ALBUM REVIEW: 360 – ‘Vintage Modern’

For a rollercoaster career, 360‘s latest album is most definitely a high-point, as he delivers with the stunning, timeless full-length LP, Vintage Modern.

Vintage Modern is the fourth studio album to come from Australian Hip-Hop royalty 360, following 2014’s Utopia LP, which was the successor to his breakout 2011 project Falling & Flying.

The album comes after a public battle with addiction and mental health, one that derailed his career in early 2015, before getting clean and returning to the public eye over the last two years, with a mass of support coming from his loyal, passionate fans within The Close Circle.

Always opposed to following trends, 360 melds together a mass of styles and sounds on Vintage Modern, which heavily features live instrumentation, giving a grander, bolder feel to the album, something that is under-utilised and at times forgotten within today’s current Hip-Hop climate.


60 kicks off the new album with White Lies, a raw, witty and playful track that proves the loose-lipped emcee is still all that he has ever been, and then some.

The album then moves on to the Pop / Hip-Hop fusions that are Way Out, Yesterday and Money, with the latter of the three an ideal example of the flawless, timeless and diverse production displayed throughout the album by way of Styalz Fuego, Nic Martin and Carl Dimataga.


After introducing a host of vocalists over those three tracks, 360 takes on the task of belting out his own hooks, and to a hell of a pay-off on the emotionally driven anthems Witness and Drugs.

Drugs, in particular, is one of the most impressive cuts off the record, as 60 spills his thoughts on alcoholism as well as his own battle with drugs, culminating in perhaps the most piercing, beautiful chorus of the entire project.

“No one loves me like the drugs used to”


By the midway point of the album, the burn city rapper brings along some fellow emcees in the form of I.e., Seth Sentry and PEZ, with I.e. contributing on the ultra-sexy, ultra-slick banger Body Language, before Seth and PEZ deliver some seriously fiery bars on Coup De Gráce.

360 slightly alters the mood across the backend of the album, with the string-heavy, bar-heavy climactic record Admission, and the stream of consciousness that is Trouble – before getting as raw and as personal as we’ve ever seen on Tiny Angel, an ode to a close friends emotional still-birth experience.

Finishing off his fourth studio album is Letters, a reflective rap written to his past self, wrapping up Vintage Modern the only way 360 knows how, with rawness, realness and honesty.

Favourite Songs: White Lies, Money, Drugs, Body Language

Final Thoughts: A timeless album that well-and-truly cements 360s position at the top.


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Written by Jarrod van der Staay

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