2016 has been an incredible year for music. Awful for our society, but incredible for music. We’ve received releases from every single major relevant rapper, with the exception of J. Cole and A$AP Rocky (can’t count Cozy Tapes: Volume 1 as a Rocky project, Jay Z isn’t really relevant and Push and André 3000 are expected to drop projects this year)—and they’ve been phenomenal.
I won’t dive into each album, because lord knows that deserves its own article—be on the lookout for a 2016 album ranking entry in the coming weeks—but let’s take a look at my top-four: (1) The Life of Pablo, (2) Blonde, (3) Coloring Book, (4) We got it from Here… Thank You 4 Your service. Just look at that list for a second. Absorb its importance. Four albums from four of music’s most innovative and impactful artists: Kanye West, Frank Ocean, Chance The Rapper and A Tribe Called Quest. A TRIBE CALLED QUEST RELEASED AN ALBUM THIS YEAR!
Kanye and Chance haven’t dropped projects since 2013; Frank has been virtually silent since 2012; A Tribe Called Quest made apt social commentaries and celebrated their fallen brother’s (Phife Dawg) life on their first album in 18-years. With the influx of poor music from today’s overly saturated Hip Hop market, it’s refreshing to hear projects from these great influencers. These catalytic artists sat down at the musical illuminati table, plotted their returns and selected 2016 for their resurgence. Perhaps they knew we’d need consoling from the “kick in the dick” year that is 2016.
These established and emerging legends’ albums have offered incredible joy, but have masked 2016’s hidden gems. Although J. Cole himself didn’t drop a project this year, his label mate, Bas, represented Dreamville with his sophomore album, Too High To Riot. Welcome to my fifth favorite album this year.
Living in J. Cole’s shadow can’t be easy. Cole is rightfully praised as Hip Hop’s Swiss Army Knife thanks to his writing, flow and production, and is widely regarded as one of today’s top-two lyricists. The memes are true: the man went platinum with no features. But he’s also a great A&R, evidenced by composing one of Hip Hop’s most lethal rosters in Dreamville (an IGA Records imprint), home to himself, Bas, Cozz, Omen, Lute and Ari Lennox. While J. Cole reps #23 for Dreamville, Too High To Riot is Bas’ #33 jersey.
Prior to Cole signing him in 2014, Bas hustled to survive. Succeeding his failed electronics boosting business, the Queens transplant via France turned his attention to selling weed. Business was good. It’s true what they say: it’s all fun and games until someone gets hurt, or shot. After coordinating a two-pound sale, Bas grew suspicious due to a changed drop-off location. Kids, always trust your gut.
He was greeted at the door by three masked men wielding guns. Flames replaced their pupils; their fingers snugly grasped the triggers; demands for the weed were shouted. Bas fled for his life. Bullets whizzed passed him as he frantically scanned New York’s Hillside Avenue for the safest escape route.
After narrowly escaping death, Bas knew illegal hustles couldn’t bolster his future. Revered by his family for his natural intelligence, he decided to channel that intellect into music. He released three mixtapes over a four-year span, which lead to his debut 2014 album, Last Winter. These early projects were Bas’ arrival into prominence; into the life he hustled so hard to attain. So what does someone do once they’re finally successful? They record an album about it. Last Winter details Bas enjoying his newfound fame, finding him in an unfamiliar territory: living his fantasy. From dodging bullets to professionally penning rhymes, Bas finally got off the corner.
Two-years passed in between Last Winter and Too High To Riot. The younger we are, the greater small timeframes impact our development. Bas was 27-years-old when he released the former project and was subjected to a life he had only dreamt about. He deservedly absorbed the trappings of success: a variety of women, fields of weed, oceans of alcohol—endless vices to heal stardom’s impending venomous bite.
Too High to Riot is Bas’ confrontation with fame’s reality. After awhile, the varied women became repetitive, the weed fields weren’t as impressive and the oceans of alcohol drowned his sorrows instead of supplementing his joy. Overexposure to anything can render us jaded. Anchored by singles “Night Job,” “Housewives” and “Methylone,” Too High To Riot reveals fame’s initial sheen dulling into desensitization.
The 12-song project highlights Bas’ integration into celebrity culture. The opening and title track, “Too High To Riot,” elicits contentment from his intoxicating new lifestyle. But he’s not suppressing his intensity into complacency; he’s fixated on the prize; he’s fixated on winning. At the song’s core, he’s imploring competitors to remain vigilant, as he’s quickly eclipsing rappers while establishing his name. His perpetual life high isn’t his destination—it’s motivation to achieve more. “Too High To Riot” transitions Bas’ novel euphoria on Last Winter into a seasoned, mature perspective.
Tracks “Methylone” and “Live For” are the album’s most sobering pockets. The former is a dually layered song, exposing the drug literally and figuratively. Bas expresses frustrations with dealers supplying users methylone when promising them MDMA. While the two enhancers retain similarities, their resemblance won’t impart the intended high, burning the customer with an imitation product. As Bas gets more famous, “friends” have become imitation products as well. “Last week I bought a testing kit, I wish they made em for people / The way these nigga's be actin they should be cast in a sequel.” It’s a sad caveat of fame: people acting allegiant to further their own agenda—it’s a sad lesson to learn. But not sadder than fame’s cold reminder of your absence.
“Live For” is an emotional track dedicated to Bas’ late aunt, Aunt Sitana. He discusses their sweet mother-son type bond that has greatly impacted his life, and augmented his cherished childhood memories. He expresses sincere sorrow and anger for missing her final days, impeding a last goodbye. Time unfortunately isn’t as expendable when you’re trying to erect a career. It’s a shitty part of fame; it’s a shitty part of life. Despite the melancholy, “Live For” demonstrates his evolution as a song writer and human—he’s completely vulnerable; unafraid of criticism; praising his beloved aunt.
Bas steps outside his and Hip Hop’s comfort zone on Too High To Riot. He displays an unadulterated maturity usually reserved for industry veterans by courageously exploring topics that most emerging artists shy away from, in fear of hindering their commercial viability. At only five-years deep in music, Bas shows game changing potential. Too High To Riot is built off authenticity and integrity—qualities fortifying Bas’ exploding career. Effortlessly skating over the Dreamville production, Bas is authoritatively planting his flag in Hip Hop’s competitive landscape.
2016 has been renascent musically. Some artists might fear including themselves in this momentous year because of concealed exposure. Bas isn’t one of those musicians. He understands his talent and knows that he is supposed to be here. After all, it’s 2016, and Bas is proudly holding one of the year’s best albums.