Top ATL Sounds | Featured Videos, New Hip-Hop Joints & Trending Rumors

Today is Friday, which means there are a ton of new releases to look forward to from some of your favorite Hip-Hop artists. To help you unwind and enjoy the weekend, check out VIBE’s picks of songs and albums you should hear and add to your soundtrack of weekend festivities.

Lupe Fiasco – Samurai

2024 1st and 15th Too marketed and distributed by Thirty Tigers

Two years removed from the release of his acclaimed Drill Music in Zion album, Lupe Fiasco gets back in the swing of things on Samurai, as he brandishes his verbal sword across eight tracks of analytical musings and observations.

Preceded by the previously released teaser “Cake” and its title track, Samurai runs a relatively sparse eight songs in length but provides Fiasco with ample time to pull off lyrical exploits while getting his point. Joints like “Mumble Rap,” “Palaces,” and the closing cut “Til Eternity” are equally delightful, resulting in another strong musical outing from the renowned orator. – Preezy Brown

Latto – “Big Mama”

Latto gets into her heartfelt bag on “Big Mama.” She shows some insecurity about her man having two phones and asserts she won’t play around with him having women on the side, all over a mid-tempo beat laced with high-pitched synths and snare drums. And then, midway through the song, she picks the pace up along a similar vein as Drake and 21 Savage’s “Rich Flex.”

In the second half of the song, her ego shines through a bit more. She goes from a “Big Mama” who craves affection to a “Big Mama” who is dismissive and braggadocious. She even shouts out her sister, saying, “I don’t play for the Nets, but I’ll shoot sh*t up ‘bout Brooklyn.” This is a proper record to align with her elevation over the last year. – Armon Sadler

Offset & Gunna – “Style Rare”

Offset and Gunna earned the right to say they are two for two with “Style Rare.” This record outpaces “Prada Dem” as there is more synchronicity between the two Atlanta rappers. They skate across the alien-sounding synths, steady drums, and hi-hats. As two of the most fashion-forward rappers, it is no shock that they focused so hard on their drip and luxurious brands that they wear.

There is a clear, concentrated effort to bounce off one another and complement their unique styles as opposed to making the conversation “Who had the better verse?” There is a special moment where Gunna references the late Takeoff’s memorable line about preferring to be rich rather than famous. Everything went right on this track. – AS

Lil Durk – “Went Hollywood For A Year”

Lil Durk takes stock of his surroundings on “Went Hollywood For A Year,” a track that finds him taking account of his wayward conduct and making atonement for venturing astray. Rhyming atop a piano-laden beat, the Chicagoan makes no apologies for his conduct, attributing his actions to his hardscrabble upbringing.

Declaring, “I refuse to say I’m sorry, that’s how I was raised, I’m actually damaged,” Durkio laments the impact his elder brother’s death had on his appetite for nightlife amid questions regarding the pain and suffering endured in life. Interpolating the hook from Three 6 Mafia’s 2000 hit “Sippin’ on Some Syrup,” Durk delivers a heartfelt testimonial on “Went Hollywood For A Year,” as he vows to stay true to the streets and people that helped shape him. – PB

Roddy Ricch – “911”

Roddy Ricch keeps the energy high on “911” and expresses that from the onset, rapping “I done caught my tempo/ Baby, I don’t miss.” The production sounds similar to Drake and Lil Wayne’s “The Motto,” and it is right in his wheelhouse as an energetic West Coast artist. In true Roddy fashion, he brands his high-pitched crooning vocals and it mostly works.

The one down part of this song is the chorus, which is pretty basic: “When I call, treat me like 911/ Buy you up ’cause I’m like that, really like that.” It is also underwhelming because the song clocks in at just a few seconds past two minutes. If he had longer verses and more of a buildup to the chorus, “911” may have fared better. – AS

42 Dugg feat. Sexyy Red – “N. P. O.”

42 Dugg delivered his strongest musical style on “N.P.O.” and Sexyy Red fit the bill perfectly as the acronym stands for “No Panties On.” The track is the quintessential car test-friendly effort, with booming bass, aggressive drums, and a whistle in the background because, of course, it’s a 42 Dugg song.

While both of their verses are solid, there’s a noticeable lack of chemistry on the record. It’s certainly not uncommon for artists to not record together, but to be able to hear that is a completely different experience. It doesn’t take away from the quality of the song, but it would have been interesting to see them blend a bit more. – AS

Doechii – “ROCKET”

Doechii takes blast with a new heater titled “Rocket,” a playful, pulsating loosie from the rising raptress. Created for Sprite Limelight Season 3, and produced by Grammy-nominated boardsmen Take A Daytrip, the track finds Doechii chiding an inept suitor for their missteps in their pursuit of her affections.

“Nobody thrives alone for long/ Your reprise was all wrong,” she purrs, advising patience when seeking companionship. The 25-year-old spoke on her own creativity in a statement coinciding with the song’s release.

“Music is so many things to me, to artists, to fans,” Doechii expressed. “It soothes you; it heals you; it can uplift you and drive you on when you need it most. That’s what compels me to be part of this project with Sprite Limelight – creating new music with different producers, different artists, for people to connect to and feel a part of. It’s special.” – PB

Boldy James and Conductor Williams – Across The Tracks

Boldy James 'Across The Tracks' Album Cover — 2024 Near Mint

It’s always a treat when players meet, and when it comes to delivering no-frills Hip-Hop stylings, few are as major as rapper Boldy James and producer Conductor Williams. The two blue chippers join forces on Across The Tracks, a collaborative effort that captures both turning in awe-worthy performances while manning their respective positions.

Opening with “Terms And Conditions,” Boldy professes his loyalty to his formative environment, declaring, “It’s 227 ’til a nigga fade to black” while dropping couplets over a soulful backdrop. The first half of Across The Tracks includes winning moments such as “Flying Trapeze Act” and “Undisputed,” but it’s in the latter portion that Boldy and Williams truly catch their stride, as they close the album on a strong note. – PB

BLK ODYSSY Featuring Joey Bada$$ – “STANK ROSE”

In preparation for the unveiling of his third studio album, 1-800-FANTASY, BLK ODYSSY offers up “STANK ROSE,” a quaint groove chronicling the realities of teenage angst and the lovelorn thoughts that often accompany that phase. Assuming the roles of invisible men, BLK ODYSSY and costar Joey Bada$$ bask in their anonymity while professing their infatuation for the beauties they’ve grown an affinity for. Featuring a dexterous stanza from the Brooklyn lyricist and soothing croons, courtesy of ODYSSY, “STANK ROSE” is an indelible number that aligns perfectly with the summer season upon us. – PB

Finesi – “Tricking In Vegas”

FiNesi takes on the role of a Sin City sinner in his new single “Tricking In Vegas.” His vocals are filtered as if he woke up from a late night of gambling and strip clubs and headed straight to the studio. The production is smooth with a light bounce, the type of music one may play as they get their day started before they ponder more debauchery to get into.

He tells the story of copious amounts of alcohol he drank, a 38-year-old cougar he lived it up with, and having a ball with his guys. The RAF-B artist continues to display his versatility and “Tricking In Vegas” shows him hitting the jackpot. – AS