Iggy Azalea Shows Potential On ‘The New Classic’
Aussie rap newcomer Iggy Azalea shows potential on her debut rap LP
“Oh what, a white girl with a flow ain’t been seen before?” Rarely. How many Australian rappers are killing the game stateside? NONE come to mind. Newbie Iggy Azalea hopes to break through in the US.
The barriers certainly lie in front of her as the white girl legit rapper from “down under”, but as she proves throughout debut The New Classic, she’s unafraid. Azalea asserts herself as a bad M.F. onThe New Classic., The New Classic is imperfect, but Azalea keeps it interesting.
The New Classic
“Walk The Line” kicks off The New Classic soundly, possessing a surprising, unexpected maturity. While very much an introductory track, the track sets the tone and gives the listener ‘food for thought’. “Not where I wanna be but I’m far from home / just tryna’ make it on my own,” she sings on the hook.
“And unless destiny calls, I don’t answer phones / this is the line and I walk alone.”
While Azalea could’ve rapped about shallower topics, she keys in on her personal journey.
“I was wide awake and got slept on / I had everything and then lost it / worked my ass off, I’m exhausted.”
After “walking the line” all by herself, Azalea “Don’t Need Y’all” – really, she don’t. “I remember when I wasn’t this big / and now y’all wanna act like y’all helped me get here,” she accusatorily spits on the hook. Basically, Azalea drops the tried-and-true ‘fake friends’ theme.
“100” plays on tried-and-true, territory. The cut is interesting thanks to production (Watch the Duck also provides the expressive vocal hook), as well as Azalea’s quick-paced rhymes. Regardless, it’s nothing ‘brand new’.
“Change Your Life” may not be a game changer to the audience’s lot in life, but it is definitely notable. Azalea initiates her verse with a bang:
“You used to dealing with basic b*tches / basic shit, all the time / I’m a new classic, upgrade your status / from a standby, to a frequent flyer.”
The hook keeps it simple (“I’mma change your life, I’mma change it…”), and T.I.’s not quite as ‘electric’ as he once was, but ultimately, “Change Your Life” is sound.
Fun single “Fancy” lives up to its title (or the antithesis rather) and Azalea doesn’t waste any time. “First things first I’m the realest,” she fiercely spits on verse one.
“Drop this and let the whole world feel it / and still I’m in the murda bizness / I could hold you down, like I’m givin’ lessons in physics.”
Azalea doesn’t only ‘create her own shots’ – she brings in a burgeoning Charli XCX to assist.
The assist definitely makes “Fancy” click on all cylinders, winning the game easily – jump shots, dunks, etc. Going back to the whole antithetical fancy notion, well Charli XCX’s definitely supports such an assertion:
“Trash the hotel / let’s get drunk off the mini bar…chandelier swinging, we don’t give a f*ck.”
Yep, fancy all right.
“New B*tch” continues the notion Azalea is “the new classic” exemplified. Azalea is just what the title asserts – his “new chick”. As to why the track is censored on the explicit edition of the album is anybody’s guess. Perhaps Azalea was trying to be classy?
“Work” is definitely a standout from The New Classic. “Walk a mile in these Louboutins / but they don’t wear these shits where I’m from,” Azalea spits assertively on the first verse.
“I’m not hating, I’m just telling you / I’m tryna let you know what the f*ck that I’ve been through…”
The hook clarifies the title:
“I’ve been up all night, tryna get that rich / I’ve been work, work, work, work, working on my shit / milked the whole game twice / gotta get it how I live / I’ve been work work, work, work, working on my shit / now get this work.”
A solid track with agile rhymes, “Work” is valedictory.
“Impossible Is Nothing” features an inspired message throughout, particularly Azalea’s beautifully sung chorus
“Keep on livin’, keep on breathin’, even when you don’t believe it / keep on climbin’, keep on reachin’, even when this world can’t see it…impossible is nothing.”
Perhaps the optimism of the track is surprising, given the mysterious, darkness about the production. Even so, the production work is stunning (The Invisible Men and The Arcade) and beautiful in spite of its minor key.
If “Impossible” possessed too much ‘redeeming’ substance, “Goddess” is a bit more ‘blasphemous’. Azalea is definitely cocky and confident here, going so far to spit “While I make wine out of water, turn rappers into martyrs / set it off whenever I-G-G in the place” (verse two). Of course, Azalea also makes reference to her non-stereotypical rap status (“Oh what, a white girl with a flow ain’t been seen before?”) Don’t call it the ‘second coming of Christ’.
“Black Widow” brings in the up-and-coming Rita Ora. Like much of The New Classic, the production stands out in tremendous fashion. During Rita Ora’s hook, the rhythmic synths drive hard, matching the pop singers energy. During Azalea’s verses, the production is slicker, anchored by cool beat and accentuated by swagger-laded synths (is there such a thing).
“Lady Patra” is awesome, if for no other reason then referencing Frank Sinatra and Phantom of the Opera.
“Classic, Sinatra, Bad, Phantom of the Opera / Shuffle the deck, I’ll be the queen in the pack / gotcha, Lady Patra”.
The swagger exhibited by “Lady Patra” in all facets (rapping, production, Mavado’s guest spot) makes it a winner. Of course, it also doesn’t hurt when you’re Australian and can make reference to Shabba, LOL. “F**k Love” is brash and manic.
“F*ck love, give me diamonds / I’m already in love with myself / So in love with myself…”
The deluxe edition of The New Classic includes three bonus cuts: the danceable “Bounce”, the broken relationship joint “Rolex,” and “Just Askin’.”
If nothing else, The New Classic exhibits a massive amount of potential. For a debut, Iggy Azalea pleases. Even if Azalea views herself so highly as “the new classic”, the album itself isn’t quite on that level. Still, given the drought in the female rap game, it is nice to hear a female MC.
Gems: “Walk the Line,”“Change Your Life,” “Fancy,”“Work” & “Lady Patra”