Wale has been victim to one of the biggest injustices in music last year, with the lack of support for what was one of the best albums released. Shine was almost completely overlooked, and though it did well, what appears to be a lack of support from the label meant there was some sort of disconnect and it did not receive the acknowledgement it deserved. Maybe that statement is a lil’ bit exaggerated, however, it was definitely one of the better projects released, and albeit tracks like Fashion Week (ft. G-Eazy) may have been ahead of their time, even the star-studded single featuring Major Lazer, WizKid & Dua Lipa, did not rule the summer as it should have. Since, after a short hiatus, the DC wordsmith has parted ways with Atlantic records, and a blessing in disguise as he shortly released this It’s Complicated EP
In an era where most projects tend to be over 15 tracks, Folarin proves his worth as an artist with substance, staying true to the EP format, with 4 tracks, and though the average listener may question that, it’s testament to the EP’s playback value. Starting with the title track, a classic Wale creation, fusing his signature spoken word, emphasising his poetic nature, as he opens up with a very realistic and current love story. “It’s complicated to find a lady in my generation…that’s not preoccupied with social clout, we almost fazing out from the high we get from love and conversation, to go on IG galavanting for likes and shit, Oh it’s complicated..”, he sets the tone from the get go, and as much as Wale may be praised for his dedications to women (such as Diary and Ice and Rain), the poetry of his lyricism is often overlooked, “Foundation on all my pillows, still your tender face is flawless when the sky kiss you..”, very few can paint these pictures and execute it with such coolness and machismo. The honesty in his music, much like his craft, is underrated, similar to how he is able to give you both sides, to where it’s not only relevant but relatable for so many in today’s times.
Already through one song, we’re given different dimensions, but it does not stop there, with the conceptual Black Bonnie, another ode to the yearning of a ride or die, the need of loyalty and compromise. Through my own understanding, the black woman has been one of the most oppressed, and what should not be ignored is Wale’s constant support of our queens (throughout his career), and this song effortlessly strengthens such notion, through the Bonnie & Clyde metaphor, he places her Godly intuition rightfully high, it’s a beautiful sentiment and something that he deserves more recognition for. Along with the addition of Jacquees’ (underrated) vocals, it truly amplifies the feeling and helps transcend the idea that is Black Bonnie. Now whether this EP is a translation of real life regarding someone in particular, or something he quests for, like his music..he is in search of substance, with the stronger essences of maturity and growth evident thus far. Some of the best artists are those who are transparent within their music, from the likes of Kanye West to Future, and Wale sits in the middle, as with (my initial favourite) Effortless, while the song itself is catchy and cool (with it’s Mary Jane Girls – All Night Long sample), it’s fairly truthful to where he’s at in life, as he quietly rebuilds, he touches on that, “I’ve been here..but I’ve been low key, can’t nobody say they’ve seen me around..”, distant from social media of late, it’s allowed him to live a bit more it seems, and he’s able to blend that into his music, even it’s laid-back feel really accentuates the content, and you just have to pay attention to garner glimpses of vulnerability as he drops his guard with this one, “I know I’m petty and immature..and I know, I’ve been hurt before..shouldn’t be the source of my cold heart, maybe shawty could be the first..to show me how to love on a level where effort isn’t work”. The way Effortless is catchy in sound, the final track of the EP has one of the catchier flows. A more retrospective offering, Let It Go really helps put into perspective not just himself but the journey of the project, from establishing, trying, maintaing to ending, characteristics and reactions of how he as a human with his strengths & flaws, handles such situations and what they come with. What at first was a dope four track EP, it’s really more of a creative insight and further justifies my previous point of transparency, “I’m heavily flawed, God designed me a little different, always at odds with my mind and heart”. Also, prior to that bar he states, “I’m ’bout to get signed the fourth time in a row”, which is interesting, as up and until him signing with Atlantic via MMG, that was considered his third, so possibly he is gearing up to take his EMB imprint to a new home or acquire distribution (said to be Empire records), which means more music for sure. Wether that may be the case or not, it’s evident with this EP that while love may be complicated, he is in full control and on course to gain the adoration that his artistry deserves.
“How they ballin’ but they tickin’ their grub, I just went out on a mission..now I’m missin’ the plug”
For Episode 1, he tackles the Classic Bravehearts – Oochie Wally instrumental, and while the lyrics at times can be similar (with it’s heavy trap content), he’s one of the few who can switch the flow up with the tempo, and it’s just that with this one.
“Like, why you waste my time? I won’t even touch him, I just take my line, take the sim and say goodbye..”
In a time where many trying to cement themselves in this game are doing more than just the music, it’s great to see a talent stick to the craft, executed in a different style. I’m definitely intrigued to hear what beat he’s flowing on next week.
New York has recently been gaining some more traction (though not entirely for the right reasons), and while the negatives may overshadow the music itself, the positive is that there is an abundance of music flowing, bringing us to one of the up and comers, Jordan Kyreem. The young rapper has been experimenting through previous releases (such as Out The Gate), and it appears that he’s getting closer with this new offering, Speeding.
Produced by Dutch talent, UNRTHDX, the ambient sounds with that intense synth occasionally striking through like lightning, provides more than just a base, allowing Jordan to switch between a mellow and hype rap in his verses, plus the melodic chorus, really combines to create an overall good track, with his vocals matching (and enhancing) the feel of the production. Whilst I might be bias with the Akira-inspired artwork, this is my favourite track from him thus far, and I would encourage a project around it, especially as there is clearly a dope chemistry between Unrthdx and himself.
For some years now, I’ve been singing the praises of Jimmy Prime, Donnie and Jay Whiss, the trio collectively known as Prime Boys. With every review, I find myself referring to them as, “the 6’s best kept secret”, due to the fact that they have consistently put out some of the highest quality of music and visuals, yet tend to be overlooked. Despite their lack of commercial success, talent can only be denied for so long and as they steadily rise up the underground, they return with Tinted.
Tinted sees the trio link up with longtime collaborator Murda Beatz, as they bring you into their lives, as they do it big, living life in the fast lane on that money chase and avoiding the hate that comes with it. The hustle-centric anthem kicks off with Jimmy at his braggadocios best, dominating from the get go with his varying and catchy flow, he sets the tempo with lines like, “Saks Fifth…run it up for practice, Cos’ I can’t bring this money to the casket..”. Donnie steps up for the second verse, with that aggressive drawl, as he skates on the beat, and might have one of my favourite verses (if not lines) with, “They trying their hardest to find me, trying their hardest to line me, Prime Boys like the Isleys, all of this moneys contagious, we doing shit for the ages.. “. I’ve previously described abstract rapper Donnie as Canada’s Quavo, with his unique sound and versatile style as influential on verses as it is with the hooks, and as much as I don’t want to do the comparisons, together, the Prime Boys could be seen as the Migos, more so for their chemistry, the unity between them, their flare for fashion and individual abilities, which combined make for great music. One of the more traditional rappers of the group, Jay Whiss adds to his dope hook with yet another strong verse, from the flexing, “moved to the burbs…I see horses out my window, like the time my wrist glow..”, to the darker, “Man I lost so many people…I stopped keeping count, luckily these pills help me even out, Whiss is getting money..guess the secrets out, and I got a couple shooters that I keep around”.
One of the reasons I rate them highly is their production value, matching the levels of quality of the songs, Tinted, rather than the regular videos we’re often used to, continues along the cinematic lines which I’m accustomed to from them, as these (literally) icy visuals have them whizzing their quad bikes through the ice, balanced with the separate black and white backdrops (sporting their Prime merch), down to the escalade blown up at the end. Where many may have appeared bitter or even given up, with the help of the team (the members behind the scenes) altogether, Prime Boys continue to make waves and grow on their own terms, establishing themselves not just as some of the best talent in Canada, but globally.
Click the artwork below to view their official site, a hub for not just Prime but a curation of all things cool.
It has been a long-time coming for the new age pioneer to release his debut album, after a turbulent entry into the game with 2005’s Slauson Boy and the Bullets Ain’t Got No Name trilogy, the West Coast talent reconnected with audiences with his (now influential) The Marathon, released in 2010, it is highly regarded as a rebirth for the rapper but more so by fans who it inspired, followed the next year with The Marathon Continues, which not only established Nip with a solid core fanbase but lined up perfectly for the release of Victory Lap. As a creative, I can only imagine how frustrating it must have been to hold onto to certain songs, awaiting the right time, because for us fans, he dropped the X-tra Laps and the quality lil’ releases on soundcloud, and then in 2013, the next pivotal moment (in music period), with (the now classic) Crenshaw. While he justified his last name with the promotion, independently doing what major labels were struggling with, the music itself justified any price point placed. With fans appreciative of the quality, it only enhanced his movement further. He proved his authenticity with Mailbox Money, a soundtrack to his success, which helped cement his All Money In imprint and Marathon brand, simultaneously raising the bar once again for the music and marketing, whilst increasing the demand to hear him cross that finish line.
[We even got a sequel to Slauson Boy (which people will champion in years to come), and the underrated No Pressure with Bino Rideaux, before the announcement of a partnership with Atlantic records, the first single and the release date of this album.]
With expectations so high, the title track serves as the curtain opening with it’s cinematic feel, the addition of Stacey Barthe’s vocals providing an extra height of emotion upon which Nip’s verse is elevated, “I’m prolific, so gifted, I’m the type that’s gon’ go get it, no kidding..”, he starts off, with a lyrical tapestry of struggle, fighting demons, to adversity and success, as he slaloms between the streets and the music business. Engulfed in the effects of the emphatic intro, the movie begins with Rap Niggas, a track that he had in the holster for a couple years now, the addition of Diddy as Executive producer only enhances the sounds of DJ Khalil and Mike & Keys, contributing to that theatrical production, heard throughout the album. The song itself is a valid statement from Nipsey Hussle, casting himself aside from the majority of (if not all) rappers today, with his credibility as certified within the streets as it is in the boardrooms. The next record is none other than the YG (fo’huniiiid) collab, Last Time That I Checc’d, it’s a feel-good track with the chemistry of the two leading the forefront of gang culture’s positive evolution. Having previously heard them as singles, it was the following that were most intriguing, starting with Young Nigga, sampling one of my favourites in PartyNextDoor’s West District, heavily amped with the iconic Puff Daddy adlibs, it’s classic Nipsey, as he paints the picture of desire and sacrifice, with his own stories of turning his back on the lifestyle in commitment to his career, “out the gate, lost count…many days in the studio we slaved, but this shit we gotta save..”, as well as the more notable story of his brother digging up money he buried, only to find half of it damaged from mould. These nuances of coming from such hardships to his status now is very much the premise of the project.
Thus far, you have probably heard good things about the album, and truthfully, with each listen..it only gets better. From the musicality (with the dope outros) to the content itself, (beyond my bias as a fan) it has really delivered. You have the Kendrick Lamar featured Dedication, which is actually one of the more catchier tracks, and fitting to the overall concept, before the sequel to a fan favourite from the Marathon tape, Blue Laces 2, with his signature flow, over the reworked production, he poetically details how far he has come, “Mogul and they know that, logo on my floormat..”, with his forward-thinking mindset and reminiscent flashbacks, he captivates the listener, with the story-telling on the last verse up there with the greats. More prominent is the assertiveness in his execution, the tone in his voice, if the first part was him chasing his dream, this is certainly him in the back of the Maybach reminiscing. The placement of each song is also to be applauded, Hussle & Motivate not only is descriptive of it’s title, but over the Jay-Z – Hard Knock Life sample, has Nip leading by example, “Lead to the lake..if they wanna fish, Make sure them niggas around you stick to the script, This should be written in stone, You should come visit my zone, Don’t take my word…double check all of my flows”. Sat in the middle of the album, it certainly important to the backbone. Status Symbol 3 might not be the best out of the trilogy, but like the two before, it stands on it’s own, “Wanna change the game…never chase a message, Never stop grindin’…cherish no possessions”, forever dropping gems, the latter part of the second verse really touched, as he raps of the dissatisfaction of harming another and the struggles to remain on course, “Started movin’ at a different frequency and it got me livin’ lavish, All my partners steady passin’…tryna wiggle through this madness, Tryna fight this gravity at time and I swear i could feel it pull me backwards”.
The album, like the artist, maintains a strong element of a West coast aesthetic, Succa Proof is one of the more diverse sounds, with the feature of Konshens and J. Black, the more aggressive of records, in comparison to Keyz 2 The City 2, another sequel to a fan-favourite, and again, very different to the original, but that’s the expression of growth, as you have to pay attention to the content, with the inclusion of another LA talent in TeeFLii. It for sure has one of the best outros you ever heard, as the production and his flow switches, and I’m sure many share my sentiments of wishing it was a whole track in itself. Grinding All My Life, another ode to the sacrifice and integrity, “Got married to this game…that’s who I made my wife, said I’d die alone…I told that bitch she probably right”, while the album would not be hindered if this did not make the final cut, the loyalty is always appreciated, as he pays homage with mention of the incident in Vegas, where a hater got stomped out, highlighting their unity. Thus far, the album has been an affirmation of defying the odds, jewels upon jewels of motivation, wisdom and real raps, cultivated together, strengthening the foundations upon which he stands, whilst echoing those principles towards new listeners. The last three songs, much like the individual outros, offer more insight to his musicality, and like the replays of the win with applauds in abundance, really depicts the end of the lap itself, from Million While You Young, an elaboration of the ‘no excuses’ mindset, featuring the recognisable vocals and presence of The Dream, it’s a hard-work pays off story, encouraging you stay true to yourself, “See you gon’ probably fail tryna play us, streets ain’t for everybody..get your grades up”. CeeLo Green has been on some classic tracks and he adds to that list with Loaded Bases, much like the previous, it’s a ‘pressure makes diamonds’ record, much like The Dream, CeeLo’s vocals help contrast against Nipsey’s tone, combined with the music, it makes for a fitting track, down to the inclusion of the crowd cheers towards the end, which start off the final track. Real Big truly captures the feeling that one can only imagine as you conclude the lap, basking in the glory of the accomplishments, soaking in the adoration, and as personal as the victory may be for Nip, the song itself is open for those to aspire towards such moments and share the success. Floetry’s Marsha Ambrosius is heavily respected within the rap world, and has played her part in accentuating the essences in songs for some of the most strong personalities, and it’s just that, with her angelic harmony, floating you to the top of the podium, with the change in music that can be described as feeling your feet firm as you raise up with the medal around your neck.
As if this journey of an album was not enough, the two bonus tracks, which are not only like the post-race interview as this chapter comes to a close, but like an end scene credit, line us up for what’s to come. Double Up sees Nip link up with two underrated talents in Belly and (another future LA legend) Dom Kennedy, with the latter undoubtedly pleasing for fans. The laid-back track is so good that it makes sense why it had to be included in this format, with the catchy chorus and overall cool feel, it could have easily been part of the main body of work. The bonus tracks actually prove just how good Nipsey Hussle is, with Double Up and Right Hand 2 God (sounding like a Championship celebration), being better than many singles of today, strong in substance and instrumentation, strengthening Nipsey Hussle’s artistry beyond just a gangsta rapper.
There really aren’t any criticisms, maybe the LA-theme could have done with a Terrence Martin feature, or how with each project released, there’s a groundbreaking execution, this however has somewhat of the regular model (in regards to the album bundle), and maybe it’s Atlantic handling that, though I can equally argue that it could have overshadowed the music, as it has done in many cases, rarely in interviews, have I heard someone speak on the content of Crenshaw, just the price point and how many copies Jay Z purchased, so this could have been a strategic move in itself.
It’s been a long road to this point, and he did not disappoint, creating a lasting soundtrack of integrity and success, and the motivation like the music transcends to new listeners too, as the increase in production quality helped establish this monumental occasion across not only new fans but genres also. A proud moment for any fan, as we salute the Crenshaw king along this Victory Lap.
I also want to offer my condolences, and pay my respects to Stephen “Fatts” Donelson, a staple in the ‘All $ In’ imprint, a major contributor to the overall operation and success of Nipsey Hussle, who before a business partner, was a friend. While nothing can make up for the losses, no doubt this victory is in his honour and long may the legacy continue.
Click artwork to purchase physical
10 Months later: Victory Lap has not only been solidified by the listeners, including a host of credible figures continuously praising it throughout the year (and I feel like this album created that conversation for ‘Rap Album of The Year’) but it also gained Neighbourhood Nip a Grammy nomination. Whilst it actually means more that it’s the Street’s album of the 2018, it is still a beautiful depiction of integrity and perseverance, that this body of work is now forever etched in the history of the esteemed ceremony. A lot of others are now starting to see the prolificacy that his core fans have been championing this whole time. From the new music and videos (six, totalling well-over 50million views), down to old footage surfacing of him ahead of his time, all goes to show that the timing couldn’t be more perfect.
“Telling me how I should do shit, when they can’t do their own shit..”
Following up from his previous project Alpha, Dukus continues to blend the flavours, dropping his new track, letting you know he isn’t Going Nowhere..
An incredibly talented producer, Dukus has supplied the vibes for top tracks within the country, and in the past couple years looked to establish himself as an artist in his own right. After the moderate success, both in front and especially behind the boards, he has been steadily working away, and since releases Going Nowhere, an inspiring, mid-tempo statement of a track, combining his abilities as a producer and vocalist, asserting not only his mindset but intentions as he looks to continue the hard work and further develop as a staple in music today.
Calley, better known as Calibars, has always been praised for his lyricism, however at a time where there was not much light shone on Rap, his style and music struggled to fully connect with audiences. Sometimes, the artist might just be too good with the words and it goes over people’s heads, which was the case a lot of times with him. So now in a new space and a new name, Calley looks to realign himself with the best, and he’s taking no days off..
No Days Off is the motive, regardless of the hustle, the grind doesn’t stop, and after his return with last month’s Doner Rap, Calley’s new track is sentiment to just that (featuring Mr RTM himself..Young Spray and up and comer Shef), as he looks to keep his foot on the pedal. While Doner Rap was straight bars to digest, No Days Off is more of a structured track, with it’s melodic hook and choice of features. Calley himself is rapping with that signature flow that we’ve come to appreciate from him, and though Doner Rap might have been more captivating, this flow blends well with the distinct tone of Young Spray, who matches Calley with a strong verse, as both ‘certi’ rappers further complimented with newcomer Shef, who really holds the track together with his catchy chorus.
Definitely pleased to hear more from Calibars Calley, and if Trap rap sandwiched in metaphors and punchlines is your thing then definitely stay tuned to one of London’s most underrated.
With a project released each year for the last couple years, South London’s prince of rap has been on a consistent rise, leading to a feature and appearance on Giggs’ Landlord album and tour, finishing off the year well with the release of his South London Press project. Not looking to slow down in the slightest, he gives us Fire Water..
Fire Water is Tef further establishing his lane, like his position in the game, it’s sits comfortably between Drill and Rap, as he skips across the production with the catchy flow. There’s a fine line between rapping about things that you can’t believe someone so deep in the game to be doing, but as he’s still on somewhat of a come-up, it works well, but what I like most is that he’s able to draw the parallels between the street and rap life, without it being so in-depth, you can get the “road” lingo and experience whilst he’s motivating and describing the come up itself, holding importance as he has always been heralded for his lyricism.
The video helps bring the vibe to life, bring the heat in the snow, as he’s really just having fun with the mandem, and as people love visuals, it will surely help push the song further for those that might have slept on it.
It might not be his best song thus far or the big single, but rather feels like the start to a rollout towards the anticipated new project, however, it not only provides insight into the direction he’s taking, but we get to hear the improvement, in delivery, his thought process, which only raises the interest for his dedicated core fanbase, who will definitely be awaiting some new material from one of the scene’s unsung heroes.
The Tottenham talent follows Ready Up Steady Up with this new video, letting them know he’s Local
Produced by CeeFigz and The Beat Boss (both individually responsible for a host of hot tracks), they help set tempo with a movie score-like production, which Shaqy effortlessly tackles to create a scene in itself. Local is one of Shaqy’s more defined sounds as he continues to develop, with his harmonising rap style fitting right over the production. It’s most definitely one of his better tracks, it certainly helps to work with not one but two talented and experienced producers, and while his versatility means you can expect different styles to come, I can see him carving this lane out for himself, as there are not too many who appear as comfortable as he does here. The concept is not as unique but it’s definitely relatable, and it’s further emphasised by his delivery.
As someone who has observed his development thus far, it’s encouraging to see the improvement and as he continues to create more, you will no doubt hear more of his soulful trap sounds.
Riding high off the critically acclaimed Outbursts From The Outskirts, Manga drops the visuals for the female empowering My One/God Save The Queens
The success of his project was not just based on sound and style, but concept too, delivering a dominant Grime project that showcased the evolution, not short of substance, and this record is an example of just that. Paying homage to the queens, it’s very rare to get such a song, especially on such a tempo, it’s not exactly what comes to mind when you think Grime (but that’s why he deserves the praise), far removed from the derogatory stances we’ve been accustomed to, it’s a more positive and praising outlook. Acknowledging the strength and inner beauty of the woman, and crowning them as such. The video is a cool representation of just that, down to the inclusion of snapchats of a variety of ages, ethnicities, shapes and sizes, especially with Goldie’s hilarious (but true) outro, you’re all queens!
ONE Fáris 