Names that are also statements: no longer exclusive to boring indie bands…
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[6.50]
Brad Shoup: “You know my name/You know what I do/I’m Sasha Go Hard/Don’t know who are you” — NICE. The guitar whines like a warning siren, the chorus goes on way too long, and I thought tattoos had long transcended their fringe origins.
[5]
Anthony Easton: Quick, slurring, and then (when needed) clipped on the edges, with a choral repetition of the major themes; smart, well constructed, and has some elegant swagger.
[7]
Kat Stevens: Hints of Jilted Generation-era Prodigy in the backing give a suitably menacing backdrop to Sasha’s excellent supervillain-sneer flow.
[8]
Jonathan Bogart: Will there ever be an end to the upsurge in amazing women rappers? God, I hope not.
[8]
Mallory O’Donnell: Outstanding gothed-out ’88 gangsta beat with an angry bird chirping on top. Split the difference.
[5]
Andy Hutchins: The part of me that can’t really distinguish this wave of Chicago bulls (women, too) from each other when they hop on these relentless, rolling beats finds this perfectly serviceable. The rest of me wishes I could. Miss you, much more interesting and singular Sasha.
[5]
Jonathan Bradley: Go hard she does; “Tatted” is firmly rooted in the contemporary Chicago sound of apocalyptic gloom and chaotic discord. If the media is going to try all over again to wish “girl rapper” into existence as a genre, please let it look also to artists like Sasha or Katie Got Bandz; grimy guitar licks and pitched down Gucci Mane samples deserve a place in the conversation alongside Venga Boys–interpolators and gimmicky speed rappers.
[8]
Alfred Soto: She’s got attitude, gender role playing, and a couple of well-slung metaphors, but the soundscape is the keeper here: guitars and strings howling like early nineties industrial.
[6]