Showing posts with label alternative hiphop. Show all posts
Showing posts with label alternative hiphop. Show all posts
A-Dub Da Prodigy has trap music down to a science with the perfect blend of sauce, smooth melodies and boss-like charisma. His new-age banger "Flex on Me" is an instant hit! Listen as he slides over a flute laced trap anthem about how his bad lil bih spoils him. His baby got him fresh like a tic-tac. The Arizona rising star in association with Arrogant Marketing is showcasing the best talent in the Southwest.
This is precisely what we have been waiting for. Since Summer Walker’s fiery onset in 2018, ignited by her chart-topping “Girls Need Love” record; the lot of us have waited with bated breaths for someone to offer a rendition. Their own take on the smoldering smash. Now, we may finally have it; lifted from the lungs of the young, North Carolina crooner, Abryon. With an awe-striking command over melody and harmony, this Southern singer aims to remind us that “Girls Need Love Too”. A sultry music video, and autotune-driven remix, are his main means of doing so. As he passes between various scenes with two particular women, the Tarheel vocalist unhinges a bit more of his amorous soul. He confides in them his desire to be anything and everything they could ask for; ultimately giving us everything we could ask for in a Summer Walker remix: pleas full of passion that’ll feel everlasting.
It’s 3AM and I’m still in your bed / It’s been too long and I’m still in your head,” is possibly the most gorgeous hook you’ll hear this late in the year. It comes courtesy of none other than California-born rapper, Maggy’s Kid; and is his bubbly new single, “I Think I Hate You”. “I Think I Hate You” is a melodic, near-three minute venture into conflicted love by the Los Angeles native; started with a celestial, synth progression. That progression leads into a smooth bounce of uptempo, trap drums; which dribble under Maggy’s’ incoming vocals. Immediately, the now Chicago-based artist dives into the hook, driven by a pop-punk influenced edge that manifests the perfect, heartfelt delivery. From verse to hook, “I Think I Hate You” embodies every facet of a banger; and proves Maggy’s Kid is beyond ready for the mainstream circuit. With his pen, genius in melody, and contagious command of sound, he certainly has more than what it takes.
The musical range of genre-bending duo, Nilla Spice, certainly shines through on their newest smash, “Power Up”. Consisting of personas Cad Hollyhood and Tru Tyte, the record is inspired by both Hip-Hop and Electronic music. Unquestionably, there is a trap groove in the track; highlighted by its use of rolling hihats, dribbling kicks, and flavorful 808 claps. The Electronic element is derived from the power in their synths, which blossom irrefutably with color. At fifty seconds there is an awesomely synth-tinged breakdown, where the colors of EDM are vibrant. Soon, however, the energetic rapping of Nilla Spice commences, and you are reintroduced to his diverse flow. From rapid-fire spitting, to powerful chants of the hook, Nilla Spice showcases an undeniable talent for rapping. One that, combined with the track’s production, makes for a wide-reaching banger.
Whatever crowd Nilla Splice preforms their new single, “Hate On”, for is in for an exhilarating night. They will be possessed by the voluminous rapping; and spurred to rage at their hearts’ content. That is a testament to the power that this Tampa Bay record wields; not only through its magnificent, vocal energy, but likewise its brain-throttling instrumental. To say the least, “Hate On” is musically sophisticated. It is an edgy mesh of various genres; all fusing together to create this radical, unchartered sound. The bounce is undeniably Hip-Hop; yet, the mess of synths buzzing in the foreground are distinctively native to electronic music. Around 25 seconds into the record, a funky, analog bassline slips into the mix, and the entire atmosphere is shifted. The duo allows the joint to breathe during this section, yet eventually, he crashes back into the track; as riotous and rebellious as before. Nilla is enveloped by powerful, wailing guitars during the chorus, where he chants melodiously “Hate On”. It is the model climax to the record; and if ever performed for that aforementioned crowd, will send each person into a craze. It is records like these which carve their own space into the realm of Hip-Hop; and solidify the careers of genre-bending artists. Nilla Splice and his recent banger, “Hate On”, are at the forefront of that promise.
USA Blog Network recently caught up with the highly talented Kai Studios duo, Vernon Hill & Lazy E. We chopped it up about their comeup, their future, and their present. The 5-track collaborative album "They Don't Want Us In The Stu, Vol 1" is among the best projects of 2019. Catch a wave with the album's trippy vibes, new-age harmonies, upper-echelon trap bets and mixing skills! Kenneth Monroe says, "Hill & E have a refreshing chemistry and unique vocal schemes to please any music fan." Be fore-warned, the music is addictive and the team has teased that this is only the beginning. Listen to an insightful behind-the-scenes on #TheDopeness series below and follow Vernon Hill & Lazy E's growing movement today.
Distorted, yet melodious electric guitar chords, flanked by ad-libs on one side, and cloudy, autotuned chants on the other, usher in Roc Kartel’s twisted love song, “Crazy Moniqua”. In four minutes and forty-five seconds, this Maryland emcee uses every fiber of his lyrical prowess to tell an unusual story. It is one of lust and betrayal; chronicling the escapades of a “Crazy Moniqua” as she travels the world, finessing every feeble man she encounters. In a brash way, Roc is empowering his female listeners with this record; crafting a powerful character they may idolize, over soft, rock-esque kicks and snares. Much of the movement on “Crazy Moniqua” lies within its melody and Roc’s eclectic vocalization. The guitar is insanely transformative; shifting in pitch, frequency, and volume with every new phase of the record. Our PG County talent isn’t too far behind this production, either. His delivery is equally engaging; rolling from calm, smooth bars, into these voluminous, melodic trills within the second verse. The DMV has been blossoming with new, exciting talent, as of late. With his unique “Crazy Moniqua”, Roc Kartel certainly earns his place in the pack.
The state of Texas has always maintained a pivotal seat on the altar of Hip Hop. From historical acts such as UGK, Scarface, Trae the Truth and DJ Screw, to the Travis Scotts, Sauce Walkas and Tay-Ks of our modern day, the Lonestar State has remained seething with talent. Today, a new face is appearing amid that throng; and where the previous ones have highlighted cities such as Houston and Dallas, this lyrical newcomer is looking to put a different region on the map. He goes by the name Jgar, and is proudly representing San Marco, Texas (the Tr36ix) through his latest, self-titled EP. “JGAR” comes at you with five, solid tracks of new-age, Southern Hip-Hop. It forgoes the heaviness and darkness of those aforementioned, Texan artists, in exchange for lightness and relaxation. Jgar is not overbearing on this project. His lyricism, delivery, features and beat selection all combine to create this chilled-out, smoldering environment. One thats perfect for your Saturday night, basement rotation. Put simply, “JGAR” is slow-paced, smoke-friendly trap music at its finest; with enough potential to give its creator a buzz across the Tr36ix, and open the Hip-Hop world’s eyes to what San Marco can provide.
Elegant trap music. Ride a wave with on-the-verge artist, New Money Champ B on new project "BAWS". This is an 11-track experience packed with quality hiphop/R&B production, wavy new-age audio mixing, stellar hustler's anthems, club bangers, and inspirational messages that stir the soul. Powerful songwriting skills are at the forefront here as the Birmingham hustler, Champ B, puts it all out there! He shows an uncanny ability to deliver hood content with an unique smooth melody that maintains an universal vibe. Follow New Money Champ B's growing movement and download the full project, "BAWS", today.
Right now, North Carolina is in a state of emergency. The monstrous Hurricane Florence is whipping towards the Tar Heel State, spurring mass panic and evacuation throughout the eastern south. Despite imminent catastrophe, one man in particular remains tucked in Willmington; comforting his mother, who refuses to flee. That man is rapper/producer, Octobor, and through his interview with USA Blog Network, the Southern artist makes it clear he and his family have zero intentions of leaving. Through his recent release, we come to learn exactly why: North Carolina is his “Thing”, and will remain so until there’s no more North Carolina left. Rolling in at three minutes and thirty-one seconds, “Thing” is an exceptionally lax banger. It rivals the incoming hurricane by being a poised, tranquil breeze of a record. Over the gallop of trap drums, and automated whirl of the track’s ambient background, Octobor smoothly coasts. Absolutely nothing about his flow or delivery comes off forceful. He sounds completely at home in the comfort of speakers and a microphone; which ultimately translates into a gracious trap anthem. “Its a northside thing, southside thing / eastside thing, westside thing—“ he chants effortlessly throughout the chorus, shouting out every region his home state has to offer. Being a beacon for North Carolina in the hour it’s needed most. “Thing” is a relatable smash just waiting to explode across the mainstream. If he continues to push it, showing the world just how much talent he has to offer, every month of the year will be Octobor’s.
A horror movie-esque piano, complimented by an undulating, sub-bass and pad, opens Michigan artist, BRVDFXRD’s, latest offering, “Swurve”. Just as a distorted 808 makes impact, the Detroit emcee launches into a tirade of bars. “Six feet tall, who?” he questions, surfing a smooth, poised flow across waves of hihats and claps. Adlibs lunge up from the depths of the track, adding newfound, crowd-ready energy to the entire record. Albeit, this Midwest spitter’s release makes the most titanic impression in your car, rocking its speakers; it will go equally as crazy during a packed event. Because BRVDFXRD harbors an amazing command of energy. As subtle as he comes across, tossing bars to and fro along this malevolent, trap production, he still manages to create a raging, contagious banger. Detroit has been blazing hot this summer; and “Swurve” kicks the temperature up even further.
Flowing like the myriad Georgia rivers, is 16-year old rapper, Blessed.Savage; and his recent release, “Frequently”, is soaked in undeniable swagger. It is two-and-a-half minutes of Zaytoven-esque production (completed by milky, gospel organs and vocal chants), layered underneath the raps of a kid fully coming into his own. Because, the track is not reflective of this artist’s age. On the contrary, it is a testament that if he’s dripping over beats like this now, he’ll be making tidal waves in adulthood. His delivery and flow, over this smooth series of snares, claps and 808s, is inexhaustible. He never seems to tire; in fact, he only gains more vigor as his verses lunge onward. By the second verse, our Riverdale representative was whirling with melodic inflection; spitting throughout the song about the impact that rapping has had on his recent years. If Blessed.Savage can push through the hatred, and continue dropping joints just like this, he’ll be “Frequently” seeing dollar signs.
Back in 2006, legendary New York emcee, Nas, declared that Hip-Hop was dead. The insurgence of autotune, melodies, and growing “pop” aesthetic in the music, made this declaration incredibly logical. Even modern day, where the culture is leaning further and further towards a commodity instead of artform; Golden Hip-Hop seems to have lost its place with the turn of the century. That’s what makes rap act, Lockness Carnival’s, recent release “Tickets To The Dope Show” such a blindsided sucker-punch; loud enough to throttle the graveyard, and awaken that Golden Age artistry from its deathly slumber. “Tickets To The Dope Show” is a seven-track resurrection of one of the most celebrated eras of rap; hearkening back to the 90s time period with a beautiful blend of lyricism and old-school production. The only exception to this is the second track, “Urban Litty” which features a more new-age, electronic beat. Everything else follows a strict, satisfying rubric; with which the emcee, Dark Angel, shines impeccably across his producer, Strange’s, instrumentation. Dark Angel has a powerful affinity with imagery and storytelling; and he uses such to paint the most polarizing portraits. There are strong horrorcore themes locked in the stories of “Margo Santana” and “Hector”, yet backed by Strange’s warm, vinyl-singed primeval production, this imagery becomes eerily gorgeous. Another great element of this duo is that they do not solely rely on music to tell their tales. In the middle of the project, there are skits and snippets that fit flawlessly between Angel’s own verses, giving his stories even greater dimensionality. “Tickets To The Dope Show” is an outstanding blast to the past from two amazing creatives. If Hip-Hop is dead, they’ll be of the few to thank for its revival.
