New from the up and coming NY rapper
https://soundcloud.com/jordan-kyreem/out-the-gate
Like the title, Jordan Kyreem comes straight out the gate, with a consistent flow, over what could be described as wavy production. With New York steadily back on the rise, there are a variety of up and coming names, such as Jordan, and the likes of Dub Aura, who are really crafting that authentic, original modern-day NY sound. This is a good direction of sound, so stay locked for more from the young rapper.
Folarin drops the visuals for one of the standouts (out of the many) off his recent album, Shine.
Having dropped videos for Running Back and Fashion Week, this is the next visual we have received after the J Balvin featured, Colombia Heights (Te Llamo), and whilst the video for the latter was more artistic in it’s approach and visual-feel, the video for Fine Girl like the song pays homage to the beautiful African muses it was inspired by.
Whilst many might credit Kendrick of late for putting the spotlight on the black woman, Wale has been praising the beauty of the nubian queens for some time now, even back to his (now) classic, Diary. In fact, most of his visuals, he has been positive with such notion. So it is no surprise, but really it just so happens that he has been able to create a song which embodies African rhythm, and can put together a video to glorify further. I’m not too impressed with the video but who cares when you have such an eclectic level of beauty on display, it does dispel those negative ideologies of Africa and their queens, that have plagued entertainment from well before our time. The song is still just as much of a banger as when it first grew on me throughout the early stages of listening to the album. I think we all are awaiting for something special for My Love (with a lyric video recently released), though it is disappointing, that is has not quite garnered the phenomenal numbers that it deserves.
There seems to be a recurring pattern for black artists and such sounds, as we’ve seen with Omarion, I for now am looking at it as more of a internal label relations issue than outright racism, though that would not be surprising, but again, more reason for me to dedicate my time in raising the awareness for quality music, and Wale is most definitely deserving of such praise.
Despite his major success, Ty Dolla $ign is still not as praised as I believe he deserves. The man behind some of your favourite songs (Chris Brown – Loyal, for one), he has maintained his relevancy through an onslaught of features and appearances, albeit with two studio albums under his belt, unfortunately they had not connected as well as his mixtapes. Campaign was a step forward from his debut Free TC, however it was his Beach House series which really raised his profile, and so fittingly the third instalment to the series is set to be his third album also.
Maybe there is a disconnect between the mixtapes and the albums, we’re aware of the various constraints that can occur, which can affect the music, but this move clearly highlights what to expect, and with the unveiling of this new single, it might just be the album we’ve been waiting to hear from him.
Produced by longtime friend and collaborator, DJ Mustard, with the Peabo Bryson – Feel The Fire sample, which you may recognise from The Game’s (Drizzy featured) track 100. it’s not anything spectacular, but it’s definitely fitting to the Beach House collection, and serves as a good introductory single for the album. Now, I do not think this is the best we have got from Ty, in some ways, I wish it did not have the features, but commercially the inclusion of The Dream adds a particular contrast to the record, not to mention the compliment of singing alongside a fellow singer/songwriter of such high acclaim. Weezy F Baby does what we’ve come to expect, for some reason however, (not taking anything away from the song) it does sound like an old record out the stash, but it could just be that I’ve become so expectant of Ty to innovate (like his Ed Sheeran interlude) or maybe I just really want to hear the song Wiz has been previewing on Social Media.
The visuals are crisp and add some depth that the single might have lacked, amongst the cameos from Sevyn Streeter, YG, Jeremih & Trae Tha Truth, it’s always great to see Weezy, with his Lollipop-esque mirror performance, there are tones of seriousness, as what is depicted as a young Ty, sat on the stairs, as a domestic audio is played over, it does open up some narrative and for me at least makes the song (and it’s visuals) stronger.
I’m definitely going to listen to it more, as Love U Better will gain momentum on radio, hopefully it picks up on this side too, and will for sure play it’s part in setting up for the release of Beach House 3.
D Power wouldn’t cosign just any MC. Introducing Stogey:
In a time where we tend to hear a majority of bars boasting either money or violence, the disconnect is evident, so it’s a breath of fresh air, when someone comes through with the desire for more and the conviction and hunger to get it. This track fits amongst the others, but possesses more substance than what we’ve become used to hearing.
EB records are steadily in motion, with their roster of producers and acts, with Stogey firmly at the forefront.
If they create a playlist for the top tracks of the year, this has to be on it. The official video for the breakthrough single taken from his self-titled project.
His name came to attention when being managed by Ian Connor, so the A$AP link was inevitable. The song itself has been doing bits, going on to gain a Jay-Z cosign (in that tweet), and one from the New Orleans general himself, Weezy F. Baby, in the form of a cover.
I watched the video a couple times, created under A$AP Rocky’s AWGE creative imprint, and in fairness, the video is basically how the song feels. With all the transitions, and melodic twists and turns, they really are captured within this production. Featuring a rightful cameo from 2Milly, an obvious one from Rocky, who continues to usher young Carti into the game, NY rep, 40 Oz Van, Nav, and the more surprising but intriguing even appearance from 808 Mafia’s Southside aka Sizzle. It’s a cool visual, with it’s trippy cutaways and like the feeling of the song, doesn’t provide any dull moments.
Magnolia has certainly helped Carti, with more visuals to come, potentially for his Lil Uzi featured track, so stay tuned, as the current XXL freshmen looks to continue further.
Things have not quite been as great for the former B2K frontman, more so in the response of his music, though he had great success with Post To Be, he does not seem to get the same adoration overall as that songs feature, fellow singer/dancer, Chris Brown for example.
His last album, Sex Playlist, was most definitely underrated, with the majority of the project fitting to it’s title, and catering to a soulful vibe. Forward to his next project, I can only assume he is not getting the deserved coverage on all the platforms that contribute towards an artists’ success these days. Some may say his stint on Love & Hip-Hop did not help, however, I caught it, and he came across in a positive light, other than that, yes..there are no headlines or rumours for his name to circulate, just good music. The previous mentioned Post To Be, sits on YouTube with over 500 million views, it racked up over ten million plays on Spotify, but whilst he has not stopped delivering, the numbers just are not adding to the same level. I’m not saying thats wrong, or that he is not doing good, just that someone of his ability and the quality of music he’s provided, deserves better for sure.
I’ve previously stated that French Montana has the song of the summer with Unforgettable, for me OVO’s Baka has the underground smash, with Live Up To My Name, but in between that, sits Omarion’s Distance
There has been an debate that is not far from the topic culture appropriation, with acts such as Justin Bieber and Ed Sheeran receiving more support overall for their caribbean-influenced music, whilst the more authentically derived struggle to connect. Distance might just be that, it has all the same elements, it’s not an unknown artist, and it does provide that same feel-good factor. Aside of that conversation, Distance is catchy as fuck, from the production, down to the melody, “that’s how I like my women, how I like my chicken..”, as much as I love that singing that line, does he like his women fried? seasoned? someone ask Omarion how he likes his chicken? please. Another line that (like the song) is underrated, “I’m tryna put you in a Wraith, so girl don’t get Ghost now”, the Rolls Royce reference would be praised had it been said by your favourite rapper.
The video is dope too, and I have to applaud the effort, from the special effects, outfit changes, the numerous dance moves (him and CB need to have a battle at some point), especially paying homage, with the traditional settings towards the end.
Disappointing further is that whilst many struggle to make one, he follows up Distance with W4D (Word 4 Word), though it might not be as prominent as the previous, it’s further emphasis, as this time he takes to Japan for the well-curated visuals for this mid-tempo groove.
Even more effort goes into the video, with it’s effects and high production value. Ignoring the lack of support he is receiving, it does potentially sound like his forthcoming album Reasons will not disappoint, and for sure fans will gravitate as such. The album itself has faced delays, and to be honest, that might not be a bad thing, as it may have gone overlooked. Highlighting a state of the industry, or ability to identify quality, one thing for certain, Omarion’s talent cannot be denied.
Look out for the new album, his fifth release, Reasons, coming soon.
With his (I guess) throwaway XO Tour Llif3 ended up taking a life of it’s own, ultimately could have been a lead single for the highly anticipated Luv is Rage 2, the track has since accumulated well over 200 million plays on YouTube alone, it’s about the same on Spotify, no doubt the same on Apple music, so if anything, has propelled him further. Though his label might be ready to go ahead, creatively he might have other ideas, none the less, it has only raised the interest and aforementioned anticipation. Continuing to tease on social media with snippets, we get to hear this potential cut after it’s leak.
Produced by long time collaborator (potentially the one who he developed his signature sound with) Maaly Raw, the two combine for another typically Uzi record, and whilst he’s been working with the likes TM88 (808 Mafia) and possibly Pharrell, it’s sonically pleasing to hear this combination again. Now I’m all for supporting the artist and am anti-leak, however, with the demand for new music from Uzi at an all-time high, I had to listen.
“All these diamonds in my mouth, is why I talk like this..”
It’s not his most introspective track, I won’t be surprised if it’s not on LIR2, but it’s a lil’ vibe to enjoy in the mean time. The bar has been set quite high, but I’m sure Uzi has more fire tucked away in the holster.
What’s a diss track without a reply?
Not long after Dot Rotten emerged with his send for P Money, the man himself returns fire..
Now whilst I was just pleased to hear Dot return to the mic, the lyrical disrespect clearly hit a nerve, as with the quickness, P Money put together the response, with the video too. And if you thought Dot Rotten got personal, well P took it that much further. At this point you have to remove any bias and watch the battle unfold, and it’s this exact energy upon which Grime has surfaced. Since it’s release, the people are clearly leaning towards P Money at the moment, but a good reply tends to trump the initial send most times. Personally, I have to admit, P Money’s response was impressive, but to me he came into the game through such dubs, so it’s a comfort zone for him if anything.
Dot has since commented on Social Media, but honestly, now the people are only interested in a replies. Although we just want to enjoy the competition, Jammer might want to put the funds up as such a main event is fitting for Lord of The Mics.
Nardwuar is undoubtedly one of the most unique, pioneering and even prestigious interviewers beyond generations, although, in recent, I do feel that there may have been some over-saturation with guests who may not be so deserving. However, this is well deserved all round. The man that loves to interact, with one of the least interactive stars of today, the talented, PartyNextDoor.
Not only are we blessed with some history and facts that we might not have been able to depict through his music, this is also a chance to get to see/hear from the low key R&B talent, for fans especially, it’s a treat and an insight to the man behind the music, his personality and even vulnerability as a person, being in front of the camera in such circumstance. It doesn’t disappoint (until it ends of course), with the interviewing legend bringing gifts based around his Jamaican & Trinidadian heritage, and learning the importance of the SpaceJam soundtrack and the influence of R. Kelly in the musician’s life. It’s also great to see PND shout out the up coming producers, G Ry (a big part of his recent Colours 2), and also one of my favourite producers on the rise, Bizness Boi (who contributed towards PX3).
“Brr-Brr, Fer-Fer, gang. We gon’ let Nardwuar hang..”
For some time I’ve been covering the French rap scene from here in England, from my first time in Paris (years ago), I remember seeing posters with the name Booba, and brief stints of MC Solaar (thanks to Missy) and Roff (Thanks to Pharrell), as the years passed, we barely had our own scene here, so little was known outside of these sides and America. Fast forward, I came across the likes of Gradur, and monitoring that saw the large audiences being accumulated, more importantly, noticed the ability and whilst American influences will be always show, there was a unique homegrown appeal, not just with the sound but style too. France has always been pivotal to Fashion, and as always the streets never get their justice, with the French being ahead of the curve with the trends. Most recently, the football apparel.
Anyway, as these things draw interest, their inspiration becomes more clear, and we learn of further similarities amongst the unprivileged, filled with struggle, and the desire to overcome. Now while all these acts are emerging and flourishing, there still lacked a certain level of impact, until PNL.
The duo (Ademo & N.O.S), introduced to me by a friend from Reims, were captivating to say the least, from their look, down to their sound, but the mystery that surrounds the duo, only entices one further, and as each song continues to be just as good with catchy melodies and conviction in their tones, their visuals have not let them down either, and it’s fair to say, adding the fact that they turn down every major interview, invites from Chanel, and being on the line-up for Coachella, certainly creates a star-like phenomenon rivalling the ones you would assume they looked up to.
With Jusqu’au dernier gramme (Until the last gram), the duo show a deeper level of artistry, a stronger level of humility, removing themselves from the forefront, and bringing their associates together as leads, to create a movie around their music. Much like the songs, it is focused on the street life, drug dealing connotations and rivalry, however, much like them, there is more depth, lessons within, and a positive narrative overall.
Set up in four parts, the visuals are more action based than script, with the duo’s music providing the soundtrack. A story of three brothers, what initially was just something different to further promote the music, has really taken on a life of it’s own. Starting with Naha:
The visual has since racked over 60million views, serving as an introduction to the characters, especially Naha, and the rivalry that brews, as they look to take over his clientele, clearly disrupt the hustle as Naha ends up being arrested. Not only does this first instalment introduce us to Onizuka (referencing the Manga, GTO) and Bené, but it highlights the surrounding characters, and the outcome of decisions made, leading to part 2, Onizuka:
The more focused and studious brother, Onizuka, now the eldest in charge, has to not only maintain his studies, but take care where his elder Naha is unavailable to. It’s the more influential part to the series, with many able to relate to an extent, it also shows another spectrum of decision making, and we’re further shown Naha’s rivalry with Macha (aka the Coca Cola kid) inherited by Onizuka. The story is though understandable, it’s the principles on which they live by which can be learnt from, the dangers which can be avoided, and with the unfortunate circumstance he finds himself in, things fall into place for the third instalment, with the younger, not so experienced brother, Bené:
By now, you’re familiar with most of the characters, and like a Netflix series, engaged and invested. You learn more on the characters, including the backstory for Macha. Aside of the narrative, a lot has to be said for the production, and quality. It is well put together, acting as a stronger set of visuals for PNL’s music, it really does well, even if you cannot speak French, you can follow through (another factor of PNL’s global appeal). With now Macha out the way, it gives another a chance to takeover, whilst we follow Bené, the more radical character, who becomes the unlikely hero, as he continues to fearlessly bring justice with the aid of his comrade. It’s actually a sad truth, for many young kids, who have to act out and find a means to survive. Last but not least, we’re now at the last part, the conclusion of the story thus far, the finale, Jusqu’au dernier gramme:
Further providing backstories on the once friendship between Naha and Macha, and possibly the reasons for his ways, contrasting with the current unfolding of young Bené’s plans, it really is a gripping encounter, full of empathy and entertainment, as the youngster really takes matters further into his own hands ands foils their plans, down the final gunshot. Though you’re shown Onizuka making a recovery, and the release of Naha, it cleverly leaves it open for more, and I’m sure fans are hoping so, with questions still to be answered. Ultimately it’s an enjoyable watch, with quality music throughout, but more so, it does shine the light on French street culture, and better be through a form of entertainment than the reality of the news.
Definitely looking out for more from PNL, who continue to break boundaries for French music and the culture. And more plaques on this monkey’s wall..
Shout out both Ademo, N.O.S and the whole QLF.
ONE Fáris 