An album by U4US

Review presented by Warren Peace

Listen to “[myooz]” by U4US

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U4US consists of the producer/engineer known as Glad2Mecha and the vocalist/rapper Bliss. Through social media and a mutual connection, Bliss found out about The Write Reviews. Bliss contacted me and we discussed several different things, including the album review I am presenting to you here. There will be another album review for Bliss in the very near future, and I am personally looking forward to watching this artist develop and grow as she makes her way into the music business. Without any further delay, here’s the review of U4US’ [myooz].


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1- In-Te-Gritty

To open the album, Bliss displays a sweet singing voice that is attractive to the ear. The lyrics are real and backed with emotion. “In-Te-Gritty” is short, to say the least, and after hearing the album a couple of times, Im not sure if calling it an introduction would be fitting. Regardless, hearing Bliss’ voice should be enough to grab the attention of listeners.

2- Ill-Litter-A-See

A little difficult to understand the intro to the track but it’s forgotten quickly due to it’s short length. Bliss decides to reveal the rap side of her on “Ill-Litter-A-See”. She aggressively delivers straight bars without a hook of a rather mello instrumental. She spits with a flow that rides well to the music, but she seems a little too focused on maintaining her multiple syllable rhyme schemes instead of the content of her lines. An example would be when she says “No you’re wrong, it’s a wand, you prick/ and once you gain the key to self, I might just let you tickle it”. Tickle what? The content is all over the place with no real direction. She does incorporate some worday and actually seems to have a knack for that element of writing. “Ill-Litter-A-See” isn’t a bad track, but I have a feeling people will have a hard time relating to and following along with the lyrics.

3- HeArt-ist

“HeArt-ist” is a great follow-up track to “Ill-Liter-A-See” because, content-wise, they parallel each other. One major difference is the presence of a hook, which is pretty catchy. Bliss’ flow is fluid again and she doesn’t force awkwardly worded phrases for the sake of continuing her multiple syllable rhyme schemes as much, but she does sacrifice when it comes to her content at times. I felt the beginning of her second verse was very solid and on point in all departments, and she incorporates some wordpmay into the track to give listeners something to think about.

4- Bliss 3’16’s

Bliss comes through with an impressive vocabulary on “Bliss 3’16’s” and the majority of the content relates to itself in one way or another, although I believe it will be difficult for the audience to be able to relate to it. There’s no hook for this track, just bar after bar of random content and subject matter. There are still lines that leave me confused, such as when Bliss says “I can’t rock with a man that can’t stand still”. It’s hard to connect with the audience when the audience can’t make sense of the lines being delivered.

5- In-Trend-Sick

“In-Trend-Sick” offers another round of bars filled with random content and subject matter that is likely to leave the audience wondering what it is exactly Bliss is trying to say. What is the message that Bliss is attempting to get across to listeners? There’s a hook on this track, but it doesn’t put the song into perspective because there isn’t a perspective to be had. “I keep the pep as a prep”. What does that mean? Bliss needs to take a step back after writing her lines and ask herself if the content has a message for the audience, is the content relatable to people, and most importantly, does the content make any sense?

6- Planet-Eart (Interlude)

Bliss has another round of more of the same for the audience. She returns to forcing mutliple syllable rhymes, such as when she says “the knowledge of old souls in their task mode”. What is a task mode? Could it be when someone is focused on getting stuff done? If so, who refers to it as ‘task mode’? If it isn’t something you would say in every day conversation then it isn’t something you should say when trying to relate a message to an audience, and it’s very difficult to relay a message to an audience if you don’t have a message to relay.

7- Said-I-Shun

Now we’re talking. Bliss sticks with a subject in her first verse and delivers some intricate rhymes at the same time. Due to previous tracks, a listeners might go ahead and assume “Said-I-Shun” follows in those same footsteps, causing them to pass on the song before giving it a chance. Her vocabulary may also throw off listeners, as people could find themselves trying to keep up with her words instead of being able to take it all in easily and unfortunately, that’s how most of us are trained to think. The hook presents a little bit of a different feel and paints a bit of a different picture that what listeners are presented with on the opening round of bars. The content of the second verse sticks with the hook perfectly, and this is where Bliss is likely to find the best connection with the audience up to this point of U4US. Bliss has shown potential in every aspect as an emcee, but this is the track that proves she can really go far if she continues to apply herself and improve.

8- Budiflo

Relaxed, chill beat kicks off “Budiflo”, which is almost expected based on the title of the track. While it may be more fitting on this track than any before it, the random subject matter continues to keep the audience at a distance instead of creating a connection. There are several times during the course of the album when Bliss says something on a line then follows with something else that doesn’t make any connection to the previous line or doesn’t make any sense when the two lines are put together. Bliss has a good idea centered around “Budiflo”, but by this point of the album, it’s becoming redundant.

9- Moms The Word

Now THIS is what I have been hoping to hear from Bliss since the ooening track! She finally displays her attractive and attention-grabbing singing voice again, and I can only wish she had shared more of it earlier in the album. The hook is captivating, to say the least. Instead of focusing on multiple syllable rhymes and lyricism, Bliss delivers heartfelt content that will reach out and grab the audience. This isn’t just a Featured Track, it’s a potential best-selling song.

10- Blood of Mics

And right back to the random content packed in lines that sometimes don’t connect to each other and are so focused on lyricism that listeners become lost and unable to relate to the material being shared. Don’t think these tracks are a complete waste though- Bliss does have some clever lines and integrated wordplay tied into her barrage of bars, but the key is getting people to lock in and listen and at this point of the album, ears will likely fall deaf because of all the random material shared previously.

11- Cake-A-Thon feat. El Da Sensei

This is another great example of what Bliss can do and what she should be shooting for with her verses and delivery. There’s another fantastic hook that will appeal to anyone within earshot. My only fear is that only a few who started listening to the album from the beginning will make it to this final song to give it the appreciation it deserves. El Da Sensei has the only featured verse on the track, and he delivers a round of bars that work great with the song’s concept while his flow rides the beat well. Bliss and “Cake-A-Thon” close the album out with a bang.


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Said-I-Shun, Moms The Word, and Cake-A-Thon


By the time [myooz] comes to a conclusion, listeners will have realized several things in regards to the album itself and the team known as U4US.

First, let’s talk about the album. Out of the eleven tracks, there just wasn’t enough relatable material for fans to make the connection. Hitting listeners on an emotional level is key, especially when trying to establish a name for yourself or making a memorable album. The music had a lot of the same vibe to it, which is great if you’re making a concept album. There were times when the content didn’t seem to match the feel of the music. I feel better communication between Bliss and Glad2Mecha would greatly improve this, if they choose to work together again in the future.

Glad2Mecha’s instrumentals seemed to come through strongest when things were slower paced, almost as if that were the comfort zone. If the emcee wants to be more aggressive then there might need to be an exit from the comfort zone, which can sometimes kill or weaken an instrumental engineer’s confidence. When it comes to music, the engineer has to be feeling it if they want the audience to feel it. Perhaps beginning with the slower pace then speeding up the tempo in one or two areas would help.

Bliss has a lot going for her, but also has aread that she could improve. It is always good to see an artist working to improve their craft, but you can’t forget to play on your strengths. It seems like Bliss nearly forgot how well she can sing and how easily she can connect with an audience if she expresses her feelings with her lyrics and in her delivery. She showed flashes of greatness when she attacked in a lyrical manner, but too often she appeared too focused on making the multiple syllable rhyme schemes work or would jump from one topic to another so quickly that she would lose her listeners. No one likes restarting a song repeatedly to try and understand the wordplay in a line, all fifty metaphors on fifty different topics, or figure out the message an artist is trying to get across. Making sure the hook captures the emotion felt by the music then writing every line and connecting with the subject matter of the hook will help immensely on future tracks.



(2 out of 5 stars)

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