of his/her team on a consistent basis whether it be a team of athletes, litigators, scientists or music critics. When each individual member of a team effectively carries out their duties and responsibilities, the entire team reaps the subsequent benefits.
There are times when being a team player isn’t easy. Situations may arise in which your team is dependent upon you to sacrifice your time, talents, dignity and principles for the greater good of the whole. Sometimes you have to shovel huge piles of elephant shit to solidify or reaffirm your position. In this particular scenario I volunteered to review an album nobody else on the Dead End Hip Hop crew would touch. The album I am referencing is The New Classic, the debut from Island Def Jam/Hustle Gang artist Iggy Azalea.

The album begins with “Walk The Line”, one of twelve songs in which Iggy Azalea’s delusions of grandeur are displayed excessively. Although she utilizes a double time delivery here, she’s not saying much of anything: “I’m gonna get it, and that’s fo sho/Can’t be like ya’ll that’s a no go/International while ya’ll local/Got this locked up just like po po.” Is she serious?

“Don’t Need Ya’ll” is an audio tranquilizer that will leave most listeners wondering if this song was originally intended for Drake. The production blatantly rips off the slow, sugary melodies deployed by Noah “40” Shebib on Drake’s Nothing Was The Same LP. “100” featuring Watch The Duck (um…yeah) is another failed attempt by Iggy to convince listeners of her hood credentials. “I’m a fancy bitch, but I’m ratchet!” Of course she is. She keeps it “one-hunnid”.

The T.I. assisted “Change Your Life” is another disappointment. Neither T.I. nor Iggy give anything substantial. All we get are the same typical rhymes about material excess found in most mainstream hip hop. “Fancy”, “New Bitch” and “Work” are all cringe worthy tracks with more weak bars from the “white chick on that Pac shit.” (Yes. She REALLY said that.)

The remaining tracks on the album don’t fare any better. After hearing her wack rhymes on “Goddess” I had enough: “Young rapper goddess, ya’ll a boring read like a rapper’s digest/They could never see me fall like I skipped through August.” As far as the production on this album is concerned, the team of The Invisible Men and The Arcade do an outstanding job of catering to the tastes of suburban soccer moms desperately looking for neutral music to help them relate to their teenage daughters.

In conclusion The New Classic is an album that lacks direction, creativity and purpose. There is nothing innovative or authentic about this project. Iggy Azalea is yet another label manufactured artist pretending to be a rapper. Luckily for Iggy, there is a huge demographic of consumers who will appreciate her brand of music for what it truly is: Pop Music. This album is not a hip hop “classic” in any sense. At minimum, a “classic” hip hop album should be tolerable. Iggy’s exaggerated vocals combined with recycled subject matter and lackluster production make for an unbearable listening experience. Please avoid this album and this artist at all costs.

Academic Letter Grade: F

 

The opinions and views expressed here are the opinions of the designated author(s) and do not reflect the opinions or views of any of the individual members of Dead End Hip Hop.

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