Fleming Moore, a native of the Low Country of South Carolina, sings songs seeded in a heart of hope, despair and perseverance. His sound is an authentic Americana Fusion style with roots bearing resemblances to Bruce Springsteen and Bob Dylan. Having persevered through many trials and tribulations that nearly ended his life, he’s moved to share his story with the pubic.
Early in life, Moore was exposed to the music of Dylan, The Animals and The Rolling Stones. From the age of three, he has been writing songs, beginning by emulating the melodies and lyrics from the records his older brothers would bring into his world. 

"Folk Songs For The Apocalypse", his first of a series of three EPs, is an ontology of his own life. It explores the futility of seeking joy through materialism, the inevitability of death and his own struggles with addiction, faith, forgiveness and reconciliation. These heartfelt songs challenge the listener to examine the purpose of their own lives. Fleming says,
"Folk Songs is a story about the beginning of a journey that starts out with the ambitious pursuit of material success in Track 1, but ends up leaving you in the ghetto, lost and looking for a way out at the end of track 4." 

His 2nd EP, "On The Edge Of America", continues the journey that begins in "Folk Songs". Tracks 1 and 2 take the listener further down the road of despair and futility, but eventually reaches a glimmer of hope in tracks 3 and 4. Moore says, "'Folk Songs' was about the beginning of a journey, where wrong turns lead to despair and brokeness. 'On The Edge Of America' marks a turning point, along that journey."










Impacting with superstar status is production-duo Illuminati Beatz’s latest single, “Life Is”. It features rap icons, Bun B, Gudda Gudda, and Project Pat; whom all fuse to create one dirty south bodyslam of a record. There’s so much Cadillac-worthy crank in the instrumental alone; which is divided into two halves. Side A follows Bun B, as he in his grimey, Texan drawl, provides the chorus for the record. An airy, tension-building synth plays within the foreground of the beat, lined by traditional, Southern 808 kicks, snares and claps. It’s a slow, easy listen that will lure you into a sense of tranquility; all for Gudda Gudda to bounce out of the cut and go in for the kill. This is where Side B comes into play, and it is a lot more dynamic than its predecessor. Although, he maintains the same, powerful drum loop, extra attention is paid to the melody of the beat. An intricate, yet devilish organ progression torments the buzz of a groovy, accompanying synth. This change in energy for the beat perfectly encapsulates Gudda’s own, whose New Orleans delivery comes stern and trill. Three Six Mafian, Project Pat, has it no differently on his verse, either. With the instrumental being identical to Gudda, Pat has no qualms giving us every bit of that dark, Memphis lyricism and flow we’ve all grown to love. “Life Is” is, without question, a powerhouse of a record that JByrd, The Sho, and the entire Dirty South should be proud of. With already 1.7 Million views to date on Youtube, it is only a matter of time before Billboard calls their name.




“LIFE IS”


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With a brilliant blend of melodic R&B and hardcore trap comes North Carolinian artist, Benjamin Ken. Loaded with fourteen, versatile tracks, is his recent, astronomical endeavor, “BEN 2 REAL”. When it comes down to it, there is a distinct dichotomy that spans the entirety of the project. On one hand lies the gentle, melodious side of the Atlanta-based artist, that bleeds out on records such as “INTRO (HERE FOR YOU)”, “PRETTY GIRL VIBES”, “REAL ONE (ft. Lea Robinson)”, “DRUNK TEXT”, and “LIFELINE”, among others. In the shadow of that hand, lies Ken’s darker half, molded by those Southern streets. That treacherous, trunk-thumping sound can be found in cuts such as “ROOFTOPS”, “2 Real”, “GUCCI (ft. Walt)”, “CELEBRATION” and “CRAZZI”.


What Ken demonstrates through this duality, is the powerful dexterity of his songwriting. He proves proficient in crafting slow-burning, alt-R&B records for the ladies; while, likewise, giving fellas a list of bangers to ride to. The only other we’ve ever known as skilled with this separation of sound, hails from Toronto, and has been dominating the charts for the past ten years, hit after hit. The moment “BEN 2 REAL”, in all of its impressive versatility, hits the mainstream, Benjamin Ken could be following in those same, exact footsteps. Click the link, and see for yourself.



“Ben 2 Real” 
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After watching colorful new visuals for trap anthem titled Know About Me or "K.A.M", you will gain insight into the creative mind of on-the-verge Fort Worth, Texas hiphop artist, J'Moris. Listen as J approaches a triumphant SupaMario slapper with the street sophistication of a young T.I and cleverly executed punchlines of a 2 Chainz. "K.A.M" gives him the platform to place himself on a higher level compared to other newage hiphop that you hear out there today. Learn more about the rise of J'Moris and follow his growing movement today.


J'Moris, born in Ft. Worth Texas, was raised in Hillsboro Texas. As a child he always found himself drawn to music.

Being a Southern Native, He grew up listening to and being influenced by Southern Legends such as, Scarface, UGK, Chamillionaire, and other great Texas artist. He was also heavily influenced by the styles and lyrics of East coast rappers. Over the years he learned to combine the witty lyrics with his southern style, thus creating an unique flow.


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 One day at a time. Whether on the mic or in his personal life, that is how on-the-verge Midwest hiphop artist, Samp has chosen to "Improve" himself. Samp's new inspirational banger is packed with lyrical jewels and gems that grip the soul while giving insight into what drives his everyday life. This is conscious rap with an uptempo new-age vibe that could be rocked at from the gym, to the car, to the club. Follow Samp on his journey and follow his growing movement today.



Matt Sampson, who performs as Samp, was born in Joliet Illinois but was raise in the Quad City area of Illionis and Iowa. After many of early days riding in that old Cadi with his granddad, Joe Sampson who was also a musician, listening to oldies and to his granddads old stories about him and his music group back in the day. it was then lil Samp knew he wanted to make music. years later Samp wrote his first record about not having his father in his life but still having a certain cool about himself growing up becoming a man. Started in a group named L and Samp, teamed up with now popular DJ in the Quad Cities, L Murray. The two released two popular mixtapes before L Murray wanted to transition into a full time DJ, so Samp was forced to go solo. Since doing so, Samp released his first Mixtape in 2007 Samp " No Pain No Game" which was a nice start for his solo fame. Samp kept working and doing shows in small town clubs to build his up on the growing social media outlet Myspace. Years of recording in multiple studios and doing small shows cause Samp a little while to put together a body of work so there was a little hiatus but in 2012 Samp's Cocky Balboa series was born, with his first single "Give Me Something" proved that Samp was back in rare form. Popularity was gaining again, then Samp dropped the record "Black Tony Romo" right at the height of controversial professional quarterback career and Samp's mixtape Cocky Balboa took off. The song created a huge buzz and followed by Samp's "Bleed" He became a Independent Titan in the Midwest musically. Cocky Balboa 2 is on the verge of being released with singles "Pop" featuring Paypuh "Go Hard" & "Improve" The mixtape is already proving to be a classic by an artist who continuing to show orginiality and stand out in a business that become more and more over saturated (hip hop) with biters and style jackers. Samp has Now and Later.





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“Timeless / Man, I swear this s**t timeless.” is uttered poignantly at the beginning of Texas emcee, D.Hewitt’s, 2018 cut “Timeless”. By the end of his three minutes and forty-seven seconds on the mic, he leaves us more than inclined to agree. There’s a triumphant, ambient pad that fulfills most of the melody, backed by a solemn bassline, trap drums, and Hewitt’s own candid lyricism. The atmosphere our Hillsboro hero manifests on the record is reflected perfectly throughout its visual, where Hewitt is featured in an all white room, accompanied by one lone microphone. Just as the day he walked into the studio and laid these verses, he proves in this music video that a microphone is all he needs to send a powerful message and create grandiose impact. “Timeless” is raw and honest in its lyricism, as well as delivery; wherein, the Lonestar rapper spits his personal journey and grown perspective on this thing we call life. It can likewise be viewed as an homage to all those he’s crossed paths with, as there is a moment near 1:10 where he name-drops a handful of individuals who’ve given him invaluable guidance. Hewitt embodies the pure essence of Texas on this track; coming across as the epitome of trill. He mentions his personal battles with suicide, betrayal, and betterance; refusing to distract any of us with metaphors of punchlines. He knows his message and life story are enough. Hewitt could not have titled this record any better. After it’s all said and done, and the Texan steps away emotionally from that lone microphone in the white room, he’s left us with something “Timeless” to honor.



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Dynamic duo, Ron Oneal & SV Skee (otherwise known as OandS4ever) strike as new-age progenitors of cocaine rap. They have a repertoire consisting of thumping, drug-induced bangers; and that rep is only magnified with the release of the latest single, “Kilo”. “Kilo” is an ode to hustling; complete with an addictive chorus and narcotic instrumental. 808s slide smoothly across the bassline of this record, surrounded by hats, claps, and a menacing synth-key arrangement. SV Skee, through a syrupy surge of autotune, raps within the hook “They just want the money from the Kilo”, letting you know exactly where his and his brethren’s priorities lie: getting rich. And the only thing more guttural than the ambition for winning, is their delivery on each of their verses. Both emcees attack the beat in a blend of aggressive snarls, and ravenous rapping, showing that this song can not only be felt in the club, but likewise on every block in the country. Especially the Lower East Side, Manhattan ones they hail from. With the way “Kilo” is blowing up thus far, thanks as well to the visual they recently released, these brother New Yorkers are about to find themselves pleasing an entirely different clientele.




“KILO”



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There’s a ghostly echo that slithers across the beginning of this single, “Obsessed”, and it will immediately put you in a particular mindset. Reminiscent of many autotuned anthems before it, you will start anticipating a modern-trap, party record. Yet, just as you are awaiting the impact of an infectious, melodic chorus, Canadian rapper, JSTN DMND, comes from left-field in a flurry of bars. That’s not to say “Obsessed” isn’t fit for the club scene or radio play. On the contrary, a vibrant hook, bathed in melodious autotune, does grace the mix later; backed by the sprint of trap violins, hihats, snares, and a pounding kick-808 combination. This record would have no problem exciting a crowd. It’s simply that those elements aren’t the primary focus for our Ontario artist. What JSTN DMND proves to place more value in is his lyricism and delivery; rapping some honest, yet incinerating bars, at speeds that will scorch you as they pass. There’s a fire in his lungs, spawning from the passion and dedication he has to his children. He makes it a point to let us know throughout the record that his daughter and son are the only reasons he can even bless the booth with his talents, and deliver such an astounding trap smash. JSTN DMND shows a remarkable duality on this track; proving to be lethal with bars, and lovable with his melodies. This is an invaluable combination in the current climate of Hip-Hop, and if he continues proving just how “Obsessed” he is with his family and craft, Canada will be crowning another king of the charts very, very soon.



“OBSESSED”



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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.



“SWURVE”



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On August 16th, back in 2016, a Louisiana singer-songwriter had a brush with death. New Orleans’ own, Mansa Obi’s, story almost ended with a horrific fall from a thirty-five foot height. Yet, as the saying goes, the only thing that can circumvent death is new life; and our creative crooner embellished every ounce of that notion with his latest work of unignorable vitality. Titled “What Matters”, Obi’s latest drop is a four-track reunion with the life he almost lost; and genesis of a new chapter in his artistic parable. 

In every way, “What Matters” is Obi’s heart in audio form. Just as his own refused to quit pumping on the eve of that fateful day, the project pulsates with a consistent tempo of “New Orleans Bounce”. This groove slithers through every beat on the singer’s album, undulating underneath some of the most breathtaking R&B ballads you’ll hear all year. Your soul will be opened by his initial track, “You Remind Me”, which features Obi’s vivacious vocals and disemboweled adlibs flowing freely across a violin-tinged melody. On the record, the Louisianian smolders with infatuation over a particular love interest; letting them know who they remind him of, and exactly what he wants to accomplish for the night. Tracks “Cinderella” and “Now” trail close behind, with the latter being a personal favorite next to the album’s opener. It is a softer record in comparison to its predecessors, featuring Obi singing in a falsetto that will reach deep into that very soul of your’s he opened not too long ago. “Lust” is the final track on the project; and here, he’ll ultimately melt your spirit away; burning with such sultry, and soulful inflection. There are synth stabs and xylophone melodies that season the instrumental, spicing up the man’s vocals even further. Next to his vocals, the sparse production on this album is one of its greatest assets, due to how well it allows Obi’s performance to shine; and showcase his undeniable star power. In 2016, this talented musician took a life-threatening fall. In 2018, he’s landed on the top of underground R&B.



“WHAT MATTERS”


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Texan rapper, Kokaine Karter, wants all of us to “HOLL UP” with his latest, enchanting single. Having been born and raised in two separate Lonestar cities, Karter combines the leaned-out, autotune swag of Houston with the grittiness of Dallas, and jumps out that cauldron blazing hot with rhythm and flow.

Featuring guest artist T2, the record is incredibly suited for the club. Its ominous melody, matched with the groove of well-placed kicks and 808s, creates an atmosphere that will have you itching to escape your seat. If that’s not enough, however, his lyrics and flow certainly will be. In smooth breezes of melody and autotune, both artists bless the beat with addictive cadences and street parables. As much as they have indeed crafted a party record, suitable for setting any nightly event on fire, they never abandon their lifestyles. The grittiness of their attitudes and surroundings are matched with the lavishness of their desires, which fuse in a sea of melody and trap verses, to create one, irrefutable banger. “HOLL UP” is an excellent, club-ready release from Kokaine Karter. Makes it impossible to overlook him among the list of Texas’s talented. 


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When you forego conformity, and pursue your own, distinct artistry; the product you produce will be that much more powerful. It will breathe an idiosyncratic life of its own, and that life will bless you with prestige unlike any given to those around you. Coming from me, you can take that with a grain salt. Coming from Bay Area duo, Off Kilter, and their brand new EP, “No Filter”, this truth becomes harder to resist. Because they, over the course of six tracks, go completely against the status quo, and that makes their music all the more fascinating. 


The first thing that will captivate you about rappers, TLick and Burny, are their brisk and breathless flows. They deliver some of the most lax, yet rapid-fire raps; and that unique blend of tone and cadence extremely compliments their production, creating a completely avant-garde sound. Their flows aren’t the end all be all either. Riding the rapid-fire wave of their cadences are shots of lyricism and vocal acrobatics. They will bend their voice into different bellies of the beat, all the while giving you metaphors, imagery and similes that will spin your mind. When dealing with such sporadic spitting, you would expect the instrumental to be made at a tempo that can keep up. That is not the case with this duo. Their self-produced beats facilitate a slow head nod at best; being hypnotic and chill. Some of my favorite tracks on this project (“I Make It Rain In The Desert” , “Unfuckwittable” , and “Nuthin To Me”) feature this matchless harmony between fast and slow. It is that matchless harmony that breathes this originality into Offkilter’s music. That originality, in due time, is going to earn them a powerful fanbase and peerless longevity in the world of rap.


“NO FILTER”

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Beautiful, unique, distorted pop music is what Grand Fisher designs. With the latest opus, "Backyard Burgers and Best Friends" the Canadian artist continues to take every dance-floor by storm! The EP is electric with 5-tracks packed with techno grooves, pulsating dance jams, and deep dark raps from the mind of Grand Fisher. He says, "Even in death I still serve (but never again will I sleep with the fishes)." Enjoy the new project by downloading and follow the growing movement today.


"Backyard Burgers and Best Friends"



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