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Tory Lanez - New Toronto 3 (Review)

Daystar Peterson. Or better known as Tory Lanez is a Canadian rapper from Brampton and heavily associated with the country’s metropolitan city – Toronto. His new mixtape, “New Toronto 3” sees him follow-up on his “New Toronto” mixtape series. As versatile as ever, recently Tory has been in his R&B bag as he’s built on his cult classic Chixtape series. Yet, on the opposite spectrum, on the 10th of April 2020 – he released a trap-inspired projects filled with hard-hitting raps and possibly some of his most personal songs yet.

Tory begins the project with “Pricey & Spicey” and its filled with energy. Looped choral melodies, hard-hitting base and braggadocious raps. This shit is hard. Reminiscent of his collaboration with Meek Mill on “Lord Knows”. Sticking to the tone he’s set; he sounds carefree and confident. A commanding delivery and he sounds incredibly convincing. It’s further evident in his lyrics on “The Coldest Playboy” and “Stupid Again”. Three songs in, to keep it short – this shit bangs.

Almost abruptly, Tory taps into his R&B bags. “10 Fucks”. Some pleasant melodies. While sounding upbeat, it’s not. He may be singing but this is unlike usual love songs. If anything, he asserts how cold he is in regard to what he feels. Alongside Mansa, he shows his vocal prowess on the song. He follows it up with heavily rap orientated records. Thereafter, on “Dope Boy Diaries”, he exhibits storytelling on a piano-based melody. “Accidents Happen” (which features Lil Tjay) shows his vocal cadences but it wasn’t really necessary on the project. It feels like it slowed the project down.

To pick up the energy, it’s subsequently followed by “Broke In A Minute” – the project’s lead single. Switching flows, clean delivery and flexing over a unique but dope instrumental. It’s a good “pick-me-up”. It signals a change in gear. On “P.A.I.N”, Tory bares his soul. A great lyrical showing over beautiful production. Equally as compelling and alluring, “Adidas” is next. Another exhibition of his lyrical ability and ear. He’s severely underrated as a lyricist and his ear for production is off-the-walls.

Back to R&B. “Who Needs Love” is a clear commercial cut but by my standards, it holds little replay value. It’s nothing special. The song transitions into “Do The Most”. Plenty of bass and a pulse that sounds like it’s meant for strip clubs. The lyrics and Tory’s style reinforce those notions. Mehhh, I could do without this.

“Penthouse Red” sees Tory show his best attributes. His great ear for production, scenic vocals and dope flows. It’s a good lyrical showing and one of the many highlights of the project. It’s the perfect song to lead up to “Letter To The City 2”. The song sees Tory use a low register cadence and pure conviction in his delivery. He is rapping his fucking ass off. Beautiful piano keys sound incredible next to ill drums and a rapper who knows how to make the use of flow pockets.

“Back In Business” isn’t anything Tory hasn’t showed us either. In fact, it doesn’t carry the pulse that it is meant to have regardless of the rhythm-driving bass. Its Tory’s formula but for some reason, it’s not really sticking. The penultimate song, “D.N.D”, sees Tory playfully flow over a minimalistic beat and to be honest, I’m not really engaged. Yeah, there’s flow switches but nothing exceptional.

The project’s lead up to this final song. “MSG 4 GOD’S CHILDREN”. I just got goosebumps. Soulful production looping vocals and murky effects. It gives Tory the perfect platform to get everything off his chest. And he does so with aplomb. This is elite. The cadence, delivery, storytelling, message, content and production are alluring. Tory speaks about his upbringing, his faith, love, the Devil and relationship with God. Its immaculate.

While Tory hasn’t been shy to tell stories on songs, on this project – he seems to have improved further as a lyricist and writer. He speaks about various issues ranging from his record label struggles, negativity in the black community, his newfound independence and his faith in God. At 16 songs in length, it was bound to have a few fillers and commercial cuts. Yet that doesn’t detract from the highlights and the general standard of the overall project. It’s definitely worth a listen and one of Tory’s best rap performances in a few years.

73/100.
Indoor.

Written by: Whyte Ukor | Twitter @biggWhyte
Edited by: Dithekgo Mogadime | Twitter @Dithekgom

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1 comment

  • Joseph UORRRR!

    Booyi

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