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Fresh off a spate of good work as part of the Summer Leather Vest collective, Emanny comes through with a solo project that will hopefully lead to more success for him as a solo artist.
He’s undoubtedly a gifted vocalist but seems to have just lacked that consistency and quality with previous releases. There’s every chance that his work as part of SLV has sharpen up some of those rough edges, and I expect this could be a defining mixtape for him, a view I may not be alone in having as Jadakiss, Emilio Rojas and Joe Budden lend their talents to assists to Emanny’s 13-track project. R&B heads should be grabbing this one, and you can do so for free below.
Emanny-Songs About Her
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He’s been going on about it for what seems like forever, and 50 finally drops off his latest mixtape and his first ever Gangsta Grillz tape (like that has any prestige after giving OJ Da Juiceman multiple Gangsta Grillz titles).
It’s an interesting lineup too. It feels strimmed down courtesy of a lack of major features, outside of Eminem, Snoop Dogg and 2 Chainz each appearing once, and even then the latter is due to 50 remixing his single. By the same token, the list of producers doesn’t quite read like a who’s who of the hip-hop game, and the combination of that and the lesser features could actually be a good thing; 50′s put the spotlight on himself as a result, and I’m sure most hip-hop heads would love to hear a hungry, on-form 50 Cent. Free grab below.
50 Cent-The Lost Tape
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Given the vast amount of material that Common, James Fauntleroy, No I.D. and friends have released as Cocaine 80s, it’s a surprise I’ve not posted any of it on here. Nonetheless, they’ve started releasing more music recently after a few months off, and this is certainly the standout of the bunch courtesy of a great Nas verse.
Fauntleroy does a superb job with his harmonies throughout this one, taking on the soft yet atmospheric No I.D. production with a delicate delivery on the vocals, both in rapped and singing sections, working to really accetuate the high points of the beat and showcase his own abilities. The slick Nas verse contrasts excellently with the smooth vocal work that comes before and after it, with a razor-sharp delivery that definitely leaves you wanting more; clever move with his next album on the horizon. A really likeable effort that straddles the lines of soul, R&B and hip-hop very expertly.
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Summer’s coming (all 2 days of it, hopefully) and it’s about the time to grab some brand new dance/electro/whatever to crank the volume up on in your car.
It’s a lively, energetic number that’s anchored around an earworm of a melody, that being the shrill electronic melody that bounces its way through the track. The rest of the production is pretty standard stuff and that’s not a bad thing, piecing together a percussion that moves the track along nicely with a catchy vocal sample, multiple tempo switches and a few other additions that add some welcome detail. A light and bright electro effort that’s generally quite inoffensive and ticks all the right boxes for a summer playlist.
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Lupe’s back. The Friend of the People mixtape had a couple of outstanding tracks that hinted at a return to form, and this excellent first single from the upcoming Food & Liquor 2: The Great American Rap Album suggests he’s well and truly back on track.
Any hip-hop fan worth their salt will instantly recognise the production, sampling Pete Rock and CL Smooth’s legendary classic T.R.O.Y., and that instant throwback recognition sets you up well for the familiar and sorely missed sound of Lupe on form. The rest of the production needs no description: it’s simply one of the all-time great hip-hop beats, albeit a little ‘shinier’ and lacking the rough edge of the original.
In what is one of his most politically and socially charged rhymesets to date, Lupe takes the listener on a world tour of sorts as he documents and offers opinions on a range of global goings-on, demonstrating that passion, motivation and depth so sorely lacking from Lasers. The flows and wordplay are pretty solid throughout, switching through a couple of deliveries and dropping off some nice quotables throughout for a very well-rounded performance. This is about as good a lead single as Lupe could have gone for to get the hip-hop audience back on his side, and I’m thoroughly excited for more from the album. Sadly, this hasn’t hit iTunes UK yet, but keep a look out for it.
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A nice look for Kendrick here, as he’s placed on the official soundtrack for Tom Clancy’s Ghost Recon: Future Soldier game, released over here on Friday 25th May.
A relatively short blast but it’s rarely a disappointing one with Kendrick, as he takes to a production that swings through a few moods with some strong flows. The beat opens with a driven, slightly dark style before progressing into a marching, more motivational soundscape, courtesy of some good transitional work on the percussion. Kendrick’s raps are solid throughout, bringing some slick flows to the verses before unwrapping that singing/harmonising delivery he’s so fond of for the hook to enhance that motivational aspect. A decent effort that will satisfy Kendrick fans hungry for more material from him.
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Since his release of the lead single from Is This Too Orange? Asher’s been quiet, but he returns to the limelight with some brand new music to brighten the Monday of Asher fans.
Feelgood vibes wrap around this track, as Asher cools out and describes a pretty great summer day for most people, with lots of outdoorsy lyricism packaged into a bouncy flow. There’s nothing massively complicated about the raps and that’s a highlight of the track, with its easygoing nature being a light listen that helps this track to definitely find a home on your headphones on a bright summer’s day. The production compliments the rapping, with a childish vocal sample that enhances the playful nature of the subject, whilst the soft percussion allows the track to bob along smoothly. A solid all-rounder that’ll slot onto summer playlist without much fuss.
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NOT work safe. Also, anyone under 18 needs to watch something else.
I’ve been enjoying the soundtrack to the Mickey Mause documentary so much that the opportunity to check out the actual documentary and all of the accompanying visuals hasn’t arisen. That being said, this was the standout track and seemed a good start to hunt down the video series.
The video takes full inspiration from the title and lyrical content, as the Mickey Mause character gets an close-up and personal photography session with a more than willing model. Despite the obvious sexual overtones of the video, there is something oddly captivating beyond that (I’m being serious!), possibly down to the general cool vibe of the Mause character and the ridiculousness of his daily life. The audio is an excellent blend of classic Mickey Factz storytelling with a thick electro production that sacrifices tempo for depth and power. Mickey’s raps are simple and to the point, setting the scenes perfectly, whilst the intense, rugged electronic tones give the track a raw, attitudinal edge that feed into the character’s cool vibes. Worth a watch (if you’re of age), and definitely worth a listen; grab the excellent Mickey Mause mixtape here.
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The Slaughterhouse boys are at it again. It’s always a pleasure to see these guys come through with some freestyle work, and here they stop by at Westwood’s place whilst on their European tour to fire some bars off on Stay Schemin’, I Don’t Like, and I’m A Boss. It’s a selection of beats that most mainstream heads will be familiar with, and hence it’s great to hear the Slaughterhouse machine get their hands on them.
Whilst some of the bars are recycled from previous verses (I definitely recognised bits of Royce and Budden’s verses), the performances are still enjoyable enough throughout with some tidy flows and solid wordplay. Joell probably takes the win, purely because it’s clear most of his bars are pretty much improvised (unless he’s previously made a Nando’s reference?), though props to Crooked I for his fantastic, albeit short, flow for his section.
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With a slew of hip-hop vocal samples in tow, the very talented A. Chal comes through with his latest alternative electronic effort. I’ve had much of his back catalogue on repeat since the emergence of the excellent Come Back, and it’s great to get some fresh new material from him.
As with his previous material, there’s an addictive cool in and amongst the diversity he displays from start to finish. The first half of the track is smoothed out, atmospheric and relaxing without losing a lively edge, before alternating in short bursts with a quicker, more house-esque style to bring that variety to the fore and inject further energy into the track. Whilst the two alternating styles are different, there’s a general calm and solidity in the synths that underpins the whole track and ensures consistency, making this an enjoyable listen the whole way through. Looking forward to more from A. Chal.
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Having vented a little just moments ago on Twitter, I thought I’d pay Childish Gambino/Donald Glover’s site a visit. Imagine my surprise when firstly, it was somewhat renovated (with a Big Ghost quote, no less), and secondly, this excellent track was sitting at the bottom waiting to be downloaded.
Many will recognise this as one of the outstanding tracks from the quartet he performed recently, and I’ve been looking forward to this being released. The production is wonderfully easygoing, with the opening relying heavily on a light key melody before launching into, and blending with, a pulsating percussion and some superb raps from Gambino. There’s a mixture of motivational and biographical lyricism in this one, making for relatable content to accompany the warming production, including a couple of lines that will surely get the gossip columns talking (“hope the show gets cancelled, maybe then I can focus“). I’d rather ignore that and celebrate this track for the summery, all-round throughly enjoyable effort it is, and I’d fully recommend this to all Gambino fans.
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I know this collaboration will excite a lot of OTU fans, and rightfully so. Two upcoming rappers who’ve risen at different ends of the spectrum, and this is about as good a co-sign as Gambino’s managed to grab to date in his quest to be taken much more seriously as a rapper.
Assumedly from his upcoming mixtape, and having given Funk Flex the honour of premiering this a couple of nights back, he’s certainly upped the hype for that project. There’s a clear maturity taking place with Gambino’s raps, leaving behind his lighter style for something a little darker and more aggressive in a recent video, and that’s a trait carried over here. A slow, ominous production holds things together whilst both rappers grab the beat in very different ways, and whilst Q edges it with his razor-sharp flow, Gambino’s performance is enjoyable with some nice lyrical high points. Radio rip for now, and I’m looking forward to a better version.
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God Forgives, I Don’t is on the horizon, and recent collaborators Rick Ross and Usher hook up once more for the latest release from that project.
I’ve been hugely underwhelmed by everything from this project thus far, but this is definitely a step up. The production begins with a slow, smooth quality that mirrors some of Drake’s early material, before moving into yet another catchy Usher vocal, and finally ending up at a Ross verse with a percussion that adds some energy into the track. Occasionally, that blend of soft synth and urgent percussion sounds a bit cluttered and confused, but for the most part it’ll hold up well enough to satisfy the mainstream. Undoubtedly though, it’s the Usher hook and vocals that make this one, and it’s as good an advertisment for Ush’s own upcoming album as it is for the Ross album.
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Of the trillions of possible album titles, why Ne-Yo opted to use the same title as Game’s album released less than a year ago is beyond me. It helps no-one and it’s not even that good of a name. R.E.D. Yeah, creative.
The first release from that album, and thankfully it compensates for the silly titling. The production is anchored around a booming percussion, creating a driving power in the soundscape that is supplemented by some excellent lightness in the melodies. The soft keys, strums and synths surround themselves around the pounding percussion alternately, serving to calm it slightly and keep the track from straying too far from the realms of more laidback R&B. Vocally, Ne-Yo rarely disappoints and his delivery is on-point once again, ensuring he doesn’t get too wrapped up in the more intense elements by resisting the temptation to cut loose and deliver an overly-passionate segment. It’s nothing revolutionary, but a solid R&B jam for sure.
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In those 5 minute gaps between prison sentences, DMX has managed to find the time over the last few years to put together an 11-track free EP of all new material to satisfy those who still retain any interest in the veteran. It’s been 6 years since his last (non-compilation) album, and truthfully he’s hardly cultivated his brand in the intervening years. Nonetheless, I’m sure there’s an audience, even if its the morbidly curious.
Couple of big names help Earl out on this one, as Snoop Dogg, Tyrese and Lil’ Wayne make appearances, whilst Dr. Dre is listed as being behind the boards on the Snoop Dogg feature. I’ve not got great expectations for this project in truth, but if it reinvigorates DMX’s career then I’m all for it. At worst, you’ll head down memory lane thanks to those trademark canine-inspired adlibs. Free grab below.
DMX-The Weigh In
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A smoothed-out, soulful effort from the ever-entertaining Jamieson to close off your Monday night, taken from his upcoming June release I Came, I Saw Vol.3.
The production has a cool, mellow vibe, courtesy of a soft vocal sample, pillowy bass and easygoing melodies, with the combination being a production that could certainly stick around on those summer playlists we’re all so desperate to get in rotation. Jamieson’s raps are pretty solid throughout, sticking true to the track’s title for a self-doubting yet occasionally feelgood performance, packed with a commendable honesty throughout that reveals a couple of interesting moments, particularly the suggestion that he once rapped rings around Asher Roth.
It’s worth noting that there’s zero malice in his voice, and such references are clearly meant in a non-harmful manner, and in some way that probaly enhances that chilled-out style of the track. Decent all-rounder and hopefully the full project follows suit.
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Presented by LeBron’s official website, and though I’m not sure what association he has with this mixtape otherwise, it’s apparently “the official playoff mixtape”.
Usually, I’d brush this off as a pointless gimmick but the tape features brand new material from some real hip-hop and R&B luminaries, including Ryan Leslie, Fabolous and Maino, as well as a few talented upcomers such as Nitty Scott, MC and Freddie Gibbs. Coming in at 14 tracks it should be a nice, concise listen and you can grab it for free over at LeBron’s place below.
LeBronJames.com Presents: The Campaign Mixtape
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A month shy of exactly 3 years after their hugely-popular Conditions album was released, The Temper Trap are gearing up for their sophomore effort with their self-titled album due for release on 18th May.
Trembling Hands marks a slight change in style for the band, as their instrumentation on this one feels much a little smoother around the edges, with the sharper and more energetic guitar work substituted for a more atmospheric, grander sound that has a more mature sound. I’ve not yet decided whether I prefer this lane to their previous works but there’s no denying this style still works with all of their previous plus points, namely powerful vocal work, and I’m looking forward to giving that new album a listen upon its release.
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When Azealia was recently throwing shots over at Iggy Azalea, T.I. and co, one of the recurring rebuttals I saw from Grand Hustle fans was that Banks hadn’t put out enough material to say the things that she was. It looks like she’s preparing to remedy that with a duo of releases, as this track comes from the upcoming Fantastic mixtape, to be followed by the 1991 EP.
There’s an international flavour to the production, boasting a mix of elements that ranges from steel drums to more tribal-esque percussion, and the repeated switches add a little dynamism to the soundscape, though at times it becomes a little loose structurally. The raps are OK given the difficult production, but the relative paucity of lyrical depth in her content generally relies on her ‘catchy’ element and slick flows to compensate, and on this occasion neither do. Not terrible, but I hope there’s better stuff to come.
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Undoubtedly, this is one of the more touching efforts on Ed Sheeran’s hugely popular + album, and probably goes down as the favourite of many from the LP. The softness of the lyricism compliments the mellow instrumental work throughout, whilst Ed’s introspective and reflective vocal work rounds off the audio as one with a real emotional depth.
The video could have gone in a few directions, and it has to be said that he’s picked one of the better options here. The clip focuses on the aforementioned introspection, as Ed has an internal conversation, whilst the world moves on unnoticed around him. The key theme is the isolation he feels throughout, cutting a lonely figure from start to finish despite the activity around him, whilst credit goes to his acting at the end as he (or his ‘character’) appears to struggle with holding the emotions back.
Much like his Lego House video, it’s a simple yet very effective effort that both encapsulates the audio and Ed Sheeran perfectly: no frills, no glitz, just a solid message with a strong delivery.
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Christian Rich’s return rolls on with an electro/dub-influenced number that once again displays their ever-surprising versatility.
The dubstep heads will have a real field day with this one, as the trademark thick bass and stuttered synths of the genre swarm this track from start to finish, though they’re ‘diluted’ enough to make the production very accessible to everyone else. What helps is the basic structure of the track being solid, versus the slower, more build-heavy stylings of many other efforts, whilst the soft vocal work that drops in and out of the track is also a highlight addition to the track. Decent effort, and one that’ll work on anybody’s night out playlist.
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When this was released a few weeks back, there was no way I expected to still be giving it solid play time now, but here we are.
Certainly one of Swizzy’s better efforts in recent years, he rightfully follows up the song’s good reception with a video that does a decent job of complimenting the audio. The track is a cool, catchy effort that packs an awful lot of bounce into the production, and whilst the raps from both aren’t lyrical masterpieces (particularly Swizz, as usual), they’re clearly not intended to be as this is one purely to nod your head to on full volume.
The video’s full of opulence and night scenery, with the darkness of the environment allowing the blasts of colour from other sources in the video to stand out a little more and give the video a nice vibrancy. Good all-round package that will remain in my playlists for the foreseeable future. If you don’t already have it, help yourself to the track here.
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You’re not alone: I also have no idea who those features are.
New material from Gambino, possibly from his upcoming mixtape, and it’s a short one that won’t wow anyone. The sample is funny at first but becomes annoying quite quickly, whilst the opening feature comes across as more parody than anything (is this Gambino alter-ego’s or something?), though the second feature isn’t as bad, with a speedy flow that works well with the beat. Gambino closes the track out with a decent verse that switches between a couple of flows to good effect, and whilst I can’t complain about his raps, the beat is far too annoying for me to really appreciate the track as a whole.
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It looks like now that the Schoolboy Q hype is calming down, it’s time for another excellent talent to emerge from the TDE camp, as Ab-Soul gears up for his #controlsystem project release on Friday.
Ab’s probably the first act I’d actually heard of from TDE, and whilst its taken a little longer for him to gain the acclaim his colleagues have, there’s no doubt he’s a talented rapper as this track demonstrates. Fantastically smooth, atmospheric synth work softly weaves through the track, backed by a strong percussion for a nice thickness to the production, and Ab delivers some passionate, driven raps that contrast nicely with the beat to really spotlight the lyricism. Kendrick delivers on the assist as per most of his guest spots, coming through with yet another enjoyable all-round performance, and it caps off what is a very likeable track.
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As far as brash, listenable mainstream rappers go, Meek Mill’s really grown on me in recent months. What helps is that there’s genuine talent there and you know that when he’s done with the ‘street anthem’ lane, he’ll still have a great career in the game.
Having heard 4 or 5 tracks from this tape prior to its release, I can honestly say I’m looking forward to giving this a full playthrough. Alongside head-nodding street anthems such as Burn, there are more solemn, lyric-centric efforts such as the fantastic Ready or Not, sampling The Fugees song of the same name, and I’m sure there’s plenty more diversity to enjoy across the rest of the tape. Features include Kendrick Lamar, Big Sean, Fabolous, Rick Ross and more, and with his debut album is set for release this summer, Meek will be hoping the assists from that group will further help to set him in good stead for that release. Free grab below.
Meek Mill-Dreamchasers 2
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Maybach Music’s best kept secret, and he’s rapidly become one of R&B’s best kept secret’s too. His material since the turn of the year has been top drawer, and frankly I’m surprised MMG haven’t utilised his talents more. This one was dropped earlier this week and is set for his upcoming Skky Miles project (not a typo).
The production is a brilliant blend of soft and energetic, combining smooth, airy synth work with punchy percussion, amongst many other elements, for a superb backdrop with a lot of depth. Masspike’s vocals follow the same style, with his delivery being a little more restrained in the verses before he takes on a much more passionate delivery for the bridge, whilst the hook work actually lies somewhere in between. The latter vocals make for a nice surprise, as he doesn’t go for overkill with the hook and instead rides along the beat with a confidence and poise that belies his status as a relative upcomer. Enjoyable effort, looking forward to Skky Miles.
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SDF has quickly become the monthly necessity in any 90s hip-hop lovers diary. Since launching in March 2011, the events have gone from strength to strength, receiving press features from the likes of The Guardian Guide, The Evening Standard, Time Out, The Metro, SB.TV and hosting acts including Rita Ora, Conor Maynard, Rizzle Kicks, Josh Osho & Stooshe. This month we’re starting early & taking over The Jazz Café for 7 hours with some incredible live sets early on before we get deep with the 90s gems you all love from 11pm! Expect to hear 90s Hip-hop from Dre, Snoop Dog, KRS One, Wu-Tang, Nas, Biggie, Tupac & A Tribe Called Quest & RnB from TLC, Montell Jordon, 112, SWV, Salt N Pepa, Destiny’s Child & A LOT more.
Elro has racked up 1.5 million views on his SB.TV warm-up session, and is about to release his debut, ‘Bad News’. Mike Skinner (formerly of The Streets) has found it fit to resurrect The Beats label (once home to Example and Professor Green), for the occasion. With Skinner also providing the beat and his now D.O.T. partner Robert Harvey residing on the hook, the next chapter is soon to be revealed.
Cleo Sol In addition to receiving key TV & radio play, industry taste-makers (including MTV, MOBO) have marked her as a ‘one to watch in 2012′. Cleo signed her first major deal with Island Records in December 2011 and is currently working on her first Island release due Spring 2012.
Queue jump advance tickets: £6 from jazzcafe.co.uk / www.rockthebelles.com – highly advised.
Concessions: £7 / £8 on the door
Time: 8pm-3am – early arrival is a must.
Address: The Jazz Café, 5 Parkway, Camden Town, London NW1 7PG Transport: Camden Tube
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Filmmaker Ruth Hogben collaborates with award-winning musician Kanye West to create a film for his single Lost in the World. Hogben’s piece breaks the mould of popular rap aesthetics while still celebrating the extraordinary talent that has made West a modern icon.
Talk about setting high expectations with the introductory text. Does this really ‘break the mould’? It’s an enjoyable clip aesthetically, there’s no doubt about that, but aside from the monochromatics and top-down camera angle, there’s nothing thematically groundbreaking here whatsoever and instead I’d call it pretty disjointed.
I’m sure some would view that disjointed quality as the intention of a video titled Lost In The World, but surely the key idea behind a music video (and after all, that’s all this is) is to enhance the song rather than muddling it with a messy attempt at artistic triumph. I’m always interested in videos that push boundaries or do something totally different, but this just doesn’t do that in any real meaningful way. Visually impressive, but thematically loose.
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The lead single from Rocky’s upcoming debut album is given the video treatment just two weeks after the audio release. Those are the kind of timings I can get on board with.
The video is a great representation of what Rocky’s all about: plenty of energy and style accompanied by huge doses of charisma and confidence. A relatively simple video, the clip lets Rocky makes the most of his lead single with plenty of solo time, varying from close-ups of him rapping to driving around at night. I expect comparisons to be drawn with an early Lil’ Wayne in terms of the gravitas he has on screen as he’s great fun to watch in full swing, and whilst I hate using the word, he has a natural ‘swagger’ that’s difficult to resist.
Fundamentally, it’s a lively video that matches the bouncy audio excellently, giving this single plenty of potential to help A$AP Rocky break that final barrier to mainstream success. Audio review is over here, and LongLiveA$AP coming soon.
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