I’ve had this song on repeat since its release, as have many other hip-hop heads, and Nas now comes through with the visuals for the lead single from Life Is Good.
Stepping away from the grittier videos that feature heavily in his back catalogue, this one is full of luxuries, lavish living and a general air of celebration that adds a little more affability and positivity to Nas’ generally-serious image. Themetically though, it’s nothing groundbreaking as once you look beyond the change in style, it’s essentially a standard hip-hop video, though credit for the stunning aerial shots of NYC that are interspersed throughout the clip.
Kid Cudi’s back on in his solo (dolo) lane, dropping off what could be material from Man on the Moon III, or possibly just some new material for the fun of it. After the successful WZRD experiment, he’s back to rapping on this one, coming through with a stop-start, stuttered flow that packs in some decent lyrical work, combining a little introspection with some eccentricity for a nice blend of content. Cudi’s also helmed the production on this one, serving up a beat with a slightly dark yet lively nature, as dramatic synth work accompanies bouncy bass work for a production that doesn’t nail itself to any particular genre. The raps match the alternative stylings of this difficult production well, and most Cudi fans will enjoy this one.
Winding up for his first post-Camp project with an upcoming mixtape, Childish Gambino performs a few tracks slated for the project.
The key notable is Gambino’s increased tenacity and aggression in comparison to his previous material, suggesting a departure from his lighter, more universally-friendly style, and you get the impression he’s embraced hip-hop a little more, rather than the more eclectic approach previously taken. Whilst narrowing your horizons isn’t usually a good move, there’s potential that this shift will lead to him being taken more seriously as a rapper, and may signal a lyrical change from the relatively samey content of Camp.
The tracks themselves vary in style, with the opener having a nice drive and intensity to it, whilst the second is the highlight courtesy of an addictive upbeat production. The third has a minimality that confidently puts all of the spotlight on the raps, whilst the final track has a Lex Luger-esque production coupled with some excellent flows, making for the most ‘typical’ hip-hop track of the quartet. Good diversity between the four, and I’m looking forward to that tape.
A hard-hitting, grimey instrumental and 2/3 of the LOX? The combination promises much for the hip-hop heads, and it definitely delivers.
From Jada’s upcoming Consignment mixtape, the production has a real dark aura around it, blending some horror-esque melodies with pounding bass, sharp additional percussion and packaging them into a slow, menacing pace that enhances the atmosphere of the track. Wale opens the track with a disappointing verse, largely as his style doesn’t suit the beat at all, though Styles and Jada recover the song well with their verses, whilst French’s string of hook features continues here with another simple yet catchy chorus.
The first single from Wiz’s upcoming O.N.I.F.C. album, and he’s started things off pretty well with this one. The general vibe and tone of the track is considerably more driven and mature than the lighthearted nature of his previous album’s work, and certainly more in line with the recent Taylor Allderdice mixtape, with a thumping instrumental that boasts a speaker-rattling low end, alongside a couple of lighter elements to retain some appeal to his core mainstream fans. In that vein, the hook is rather pop-oriented, so much so that it almost feels out of place amongst the more serious style that his verses emanate, though again that’s clearly to ensure his majority fanbase are catered to. Generally, it’s a pretty solid effort that will surely rack up some airplay.
The Slaughterhouse machine is in full motion, and here goes the first video from their upcoming Welcome To Our House album. Hammer Dance is exactly the type of pulsating, driven hip-hop that fans expect from the foursome, and having given it some serious playtime upon the track’s emergence a little while back, the video release makes for a timely refresh of the track.
Opening with live footage that really sets the video off with some considerable energy, the video switches between a mixture of clips from live shows, backstage footage with several big name cameos (including some genuinely surprising ones), and some regular footage of each rapper performing their respective verse. It’s an uncomplicated, no frills video that pretty much nails the basic no-nonsense element of Slaughterhouse as a result, and is most definitely worth a watch for the hip-hop heads amongst you.
Yet another collective emerging from the Odd Future clan, as this time Hodgy Beats and Domo Genesis get together as MellowHigh, putting a stoner spin on Hodgy and Left Brain’s MellowHype name.
Whilst their name may be light-hearted, the music certainly isn’t. Sporting an intense Lex Luger beat, Timbs showcases Hodgy and Domo in their most ‘serious’ light to date, as each rapper steps away from the OFWGKTA freeform carnage to lay down some slick, structured raps that will take many by surprise. The production has a real knock to it, with a driving percussion that is supported by little more than some ominous synth work, creating a simple and effective backdrop for both rappers to come through with some excellent flows, whilst the lyricism has a ‘regular’ hip-hop style for the most part, and as a result is far more accessible to the wider hip-hop audience. Arguably, this is one of the clan’s most rounded and audience-friendly tracks to date, and I’m really interested to see how this duo progress from here. Free grab below.
That sophomore album keeps getting delayed or re-titled. Set to be the lead single from Is This Too Orange?, despite various other ‘lead singles’ being released, and hopefully we’re finally getting Asher’s second LP.
An energetic one with a dance-influenced beat, blended with a sampled hook of Eddie Murphy’s Party All The Time, and I’m not entirely sold on this one. The sample is annoying, and the thudding electro-style bass in the verses feels like an unnecessary addition, whilst the mainstream vibe of the track causes Asher to take his clever raps down a peg to match the production, and hence what brings are somewhat diluted raps by his standards. The Meek Mill feature doesn’t quite come off either, with his style not a great match for this style of production both from a flow and vocal perspective, which leads to an awkward-sounding verse. I’ve always supported Asher, but this isn’t a good release by his standards and strikes me as a label-enforced single.
After a forced hiatus due to various other commitments, we can finally resume the latest weekly series from the OTU brain trust. I must admit, this is fast becoming my personal favourite series in OTU history, purely because it allows both yourselves and I to rediscover tracks that we either once loved or once forgot about, and that’s frankly a lot of fun.
Enough of the self-appreciation.
Click on below for another diversity-laden edition of SYFA, featuring a trio of prominent current mainstream names, alongside a couple of acts that have slipped away somewhat.
Second A$AP blast of the day, and this one comes straight from Rocky’s upcoming debut album, LongLiveA$AP, with Rocky dropping off the first single today as promised.
Picking up from where LiveLoveA$AP left off, Rocky once again relies heavily on his style over substance, keeping things relatively uncomplicated and riding the Hit-Boy production crisply and with confidence, without ever really breaking a sweat. The beat is definitely a grower, thanks in part to a bevvy of small nuances that become more apparent with each listen, but mostly due to Hit-Boy’s hypnotising drum work and addictively airy melodies combining to good effect, whilst the bass snakes through various different ‘moods’ with great skill. A$AP Rocky’s key skill is his synergistic connection with an instrumental, and this is another fine example of that, with arguably more replayability than some of his back catalogue thanks to an instrumental that improves with every listen.
This has been buzzed about for quite some time, and Theophilus finally comes through with his hotly-anticipated collaboration with fellow hipster favourite and NY native, A$AP Rocky.
The collaboration certainly comes off well, with the biggest notable being the surprisingly heavy vintage influence on the production. The Big Spender sample requires little background information, adding a heavy dose of classic cool to the track, and that foundation is embellished with horns and a laidback tempo, whilst a pounding bass and sharp claps infuse the hip-hop sensibility needed to work this old soul-esque production into a hip-hop environment. The raps are decent enough throughout, with both acts feeding off the natural charisma of the sample to deliver confident, easygoing performances that give the track a wholesome, well-rounded feel. Something very different, and that’s the best possible route for this collaboration.
The talented Azad Right is back, and he’s got another excellent sample in tow. Having introduced himself with the assistance of The xx’s Intro, Azad’s latest effort borrows from yet another UK favourite as he selects Jamie Woon’s Spirits for accompaniment here.
Azad utilises the natural melancholy of the production superbly throughout this one, conveying disappointment, sadness and negativity in his voice to emphasis the failed relationship-centric lyricism. There’s plenty of relatability here, and the clear personal touch in the lyrics and the delivery makes the most of the dark synths and sombre percussion, with the overall end product being another top effort from the fast-rising rapper.
Slowly, Casey Veggies has won me over. His recent features have been very enjoyable, standing out on tracks alongside some well-known peers, whilst the small amount of his own material I’ve caught over the last couple of months has been equally likeable.
Whilst my personal favourite, his horn-driven and appropriately-titled F*cking Awesome, didn’t appear to make the tape, there’s plenty more to get stuck into from a rapper who’s surely on the cusp of exposure to much bigger audiences. A couple of the features here will certainly help, as the likes of Jhene Aiko and the Odd Future clan get involved to back up Casey’s project. Grab this for free below.
After a few weeks away, R&B Fridays is back and swollen with star quality for this week’s edition. Of course, in keeping with tradition, it’s also released on a Sunday. Nice to be back into routine eh?
The second, and probably more anticipated, video release from Drake sees him deliver visuals for his huge collaboration with Rihanna. Seen by many as the headline track from the album of the same name, this is a mainstream smash hit.
Personally this song got played out very quickly, but I’m sure there’s lots out there who still enjoy it and will lap up the video, so enjoy!
The first of two new video releases from Drake this Easter weekend, this one for his collaboration with Lil’ Wayne.
Interestingly and quite bizarrely, this video takes place at a Bar Mitzvah!? Drake keeps in touch with his heritage, as he shows us how they do things, with friends: DJ Khaled and Trey Songz in attendance.
It’s quite weird to watch, but nice to see something different from a hip hop video.
An unexpected (I say that as someone removed from the industry for two weeks!) arrival from Game, his first since releasing The RED Album last summer to mixed reviews. With his next full LP, Fear is Victory’s Evolution, due later this year, Game sets things up with a huge 24-track mixtape that will certainly satisfy his fans until that album drops.
The features on this are certain to gain interest, reading like a who’s who of today’s mainstream hip-hop/R&B scene with Drake, Trey Songz, Meek Mill, Rick Ross and many more joining Game for the mixtape. The same applies on the production side, with a series of notable names involved alongside a couple of remixes of popular instrumentals. Grab the full project for free below.
In light of “37 SHOOTINGS, 46 VICTIMS & 9 MURDERS” during Chicago’s first ‘warm’ weekend, the Trayvon travesty, 6-year old Aliyah Shell, and in honor of my cousins Ismail & Malik that were gunned down last summer…I felt as though this was the time to drop this song. Shouts to Lupe for helping me paint a vivid picture of what goes on everyday in Chicago and every other ghetto in America.
An excellent introspective effort from two of Chicago’s finest, with some fantastic reflective lyricism from both artists making for a refreshing listen in the current hip-hop climate. The instrumentation and hook work is very well suited too, and this is a well-executed track that conveys a great message and remains very listenable.
G.O.O.D. Friday is back! The first single from the upcoming G.O.O.D. Music album, 3 of it’s heaviest hitters come together with 2 Chainz for an official teaser of what to expect from the hotly-anticipated project.
A more meaty, addictive production than Theraflu, this will undoubtedly get some heads nodding, with the heavy bass in particular ensuring speakers up and down the country will be rattled. Sean opens the rapping with a strong performance, his laidback style being an excellent fit for this slowed-down beat, whilst Pusha’s sharper, more aggressive verse contrasts with Sean’s well. The beat undergoes a makeover for Ye’s verse, with a strong electronic influence upping the tempo and raising the energy levels of the verse, before slowing back down for 2 Chainz’s contribution. The hook anchors the song well enough to add a solid structure to the track, and this is a decent all-rounder that sets up the album nicely. Stream the track here, or grab it on the US iTunes below.
What better way to get back into the OTU saddle than with the first of a triumverate of Kanye West blasts today! Theraflu came through on Wednesday night, and whilst there was initial confusion on whether it was Khaled featuring Kanye or the other way around, it’s since been confirmed it’s a Kanye track with a Khaled (and DJ Pharris) feature.
Produced by Hit-Boy, the beat combines deep bass with electronic melodies for a sharp urgency, providing a relatively simple and relatively ‘safe’ backdrop for a decent set of raps from Ye, who switches between confessional, arrogant and seething throughout. Lyrically, it’s similar to the work on Watch the Throne, with flashes of quality surrounded by a little too much simplicity, and when backed by an instrumental that’s little more than solid, it’s probably not the spectacular return many of us had hoped for.
Click here to stream this over at Kanye’s place.
Say what you want about Game, but he’s got a good publicity team behind him as he preps for his fifth studio album (F.I.V.E: Fear Is Victory’s Evolution) with the DJ Skee-assisted mixtape California Republic.
Latest drop is this little soulful number enlisting help from Fat Joe and Young Chris who spit welcome verses between them. With regards to the upcoming LP, I personally was disappointed with Game’s last offering as a whole (bar a few excellent tracks) in comparison to his first three LP’s, so I hope the next effort is a much more rounded effort from the West Coast spitter.
Obie’s radio joint gets the visual treatment here. Pffttt…. This isn’t my lane at all and I will skip it every single time on the LP. In fact, I’ll probably straight up delete it.
That said, I’m told the LP itself is pretty good so be sure to head over to iTunes and cop that.
Apart from that, I don’t have too much to say about this. I’m not even going to talk about the video. Haters ‘gon hate.
First single from K. Dot’s sophomore LP scheduled to drop later this year. This sounds like it would fit seamlessly in on Section .80 which is a great compliment. Scoop DeVille on the boards here who gives us some laid-back female vocals which props up an upbeat tempo. Dre does his thing on the verses, just has me wondering who ghost wrote them…
Not sure how long this will stick around for so hurry (and Hulkshare won’t let me disable the Download link for some reason).
Latest drop from the Boston emcee and the hardest-working producer in the game. This can be found on their upcoming aptly-titled project 2012 which hits stores on May 22nd. This has got that military feel to it, slightly up tempo and sharp keys to boot. The verses are on point and each hold their own whilst Crooked exercises his lyrical muscle as to be expected.
Heads will know there’s more to Detroit than a certain doctor’s protégé. That’s right, SV are back this time hooking up with Mick Boogie for a free release. I’m on my first listen now so there won’t be much of a review. From what I’ve listened to so far, that classic SV formula remains intact whilst a plethora of features from Rapper Big Pooh, Phonte and De La Soul keep things fresh.
In memory of the UK’s 2012 summer, here’s one of my personal favourite summer joints from the M.O.B.B.’s classic sophomore The Infamous. This is so smooth it almost hurts. Q-Tip teams up with Hav to craft a head-nodding drum loop which finds its roots firmly in the funky ATCQ playbook. Lyrically both P and Hav are champions throughout, on this occasion stringing together a harsh portrayal of growing up in QB. It goes without saying that the title of this joint isn’t dedicated to the weather…
Visuals from Kardinal’s Kill Shot here, the latest drop from his and Nottz’ collaborative album A.M.T.R.I.M. (Allow Me To Re-Introduce Myself).
I’m feeling this track but something about it isn’t quite right. I mean, it’s just too aggressive for a track which essentially is chastising the use of guns. The visuals are grimy and at times I feel like Kardinal is almost glamorising the use of carrying heat.
As a musical piece, it’s nice. Nottz brings his disjointed production to great effect, somehow managing to bookend a couple of Steve Carell samples in there too.
Beans hooks up with the southern duo to drop some fire from Drumma Boy’s Welcome To My City 2mixtape out now.
I used to listen to lots of Southern music hip-hop when I was younger, mainly driven around their penchant for pulsating instrumentals and deep heavy basslines and that inner-child in me drove my interest in this. Nothing groundbreaking lyrically here but definitely one for those that like their hip-hop brashy and in your face.
Recent Comments