Long before 24-year-old Danielle Balbuena signed onto Kanye West’s GOOD Music label and Def Jam, she was culling an elusive musical identity. The artist now known as 070 Shake anchored her image in poetry that ruminated on mortality — and the mere fact of human existence.

But as she's contemplated the existential, 070 Shake has steadily ascended the stratosphere. Shake first released far-out alternative rap songs on Soundcloud before becoming an inaugural member of the 070 collective in 2016 (her moniker is an allusion to the zip code of her hometown North Bergen, New Jersey), and stepped further into the spotlight on 2018 via a feature on West's "Ghost Town." Her well-received 2020 debut, Modus Vivendi, set the stage for You Can’t Kill Me, a steep dramatization of emotional adversity and an exploration of the life cycle that so fascinated the rapper in her youth.

Throughout You Can't Kill Me's 14 tracks, 070 Shake transfixes listeners with deep-seated emotions. Shake retraces her human fragility via electropop on opening track, "Web," articulating her discombobulated feelings for a lover and how she numbs herself to let go of the people she hurts. On lead single "Skin And Bones," 070 Shake takes on synthwave while "Invited" battles heartbreaking conflicts through the thumping, repetitive steel drumming.

In a handful of cathartic and introspective tracks, Shake references life's uncertainties and her abysmal devotion for others. The techno-thrilling "History" delineates 070 Shake’s troubled romantic past, while "Wine & Spirits" is a jolted acoustic elegy that talks of pre-meditated suicide and a need for balance. In addition to the heavy themes it reckons with, Shake's sophomore effort is an ode to the sounds of the '80s and her wide-ranging tastes.

"I can open my arms wide and reach far," 070 Shake tells GRAMMY.com. "It's a limitless world in music, especially being someone that grew up on hip hop and then now, falling in love with alternative music — Beach House and Dream Pop. It made me realize that I can be all of the things that I love."

The offbeat artist is aurally infatuated by cinematic and visual narratives, embedding into her music the tantalizing drama, mystery, and suspense that would be at home in a sci-fi film or bewitching gothic painting. "Films and foreign art are a big part of my music process," Shake says. "Artists like David Lynch and Francis Bacon have inspired me a lot for this album."

070 Shake caught up with GRAMMY.com during the final leg of her North American tour, which  concludes with three sold out performances in Los Angeles this week. She discussed the importance of maintaining a sense of ambiguity while battling with the modern world of social media exposure, falling in love with Kehlani during the making of You Can’t Kill Me, and working with Canadian producer, Dave Hamelin.

How does visual art invigorate your creative process? 

I have always cared so much about visual art. You can see that through my album covers and music videos. I worked with an Italian painter to create the vision behind this album cover. One of the inspirations behind this album was definitely Francis Bacon. His art and personal experiences that I've had in relationships I would say help me create visual impact.

I was watching a lot of French cinema when I created You Can’t Kill Me. I got really into French culture. I think real life experiences and the physical world have inspired me a lot and how the ways visual artists perceive the world. 

Are any artists of different mediums that you really follow closely? 

Yes, I love David Lynch. His movie, Blue Velvet actually inspired the song "Blue Velvet" off this album. Films are a big part of my process, that's my No. 1 where I get my inspiration.

What were some of the muses behind You Can’t Kill Me?

I would say I'm very into the concept of death, I think it's fascinating to me. I'm not excited to die or anything [and] I obviously appreciate life, but I think I don’t have this fear of death. When a human doesn't fear death you kind of see it from a different perspective. It becomes more beautiful and the unknown always tends to scare us.

I'm interested in the concept that all of us have that one thing in common. Every single person on Earth is going to die. People can either perceive death as the end or the beginning.

Your music focuses on human identity, emotion and the poetry of love. How does existentialism, autonomy and perseverance inform the the development of You Can’t Kill Me?

Why not go deeper into these concepts? I think people always run away from the inevitable, so I like to go deep into those concepts, because it's something that everyone will experience.

Speaking on this matter makes my music live longer. I think worldly things only stay here for the amount of time that you live.

What was the early conversation around the turbulent, yet loving video for "Skin and Bones?"

The video was directed by Noah Lee and I really wanted to see what we both could capture together. The video relates to the different human experiences of love and just being and loving somebody on this physical plane.

I know you fell in love over the pandemic and have found unity and harmony with your artistic life partner, Kehlani. How was producing an album with them by your side?

She's such a supportive person to me and she's very, very genuine. Honestly, it is just beautiful to have that genuine relationship with somebody. Just them wanting the best for you and being inspired by you and you know, always asking questions.

I think she is motivating to me, it's almost like always having somebody on your team that continues to pick you up when you're down.

You're fairly private on social media and rarely share your life. You've spoken about going off the grid in the past; would you dream about going back to a time where an artist’s art truly and only spoke for itself?

I’m stuck in this time, so I have to go with it, and I have to play the game, but that is my ideal situation as an artist is to not have to use social media. I think the reason why I'm in this time is to challenge myself, you know?

People aren't outside as much as they used to be. Every time new technology comes out more people stay inside. To really connect with the world you need to stay outside and experience it.

Where does You Can’t Kill Me land in terms of the metamorphic cycle that tends to come with the nature of being an artist?

My artistry reflects my growth, for sure. I am just being myself and the audience is watching me grow. Not that any album is better than the other, it's just a different version of myself. You could like me at my lowest but I'm going to continue to grow and it's not going to be better or worse, it's just growth.

How Tate McRae Turned A "Full Identity Crisis" Into Her Debut Album, 'I Used To Think I Could Fly'

It's been a turbulent five-year journey for Travis Scott bridging the worlds of ASTROWORLD to UTOPIA.

Since the 2018 GRAMMY-nominated album solidified Scott as part of rap's A-list, he's endured the highest of highs and the lowest of lows. Amid working on the album (which he began teasing in 2020), his 2021 iteration of Astroworld Festival resulted in a crowd crush that killed 10. 

Three months later, he welcomed his second child with Kylie Jenner. Earlier this year, the pair reportedly split; just weeks before UTOPIA's arrival, Scott was cleared of any criminal liability for the Astroworld Festival incident, but civil lawsuits remain to be sorted.  

Expectations were already sky-high for Scott to maintain luminary status with his ASTROWORLD follow-up. But after he experienced tragedy and heartbreak alongside triumphs and joy, Scott had all eyes on him as UTOPIA arrived on July 28. Yet, the pressure didn't seem to faze the Houston-born rapper — UTOPIA creates another euphoric world for his loyal fans.

In honor of La Flame's star-studded fourth studio LP — which is loaded with 18 features across 19 tracks — here are five early takeaways surrounding UTOPIA. 

CIRCUS MAXIMUS Is UTOPIA's Visual Companion

Fans didn't know what to expect with Scott's CIRCUS MAXIMUS, which hit select theaters mere hours prior to UTOPIA. The 76-minute film — which takes its name from a UTOPIA track — serves as more of a series of music videos centered around a conversation between the rapper and producer Rick Rubin.

"You've come a long way — is the house half empty or completely empty? How are the kids? I heard there was a tragedy," Rubin asks Scott at one point, but he takes the conversation in a different direction.

The Harmony Korine-directed movie features about half of the songs from UTOPIA and includes appearances from Sheck Wes, Yung Lean and James Blake. Scott goes from DJing a colorful dance party for "MODERN JAM" to smashing chairs and nearly burning down an ancient Italian racing stadium while "FE!N" rings off.

CIRCUS MAXIMUS also allows Scott to share his rather unexpected interpretation of what UTOPIA means inside his world. "UTOPIA is not all pretty," he says in the film. "It's how you balance the idea of confrontation."

Yeezus Rises Again

Scott and Kanye West have had a longstanding musical partnership, as Scott played an integral role behind-the-scenes of West's rebellious 2013 album, Yeezus. A decade later, West's fingerprints are all over UTOPIA — even without a vocal guest appearance.

West earned production credits on "MODERN JAM," "THANK GOD," "TELEKINESIS" and "GOD'S COUNTRY." The latter two were originally on the track list for 2021's Donda before Ye passed them off to Scott to bring across the finish line. 

Elsewhere, "CIRCUS MAXIMUS" is essentially a "Black Skinhead" part two; it interpolates the rugged Yeezus standout, and it was co-produced by Noah Goldstein, Ye's audio engineer for most of his career. 

Trav's most blunt pledge to Kanye came on "Skitzo," which calls back to West's alleged presidential bid for 2024. "I'm loyal, b—, I got Ye over Biden," Scott candidly raps.

Drake And Travis Scott Take Aim At Their Opps Once Again

Drake and Travis Scott have proven to be a winning combination in the past with diamond-certified smashes like "SICKO MODE," and they aimed to recreate that magic with "MELTDOWN."

Right out of the gate, Drake makes a fiery statement with bars seemingly addressing Pusha T — but he's really sniping his close friend Pharrell, mirroring his shots at Kanye West in his "SICKO MODE" verse.

"I melt down the chains that I bought from yo' boss," Drake raps in reference to a Skateboard P pendant he recently purchased at an auction from Pharrell. The 6 God goes on to diss Pharrell's new position as a creative director at Louis Vuitton and claims nobody's messing with the designer brand since the 2021 death of former head Virgil Abloh.

"Give a f— about all of that heritage s—/ Since V not around, the members done hung up the Louis/ They not even wearing that s—," he continues.

Scott joined Drake in the sinister "tensions rising" theme, subliminally dissing Wonka star Timothée Chalamet, who has reportedly been dating his ex Kylie Jenner. "Chocolate AP and chocolate the Vs (Vs), got the Willy Wonka factory/Burn a athlete like it's calories, find another flame hot as me, b—," Scott spits.

While "Meltdown" may not reach the same commercial heights as "SICKO MODE," it has certainly caused a stir on social media. "Drake went crazy… I love when dude starts gettin' chippy!" Hot 97's Ebro Darden wrote on Twitter. As another fan claimed, "Rap been boring. I gotta thank Drake honestly for wanting to get back in the ring."

Scott Finally Got His Dream Collab

Perhaps one of UTOPIA's buzziest cameos comes from Beyoncé, who appears on "DELRESTO (ECHOES)." It marks a full-circle moment for Scott, too, as he has long tried to manifest a collab with his fellow Houston native, publicly declaring his hopes for a Bey team-up to Complex in 2016. (Prior to UTOPIA's release, eagle-eyed fans noticed that the newspaper cover art for "DELRESTO (ECHOES)" had been incorporated as part of Bey's Renaissance Tour decor.)

As Bey continues to ride out her RENAISSANCE groove, Scott fits in well with his hypnotic flow. And in a rather surprising twist, Bon Iver's Justin Vernon rounds out the track by pouring in his ethereal vocals behind the triumphant Hit-Boy production.

While Bey does much of the heavy lifting on "DELRESTO (ECHOES)," Scott's verse still stands out as he declares he won't give up on a new love interest. "The starry nights, they start to fade (Come on)/ At times, for miles I see your face, yeah," Scott testifies, borrowing from Kanye's "Coldest Winter" flow.

"MODERN JAM" Is The Hit Fans Will Eventually Catch On To

Scott's Ragers normally rush to collide for a sweaty moshpit when his music comes on. But with the genre-bending UTOPIA track "MODERN JAM," La Flame's moving the crowd from the mosh pit to the dance floor.

According to Kanye West fan page Donda's Place, "MODERN JAM" is a 10-year-old alternate version of the raw beat that became Yeezus' "I Am A God." Travis expertly meshes the abrasiveness of Ye's hard-hitting 808s with a groovy baseline. And with production help from Daft Punk's Guy-Manuel de Homem-Christo, the Teezo Touchdown-assisted track is a good bet to slow-burn its way to major chart success — even if it has a different feel than what Scott's fans are used to.

Since the beginning of Scott's career, he has been a trendsetter pushing the boundaries of what's considered mainstream hip-hop. He knows how to introduce foreign sonics in such a digestible way that it allows him to take creative risks and still thrive as a commercial titan — and UTOPIA is proof that he hasn't lost his Midas touch.

12 Post Malone Songs That Showcase His History-Making Vision, From "White Iverson" To "Mourning"

Divorce can be complicated, messy, and heartbreaking. But those feelings are prime fodder for songwriting — and it's something that artists of all genres have harnessed for decades.

Writing through the pain can serve many benefits for an artist. Marvin Gaye used Here, My Dear as a way to find closure in the aftermath of his divorce. Adele told Vogue that her recording process gave her somewhere to feel safe while recording 30, a raw account of the aftermath of her marriage ending. And Kelly Clarkson's new album, chemistry, finds her reclaiming herself, while fully taking stock of everything that happened in her marriage, good and bad. 

As fans dive into chemistry, GRAMMY.com has compiled a list of 10 divorce albums from all walks of music. Whether you need to cry, vent, or maybe even laugh, there's a divorce album that has what you need.

Tammy Wynette, D-I-V-O-R-C-E (1968)

During her life, Tammy Wynette was a prolific country songwriter and singer, releasing numerous albums exploring all aspects of love. She was also deeply familiar with divorce, with five marriages throughout her adulthood.

The most intimate album on the topic is her bluntly titled 1968 project D-I-V-O-R-C-E, which explores how sensitive the topic was to speak about. The title track is a mournful tune about hiding a separation from her children, but also conveys the general difficulty of discussing the topic with anyone. Elsewhere on the album, "Kiss Away" is a longing ballad about wishing for a more tender resolution when words have failed.

Fleetwood Mac, Rumours (1977)

After recording 10 albums together, Fleetwood Mac were in disarray. During the recording of their eleventh record, the members of the band were going through affairs, divorces, and breakups, even some with each other. Against all odds, they created Rumours — and it became the band's most successful and iconic album.

The spectrum of emotions and sounds on the album is wide. "The Chain" is all fire and bombast, while the laidback acceptance of "Dreams" seeks to find peace in the storm. Fleetwood Mac sorted out their issues and are still going strong to this day, but their heartbreak created something special in Rumours.

Beck, Sea Change (2002)

Beck has had a prolific career, with 14 studio albums to his name. One of his most affecting is 2002's Sea Change, written in the aftermath of his engagement and nine-year relationship ending.

It's a deeply insular album, even by Beck's standards. Tracks like "Already Dead" are slow and mournful, while standout "It's All In Your Mind" finds him burrowing deep into his own thoughts to parse out how exactly he's feeling with his new life.

Open Mike Eagle, Anime, Trauma, and Divorce (2020)

Divorce isn't a topic that immediately brings laughter, but rapper Open Mike Eagle seemed to find humor in his personal story with his album Anime, Trauma, and Divorce. The album title gives a pretty good rundown of what inspired the project, and Mike's laidback rapping sells how silly the aftermath of pain can be.

"Sweatpants Spiderman" finds him trying to become a functional adult again, and discovering the various ailments of his aging body and thinner wallet that are getting in the way. The fed-up delivery on standout track "Wtf is Self Care" is a hilarious lesson on how learning to be kind to yourself post-breakup is harder than it sounds.

Carly Pearce, 29: Written In Stone (2021)

Heartbreak is a common topic in all genres, but country has some of the most profound narratives of sorrow. Carly Pearce added to that legacy with 29: Written in Stone, her 2021 album centered around her 29th year — a year that included both a marriage and a subsequent divorce.

The emotional whiplash of such a quick change can be felt all over the project, from an upbeat diss track like "Next Girl" to more poignant pieces like the title track, which finds Pearce reflecting on her tumultuous year. Her vulnerability resonated, as single "Never Wanted To Be That Girl" won Pearce her first GRAMMY, and her latest single, "What He Didn't Do," scored the singer her fourth No. 1 at country radio. 

Kanye West, 808s & Heartbreak (2008)

Kanye West's fourth album 808s & Heartbreak came from a deep well of pain. Besides the end of his relationship, West was also in turmoil from the death of his mother, Donda. The result is one of the bleakest sounding records on this list — but also one of West's most impactful.

808s & Heartbreak is minimalistic, dark, and brooding, with a focus on somber strings and 808 drum loops (hence the album's title). West delivers most of his lyrics in a monotone drone through a thick layer of autotune, a stylistic choice that heightens the sense of loss. Besides being a testament to West's pain, the electronic sound pioneered on 808s & Heartbreak would serve as a foundational inspiration for the next several years of hip-hop.

Toni Braxton & Babyface, Love, Marriage, & Divorce (2014)

Toni Braxton and Babyface are two stalwarts of R&B in their own rights, and in 2014, the pair connected over their shared experiences going through divorce. Their bond sparked Love, Marriage, & Divorce, a GRAMMY-winning album that intended to capture the more universal feelings the life of a relationship conjures up.

Each artist has solo tracks on the record — Babyface wishing the best for his ex on "I Hope That You're Okay" and Braxton sharing her justified anger on "I Wish" and "I'd Rather Be Broke" — but where they shine is on their collaborations. The agonizing "Where Did We Go Wrong?" is heartbreaking, and the album ends with painful what-ifs in the soulful "The D Word."

Adele, 30 (2021)

Divorce is hard no matter the circumstances, but it gets even more complicated when children are involved. That was the reality for Adele, and it served as major inspiration for her fourth album, 30.

Like every album on this list, there's plenty of sorrow on the record, but what really sets it apart is just how honestly Adele grapples with the guilt of putting her son Angelo through turmoil as well. The album's GRAMMY-winning lead single "Easy On Me" addresses it in relation to her son, and standout track "I Drink Wine" is a full examination of the messy feelings she went through during her divorce.

Kacey Musgraves, star-crossed (2021)

As many of these albums prove, divorce triggers a hoard of emotions, from anger to sadness to eventual happiness. On star-crossed, Kacey Musgraves goes through it all.

There's the anthemic "breadwinner" about being better on her own, "camera roll" looking back on happier times with sorrow, and "hookup scene" about the confusion of adjusting back to single life. Star-crossed sees Musgraves continue to evolve sonically — incorporating more electronic sounds into her country roots — but ultimately, she comes out the other side at a place of renewed acceptance and growth.

Kelly Clarkson, chemistry (2023)

Kelly Clarkson's tenth album chemistry was born out of her 2020 divorce. In true Kelly fashion, she addresses the subject with thoughtful songwriting and a pop-rock vibe fans have adored for 20 years on. 

Chemistry focuses not just on the pain of divorce, but on the tender feelings that many couples still have for each other even after the end. Tracks like "favorite kind of high" mirror the euphoria of love, juxtaposed with ballads like "me," in which Clarkson finds comfort in herself and her inner strength — an inspiring sentiment for anyone who has had their heart broken.

Kacey Musgraves' Road To 'Star-Crossed': How The Breakup Album Fits Right Into Her Glowing Catalog

As Jay-Z declared in 2001's "Breathe Easy," few rappers stack up when it comes to his flow, consistency, stories, charisma, and trendsetting powers — and he's backed up his claims for three decades on.

The Brooklyn rapper has cranked out chart-topping hits and street anthems across classic albums like The Blueprint and The Black Album, and he's inspired generations of rappers to take on his pen-free approach to music. But long before becoming a hip-hop icon, the young Shawn Carter first honed his musical gifts by rapping over a boombox in his childhood home in Bed-Stuy's Marcy Projects.

Nicknamed "Jazzy" for his love of music, Jay-Z split his time between exploring his newfound passion and dealing crack cocaine as a teenager. After linking with childhood friend and then-mentor Jaz-O, he adopted the moniker "Jay-Z" in the late 1980s, and eventually captivated hip-hop fans on the posse cut "Show and Prove" from Big Daddy Kane's 1994 album Daddy's Home. That moment led to the eventual release of his own single, 1995's "In My Lifetime," and the years that followed served as the coronation of one of rap's biggest stars.

After being rejected from major record labels, Jay linked with fellow New Yorkers Damon "Dame" Dash and Kareem "Biggs" Burke to establish Roc-A-Fella Records in 1996. He soon went from being an up-and-coming artist selling burned CDs out of his car to producing multi-platinum singles and No. 1 albums. 

His greatness has earned him 24 GRAMMYs to date — tied with Kanye West for the most of any rapper — and a spot in the Rock & Roll Hall of Fame. And with a billion-dollar business empire to match his acclaimed discography, Jay-Z has long been declared one of the greatest MCs ever. 

As he continues his rap reign, revisit some of Hov's most illustrious career moments, from memorable performances to groundbreaking album releases and legacy-defining accolades. 

Listen to GRAMMY.com's official Songbook: An Essential Guide To Jay-Z playlist on Spotify, Apple Music, Amazon Music, and Pandora. Playlist powered by GRAMMY U.

THE RISE

"Hawaiian Sophie" (1989)

A fresh-faced, hi-top faded Jay made one of his earliest appearances on wax with "Hawaiian Sophie." The 1989 record was a modest and playful hit by childhood friend Jaz-O, who let Jay contribute a few lines on the island-themed track.

Though Jay's presence was minor, he put a face to a relatively unknown name by popping up throughout the song's luau-style video. Years later, he gained the attention of legendary Brooklyn rapper Big Daddy Kane, who brought Jay on as a hype man before he broke out as a solo act and formed a more calculated, sharp-tongued lyrical style. 

Reasonable Doubt (1996)

Taking inspiration from classic films like The Godfather and Goodfellas, Jay-Z showcased his lyrical potency and storytelling ability on his critically acclaimed debut, Reasonable Doubt, in mafioso fashion. The album was the manifesto of a 26-year-old street hustler, who looked to shed the deadly perils of the drug underworld to bask in the caviar and champagne lifestyle.

He shifted from the colorful, bombastic rap style of his early career to a snappier and grounded delivery on "Coming of Age," and the Biggie Smalls-assisted "Brooklyn's Finest," while still offering a slice of mainstream appeal on "Ain't No N—" featuring Foxy Brown. Legendary producers DJ Premier ("Fried or Foe"), DJ Clark Kent ("Cashmere Thoughts"), and Ski ("Dead Presidents II") helped lay the canvas for Jay-Z to illustrate his past experiences and impending accolades and riches. 

The album was among his best releases in the '90s, and helped establish his foothold in the industry through the new millennium. While Reasonable Doubt didn't reach platinum status until six years after its 1996 release, the project elevated Jay's profile as an emerging MC with a penchant for vivid street tales and mainstream edge. 

Vol. 2... Hard Knock Life (1998)

Jay-Z's third album is possibly the most impactful in his career. Not only did it notch his first GRAMMY (for Best Rap Album at the 1999 GRAMMYs), but it remains his best-selling album with more than 5 million copies sold. It also started an 11-album streak of No. 1 releases.

The project was a medley of pop-oriented singles such as "Can I Get A…" and club records like the piano-laced hit "Money, Cash, Hoes." It also offered street classics like "Hard Knock Life (Ghetto Anthem)," which showcased his musical versatility and mainstream appeal. 

Aside from the Stevie J-produced "Ride Or Die," Jay veered away from the Bad Boy production style of Vol. 2's predecessor, In My Lifetime, Vol. 1. He enlisted Ruff Ryders producer Swizz Beatz for "Coming of Age (Da Sequel)," and producers Timbaland, Jermaine Dupri, Irv Gotti, and Kid Capri were also tapped for the project, creating a lush palette of club bangers and records indicative of the shiny-suit era of late '90s hip-hop. 

THE ANTHEMS

"Imaginary Players" (1997)

If it wasn't for Hov, rappers may still be drinking beer over champagne, rocking silver charms over platinum, and driving Range Rover 4.0 SEs instead of 4.6 HSEs. Not only did Jay shift the motor and champagne industry with his second album, but he altered the rap game, too. And "Imaginary Players" was proof.

The In My Life, Vol. 1 cut was a collective side-eye to frauds masked as street hustlers, and signaled Jay-Z's early trendsetting powers. The song didn't graze the Billboard charts as high as singles "Who You Wit," "The City Is Mine" and "(Always Be My) Sunshine," but it grew into a street anthem and blueprint for the real go-getters to shine among the fakes. 

"Big Pimpin'" (1999)

For years, "Big Pimpin'" was the ultimate summer anthem. The single from Vol 3… Life and Times of S. Carter showcased Jay's ability to produce hit records with artists from other regions. It also laid the ground for future collaborations between Jay-Z and Timbaland, who went on to produce tracks like "Dirt Off Your Shoulder," "The Bounce," "Tom Ford," and others.

Music aside, the song's video is reflective of the flashy, big-budget era of the late 1990s and early 2000s. Shot during the Trinidad and Tobago Carnival, the video's yacht views, sand-filled beaches, and cigar smoke complimented the song's tropical sound and inspired listeners to wrap themselves in linen garments, kick back and enjoy the Caribbean breeze. 

The Blueprint (2001)

Regarded as the best album in his catalog, 2001's The Blueprint encapsulated all of the elements that made Jay-Z a lyrical titan and fixture in music. Between the boundless braggadocio on "The Rules Back," the tales of chaotic romance on "Girls. Girls, Girls," and a snapshot of his uprising on "Blueprint ("Momma Loves Me"), the album captured it all.

While "The Takeover" sparked one of the era's most contentious rap beefs, and forced Queens rapper Nas to snap back with a poignant blow of his own in "Ether," the album was riddled with some of Jay's biggest records during the 2000s. Street anthems like "Izzo (H.O.V.A.)" had rap fans of all ages spelling out the song's title, and soul-stirring album cuts like "Song Cry" had listeners barely holding onto their tears. 

The Black Album (2003)

Jay's eighth studio effort was pegged as the final one by the Brooklyn MC. And while he eventually returned for Kingdom Come three years later, 2003's The Black Album would've been the perfect end to an already historic rap career.

On "December 4th," Jay kicked off the album with a call back to his origins. "They say they never really miss you 'til you dead or you gone/ So on that note I'm leaving after this song/ See you ain't got to feel no way about Jay so long/ At least let me tell you why I'm this way, hold on." 

Jay goes on to outline his successes on "What More Can I Say," then incites fans to level up their sexy on "Change Clothes." Between experimental records like the DJ Quik-produced "Justify My Thug" and the soulful "Lucifer," The Black Album is also filled with stadium-rocking anthems. 

On "99 Problems," Jay raps over zingy guitar riffs for a bold track that's reminiscent of Run DMC and Aerosmith's 1986 smash "Walk This Way." Both songs were produced by Rick Rubin, who provided the rock-induced, bare-bones beat for Hov to unleash on snarky law enforcers and uninformed rap critics. 

The Timbaland-produced "Dirt Off Your Shoulder" is a middle finger to the dream killers envious of others' success. The platinum-selling record even inspired Barack Obama to use a shoulder-brushing motion when running against then-rival Hillary Clinton during his 2008 Democratic nomination campaign. 

THE COLLABS

"Numb/Encore" (2004)

After dropping a live album with The Roots and releasing two critically panned collaborations with R. Kelly, Jay made a creative pivot with Collision Course (EP). The rapper teamed up with Linkin Park for a hip-rock project that was inspired by Danger Mouse's The Grey Album, and mashed hits like "Jigga What, Jigga Who," "Dirt Off Your Shoulder," "Big Pimpin'" and with songs from Linkin Park's Meteora and Hybrid Theory releases.

The album received mixed reviews, but the project's lone single "Numb/Encore" won Best Rap/Sung Collaboration at the 48th GRAMMY Awards and helped the EP land a No. 1 spot on the Billboard 200. 

"Empire State of Mind" (2009)

Fifteen years after Nas' "N.Y. State of Mind," Jay made his own dedication to New York City with "Empire State of Mind." The record is an ode to the city that shaped him, and the millions of other natives who, like him, hustled in various boroughs to get by (and have a closet full of New York Yankees hats).

The Alicia Keys-assisted track touched the hearts of New Yorkers everywhere, including Harlem and Brooklyn native Lil Mama, who notoriously hopped on stage with Keys and Jay during their performance at the 2009 MTV Video Music Awards. The Blueprint 3 single took home two gramophones at the 53rd GRAMMY Awards for Best Rap-Sung Collaboration and Best Rap Song. 

Watch the Throne (2011)

After teaming up on classic songs like "Never Let Me Down" and "Diamonds From Sierra Leone (Remix)," Jay and Kanye West came together for a full-length project in 2011. The two rap giants combined their musical genius for Watch the Throne, an explorative and enthralling body of work filled with genre-melding hits coated with top-tier production and memorable features.

Watch the Throne was an exercise in musical cohesion and set the bar for collab projects to follow, given the commercial success and critical reception it received upon its release. Jay served as the lyrical orator, while West was the sonic architect and more animated showman. 

Between glossy trap songs like "H.A.M." and "N—s In Paris, and the pop-extravagance of "Lift Off," Jay and Kanye tell fervent tales of their ghetto origins on "Murder To Excellence," visions of their children's lives on "New Day," and give listeners soul-stirring jams like "The Joy" and "Otis." Each track was nourished from the well of Jay and Kanye's artistry, and done without either rapper leaving the other to dry. 

"Holy Grail" (2013)

The same year Jay-Z and Justin Timberlake came together for the hit "Suit & Tie," the pair delivered another smash with "Holy Grail." The song's origins began in the sessions for Watch the Throne, but Hov feared it would get lost in the shuffle — so he decided to build 2013's Magna Carta… Holy Grail around the enthralling record.

An explosive track about the allure and destruction of fame, it became the lead single for MCHG, selling over 3 million copies and winning Best Rap/Sung Collaboration at the 2014 GRAMMYs. A year after its release, Billboard placed the record at No. 25 on the publication's Top 100 Hot Rap Songs of all-time list. 

EVERYTHING IS LOVE (2018)

Prior to 2018, Jay-Z and his wife, Beyoncé, blessed fans with culture-shifting collaborations like "Crazy in Love," "03 Bonnie and Clyde," and "Drunk in Love." These songs prompted fans to call for a full-length project from the power duo, and after years of anticipation, the power couple delivered 2018's EVERYTHING IS LOVE.

The album came as a surprise to fans, with many jarred by the rumors surrounding Jay and Beyoncé's marriage following the release of Bey's searing 2016 project Lemonade (as well as Jay's honest response with 4:44 — more on that later). While the speculations and alleged drama continue to swirl online, the two stars came together for a nine-track album that gave listeners a behind-the-scenes look at life at the Carter residence. 

Announced in the middle of their second On The Run stadium tour, EVERYTHING IS LOVE celebrated the power of black love and family life while exploring unadulterated extravagance. Like their past collaborations, Beyoncé's soothing, high-powered vocals helped elevate Jay's bars and artistry. 

Together, they combined their collective powers for stories about rowdy tour stops and endless shopping sprees on "APES—" and "BOSS," and Beyoncé adorned the album with emotion-filled love ballads like "SUMMER." The couple even exchanged braggadocious rhymes about the strength of their union on "LOVEHAPPY," and the fun they have together outside the lines of celebrity on "HEARD ABOUT US" — proving they had not only weathered the storm, but came out stronger together.

THE LEGACY

4:44 (2017)

Arguably one of Jay's most complete and honest bodies of work, 4:44 is a vivid look at the artist's triumphs and failures as Shawn Carter the man. On the opening track "Kill Jay Z," he sheds his ego-fueled moniker to reveal his early upbringing in Bed-Stuy on "Marcy Me," the discovery of his mother's sexuality on "Smile" and the issues surrounding his marriage on the title track.

While the late-career album was largely viewed as a response to Beyoncé's Lemonade album,  4:44 also painted a portrait of Black America, unveiled the pathway to generational wealth on "The Story of O.J.," and the value of shared successes on "Family Feud" and "Legacy."  

The rapper veered from the commercial sound of Blueprint 3, and the gumbo of trap and luxury-soaked beats on Magna Carta… Holy Grail, to deliver deeply personal messages over No I.D.'s grounded, sample-heavy production. 

The artist hasn't released another solo project since 4:44, but if it is in fact his last album, it's certainly a stellar way to close the door on a legendary music career. The 2017 release was praised by critics and garnered three nominations at the 60th GRAMMY Awards, including Song Of The Year and Album Of The Year. 

"GOD DID" (2022)

The GRAMMY-nominated song had plenty of star power thanks to John Legend, Lil Wayne, Rick Ross, Fridayy and producer DJ Khaled — but Jay-Z's verse tilted the hip-hop world on its axis. 

On "GOD DID," Jay spit one of the best verses in his catalog. "I be speaking to the souls of men/ Those of them willing to die for the existence that this cold world has chose for them/ Kicking snow off a frozen Timb (woo)/ Back and forth on this turnpike, really took a toll on them." The MC detailed his journey across state lines to live out his street dreams, the drama and misfortunes that followed his tracks, and how he leveraged his powers to become one of the first rappers to reach billionaire status.

He encapsulated it all within a four-minute verse, closing out the track touching on his legacy — and proclaiming that he is in fact one of rap's all-time greats. "I just got a million off a sync/ Without risking a million years tryna get it out the sink (woo)/ Hov big/ They said they don't know me internationally, n—s on the road did/ I see a lot of Hov in Giggs/ Me and Meek could never beef, I freed that n—a from a whole bid/ Hov did/ Next time we have a discussion who the GOAT, you donkeys know this."

Killer Mike Says His New Album, 'Michael,' Is "Like A Prodigal Son Coming Home"

Kassa Overall holds his phone aloft, and rolls his eyes back in his head.

He's playing the intro to his track "Going Up," featuring Lil B, Shabazz Palaces and Francis and the Lights, which had dropped that day. A cello drone gives way to a strange woodblock part; a chopped-up drum solo jaws at everything — then it's as if Ableton freezes. Flanked by synths and sequencers, Overall seizes in his chair, as if he's being sucked into a black hole.

"You know the part where Neo gets kicked out of the Matrix?" the GRAMMY-nominated rapper, drummer and producer tells GRAMMY.com via Zoom. "It's like that, but when you get spit out, you actually get spit out in the bush in Africa."

That 20-second intro took Overall a long time to get right, but it's one of his favorite moments on his new album, ANIMALS — which arrived May 26 on Overall's new home, Warp Records.

The conversation has turned to the concept of absurdity —  a helpful lens through which to view Overall's art. It sure beats the one that hamstrung him in the past, when he did interview after interview after interview about the intersection of jazz and rap — with mental health thrown in for good measure.

"I've talked about this for two albums now," he told GRAMMY.com in 2021 with a hint of exhaustion. "I ran that cycle in my head. I'm not so much trying to prove the point anymore that these things can go together. I just want to make the dopest s—."

The joy of ANIMALS is not in that genre fusion, but Overall's swelling boldness and vividness as an artist — as well as its novel fusion of seemingly disparate collaborators. Try to find another record where you'll find jazz-adjacent pianists Vijay Iyer and Kris Davis next to singular rappers like Danny Brown and Lil B.

"The reason the jazz world feels a little bit dry and s— is because there's not really the space for absurdity," Overall says. "Somebody like Louis Armstrong or Dizzy Gillespie — a third of them was Lil B and Danny Brown energy. That's why it was fire."

On ANIMALS, Overall rose to the energetic occasion. The album is consumed with subjects like his uneasy relationship with ambition, and his relationship with his growing audience. On tracks like lead single "Ready to Ball," the Nick Hakim and Theo Croker-featuring "Make My Way Back Home," and the Vijay Iyer-assisted "The Score Was Made," Overall has bigger fish to fry — than where rap does or doesn't connect with jazz.

Read on for an interview with Overall about his latest career moves, bucking tired narratives and using collaborators as instruments — much like a certain embattled rap innovator.

This interview has been edited for clarity.

I'd like to start by talking about your pandemic-era SHADES trilogy of mixtapes. How was the experience making those mixtapes significant to your creative journey?

I was just thinking about the SHADES series yesterday, actually. I was thinking about the process of making that versus making a solo record, and I realized they're actually a lot more connected than people might think. 

When I make my own music, the process of it is still sample chopping — whether I'm chopping up original music, or chopping up some Nirvana, you know what I mean? Oftentimes, my original music includes collaging from other sources.

The SHADES thing was like me going, Let me actually deal with the sample practice. I missed the idea of taking some s— and flipping it. So, that was really a lot of fun.

I think SHADES 3, the third in the trilogy, was kind of a new direction for me, because I started actually using drum machines. The series started with more of me on the laptop, locked down in COVID, chopping up this and chopping of that. For this one, I had an actual studio behind me.

The lockdown is over, so I'm not so much in the headphones. So, if you listen to SHADES 3, it's more house tracks and s— like that. For me, it was just a good experiment. Although I made beats and used sample sequences, I never really got into step sequences, and those kinds of drum machines.

I'm a novice at that; I'm brand new at that. So, that's been a lot of fun.

The last time I interviewed you, you seemed to be trying to wrestle out of the reductive narrative around your music. You're dealing with more important subjects on ANIMALS. Where are you at in your career, through the lenses of public messaging and your signing to Warp?

Thank you for pointing that out first, because that'll allow me to not have to repeat things I'm tired of repeating.

Just to recap what you're saying, historically, jazz and rap often equals corny. I've never wanted to be corny, and I don't think I've ever been corny. It just happens to be the things that I say — where I come from. It's not so much like, I'm gonna do this.

And then the mental health s— is more like, I've just gotten comfortable talking about my life. Just like with any writer — you could be a writer for years, but it could become years until you become comfortable talking about your perspective and your ideas. If I'm just talking about the things that affect me a lot, that has to be a part of it. You can't not talk about it, but it was more like, I want to get past that.

I think that putting the album out on Warp is a bit of messaging in itself, because I've been making this music that I don't consider to be that weird. My music is not weird compared to Aphex Twin or Squarepusher, you know what I mean? 

It's a fresh take on electronics and organics, you know what I mean? It's unique, but it's not that weird. I came up through the industry I came up in. So, I'm trying to get booked in jazz clubs and play jazz festivals, and they're looking at me like, "Not under my banner!"

If you listen to the state of jazz, or different playlists on the various streaming platforms, they sound a lot different than when I first started putting music out. People were like, "Whoa, what is this? Is this your pop product? This is your pop album, right? How's your pop s— going?"

That's what my homies used to say — my jazz friends. "He plays good — like, he's a killing drummer, but he's also got this pop s— he do."

Your work doesn't resemble any pop music I've ever heard.

Nah, nah, But there's a drum machine of sorts. There's a clap that's not organic. There's vocals. [Laughs.] It's pop!

The first time I noticed was when I did a guest mix for BBC, which came through Tom Ravenscroft. He got hip to the album through Bandcamp; he had no idea who I am or what I am.

That's how I started even doing the SHADES stuff — when I got the opportunity to do guest mixes, I would do remixes to kind of double down. It's like a double word score of like, Yo, he's doing some extra-different s—.

So, they were like, "Producer Kassa Overall does a guest mix." And I noticed that it's the way you present something; people are listening to it differently. If I present an album as a jazz drummer, then it's some pop s— where I'm trying to sing or something. 

But then when it's presented as a producer thing, people are automatically like, "Oh, word. This is, like, electronic music. It's cool. We know where to put this."

My biggest influences are unique artists — unique people who made things that are kind of their own genre, whether it be Thom Yorke, Radiohead, Björk. Even Kanye; at a point, it was rebranding the whole idea. Like, "I'm a producer — no, I'm a rapper!" "You have a gangster image!" "No, I'm wearing skinny jeans and a pink polo!"

Then, even someone like John Coltrane, somebody like Bob Marley — obviously, these are the biggest artists in their fields, but they're also people [where] whatever they're making, you didn't really know what it was before it kind of popped in.

So, I would rather people hear my music and not think it's a jazz-rap collage. What if you don't relate it to anything else? What does it sound like to you?

The thing about the last album with Brownswood [Recordings, 2020's I THINK I'M GOOD]: I was like, "Bro, so many songs I'm making that y'all are considering to be B-sides would work well next to a Frank Ocean or James Blake record." 

Maybe it's a little too poppy for Brownswood's audience, but f— Brownswood's audience, you know what I mean? But there's a million people over here that don't even know what a Nord or a Rhodes is, and they f— with what I'm doing.

So I think that's the frustration I've dealt with. I'm just a dude making songs about my life. That's all it is.

Kassa Overall. Photo: Patrick O'Brien Smith

Was it a difficult process to find a post-Brownswood home that was conducive to what you want to do?

No, it was very easy. And shouts to Brownswood; I'm not saying "F— Brownswood." That's the homies. [Label founder] Gilles Peterson is still a big supporter of what I'm doing. I'm just saying moreso my image and branding — if you want to make it seem like I'm this organic Afro-bop type, it's not gonna really sell. My s— is way too sad boy.

Somebody from Warp hit me up after I THINK I'M GOOD came out and asked me to make some beats for Danny Brown. Actually, they asked me if I had some beats. I was like, "Bro, give me two weeks," and I made three beats for Danny Brown; he picked two of them.

And then, that same A&R came back around and was like, "Yo, I think you should touch some other tracks on the album and 'Kass out' the whole album." So, I added all sorts of little drums and vocal throws — different things to give my little texture.

I ended up working on four joints total on Danny's next record — and fully producing one, which is one of the singles, but it sounds like a Kass kind of thing. So, that relationship started, and we chop it up on music stuff regularly.

When I started getting ready to shop for my next record, it was kind of like, "Y'all want to do it?" and [Warp] was like "Hell yeah."

I could have signed somewhere else and gotten more money, but the branding would be the same "What is this?" type of thing. I think Warp has the history of electronic music, and they have artists there now — it tells a story of what I'm doing, in a good way. I fit into the thing.

You came up in the jazz scene, and your relationship with ambition weighs heavily on ANIMALS. What is it about that world that lends itself to a hyper-competitive, rise-and-grind spirit?

I think it's the displacement of a cultural home. I understand what you're talking about — jazz, self-help, motivational. There's so many connector cables there, and I'm guilty of it all. 

As a jazz musician, you have to learn how to practice. Like, I'm gonna practice all day, and the gigs are gonna come, and you're damn near doing, like, affirmations, and then you go sit in at Smalls. It's not like a doctor goes to school, and then applies, and it's an actual, visible track, The music thing is very pie-in-the-sky.

If you think about self-help as its own branding and industry, a lot of jazz musicians are susceptible to that kind of rhetoric. Because it's like, this person is huge, this person has nothing, and they're almost equally talented. One of them grinds his ass off; the other one drinks. 

The other thing — this might be a little darker, a shadow thing — is one thing that happened with jazz is colleges. Once jazz became this academia thing, that's the student industry. That means you have jazz musicians turning to students as a means of sustainment.

That's not really the culture of the music. The music isn't really rise-and-grind. The culture is not even about success. People like Jimmy Heath expressed this to me: it wasn't popular. 

It's popular now, or it looks like it. A Love Supreme is this huge thing, right? But if you listen to Elvin Jones interviews and stuff, he talks about playing in these clubs, and there's, like, six people there. Four of them are waiters, and people were not trying to hear that noise.

The idea is that you're going to choose this music that's not really designed for mass appeal, but the motivation is mass appeal. It's kind of a conflicting direction. That's not to say it can't work; there's a lot of people making it work.

But we're all screwed a little bit. It might not just be a jazz musician thing, and it might not just be a musician thing, but we're all kind of in this place of Work, work, work, work, work, work, work, work, and who works the most wins.

I don't want to live like that, and I find myself in that position at times. I'm going like, Something's got to give eventually. It's supposed to be more of a spiritual thing — a practice.

Kassa Overall. Photo: Patrick O'Brien Smith

You mentioned Kanye; I love the way he seemed to use collaborators as instruments on Donda. I get that same feeling from ANIMALS.

It's funny you say this. When I started working on this record — we're talking about 2019, even, some of these joints — I always pick a couple of albums to compete with. That's kind of one of my secrets. The last record was <a href="https://www.grammy.com/artists/calvin-broadus/14274">[Snoop Dogg's] Doggystyle and <a href="https://www.grammy.com/artists/2pac/7233">[2Pac's] All Eyez on Me. And this record was Dark Twisted Fantasy.

I haven't said this much in interviews, because I don't want to be like, "Kassa Overall drops album dedicated to Kanye!" [Laughs hard] But he was a huge influence on my process. 

You have these long-ass songs. It's an open-ended beat. And however many minutes [into Dark Twisted Fantasy], Rick Ross comes in. Or you have Paul McCartney working on the melody. That was the inspiration behind this. If you listen close to a lot of the sonics, you'll hear, Oh, this is in conversation with that production process.

A musician like Kris Davis, for example. An absolute weirdo. You sit down and talk with her — so stoic. Who she is in itself is an anomaly. And then the music she makes is so unique.

Somebody like her would never cross paths with Danny Brown, who's equally strange. Even just his voice; he was a weirdo in his world. He was signed to G-Unit. He came up in Detroit, street rap adjacent, but when he popped off by kind of busting out of that and embracing more of the weirdo myths of his art. He's a standout in his own space.

I look at those two artists as people that actually have more in common than you would think. They're similar because they're very different in their own spaces. I think the world that Danny Brown lives in is better with Kris Davis in it. And I think the world that Kris Davis and Vijay Iyer are in is better with Lil B in it.

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