Exclaim! is a monthly Canadian music magazine that features in-depth coverage of new music across all genres with a special focus on Canadian and cutting-edge artists. Content is based on the monthly print publication, which publishes 9 issues per year, distributing over 103,000 copies to over 2,600 locations across Canada; the magazine has an average of 361,200 monthly readers. Their website, exclaim.ca, has an average of 675,000 unique visitors a month. Exclaim! began as a discussion among campus and community radio programmers at Ryerson's CKLN-FM in 1991. It was started by then-CKLN programmers Ian Danzig and Ron Anicich, together with other programmers and Toronto musicians; the goal of the publication was to support great Canadian music, otherwise going unheralded. The group worked through 1991 to produce their first issue in April 1992, with monthly issues being produced since. Ian Danzig has been the publisher of the magazine since its start. Anicich was the magazine's founding editor, was succeeded in 1995 by James Keast.
To an alternative weekly newspaper, the magazine is distributed as a free publication at campus and community radio stations, record stores and coffee shops. With Chart's decision to cease publication of its newsstand edition in January 2009, Exclaim! is now Canada's only nationally distributed general interest music magazine operating as a print publication. The magazine's website features reviews and profiles, some of which are not found in the print publication, it includes a news page, updated with the latest in music and music-related culture. The site reaches over 675,000 unique users every month, it features Exclaim! TV, which includes regular instalments of video interviews with musicians, as well as a streams section featuring new albums, EPs, music videos and full performances. In recent years, exclaim.ca has increased its film coverage, covering festivals, such as the Toronto International Film Festival, the Sundance Film Festival, Hot Docs Documentary Film Festival, the Toronto After Dark Film Festival, publishing interviews with a number of high-profile directors and movie stars.
Its comedy section focuses on profiles and interviews with established and up-and-coming stand-up comedians. As well as music, exclaim.ca reviews films, comedy specials, live comedy. The magazine's website has contests where readers can enter for a chance to win various music and film-related prizes. Many notable writers have worked for Exclaim! over the years, including Canadian radio personality Matt Galloway, Canadian punk chronicler and new media personality Sam Sutherland, hip-hop scribe and CBC Music producer Del Cowie, published author Andrea Warner, Canadian editor at The FADER Anupa Mistry, award-winning DJ and author Denise Benson. Some of the artists who have graced Exclaim!’s cover over the years include: Arcade Fire St. Vincent Chance the Rapper Mac DeMarco Feist Father John Misty The Weeknd Metric Broken Social Scene Converge Wolf Parade Outkast Yeah Yeah Yeahs Tokyo Police Club The White Stripes In February 2009, Exclaim participated with CBC Radio 3 and Aux.tv to launch X3, a new collaborative cross-promotional platform which sees all three outlets air or publish feature content spotlighting a particular "Artist of the Month".
These artists are featured on the cover of Exclaim's monthly issue. X3 artists of the month have included K'naan, Thunderheist, Apostle of Hustle, You Say Party! We Say Die! and The Rural Alberta Advantage. Since 2012, senior editor Stephen Carlick produces a week-in-review segment for!earshot 20, a nationally syndicated campus/community radio program available through the National Campus and Community Radio Association and produced by CFMH-FM in Saint John, New Brunswick. Staff writer Calum Slingerland took over producing the segment in 2017. Official website
Faith Renée Jordan is an American singer, record producer, actress. Born in Lakeland and raised in New Jersey, Evans relocated to Los Angeles in 1991 for a career in the music business. After working as a backing vocalist for Al B. Sure! and Christopher Williams, she became the first female artist to contract with Sean "Puff Daddy" Combs' Bad Boy Entertainment recording company in 1994, for which she collaborated with several label mates such as 112 and Carl Thomas and released three platinum-certified studio albums between 1995 and 2001, including Faith, Keep the Faith and Faithfully. In 2003, she ended her relationship with the company to sign with Capitol Records, her first album released on the label, The First Lady became her highest-charting album at the time, reaching the top of the US Top R&B/Hip-Hop Albums charts, while the holiday album A Faithful Christmas, released the same year, would become her last release before the company was bought in 2007. Following a longer hiatus, Evans released her fifth album Something About Faith on the independent label Prolific and Entertainment One Music in 2010.
With a career spanning two decades, Evans has sold over 18 million records worldwide. Other than her recording career, Evans is most known as the widow of New York rapper Christopher "The Notorious B. I. G." Wallace, whom she married on August 4, 1994, a few weeks after meeting at a Bad Boy photoshoot. The turbulent marriage resulted in Evans' involvement in the East Coast–West Coast hip hop rivalry, dominating the rap music news at the time, ended with Wallace's murder in an unsolved drive-by shooting in Los Angeles on March 9, 1997. A 1997 tribute single featuring Puff Daddy and the band 112, named "I'll Be Missing You", won Evans a Grammy Award in 1998. An actress and writer, Evans made her screen debut in the 2000 musical drama Turn It Up by Robert Adetuyi, her autobiography Keep the Faith: A Memoir was released by Grand Central Publishing in 2008 and won a 2009 African American Literary Award for the Best Biography/Memoir category. Evans was born on June 10, 1973, in Lakeland, Florida, to an African American mother, Helene Evans, a professional singer.
Her father, Richard Swain, whose ancestry can be traced back to the Caucasus Mountains, was a musician who left before Evans was born. A half-year 19-year-old Helene returned to Newark, New Jersey and left Faith with her cousin Johnnie Mae and husband Orvelt Kennedy, the foster parents of more than 100 children they raised during the time that Faith lived with them. Faith had known Orvelt Kennedy as her grandparents, it was not until a couple of years that Helene's career floundered and she tried to take Evans back home. Faith, was afraid to leave what she had "been used to," and instead, Helene relocated next door. Raised in a Christian home, Evans began singing at church at age two. At age four, she caught the attention of the congregation of the Emmanuel Baptist Church in Newark when she sang The 5th Dimension's song "Let the Sunshine In". While attending University High School in Newark, she sang with several jazz bands and, encouraged by Helene, entered outside pageants and contests, where her voice would be noticed and praised.
After graduating from high school in 1991, Evans attended Fordham University in New York City to study marketing but left a year to have daughter Chyna with music producer Kiyamma Griffin. In 1993, she relocated to Los Angeles, where she worked as a backup vocalist for singer Al B. Sure!, when she was noticed by musician Sean "Puff Daddy" Combs. Impressed with her, Combs contracted her as the first female artist to his Bad Boy Entertainment record label during 1994. Newly contracted to Bad Boy Records, Evans was consulted by executive producer Combs to contribute backing vocals and writing skills to Mary J. Blige's My Life and Usher's self-titled debut album prior to starting work on her debut studio album Faith. Released on August 29, 1995, in North America, the album was a main collaboration with Bad Boy's main producers, The Hitmen, including Chucky Thompson and Combs, but it resulted in recordings with Poke & Tone and Herb Middleton. Faith became a success based on the singles "You Used to Love Me" and "Soon as I Get Home".
The album was certified platinum with 1.5 million copies sold, according to RIAA. A year before, on August 4, 1994, Evans married rapper and label mate Christopher "The Notorious B. I. G." Wallace, after having met him at a Bad Boy photoshoot. The couple had Christopher Jordan Wallace. Evans became involved in the East Coast–West Coast hip hop rivalry which dominated the rap music news at the time after allegations of an affair with Tupac Shakur. Wallace was murdered in a yet-to-be-solved drive-by shooting in Los Angeles, California in March 1997. During early 1997, after her separation from Wallace, but before his death, Evans' friend Missy Elliott introduced her to record company executive Todd Russaw. Faith began dating Russaw during her and Wallace's separation and after Wallace died, Evans became pregnant by Russaw; the couple had their first son Joshua on June 8, 1998. During the summer of 1998, Evans and Russaw were married, on March 22, 2007, they had their second son Ryder Evan Russaw. After Biggie's murder on March 9, 1997, Combs helped Evans produce her tribute song named "I'll Be Missing You", based on the melody of The Police's 1983 single "Every Breath You Take".
The song, which featured Combs and the all-male group 112, became a worldwide number-one success and debuted at number one on the US Billboard Hot 100 chart during 1997, scoring that for eleven weeks. It
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
The Times is a British daily national newspaper based in London. It began in 1785 under the title The Daily Universal Register, adopting its current name on 1 January 1788; the Times and its sister paper The Sunday Times are published by Times Newspapers, since 1981 a subsidiary of News UK, itself wholly owned by News Corp. The Times and The Sunday Times do not share editorial staff, were founded independently, have only had common ownership since 1967. In 1959, the historian of journalism Allan Nevins analysed the importance of The Times in shaping the views of events of London's elite: For much more than a century The Times has been an integral and important part of the political structure of Great Britain, its news and its editorial comment have in general been coordinated, have at most times been handled with an earnest sense of responsibility. While the paper has admitted some trivia to its columns, its whole emphasis has been on important public affairs treated with an eye to the best interests of Britain.
To guide this treatment, the editors have for long periods been in close touch with 10 Downing Street. The Times is the first newspaper to have borne that name, lending it to numerous other papers around the world, such as The Times of India and The New York Times. In countries where these other titles are popular, the newspaper is referred to as The London Times or The Times of London, although the newspaper is of national scope and distribution; the Times is the originator of the used Times Roman typeface developed by Stanley Morison of The Times in collaboration with the Monotype Corporation for its legibility in low-tech printing. In November 2006 The Times began printing headlines in Times Modern; the Times was printed in broadsheet format for 219 years, but switched to compact size in 2004 in an attempt to appeal more to younger readers and commuters using public transport. The Sunday Times remains a broadsheet; the Times had an average daily circulation of 417,298 in January 2019. An American edition of The Times has been published since 6 June 2006.
It has been used by scholars and researchers because of its widespread availability in libraries and its detailed index. A complete historical file of the digitised paper, up to 2010, is online from Gale Cengage Learning; the Times was founded by publisher John Walter on 1 January 1785 as The Daily Universal Register, with Walter in the role of editor. Walter had lost his job by the end of 1784 after the insurance company where he worked went bankrupt due to losses from a Jamaican hurricane. Unemployed, Walter began a new business venture. Henry Johnson had invented the logography, a new typography, reputedly faster and more precise. Walter bought the logography's patent and with it opened a printing house to produce a daily advertising sheet; the first publication of the newspaper The Daily Universal Register in Great Britain was 1 January 1785. Unhappy because the word Universal was omitted from the name, Walter changed the title after 940 editions on 1 January 1788 to The Times. In 1803, Walter handed editorship to his son of the same name.
In spite of Walter Sr's sixteen-month stay in Newgate Prison for libel printed in The Times, his pioneering efforts to obtain Continental news from France, helped build the paper's reputation among policy makers and financiers. The Times used contributions from significant figures in the fields of politics, science and the arts to build its reputation. For much of its early life, the profits of The Times were large and the competition minimal, so it could pay far better than its rivals for information or writers. Beginning in 1814, the paper was printed on the new steam-driven cylinder press developed by Friedrich Koenig. In 1815, The Times had a circulation of 5,000. Thomas Barnes was appointed general editor in 1817. In the same year, the paper's printer James Lawson and passed the business onto his son John Joseph Lawson. Under the editorship of Barnes and his successor in 1841, John Thadeus Delane, the influence of The Times rose to great heights in politics and amongst the City of London.
Peter Fraser and Edward Sterling were two noted journalists, gained for The Times the pompous/satirical nickname'The Thunderer'. The increased circulation and influence of the paper was based in part to its early adoption of the steam-driven rotary printing press. Distribution via steam trains to growing concentrations of urban populations helped ensure the profitability of the paper and its growing influence; the Times was the first newspaper to send war correspondents to cover particular conflicts. W. H. Russell, the paper's correspondent with the army in the Crimean War, was immensely influential with his dispatches back to England. In other events of the nineteenth century, The Times opposed the repeal of the Corn Laws until the number of demonstrations convinced the editorial board otherwise, only reluctantly supported aid to victims of the Irish Potato Famine, it enthusiastically supported the Great Reform Bill of 1832, which reduced corruption and increased the electorate from 400,000 people to 800,000 people.
During the American Civil War, The Times represented the view of the wealthy classes, favouring the secessionists, but it was not a supporter of slavery. The third John Walter, the founder's grandson, succeeded his father in 1847; the paper continued as more or less independent, but from t
The album-equivalent unit is a measurement unit in music industry to define the consumption of music that equals the purchase of one album copy. This consumption includes song downloads in addition to traditional album sales; the album-equivalent unit was introduced in the mid-2010s as an answer to the drop of album sales in the 21st century. Album sales more than halved from 1999 to 2009. For instance, the only albums that went platinum in the United States in 2014 were the Frozen soundtrack and Taylor Swift's 1989, whereas several artists did in 2013; the usage of the album-equivalent units revolutionized the charts from the "best-selling albums" ranking into the "most popular albums" ranking. The International Federation of the Phonographic Industry have used album-equivalent unit to measure their Global Recording Artist of the Year since 2013. Beginning with the December 13, 2014 issue, the Billboard 200 albums chart revised its ranking methodology with album-equivalent unit instead of pure album sales.
With this overhaul, the Billboard 200 includes on-demand streaming and digital track sales by way of a new algorithm, utilizing data from all of the major on-demand audio subscription services including Spotify, Apple Music, Google Play, YouTube and Xbox Music. Known as TEA and SEA when implemented, 10 song sales or 1,500 song streams from an album were treated as equivalent to one purchase of the album. Billboard continues to publish a pure album sales chart, called Top Album Sales, that maintains the traditional Billboard 200 methodology, based on Nielsen SoundScan's sales data. Taylor Swift's 1989 was the first album to top the chart with this methodology, generating 339,000 album-equivalent units. On the February 8, 2015 issue, Now That's What I Call Music! 53 became the first album in history to miss the top position of the Billboard 200 despite being the best-selling album of the week. In July 2018, Billboard and Nielsen revised the ratios used for streaming equivalent album units to account for the relative value of streams on paid music services like Apple Music or Amazon Music Unlimited versus ad-supported music and video platforms such as Spotify's free tier and YouTube.
Under the updated album equivalent ratios, 1,250 premium audio streams, 3,750 ad-supported streams, or 3,750 video streams are equal to one album unit. The Recording Industry Association of America, which had certified albums based on units sold to retail stores, began factoring streaming for their certifications in February 2016. In the United Kingdom, the Official Charts Company has included streaming into the UK Albums Chart since March 2015; the change was decided after the massive growth of streaming. Under the new methodology, Official Charts Company takes the 12 most-streamed tracks from an album, with the top two songs being given lesser weight so that the figure will reflect the popularity of the album as a whole rather than of one or two successful singles; the adjusted total is added to the album sales figure. Sam Smith's In the Lonely Hour was the first album to top the chart with this rule. Out of its 41,000 album-equivalent units, 2,900 units came from streaming and the rest were pure sales.
By the end of 2017, The BPI reported that streaming now accounts for over half of music consumption in the UK. In Germany, streaming began to be included on the albums chart since February 2016. German Albums Chart is used to ranking the albums based on weekly revenue, instead of units. Hence, only paid streaming should be played at least 30 seconds. At least 6 tracks of one album have to be streamed to make streams count for the album, with 12 tracks being the maximum counted. Similar to the UK chart rule, the actual streams of the top-two songs are not counted, but instead the average of the following tracks. In Forbes.com, Hugh McIntyre noted that the usage of album equivalent units has made artists release albums with excessive track lists. Brian Josephs from Spin said: "If you’re a thirsty pop artist of note, you can theoretically game the system by packing as many as 20 tracks into an album, in the process rolling up more album-equivalent units—and thus album "sales"—as listeners check the album out."
He criticized Chris Brown's album Heartbreak on a Full Moon which contains over 40 songs. Album sales
The King & I (Faith Evans and The Notorious B.I.G. album)
The King & I is a collaborative album by American singer Faith Evans and late rapper The Notorious B. I. G. Released by Rhino Entertainment Company on May 19, 2017. In the United States of America The King & I debuted at number 65 on the Billboard 200, with 9,000 album-equivalent units; as of February 2018, it sold 24,000 copies in the United States. "NYC" featuring Jadakiss was released as the lead single from the album, premiering in January 2017, impacting radio in March, with a music video premiering in August. "When We Party" featuring Snoop Dogg was released as the second single, premiering in January, impacted radio in March as well. A remix by Matoma was released with the music video premiering in October. "Legacy" received a music video which premiered in April. "Ten Wife Commandments" is the fourth single released to radio, with a music video that premieres in January 2018. Notes/Vocal sample sources"Legacy" – "Would You Die For Me?" "Can't Get Enough" – "Bust A Nut". "Don't Test Me" – "Gettin' Money".
"Tryna Get By" – "Sky's The Limit". "The Reason" – "Why You Tryin' To Play Me". Licensed by Xtra Large Entertainment on behalf of Derrick Hodge and LeTroy Davis. "I Don't Want It" – Reference track for "We Don't Need It" by Lil' Kim unreleased. "Ten Wife Commandments" – "Ten Crack Commandments". "A Little Romance" – "Fuck You Tonight". "Got Me Twisted" – "Things Done Changed". "When We Party" – "Going Back To Cali". "Somebody Knows" – "Who Shot Ya?". "Take Me There" – Reference track for "Drugs" by Lil' Kim unreleased. "One In The Same" – "Respect". "Lovin' You for Life" – "Miss U". "NYC" – "Mumblin' and Whisperin'"
More Life is a commercial mixtape by Canadian rapper Drake. Described and marketed as a playlist, some publications have referred to it as a mixtape, it was released on March 18, 2017, by Cash Money Records, Republic Records and Young Money Entertainment. Production of More Life was handled by a variety of record producers, including 40, Frank Dukes, Boi-1da, Murda Beatz, T-Minus, Nineteen85 and Kanye West, among others. An ensemble of guest vocalists appear, including Young Thug, Skepta, Travis Scott, 2 Chainz, Kanye West, Jorja Smith and PartyNextDoor; the songs on More Life feature a broad range of genres, including hip hop, R&B, grime, trap and pop. The mixtape was supported by five singles: "Fake Love", "Passionfruit", "Free Smoke", "Portland" and "Glow". More Life received positive reviews and debuted at number one on the US Billboard 200, becoming his seventh consecutive number one album, while breaking several streaming records. Following the project's announcement, Drake described More Life as "a body of work creating to bridge the gap between major releases".
He further commented on the project during an interview with Complex, detailing his intention to " a playlist to give you a collection of songs that become the soundtrack to your life". More Life was subject to many speculative release dates, with it set for December 2016. However, it was pushed back to January after Drake suffered an ankle injury on the Summer Sixteen Tour. Further dates were rumored up until the official announcement in March 2017 of the project's release. More Life borrows its name from a Jamaican slang phrase to wish someone well, popularized by dancehall artist Vybz Kartel, whom Drake has called one of his "biggest inspirations" for his own dancehall-inflected sound; the last song on the record, "Do Not Disturb" mentions "Club Palazzo in the Bridge". This is a reference to a now defunct nightclub in the northwest Toronto suburb of Woodbridge, Ontario; the cover art of the project features a photo of Dennis Graham, taken in the 1970s. The photo is surrounded by a black border with the subtitle "A Playlist By October Firm" written below the photo.
The original version of the cover art released in October 2016 on Drake's Instagram did not feature the black border or subtitle. More Life was preceded by three singles: "Fake Love", "Sneakin'" featuring 21 Savage, "Two Birds, One Stone"; the songs premiered on October 23, 2016, during Drake's thirtieth birthday edition of OVO Sound Radio. The episode housed Drake's collaboration with Dave on "Wanna Know". "Fake Love", "Sneakin" and "Two Birds, One Stone" were all released as commercial singles six days however, "Fake Love" was the sole track that remained on More Life. Drake further previewed two additional songs on February 17, 2017, during appearances at the Paper Soho Club in London. On March 11, he announced the release date via commercials released through Instagram, it premiered on the 39th episode of OVO Sound Radio at 6:30 pm. EST; the mixtape's lead single, "Fake Love", was released for digital download on October 29, 2016. The song was produced by Frank Dukes; the song peaked at number eight on the US Billboard Hot 100.
The mixtape's second single, "Passionfruit", was released to rhythmic contemporary radio on March 28, 2017. The song was produced by Nana Rogues; the song peaked at number eight on the US Billboard Hot 100. The mixtape's third single, "Free Smoke", was released to rhythmic contemporary radio on April 18, 2017; the song was produced by Boi-1da, with additional production by Allen Ritter, while the additional music by Akira Woodgrain. The song peaked at number 18 on the US Billboard Hot 100; the mixtape's fourth single, "Portland", was released to rhythmic contemporary radio on May 16, 2017. The song features guest appearances from American rappers Quavo and Travis Scott, while the production was handled by Murda Beatz, with co-production by Cubeatz; the song peaked at number nine on the US Billboard Hot 100. The mixtape's fifth single, "Glow", was released to urban contemporary radio on June 6, 2017; the song features a guest appearance from American rapper Kanye West, while the production was handled by 40 and Kanye West himself, with additional production by Noah Goldstein.
The song peaked at number 54 on the US Billboard Hot 100. More Life received positive reviews from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the mixtape received an average score of 79, based on 25 reviews. Dan Weiss of Consequence of Sound said, "The singing and melodies are massaged with a care unheard in the prior Drake discography. Erin Lowers of Exclaim! said, "Excluding its minor gaffes, More Life cements a place for genres long-overlooked by mainstream media. David Turner of The Guardian said, "Even if the album lacks the humor of the Views songs "9" or "Childs Play"—no line here bests "Why you gotta fight with me at Cheesecake / You know I love to go there"—the breadth of styles recalls his 2012–2015 SoundCloud that found space for both Fetty Wap and James Blake remixes." Clayton Purdom of The A. V. Club said, "More Life is light weightless. Despite its playlist tag, it is unmistakably a Drake album—it has a Blueprint highball closer like each of its predecessors—and as an album, it is Drake's worst.
But as a collection of atomized songs and ideas, it's up there with anything he's released." Preezy of XXL sa