Showing posts with label conscious rap. Show all posts
Showing posts with label conscious rap. Show all posts

The death of Maddie Finch, in the first hours of the new year 2018, shook the quaint suburb of La Harpe, Illinois in ways we can not adequately convey. When she was fatally shot inside of her home, the entire, Hancock County mourned. So strongly, in fact, that their grief stretched to the metropolis of Chicago, where an extraordinary emcee was moved to pay homage. That extraordinary emcee is Zip Dot; and that payment of honor is the video to his poignant, new opus— “Used To”. 

This record braves such a command over introspection and heartbreaking emotion that few will be able to contest its overwhelmingness. A melancholic ripple of rhodes chords is peppered by the tap of kicks and rimshots; over which, this Baltimore-born, Naperville-repping rapper, floats with lyrical supremacy. With subjects ranging from thoughts of self-harm, to broken romances, and Zip’s untouchable faith in rap, “Used To” is a fantastically vulnerable record. It is the epitome of openheartedness, with a video whose tribute does it even more justice. For Zip Dot, Maddie Finch, and the Stop The Violence movement as a whole, give “Used To” a spin; and stay alert for the next drop this amazing emcee has in store.

Stream "Used To" today!








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 Demons. We all fight them. Young or old, black or white; no matter who we are, or where we come from, each one of us can relate to this skirmish with the dark side. Forces that push us to do wrong, despite our hearts knowing what’s right. Of all of us, Terock may be the utmost familiar with this plight; and his poignant new banger, “Demons”, distinctly attests. Certainly, the darkness that this Florida rapper has faced throughout life has been unspeakably staggering; however, it is no match for the sparkling tines of this track’s melody. A brightness shines through “Demons”’s instrumentation, complimented by the bounce of 808s, kicks and trap snares. Brilliantly, Terock uses this canvas to paint a picture of his own internal strifes. His voice runs in broad, passionate strokes across the mix; confessing bravely to depression and suicidal thoughts that have plagued him longer than we will ever know. Nevertheless, even in the face of these hardships, this outstanding Southern emcee knows exactly who holds his key to victory: God. In that sense, “Demons” is a four-minute, modern-trap prayer to the Most High. One that expresses his regret for inviting the Devil into his life; and remembrance of God’s power to save him. It is a banger that carries its weight in spiritual gold; especially when you absorb every word he’s spoke.



“Demons”






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The combination of Obi Khan and Thanos Beats has once again yielded greatness. Almost a year removed from the stellar offering, “THC-4”; and only months succeeding the Madison emcee’s January project, “Guerillaz”, are sixteen tracks certain to further perpetuate this duo’s underground legacy. Titled “The Obi Files: Volume II”; this long-player is as vicious and diabolical as boom-bap gets. Obi Khan’s signature, guttural inflection, laced with volcanic bars, is plentiful over a collection or Thanos Beats mixes and instrumentals. Emcees such as Thavid Ruffin, TG, Prince Po, and Thanos Beats himself (among others), appear frequently throughout the project; spicing up records such as, “Fallin’ Like Dominoes”, “Red Lights”, “Sybil”, “Flyin’ High”, and “Escapin’”. Highlighting these few songs is not a denial of the others lining this album, however. Every track on “The Obi Files: Volume Ii” is a brash declaration of Obi Khan’s evolving artistry. His beat selection is spine-chillingly evolving. His delivery, as well as lyricism, is sharpening into a clean-cutting sword; ready to carve his face into the Mount Rushmore of underground kings. With every project, Obi Khan hasn’t failed to amaze; and after “The Obi Files: Volume II” it is obvious he never will.


“The Obi Files: Volume II”



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Every king needs a queen and that ride or die girl is everything to guy. Albuquerque supergroup, 2ndverse, dedicates an absolute hiphop banger to those women. New single, "Everything" goes down the looong list of how their women hold them down, through thick and thin. Listen in awe as the artists, UncleBizzy, Jordan Kingston, and Croz trade verse packed with conscious spitfire linguistic ability and the smooth melodic hook. Enjoy the new single "Everything" and join their growing movement today.



"Everything" on Spotify




His latest mixtape is on the way, and in that vein, Jody Moet could not resist giving us a taste. That taste is “Hold Up”: a bubbly, yet torrid showcase of this Northwestern emcee’s lyrical and emotional capacity. Being one of the most recent drops from his projected full-length, LIONHEARTED, it should come as no surprise that this three-minute banger completely embodies the spirit of his mixtape’s title. Sidestep the tropical essence of “Hold Up”’s melodies and instrumentation, and you are left with growling 808’s, prancing percussions, and a roar of relative rhymes. For, within these well-rapped verses, Jody Moet bears the dint of his lion-esque soul. He has been betrayed and abandoned more times than he can count; yet, just as the trap drums continue to beat throughout the mix, so has his heart, throughout every turmoil he’s encountered. This determination to survive and overcome, that he reminds us of with every bar he delivers, is no different from the king of the jungle’s; proving that Joey Moet is the LIONHEARTED himself. “Hold Up” is a motivating anthem in that regard. A three-minute reminder that you too can overcome life’s catastrophes, no matter their capacities. In need of a banger whose message is just as great as its groove? Look no further than “Hold Up”; and keep your ears open for LIONHEARTED, dropping June 28th.




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


Ajgod is certainly putting on for NorCal. Amid the rise of acts such as Blueface, 03 Greedo, and Shoreline Mafia, one would think that Los Angeles holds all the talent California has to offer. Reason why a young Oakland spitter is bound to show us otherwise. With only eight tracks, Ajgod proves there is an “E.S.O.Teric” side of the Golden State that must be acknowledged. Brandishing elements of the hyphy, Bay Area sound, “E.S.O.Teric” is an undoubtable contender for Californian classic status. Its bounce, energy and groove, complimented by Ajgod’s powerful delivery and flows, give the project this vitality that can not be denied. From the opening banger “Coming Home”, all the way to the closer, “Departure”, “E.S.O.Teric” maintains a level of energy only The Bay can provide. If you needed to be reminded of NorCal’s potential, give Ajgod’s latest a try. 




“E.S.O.Teric” 

[Full Project on Youtube]




If New Jersey did not have a lyrical prince ready to ascend to their Hip-Hop throne before, they do now. He goes by the name of J-Carter; and with every stroke of his pen this year, the Garden State emcee has proven well-ready for the crown. J-Carter deserves much praise for his grind and indomitable work-ethic on his latest body of work as he gets loaded up to drop 38 new tracks for his new album, “Take Hip-Hop Back”.  The beauty of “Take Hip-Hop Back” is that it perfectly encapsulates two generations; two sounds of the New Jersey lifestyle. On one plane, it embodies the lyrical aggression, depth and bravado of the Redmans, Joe Buddens, and Treachs who built upon the foundation for East Coast Hip-Hop. On the other hand, it warmly embraces the sonics of today: boasting 808s, malicious, synth-based melodies, and jarring trap drums. This puts the nine-track opus on the ideal axis of a 2019 Hip-Hop album. It is, essentially, an onslaught of lyrical bangers; that in J-Carter’s own words, “...the people will have no choice but to hear...”. 



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“Take Hip-Hop Back” on May 3rd



Daniel Cronson and Kehinde have given us something undeniably magical. Whilst embracing the power of Blues, Hip-Hop, and Jazz that flows through their luminous city of Chicago, they have conjured the mighty “Grand Visions”. The track is three and a half minutes of smooth, summery blues; guided by heartfelt, northside vocals and piercing, southside rhymes. Daniel works much of Grand Visions’s foundation; driving it with a few lovable chords from his guitar, backing keys, ambiance, and a slow-burning drum loop. The essence of John Mayer seems to possess much of his performance, as he glides soulfully across this production with “Continuum”-esque immaculacy. However, as brilliant as this single is with Daniel Cronson alone, it would be imperfect without Kehinde’s breathtaking bars. Lyrically, he reincarnates Daniel’s breakdown of the trials one faces in pursuing their dreams, by giving his own, in-depth take on the topic. What results is a magnetizing, new record for Chicago’s summer. One that will have you ready to fire up the grill out back, as easily as it fires up your soul.

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Asaru just made a horror movie. With the drop of one, swift single, “Open Season”, he has killed the current rap game; and we could do little but watch. Nightmarish pianos, surrounded by crackling vinyl, slide the New York-born’s latest into your speakers. After thirteen seconds of this, rumbling 808s creep into the mix; eventually shoved into a ghostly acapella. Here, Asaru draws his lyrical butcher-knife. Through the initial stab of reckless, trap drums, the Tampa spitter explodes into a rage of rhymes. For the next three minutes, it seems as though he never falls back. Every line is a swift cut; every bar is a clever punch. He bloodies the current rap game by serving both generations: “new” and “old”, with a banger they can equally embrace. Whether you’re a fan of the latest of trap’s greatest, or lyrical ability of our greatest decades ago, Asaru shows us it is “Open Season”. And he will kill until he’s on the top. The single is now available across all digital platforms.



“Open Season” on Spotify 
[Download // Stream]
Recent Interview- 





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Believe us when we say CHAINEDTRACK THE DARK PRINCE is something different. Existing outside the confines of Hip-Hop’s structures and standards, this Virginian artist is paving a new lane for rap. One that merges the most fringe and alternative into the powerful realm of rhymes. In essence, that is “Love Kills.”, CHAINEDTRACK’s latest eight-track offering: a unique exploration of his unusual potential. So much can be pulled from this extended play. It hails to this post XXXtentacion-era, wherein the boundaries of Hip-Hop have been pushed. Honoring that expansion of possibility, CHAINEDTRACK slings acoustic folk, boom-bap, trap, piano ballads, and distorted acapellas across twelve minutes of run-time. All the while, this Virginia Beach native is spitting his heart out. From the banger “Isabella”, to tracks such as the riotous “She Told Me She Want To Slop!”, “No Peace”, “Isabella, My Dear Apologies”, and “I Guess There Are No Happy Endings For Those Who Have No Soul To Be Happy With.”, CHAINEDTRACK gives a slew of introspective and awe-inspiring lyrics. He speaks on heartbreak, depression, and the throws of going through everyday life; things the lot of us can relate to. Through that quality, “Love Kills.” makes a connection. A connection that gives artist like CHAINEDTRACK massive fanbases and followings. Such is in his future. So long as CHAINEDTRACK is creating this quality of music, while pushing the capacity of music entirely, he may very well be the next big thing.


“Love Kills.” on Spotify
[Download // Stream]




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Motor Mouth has perfectly placed nostalgia between electronic synths and boom-bap beats. With three minutes and twenty seconds on the clock, this Hawaii-born, former United States Army soldier casts a light on every Hip-Hop legend whose inspired him thus far. That light refracts into “Back In The Day” featuring Marissa Delmonico. The producer, Darren Vegas contributed instrumental brilliance to this record; guiding it in slowly with a progression of atmospheric synths, frosted by Marissa Delmonico’s enchanting adlibs. Motor Mouth enters just as the muddy bass does, rolling along with the loop of Golden Era drums to a story he spits about his Hip-Hop upbringing. From being “on the courts playing ball with the homies blaring Biggie Smalls” to Eminem blowing his mind with every release, our Los Angeles-based artist displays a vivid love for the culture. This love is so pure and gargantuan that only Marissa’s angelic voice can emulate it. She belts a poppy, yet soulful hook for “Back In The Day”; surging with an identical passion to the track’s creator. On this record, Motor Mouth is golden. You may hear a song full of shoutouts and believe paying homage is the reason this Seattle native excels. That is not the case. It is his ability to tell the story of his upbringing , and be himself entirely, that pays this artform the greatest respect. Continue to honor that; and this emcee will be paid back even sooner.




Recent Interview-