On our website, we have a ranking system that has remained consistent for years. A song/mixtape can be rated from "VERY HOTTTTT" TO "MAKE IT STOP." As of right now, the brand new song from Playboi Carti has a user rating of "MEH" which somehow seems right, considering the song is titled "@ MEH."

Returning from out of nowhere, Atlanta rapper Playboi Carti released his new video for the single "@ MEH." This moment has been a long time coming for the 23-year-old, who has been teasing his upcoming album Whole Lotta Red for the last year. 

While it's still very early to tell if the song will stick with us for a matter of hours/days/weeks/months or even years, there is a case to be made for the defense of "@ MEH." However, the people critiquing the record have a point as well.

Fans seem to be drawn right down the middle on the high-energy track. On Twitter, the memes have begun flying, imagining how Carti fans are taking in his baby-voiced masterpiece while, on other boards, people are shitting all over the new release.

Check out some of the comments below and be sure to let us know what you think. Rate the song over on its designated page here.

I recently wrote about Mac Miller’s turning point. The point at which he won over his critics and solidified his fanbase in one fell swoop. Young Thug faced a similar crossroads in his career, and interestingly enough, for both artists, the album in question that proved to be the tipping point featured each artist unclothed, with a red backdrop. For Mac Miller, this was Watching Movies with the Sound Off. For Young Thug, it was Barter 6.

Thug’s hurdle was less for the approval of critics and more for the general public’s realization of his star quality. Prior to Barter 6, Young Thug’s name was respected among publications like Pitchfork, yet there always seemed to be a disconnect between him and the average fan– not some lofty, snobbish “hip-hop fan” (we all know one) but rather, the unassuming, regular ol’ fan. Ultimately, it was Barter 6 that allowed Thug to connect with the masses and created the Cult of Thugger that would eventually birth many of his children– the Gunnas, Lil Babys, Lil Gotits and Lil Keeds of the new generation are more a direct byproduct of the inspiration and creativity behind Barter 6 than anything else. In a sense, each of Thug’s descendants have had their own Barter 6 moment too– the moment that they fully realized their creative potential, the moment they refined their sound– Gotit just happened to have one recently on Superstar Creature.

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There are a couple of reasons why this turning point happened to Thug on Barter 6, not the least of which is the fact that he had dropped 10 mixtapes prior to Barter 6. Those 10 mixtapes served as the foundation for his critics to come calling, and name him as the preeminent artist of the time. Each allowed Thug to delve into messy experiments, whether it be pushing his vocals to weird, unknown edges of his throat, or firing off quirky albeit indistinguishable rhymes. These projects also allowed Thug to build out his collaborators, and find the ones that would ultimately push him and grow with him, and help curate his sound.

Much like London On Da Track did with Gotit on the aforementioned Superstar Creature, so to did Wheezy on Thug’s Barter 6. The only thing was, Wheezy was pretty much an unknown figure at the time. Thug was heavily linked to ATL producers like London and Ricky Racks, but Wheezy, hailing from Vicksburg, Mississippi, was not that. He had popped up here and there before, but on Barter 6, Wheezy has production credits on almost every song. Thug has proved himself to be someone who cares first and foremost about his art, friends and family– meaning, clout and experience aren’t his top priorities when it comes to music-making. He’ll often feature his sisters and best friends on his music, over any trending name. So, it’s safe to say that he wasn’t concerned about Wheezy’s lack of exposure, and more concerned about the fact that this young, up and coming producer was capable of delivering fire.

Barter 6 is really fire after fire– Wheezy kicked off the production on the album with the Birdman-featured “Constantly Hating.” The album was unrelenting from the first record to the last, with melodies that would melt in your ear, dripping drums and syrup-y synths. What I am trying to say is that listening to Barter 6 feels like you’re swimming in a big cup of lean, but it’s easy, you’re just gliding along, each wave rocking you up and down, gently. Each track flows into one another, with bubbly trap production linking them together — right up until Thug closes out the album, with “OD,” “Numbers” and “Just Might Be.” These trio of records close the experience in a slowed-down haze, as though you’re dripping dry from the lean-swim you just had. Slowly, each drip falls off you until you’re completely dry.

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Barter 6 was more than just good music though. It was Thug’s way of attaching himself to Lil Wayne permanently. The mixtape was originally titled Carter 6 before Wayne threatened legal action against Thug. Still, when you hear Barter 6, it’s impossible not to think, at least in the back of your mind, about Weezy F. Which is what Thug would want– for you to think of him, and his idol and biggest influence, hand-in-hand. Here’s the rub though: Barter 6 is so obviously not a Wayne mixtape. It’s so obviously Young Thug. And it’s so flawless, that somehow, Thug managed to co-opt a Wayne title– with the Barter 6 Thug proved he’s worthy of the same stardom, that his name holds similar weight in the rap game.

It’s no secret that Drake has been firmly entrenched in what the experts refer to as “album mode,” holed up in his Toronto estate putting in work on his Scorpion follow-up. At this point, we have all the reason to believe that Drizzy is going all out with this one, having recently revealed that his excitement levels about the album haven’t been this high in a while. And while we don’t exactly know many details about the as-of-yet untitled project, we do know that it could potentially feature Playboi Carti, Fivio Foreign, Sosa Greek, and more.

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Now, it would appear he’s looking to bring in a few more reinforcements for the occasion. The ever-watchful eye of Akademiks managed to snag a screenshot of PartyNextDoor‘s recent IG Live stream, which found Drake firing off an invitation in the scroll of comments. “Are you getting on my album orrrrrrrrr,” asks Drake, who proceeds to confirm that “it’s not an album without you.”

At this point, consider it a high possibility that we see Drake and PND link up for a new collaboration on the former’s next project, due out for release later this year. Provided Party actually takes the 6ix God up on his offer, of course — though let’s be honest, why wouldn’t he? We’ve got nothing but time these days, so there’s really no excuse for the Partymobile singer not to get in the booth and lay something down for the occasion. What do you think — should Drake include his OVO Sound signee on his new album? And if so, do you think it can top their last one in “Loyal?”

Charlotte rapper DaBaby has been criticized because of his apparent inability to color outside of the lines, sticking to a similar flow on many of his songs. With Blame It On Baby, his new album releasing tonight, the budding superstar attempts to prove his versatility by unlocking several different vibes.

We’ve already heard his new single “Find My Way,” which is significantly different from anything we’ve heard from the rapper in the past. After revealing the list of features on his new album, DaBaby previewed his song “Nasty” with Ashanti and, once again, it’s unlike anything the artist has explored in the past.

DaBaby appears to have entered Ashanti’s world for the new song, which was previewed on the R&B star’s social media pages. 

“Girl, you on the right track, yeah/I put it in her face, she say she like that, yeah,” raps the 28-year-old, going for a completely new tone than what we heard on Baby On Baby and KIRK. Ashanti then hops on for a classic hook that will surely live in our memories for months to come.

While we’re sure the inclusion of Megan Thee Stallion and NBA Youngboy means that DaBaby will be in his aggressive bag at times, he can slow things down when he wants to as well.

Are you excited to see a different side of DaBaby?

Though some have been cast into cabin-fever induced despair as a result of the ongoing quarantine, Scott Storch has seized the opportunity and doubled down in the studio. As he reveals during his wake-and-bake conversation with The Breakfast Club, he’s been cooking up instrumentals every day, including some reserved for his own upcoming solo album — not to mention a few choice bangers with Kevin Gates in the cut. Before long, conversation shifts to his recent battle with Mannie Fresh, an event that seemed to highlight how significant Storch’s early-millennium reign really was.

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Charlamagne eventually acknowledges the elephant in the room, which is to say some of Storch’s co-production credits being used in the battle. “Listen, Dr. Dre is a huge whale, if not the biggest producer in the history of hip-hop music,” says Storch. “Sometimes, when your name sits next to a name that big, it kind of overshadows — especially when I was getting started in the business, I was a young man just coming up. When those records came out, people weren’t reading through the credits and see who was doing what.”

“As far as playing that music in the battle, my sound is pretty clear when people hear it,” he continues. “I’m not going to play something if I’m not one of the main nucleuses or foundations of what these tracks are. I really feel the co-production and writing, whatever I contribute, I bring mine to the table.” Charlamagne challenges Storch’s position, questioning whether his sound is truly that recognizable and pointing out that Storch wasn’t exactly credited on “The Watcher 2.” Storch maintains that he laced the keys and the topline melodies. “Sometimes the credits don’t reflect what went down on the record,” he responds. “In terms of me legitimately being a part of everything I played, come on.”

For more from Scott Storch, who appeared unfazed by Tha God’s skeptical position about his setlist, check out the full conversation below.

Ever since the early release of Tekashi 6ix9ine, granted in response to the ongoing coronavirus pandemic, a moral conundrum has plagued both artists and producers alike. To collaborate or not to collaborate with the disgraced rainbow wonder, that is the question. At least, it's the question for CashMoneyAP, multi-platinum producer known for his work with Migos, YoungBoy Never Broke Again, Young Thug, Chief Keef, and more. Taking to Twitter, he asked his fellow beatmakers whether the inevitable bag would be worth the implicit abandonment of integrity. 

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"Question for producers : would u work with 6ix9ine rn knowing that he’ll do crazy numbers?" he writes, opening the floor and gauging reactions accordingly. Now, we've naturally seen many rappers express a reticence toward locking in with Tekashi, who notoriously acted as an informant against his fellow Nine Trey Gangsta Bloods, down to his once-manager Shotti. As such, his reputation has taken an irreparable hit in certain eyes -- though he seems fine with running with the rebrand. 

Insofar as CashMoneyAP's question, it stands to reason that there will be plenty of producers lining up to soundtrack 6ix9ine's musical comeback. While he might very well miss out on those A-list placements, the looming possibility of a fat bag will surely be enough to bring no shortage of ambitious instrumentalists out of the wood-work. And what are the consequences, if any, for a producer who simply shrugs and hits send on that Tekashi beat pack instrumental -- is knocking the hustle not a faux-pas in itself? 

All things considered, perhaps this is the perfect time to flood 6ix9ine with beats. He'll be looking to hit the ground running, and someone's going to have to step up. The only question is: who will it be?

We'd like to think that some of our favorite albums are readily available on the streaming platform of our choice, but that just isn't the case. We still don't have Aaliyah's catalog and Dr. Dre's classic The Chronic will become widely available on April 20. Back in 2016, Future shared his mixtape, Purple Reign. It was the Atlanta rapper's 16th mixtape that hosted no features and had production credits from Metro Boomin, Southside, Zaytoven, DJ Spniz, and more. The 12-track effort's artwork pays homage to late music icon Prince's album of the same name, and for years the project was only available on select platforms.

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Now, fans will be able to stream wherever they like, and they took to social media to share their enthusiasm. The news of Purple Reign became the No. 1 trending topic on Twitter as fans took a walk down memory lane. The rapper has been slowly, but surely, releasing his projects on all platforms and his supporters can't get enough—especially after seeing that Future added his track "News or Something" to the end.

For those of you who aren't familiar with the project, give it a listen below. For avid future fans, enjoy the memories. Peep a few enthusiastic reactions from fans, as well.

Almost a month ago to the date, Kehlani shared with fans that the COVID-19 pandemic was delaying the release of her forthcoming project. The Bay Area singer has been sharing a number of singles and collaborations including “Get Me” with Jusitn Bieber from his album Circles, “Konclusions” with ex-boyfriend YG, her break-up jam “Valentine’s Day (Shameful),” and her recently released track “Toxic.” Fans have been begging Kehlani to release a new project, but the quarantine hindered her plans.

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However, Kehlani popped up on Instagram with a string of cute and silly selfies to share that she plans on delivering new music this week. “Hi i’m dropping music i care about from an album i rlly care about tomorrow,” she wrote in the lengthy caption. “Quarantined or not i’m going to continue with my mode of expression because my art works in real time.” She added that if she doesn’t release her art when she created it, she will hold onto it until the “right” time happens, which could be never.

“I’d probably be a whole new person with new feelings and new things to write about,” Kehlani concluded. “Right now in this time at 24 this music is how i feel. where i’m at widdit. like Cloud 19 was when i was 19.. or You Should Be Here was when i was 20. this is just 24. so yeah. i’m rambling at this point.” Check out her post in full below.

Inglewood’s Finest, Mack 10, may have been silent on the rap scene in recent years, but the West Coast hip hop icon is a staple in the culture. The Westside Connection emcee made waves with his classic single “Foe Life” and the hip hop supergroup’s fan favorite, “Bow Down.” Mack 10 sat down with Vlad TV and talked about his rise to stardom, including how he linked up with friends Eazy-E and Ice Cube.

“I met Eazy before I met Cube,” Mack said. “It was just about music. I was a pretty good writer. In the hood, my music was growing. I was in a group called First Amendment. My music was growing. My popularity was growing. The homegirl knew [Eazy-E], she introduced us over the phone one day. I think he pulled up or something one day. That’s how I met him. It was just about music. It wasn’t about I’m from Inglewood, I’m from Compton. It was just about music.”

Mack 10 added that Eazy-E didn’t attempt to sign him to his label, Ruthless Records, but he did end up writing for the rapper. “It was a normal experience. He was a cool dude,” Mack added. “I [wrote] a couple of records. I don’t even know if they came out or whatever. When I first went around Eazy, it was just about writing records. It wasn’t about nothing else.”

The Inglewood icon said he never saw Eazy-E in the booth laying down tracks that he’d written, but did joke that he was paid “a little bit of nothing.” Mack 10 said Eazy would “go in his sock” and pull out money to pay him for a song. “Everybody who knows him knows he’d go right in the sock!” he said with a laugh. Check out the clip below along with Westside Connection’s “Bow Down.”