“Wut' Uh' Life” on Spotify
Showing posts with label hiphop albums. Show all posts
Showing posts with label hiphop albums. Show all posts
“Dues” EP
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Port Arthur, Texas rap artist Alonzo Cartier releases his latest album, “Le$$ talk, More Smoke 2”, via the Not Normal Inc. imprint. On the 10-track project, Alonzo picks up where he left off from the 2018 Le$$ talk, More Smoke album, and hits us with more bars, more sauce, and of course, more smoke. Throughout Le$$ talk, his flow switches from rugged to melodic over production that fits each style. Tracks that can’t help but to stand out are the energetic real talk on 1st single “Figure Me Out and the super-smooth “Late Nights & Early Mornings” where Alonzo reflects on his ambitions as an artist and invites others with the same goals to join him. Another highlight on the album is the bass-heavy, bouncy “Precious Cargo” that reworks Jaheim’s R&B hit “Put That Woman First.” Also, worth mentioning is the soulful “Aunties” where Alonzo recalls bittersweet moments in his past while displaying a more serious side of his artistry. Aside from him holding down the fort on the majority of Le$$ talk, special featured guests include GP 4/5 a.k.a Hollywood, Cooli Blaze, Adonis Edmond, D-Notez, and Kuntriboidolla, who all slide through to add to the album's vibe. Definitely worth the stream time, check out Alonzo Cartier’sLe$$ talk, More Smoke 2 today.
“Le$$ Talk, More Smoke”
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[Download /// Stream]
“Figure Me Out” Video on Youtube
Recent Video Interview
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It is no wonder why Nashville is known as “Music City”. Being the stomping grounds of the legendary Johnny Cash, abode of country music, and nexus for nightly, sonic stimulation; this capital of Tennessee has most definitely earned its epithet. Naturally, one would assume the residents of those tuneful, Volunteer streets equally live up to its legacy; and you would be right. Especially when it comes to QUAI. Of all of the Nashville artists out there, this titan seems most ambitious in representing the “Music City”. The tracklist alone, of his 2019 drop, “Regime”, makes that easily seen. It is twenty tracks in length, cut with bangers galore. With this project, QUAI is throwing a forty-minute trap party to which we are all invited; complete with monstrous anthems and 808-driven smashes, alike. The dividing line between “Regime”, and every other modern-trap project out there, however, is how uniquely its creator uses melody and rhyme. On his biggest records within the long-player, QUAI barely uses melody as a driving force for the song. Instead, he croons in the background; centering our focus on the lyrics he’s spitting, and the versatile flows they’re delivered through. This style assigns an especial sound to QUAI; and that specialty flows through every one of “Regime”’s veins. Without a doubt, in crafting this comprehensive body of work, QUAI has done Nashville’s legacy proud; and made himself heir to the “Music City” crown.
“Regime” on Soundcloud
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Six tracks is all it took for Mute Davinci to set fire to 2019. With his latest EP, “Breaking News”, the Tennessee rapper transforms slow-burning grooves into anthemic trap jams. Flaunting an immaculate command of melody, autotune, and songwriting, Mute will wholly ignite your mood for the summer. Cuts such as “Nobody”, “Be Around” (feat. Sire), and “RIP Jumpout” will put you in an ethereal trap trance; glinted by thumping 808s, amorous drums, and mild melodies. Do not get us wrong: there are a couple tracks on “Breaking News” that are completely capable of rocking your next house party. However, the overall energy cultivated by this Chattanooga native on this six-track debut is gentle and sublime. He is one of those few artists in our tide of modern music who has found the model matrimony between Hip-Hop and R&B. With it, he’s devoted himself to delivering us banger, after banger, after banger. Undeniably, Mute Davinci is “Breaking News”. Start one listen, and you won’t be changing channels any time soon.
“Breaking News”
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Out the gate, K.Ray proves he is leagues beyond his competition. He consolidates what could have been a brisk, three-song EP, into six minutes of seamless music; and uses the track to introduce an even larger body of work. Aberrant work that borders extra-terrestrial. That is “Life’s a mess”: thirty minutes of unconventional, yet gravitating rap from a Columbus, Georgia creative. On this nine track opus, it feels as though K.Ray is almost making a point of leaning away from Hip-Hop’s present direction. Yes, he raps, but the way he does so; the way he crafts his music is unlike anything you’ve heard thus far. Modern-trap production is dispersed into clouds of melody and liquid-like drums. Introspective rhymes abruptly ascend into autotuned harmonies and sampled chops. The album completely embodies its title. It is a mess that us listeners can’t even begin to clean. Yet, by the end of its runtime; by the end of this mind-opening body of work, you won’t want to, either way.
“Life's A Mess” on Soundcloud
Recent Interview w/ K.Ray
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In this culture called Hip-Hop, there is no such thing as death. No matter how many songs you may hear about the slain; nor how many lyrical legends we can name, who have succumbed to the streets they described, each and every one of them lives beyond the grave. From the revolutionary Tupac, The Notorious B.I.G., to the recently departed, yet prolific Nipsey Hussle, music immortalizes their souls; keeping them so close to our hearts that we have to be reminded they ever left. Such is the case with Mac Dre, and even furthermore, his Thizz Entertainment signee, Johnny Ca$h. Twelve years after his Bay Area-shaking murder in Vallejo, California, this West Coast icon’s spirit is alive and well; flowing powerfully through his posthumous masterpiece “IN MY SHOES”. Released just last month, “IN MY SHOES” offers ten tracks that prove precisely why the rapper’s passing was so impactful: he truly was an asset to West Coast Hip-Hop. From the colossal title track “In My Shoes”, the celestial banger “Snatch Ya Plate”, to joints like “Ta Da Bang” (feat. Nef The Pharoah), “This One”, and the dreamy smash “Wave At Em” (feat. Vipete and Rydah J Klyde), this project is irrefutable evidence that Johnny Ca$h was on a road to international stardom. Effortlessly, he flexes lyricism, swagger, and a street-hardened flow; stomping over the crispiest beats last decade could hone. At 25, Johnny Castaneda Jr. was already a master of the art of rap. So much so, that “IN MY SHOES” feels more fiery and poignant than some of our breathing legend’s greatest works. Perhaps, that is because the Richmond rapper himself is now a legend, and this album is his crown. When it comes to this culture called Hip-Hop, Johnny Ca$h never died. So long as we are pressing play, and cherishing his every body of work, the icon lives on.
“In My Shoes”
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For many, crafting an eighteen track project is a grueling challenge. One that demands more energy, time, and creativity than a lot of our world’s artists can muster. California’s own, $mash, tha Homie, however, manages to make such look like a walk in the park. His latest album, “Sink or Swim: Chapter I” is nearly twenty tracks strong, equipped with an eclectic take on West Coast Hip-Hop. By all accounts, $mash is a triple threat. He is a lyricist, producer, and clothing-line (FAOL) owner all in one; and that wide palette of creativity is flawlessly reflected through “Sink or Swim: Chapter I”. The beats on this album are awkward and unconventional; yet complimented by a poise, flow and rhymes that rival some of our greats. Through its organic bounce, basslines, and percussion-driven grooves, “Sink or Swim: Chapter I” is true to California’s craft. However, $mash, tha Homie is an extraordinary artist who completely redefines the sound; making the album, as well as its creator, the culture’s breath of fresh air.
“Sink or Swim: Chapter I”
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Most upcoming artists in Hip-Hop want nothing more than fame. The art takes a backseat to imagery, trends and social media stunts that will garner them a mainstream break. Few rising rap acts truly value the artistry and prospect of Hip-Hop; however, Swiss emcee, Rhyman, refuses to submit to that case. If anything, his new album, “The Wknd”, is a revival of lyricism and substance in a day where those elements seem to be dwindling away. The eleven track project sports of variety of Golden Era-styled beats, yet, this is not the sole factor that assigns “The Wknd” its Hip-Hop greatness. It is Rhyman’s proficiency as an emcee that makes this album an outlier of 2019. Whether you are cruising to the climatic opener, “Welcome 2 The Wknd”; awe-striking boom-bap cuts, such as “What If” and “Heaven”; the tranquil confessional of “No Sen$e”; or the abstract bangers, “Smog & Fire”, “Basick” and “Outro”; you will never hear Rhyman falter. He remains at the apex of his lyrical game for the duration of “The Wknd”. Does he reference wanting fame and a mainstream break as much as his fellow upcoming artists? Absolutely. However, the difference between him and them, is that Rhyman is willing to earn acclaim the only way you should in Hip-Hop: with creativity, honesty, and pure bars. He brings that triple package to “The Wknd”, and in doing so, has created an album that is true to the culture he breathes.
“The Wknd”on Spotify
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New York will forever and always be the mecca of Hip-Hop. Whether rocking the radio with its take on trap music, or celebrating the Golden Era, boom-bap sound it birthed, The Empire State will always be at the forefront of rap. Likewise, its emcees will always be some of the best this country has to offer. Case in point: Enlightenment, a Buffalo trio devoted to resurrecting real rap. In dropping their 2019 effort, “TRAP: True, Real & Presence”, each one of them shines a lyrical light of their own. The clique is made up of Dom.P, Twin 2xs and the phenomenal femcee, T-Hood. Their chemistry is absolute when it comes to “True Real & Presence”. There is an abundance of speaker-thumping anthems running through this ten-track project— such as “Drug Deal” (feat. ElCamino), “Regular”, “Zoo” and “”JumpMan”. However, nothing hits harder than the boom-bap inflections riddling the project. T-Hood already stands out amongst her brethren as a powerful emcee; however, her performance, as well as her partners’ — on songs like “Straight Bars” launched her into another atmosphere. In forty minutes, Enlightenment go from being another trio of spitters, to the modern paragon of New York Hip-Hop artistry. They completely annihilated any beat that comes their way. With Buffalo picking up steam through Griselda Records, the door to stardom is ajar for this creative trio. “True, Real & Presence” is their first, herculean step through that vestibule. Check it out below, and stay tuned for The Enlightenment Tour coming to a city near you this August.
“Trap True Real and Presence” on Spotify
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Go into MDAATH’s 2018 long-player, “MXD, Pt. II” expecting another typical, trap-rap album, you are in for a rude awakening. Do not be fooled by the clips of “Goodfellas” and “Blow” that commence the album; because the moment this Ohio rapper utters his first word, and that tranquil beat drops, your entire world will be flipped upside down. You will be suckerpunched by the intro, “Grade A”; and this onslaught will carry on for the next thirty-five minutes you are with him. MDAATH harbors his own, unorthodox way of creating a modern rap album. One that can not be easily compared to the artists and sounds that rival him. Granted, this Cleveland talent does dive into the commercial trap aesthetic with the speaker-slamming “Mexico” (feat. Donnell Kane), “Remain”, “Welcome 2 The Dusk”, and “Like That”; these jams are essential to highlighting the individuality of every other piece on the project. They draw your focus to the incredible boom-bap, lyricism and flow of “Ogz”, “Take Flight”, and “Get Up”; making you appreciate MDAATH’s noteworthy potential. With his unique subject matter, crossing topics of the streets, yearn for wealth, and praise of God; alongside his shining use of rhythm and melody, many of these tracks strike as songs only MDAATH could create. He absolutely has his own handle of the art of rap; and with the versatility displayed on this radiant “MXD, Pt. II”, he is only a handshake away from a mainstream break.
“MXD Pt. II” on Spotify
Recent Interview-
Once again, Mad Man Smooth proves how ingenious and selfless he is with the art of making music. The rapper’s (who likewise goes by DocMadnezz) fourth album, “International Flight Plans”, was sonically designed by a bevy of global producers who sent him beat after beat as he was creating the project. The result is a 23-track, hour long LP that could not be more eye-opening to the talent our world has to offer. Within honoring the potential of international beat-makers, this Pomona creative still manages to cultivate a concise, West Coast sound. That feat, in and of itself, makes “International Flight Plans” mind-boggling. Tracks such as “Built A Lil Different”, “Follow My Lead”, “Aint Talkin’ 2 Me”, and many more, reserve a Californian groove about the rhythms within their instrumentals. Likewise, the synths and melodies pay homage to the G-Funk era of West Coast rap that undeniably birthed him. In tandem with this tethering, sonic theme, Mad Man Smooth also highlights the world’s musical palette with this album. There is an electronic/EDM air to “Do What U Came 2 Do”, “The Ceremony”, and “Instant Replay”; praising the European producers that undoubtedly contributed to the masterpiece. It goes without saying that DocMadnezz annihilated every beat thrown his way. No matter the instrumental; that toughened, West Coast flow is infallible, and matched with the features of frequent guests (Yoki Gold and Spyda Loc Da Real) and banger is always promised. “International Flight Plans” proves there is a creative dexterity within Mad Man Smooth’s artistry. Not only does he have an idiosyncratic way about making incredible music; the final product is always top notch. He is in rare form with this exclusively, 100% internationally-produced project; keeping us waiting with bated breath for his next, ground-breaking release.
“International Flight Plans” on iTunes
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