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” 
[Download/Stream]

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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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Florida spitter, Yung Booz, opens single with the mention that “An OG once told me ‘Boy, you hot in these streets when you touch that microphone.’” Four minutes later, it’s crystal clear that the man wasn’t lying. Not one bit.



“All Or Nothing”, Booz’s latest, Stackz Up Michael-produced drop is a quintessential, Southern trap smash, featuring a chantable chorus, and booth-burning bars. On the record, our Sanford soldier details just how dedicated he is to prospering; telling each and every way he’s willing to get that almighty dollar. The hook comes overflowing with that infamous, addictive, and melodically-pleasing Southern deliverance we all know and love. It’s pure, and poised to excite any crowd he may perform for. When it comes to his verses, that very same crowd just might fly into a riot. Booz brings an infectious energy and aggression to his raps. You won’t simply listen to his lyrics. You will feel every syllable he shouts, because each and every last one of them clearly come from his spirit. His unyielding spirit, the very same spirit that keeps him devoted to succeeding, gives every word its own powerful punch. If he holds on to that spirit, pushing this record with everything he’s got, “All Or Nothing” will be flying up the charts.




“ALL OR NOTHING” 


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Soaring on a melodic cloud of vocalism and versatility, is New Jersey upcomer, Rich Ab. Representing Sicklerville specifically, the artist shows not only is he a force to be reckon with in the studio, but that he has also been gifted with the ability to create something for everybody, through his latest album, “E.W.R.”. 




 “E.W.R” comes ten tracks in length; and by the end of a single listen, there shouldn’t be an audience in the world he hasn’t captivated. In the short span of 35 minutes, Rich Ab dives from his cloud of bars and melody, into nearly every urban genre imaginable. If you fiend for trap smashes, his intro “5 Freestyle” and third track, “Too Much” will throttle your speakers and turn up any function you find yourself in. Nostalgic about the early 2000s? His record, “Body” comes with an undeniable East Coast bounce, that would’ve set any club in the country on fire. In the mood for the softer, more melodic takes of modern hip-hop? “Nights Like This”, “White Girl”, “Ghost”, “Alive” and “Dance With Me” are soaking in autotune and emotion; perfect for those smooth, nighttime rides through your area. He even freaks a dancehall record through the stellar track “On It”, and a remix of Young Thug’s “Killed Before”, through the ninth track, “No Love Left”. All in all, this album is undisputed proof that, in being blessed with such well-rounded range and versatility, Rich Ab has all the makings of a superstar. The moment mainstream radio gets a hold of any one of these records, he will be unstoppable.





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Make alil room Nicki and Cardi... The young queen is here. On-the-verge Milwaukee hiphop artist, Destinee Lynn, speaks with the charisma of a boss with new mixtape "Fantasy Season" Volume One. Her story is one of struggle and the celebration of well-deserved success. Vol 1 is a 10-track project packed with certified trap anthems. This serves as the pre-quel to Destinee Lynn's 4th coming album "Pretty & Paid". Its nice to hear a mixtape that you can enjoy from beginning to end! Read more about Destinee Lynn and join her growing movement today.

Short Bio: Destinee Lynn (Real Name: Destinee Lynn Mchenry) started off her music career at 9 years old as an r&b songtress just trying to find her voice and perfect her craft with the assistance and support of close family members & friends. Destinee Lynn began to create rap/r&b songs which were getting alot more attention with her growing fanbase. So in 2012 Destinee Lynn decided to turn her singing career into a rap career as fan became more receptive to her rap style of music. 

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“Restoring the feel” is more than a phrase for Wisconsin wordsmith, Obi Khan. With his latest opus, “THC-4”, Khan draws a lyrical line in the sand between himself, and his new-school contemporaries. In a class of freshman, the Madison-based madman gives 16, sample-heavy reasons why he is among Honors. His beat selection is inarguable; consisting of some of the most diabolical, yet divine boom-bap you’ll hear all year. Predominately produced by Thanos Beats, these instrumentals are tried and true of the cornerstone of 90s Hip-Hop. They feature dingy, vinyl-samples and apposite vocals embedded in each borrowed record. From a production standpoint, the joint “Where Do I Go” has to be one of the album’s crowning moments. It features a Draculean melody, voiced through an organ, chaperoned by rusty boom-bap drums and a vocal sample that echoes the words of the song’s title. On the record, and every other that graces this masterpiece, the Obi Khan delivers excellently. He raps with such a guttural growl in his delivery, that seems to spawn from an unseen abyss within him. This apocalyptic aggression is exactly what amplifies his lyricism; making your ears want to listen to every bar he spits. On tracks such as “Bionic Man”, “Gods (ft. Thanos & Arewhy of Brotherhood 603)”, “Faded”, “Kamala (ft. Professa Dibbs)”, “Time”, “Itch The Scratch (ft. Thanos & Jabba the Kut)” and “Check the GRhyme (ft. DJ PAIN 1)”, the Midwest rhymesayer utterly disembowels the microphone; rapping circles around any of your favorite emcees. Although, I have a slew of personal favorites from the project, it can easily be played front to back without any skips or interruptions. Obi Khan has crafted a timeless hip-hop masterpiece, worth a thousand times more than he’s offering it for. If you’re a fan of lyrical greatness, dirty boom-bap, and overall, underground ingenuity, “THC-4” can not be ignored.



Album: THC-4 (Releasing Aug 24th)



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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.
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