Showing posts with label hiphop albums. Show all posts
Showing posts with label hiphop albums. Show all posts

Are we living a dream or reality? The latest effort by LIV3 FR33, a Los Angeles brand spearheaded by producer-artist, NIU Kno, blurs that line with excellence. For “Life, Is But A Dream”, a compilation album outfitted with nine, lucid tracks, the artist(s) gives the themes of sleep, dreaming, and afterlife, sonic prevalence. Its features lunge from Fatlip, 777Kamikaze and Kay Franklin to Mary Dee, Korryn Gaines and NIU Kno himself, with each one of these artists delivering an idiosyncratic twist to the overall concept of the project. Samples are lush and plentiful; drums frolic in the fields of both trap and boom-bap; and the bars on “Life...” are beyond bewildering. Spin joints such as “Sleepwalking”, “Sunshine”, “Virtual Insanity”, or even the penultimate record “Walk Str8”, and the reverie of life will equivalently reveal itself to you. For “Life, Is But A Dream” is an unavoidable epiphany that LIV3 FR33 flawlessly inspires.


“Life, Is But A Dream” on Soundcloud 



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Hiphop is alive and well! As evidence Mada Atoms delivers the perfect blend of newage and conscious hiphop with new album "Distractions". The freestyle battle veteran shares intimate pieces of his life with 10-tracks of head knocking bangers that give good classic hiphop vibes. Listen as the rising LA mc, Mada, raps his heart out with alot a dope heartfelt joints. Stream "Distractions" today and follow Mada Atoms' growing movement below.


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”
[Download // Stream]

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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- 

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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 


Recent Interview: 




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How ironic: to coin your project, “Fireproof”, and have it be one of the most volcanic debuts of the new year. That alone testifies to the cleverness of New York emcee, Azazel; yet, if in need of further convincing, his talent in the booth will do the job. Over beats produced by Retnik Beats, Lucid Sounds, 808Melo, Jxke, and Shakespere, among others; Azazel wears many faces. And he breathes fire from the mouth of each and every one of them as the album evolves. A fully-automatic flow ricochets throughout the intro, “Armageddon”, afore quelling into calm, yet jaw-dropping conscious hip-hop on “See You In Hell”. His Slim Shady-esque imagery and storytelling blazes atop “The FuckList”; with that rapid-fire inflection creating a quintessential closer out of the last track, “Crossroads”. In between this madness, on the other, equally impressive 9 tracks, is solid, diabolical Hip-Hop. To the bone, Azazel is a true lyricist. Throughout the project, he pens each and every word with purpose; manifesting fire-and-brimstone bars that utterly melt the mic. “Fireproof” is a prime example of the Golden Era attitude and appreciation for Rap, meeting its modern, 808-driven production. It is an extraordinary debut by the Brooklyn rapper; yet, do not let its name deceive you. You’re one play-button click away from your headphones erupting into flames.


“Fireproof” on Soundcloud




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Christiano Can

"F . A . N . S"


Silky, soulful and smooth. Those three words will be the first and only rebounding through your mind, once play is clicked on Christiano Can’s “F.A.N.S” extended-play. As the rapper’s debut project, “F.A.N.S” seeks to make a grandiose introduction; and it delivers that statement in more eclectic ways than one. First and foremost, the soulful, sophisticated textures of this music make it a awe-striking, pleasant listen from the jump. Golden horns, colorful chords, and a luscious female vocal form a dreamscape out of the intro-track “D.A.F.H.A.H”. Style changes as the tape progresses; with a variety of sounds, rhythms and grooves, erupting from the depths of the mix. Raw, quirky Hip-Hop is at the root of “Oddly Awkward” (Neo-Soul gushing throughout its remix), and pure, undulating Funk bubbling about the final track, “I’m Only Crazy”. Alongside this evidence of Christiano Can’s uniqueness as an artist, there is the overwhelming proof of his competence as a rapper. As the EP surges on, Christiano draws from myriad flows. On the track, “Oddly Awkward”, something Eminem-esque is transpiring; with our genre-rapper having the lyrics to do it justice, as well. He is nonchalant on the remix, smooth on the intro-track, and energetic on the out. As sporadic as “F.A.N.S” is as a body of work, it is immensely impressive and certainly satisfying. All over it is the mark of true musical artistry; and we can do nothing but look forward to Christiano Can’s drops on the 5th of every month this year. Fingers crossed, they’ll be as jaw-dropping as this.



“F . A . N . S”




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It was in his Tha Carter III hay-day that iconic rapper, Lil Wayne, let us know that he was a “Martian”. Years later, the enigmatic artist, Future, came into being an “Extra-Terrestrial” before our very eyes. Today, there’s a new galactic star emerging in our solar system, and he is determined to make an imprint on the rap game. Having crash landed in Brooklyn, New York, anomalous rapper, Mr. Rey, has just released an even more anomalous work of art. Titled “Mind of Mars”, with only ten tracks, our East Coast alien proves his talents are equally out-of-this-world. His artistry is colorful, yet gritty; concrete, yet melodious; a unique matrimony between new-age aesthetic and golden era energy. Tracks such as “Epic”, “One Shot”, “Lord Knows”, “Judas”, “FTCU” and “TBH” are anthemic ventures into modern trap music; with the others being hefty, lyrical forays. Tucked into the seventh track, likewise, is something of a dancehall tribute; ignited by Mr. Rey’s lyricism and autotuned inflection. That autotuned delivery is precisely what carves the Brooklyn emcee a spot out among his forefathers; granting him not only a celestial sound, but also, just as matchless musicality. There is nothing like “Mind of Mars” out right now. Hang on to this incomparable quality of music, and our extraterrestrial emcee is bound to invade the mainstream sooner rather than later.


“Mind of Mars” on Soundcloud 



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