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- CROWN VIEWS 001: A Visual Playlist
As with everything this idea will evolve and do what it do. As an avid music video viewer I wanted to shine some light on music videos from the 1st & 2nd Q. Some of these videos are fun, give further context to the artists work or artist themselves, conceptually intriguing, purely abstract thought, a favorite song from a project or an intro to an artist, etc. Various reasons, various views. CROWN VIEWS 001. 80 videos. From Seattle to Portland to The Bay down to LA over to Arizona across to Texas, Mississippi, Georgia, Florida, Tennessee, New York, Jersey, DMV & other places in the tuck. It's a playlist for now but 1 day this will be a channel. Shout out to the independent, the underground and the crews that helped bring these music videos to life. Below are the 12 videos and artists featured in the graphic. “Ruby // Sinclair” by LOS My Love Is Crack, (2020) Produced by Terron Clark Directed & shot by: QNTM “Soufside” by Klassic Kell The Klassic Tape, Vol. 1, (2021) Song produced by: Micah Weston Directed by Jacob Rink & YFP “Fake Hustle” by Westside Webb Caught In The Webb, (2022) Produced by: Westside Webb & Cypress Moreno Directed by: Lucero “Soufflé” by Coach Tev Talk To Him Nicely, (2022) Directed & edited by Nicely Done 2nd AC Song prod. Kilo / mixed. Donny Domino / mastered by OZ / & more credits in link. “Sucio” by MuddyManTony The Muddprint 4, (2022) Produced by: Studio 448 “Forever Oakland” ft. BruhFromLastNight, G Maly & by Bryce Savoy King Diamond, (2021) Shot By: @mooneymedia Prod. By: @feezydisabangah “Bodega" by Cheeno Ghee To Whomever It Concerns, (2020) Directed by Cheeno Ghee, Halv, and Ify Driver Produced by GCE Tha Label, Season Film, & An Ify Production Music Produced by Jayson & engineered by Chris West “Can’t Stop Shit” by Chelsea Pastel Pastelevision, (2021) Filmed by: Just Chaz Produced by Chelsea Pastel & Boca Beats Mixed by: Chelsea Pastel “Lemon Water” by Yani Mo single, (2022) Written & performed by Yani Mo Directed by Tengo Song produced by: Dijon Stylez & Slimm Leary Mixed/mastered by: H3nry “VILLELIKEMOOKIE” by Ron Obasi single, (2022) Directed, produced, and edited by HALV Song produced by: Reaux Marquez Mixed by: MixedByCole “Stagnant” (ft. Lukah) by PreauXX Malcom 2XX’s Presents: God Don’t Like Ugly, (2022) Directed, shot & edited by: 35Miles Produced C maJor Starring PreauXX & Lukah “Defrost” by ihateyouALX single, (2022) Directed by: Gage Garza Animations: Cj Conde & Malik Marble Produced by: Shawn Mclurkin / Song produced by: Buckley & Kwamé FULL TRACKLIST: “Bananas” by DaBoii “Table For 3” ft. Ransom & 38 Spesh by Che Noir from Food For Thought “Coke Numbers” by Jay Fade “Function” by Swooty Mac from Sunday Morning “Carry On” by Jody Joe from Jody Ca$h “Who Do You Call?” ft. Pell by Kr3wcial from Less Than Three “Thoughts become paintings” by Rahiem Supreme from Dogon Sirius “Money” by UFO Fev x DJ J Hart from E Pluribus Unum “Red Clay” by Rosebudd x STN from Parables of the Soil “Play Ball” by Sham1016 “Backyard Parties In The Ville” by O Dawg from Luka Vandross “H-Town (Remix)” ft. Z-Ro & Sauce Walka by Propain “Focus” by Jynx716 from Careful What You Wish For “Flashy” by Thuderous Knight from No Call No Show “Never Left” by N01SES from Count Your Blessings “Dead Poets Society” by Jxylen from PROJECT MAYHEM “W.L. NFT (D.O.C.’s Gospel)” by Mani Draper from Communion “Bodega” by Cheeno Ghee from To Whomever It Concerns “Intro” by Osbe Chill from Soul Rap 2 “Figure It Out” ft. Bub Styles by Def Soulja from Militant Minded “Act Like That” ft. Amirahle by Kay Anthony from Color Therapy “No Recognition” by Aaron May from No Recognition “Adapt” by Laxx P “Factually Spoken” by Young Jr. from Born Again “Sanotori” by 3WaySlim from Golden Child “Off Top Freestyle” by 7xvethegenius “No Exposing” by Asian Doll from Let’s Do A Drill “To Be Grateful” ft. Zacchae’us Paul by donSMITH from In Loving Memory “Ginface” by Len-E from Say No More “Ghetto Diva” by Chyna Streetz from The Hour Glass EP “G-Wagon”ft. Bando. & P$O Kwama by Jahn Dough from The Garden Project “Big Le$ter” ft. Bo Bundy by Le$ from E30 “Him” ft. Dom Kennedy by Jayson Cash from Read The Room “What It’s Like” by Joose “watugondo?” by Jameel Na’im X from Caravaggio Is Alive “Deep” by Elcamino from Let There Be Light “Spook By The Door” by Deniro Farrar from Spook By The Door “Flamingos” by Pricy from 9:19pm “A 3 G” ft. Partier Ca$h & Mr. Hendrixxx by Skatey P “Nah FR” ft. Tae 10k by Jaywop "Don't You See" by KIIIA “Palm Trees” by Cilo “Counting Paper” by Banco “Play Too Much” ft. Cash Kidd by Kamaiyah from Divine Timing “Chez Vous” ft. Chase N Cashe & Hil Holla by Avenue from BROWNSTONES 2 "Billynar" by Sincere Hunte from SO FAR SO GOOD “Play My Song” by Da$h x SONNYJIM from BETWEEN THE LINES “Pesos” ft. Peso Peso by Big Jade “Ride” by Namir Blade “Slow Me Down” by Dudadamthang from Sharon Son “Dopamine” by Roy Rutto “40 ACRES” by ANKLEJOHN “Save Yourself” by Rexx Life Raj from The Blue Hour “’83 El Camino” by AJ Snow & Jansport J from NO AWARDS FOR THE REAL “In Flight” by CRIMEAPPLE x DJ Skizz from Breakfast in Hradec “living off the land” by Huey Briss “2 Seater” ft. Aphiniti by Nuke Franklin “RULEZRMNT2BREAK [S.D.E.]” by KAMEO “Tuesday Even Tho It’s Not Tuesday” by Donta Thomas x Bocha from Neck of the Woods “Fiyuh Starter” by Trav Hen from INTUITIVE NIGGUH “WORLDWIDE” by Abe Lix x Tully C. from The World Famous La Familia Forever “What If?” ft. RJmrLA by Rucci from El Perro 2 “Got Off (1 Shot Performance)” by Simeroni from Sucka Free “On Gawd” by Nezi Momodu from The Pound “I Can’t Lose” by RIPXL from LUXURY Peace, love & Hip Hop.
- INNER VIEW 017: 'WHYSOSIRIUS?' w/ Ron Obasi
WHYSOSIRIUS? Is a personal testament for every test that was sent to Ron Obasi. The mixtape reverberates as a compilation of epiphanies and manifestations expressed through a philosophical poetry with a free jazz frequency. Although his sentiments and expressions derived from present-day experiences and reflections it’s fair to say that those same expressions and sentiments have been endured as rights to ancient traditions. The interview below is an inner view of Ron Obasi’s craft, artistic process and paradigms that aided in the creation of his latest work, WHYSOSIRIUS? As the conversation has many thoughtful, knowledgeable and fun moments the overall theme seems to rely heavily upon elevation and alignment. To take heed of your mission at hand and the energy and guidance the Universe grants you each day. To be grateful for your cards and the gifts bestowed in them. This one is for the spiritually minded and guided. Jameka: Do you feel like being out in Dallas has changed your creative process or anything like that? Ron Obasi: Mane, yes. That’s really the crazy part. It’s changed really how I channel a bunch of things. Creative processes, inspiration, like all of it. It didn’t come with just movin’ here. As a grown ass man this is like the first home. This is the first thing I’ve been a part of that’s like my family unit, you know. My daughter, my lady, you know what I mean. That’s beautiful shit. Man, crazy right. So, naturally all that shit came with parts of yourself dying and parts of yourself growin’ and shit. Naturally, that affected the creative process. And it’s crazy because I sent you the album and you heard it and everything and once I was gettin’ situated in Dallas I didn’t feel connected to the album no more. And that’s really where it really started. I thought that would be my next thing to build around and all type of shit. I didn’t feel connected to nothing as far as writing or anything like that. It was like two and half months of shit like that bro and it was because I was just transforming my whole perspective on what it really was. It wasn’t just a momentary thing it was the whole thing. Enabling the whole, being a scribe, letting the music be what it is. I was just really caught up in the opportunities I had gotten. The music had brought me to the opportunities. A lot of new shit was goin’ on, partnerships and all that shit or whatever. Kind of got caught up in what that race was. It wasn’t fulfilling. I was just really thinking about switching it, you know what I mean. Just letting it all be what it is. You know, when you sent me WHYSOSIRIUS? at first I thought you were sending the mastered version of CASHVILLE ALIEN B.C. So, I listened to it and I’m thinkin’ to myself, “I don’t think any of the tracks are the same on here.” I thought you just changed the name and shit. And then, I was like, “ahh nah, this is a completely different project.” It feels like a precursor to CASHVILLE ALIEN B.C. Like I said before over text you can feel your freedom in it. That’s why I had to ask if it changed your creative process out there because it’s like - I don’t know, tell me if I’m wrong tho. Many people can perceive you as like this very serious person just because intention is important to you. So, you’re making sure everything is intentional which can be perceived as serious or stoic. It’s interesting you have that play on it (SIRIUS/SERIOUS) and the play towards the star but it’s also like you letting go of that and breaking through those perceptions... and really just allowing yourself create. It sets it right up to go into CASHVILLE ALIEN B.C. There’s different kind of grooves on there. It’s you but it’s still a little more different. More expansive. And I don’t know, you said the Creator done moved shit around for you and it only makes sense that They did. You know, this is why I’m glad that we really really havin’ this conversation. I tried to make that as transparent as possible. You know, that I’m really blessed and the Creator gave me that and to have that right of passage myself. Those were moments of realization of coming into myself. Why I grasped so much onto what my message is and what my intention was or what my mission is. Or even what I perceive of myself. At first it kind of just started as just observant about how it could come off but even where it comes from. I was really diggin’. This uncomfortableness or whatever that I was kinda goin’ through was definitely internal for the most part. Before the parts died, you know, had to identify where they came from and where you have to develop. Like I said, the music was kinda just givin’ it all up. Once I started writing the songs or whatever it wasn’t all easiness like you can hear the depths in there in some of the songs. You know, I feel like I haven’t been diggin’ deep enough. I had lost the connection to CASHVILLE ALIEN and everything else creative. I don’t know if “personal” is the word because I don’t know how much of that is really a representation of the growth or how important it is to grow. What’s really important? What’s my values? It just felt like a crossroad. WHYSOSIRIUS? I can see why you feel like it was a precursor because it felt like that for me. That’s why I’m glad we’re talkin’ about it. The music is one thing man but just havin’ a conversation all out but being able to say it, you know, was kinda where a nigga was gettin’ stuck at. So, what was your consumption, your intake while creating this? You know, what were you reading, watching, hearing? A little bit of a lot of stuff. I’ve always been a stargazer, you know what I mean. Like, I’ve always been someone that likes to look up. More so recently, I’ve kinda just had an inclination of like rather than just lookin’ up I wanted to know what I was lookin’ at. So, that kinda led me to the history of how we’ve always been attached to them. I mean we because our people - for as long as writtens have been written they have always been talkin’ bout the stars. They’ve always been talkin’ bout the sky. And then just knowing what Sirius is and how our Sirius is the center of our Sun. A lot of the time people don’t know that. But also, there’s a spiritual aspect once you know it and you dive in deep to it. What’s my connectivity to it? Why do I keep findin’ this information? Why does it keep poppin’ up in my face? As that was happenin’ I wasn’t really readin’ a lot I’m not gonna hold ya. I was listenin’ to a lot of Roy Ayers. I was listenin’ to a lot of Jazzgroupiez. Oh, something that was very very inspirational through it - you seen the Summer of Soul documentary? Nah, but you’re the second person recently that told me to watch that. Man… man, and it’s so crazy because it came out last summer and me and my lady sat down and watched it. It was very much inspiration, you know, they were very intentional with what they did that summer and the people that watched it they definitely get what was goin’ on. A lot of those songs I had just kept spinnin’. I was listenin’ to The 5th Dimension, Nina Simone. I was listenin’ to Sly & The Family Stone after watchin’, you feel me. Just really seein’ where these people head was and that was another thing that kinda dawned on me about what my intention or what my art is and this whole journey of embracing what a scribe is. Because again, like you said, people can listen to my shit and they can hear me speak and they know I’m intentional. But it was also embracing and letting go that like and havin’ to remember nothin’ is new under the Sun. I didn’t create these messages, I didn’t create these energies. In this lifetime I’m a channel just like they were. Embrace it but also, you know, have fun with it and really lettin’ it flow like in my veins or whatever. That’s really what I was doin’ I had watched Summer of Soul and was listenin’ to a lot of older older older cats. There’s obviously music you can find in it’s purest form nowadays or whatever there wasn’t so much to compare to what I was listenin’ to and it was really helpin’ for sure. You know, I had re-read a couple stuff too. I had re-read Warrior of The Light by Paulo Coelho, that really really helped. Just was kinda flowin’ through the process man. Even without all those things man I feel like this writing process came more so from once I was less resistant to what created it, you know what I mean, my Gods and then it really started flowin’ and it started pourin’ out. [Laughs,] man me and Coleman were in there for two 8 hour days once I came back. Two 8 hour days. What?! Y’all, always on some wild shit. [Laughs shared] There was a moment like this the last time we spoke too. [Laughs,] that’s what we were talkin’ about too. We had a cool ass laugh about it because this process that’s goin’ on, this breakthrough isn’t new for us. SUN Tapes happened the same way. Like I said, just making WHYSOSIRIUS? Even Notes on a Scale II happened like that too - it was a whole big ass 12 hour recording and mixing/mastering session. And that’s literally what we did and again, shoutout to Coleman. At first I was just tellin’ him, ‘bro, this is on my heart, this is what I wanna do,’ and I was like no ties to it because at this point I’m very very aware of what my situation is. I am in a situation where I have a partner and we’re good partners and with Virgin Music my shit can get on Vevo and all of this stuff or whatever. And that shit is great but it’s so crazy because I’m really realizing that that shit don’t matter. It was affecting all the other creative processes. So, once we had a break I was just like, ‘Coleman, I’mma do a mixtape man and I just wanna be able to drop this on SoundCloud, Audiomack and the people that really wanna hear what I got to say they’ll go find it, they’ll go look for it. They will have no problem with clickin’ on these free apps and goin’ to go hear this shit. Then once Coleman started mixing that shit and I’m like, ‘bro, you don’t have to go crazy on them,’ [laughs,] bro he fell in love with it as if it was his own songs. He just started goin’ crazy so that’s how that shit came out. That shit wild. It’s wild every time. That’s what I was gonna ask - why you made it a mixtape but that makes sense. You did a similar thing with FREE THINKERS and WARRIOR SPIRITS - does it feel better to you when you release them like that? You know, it’s crazy - it does. And I try not to make it a compare and contrast situation from when I’m droppin’ a single and video or whatever but it has. I think it’s only because it’s served as a mirror for me. Like, why has it felt so different? It’s been internal battles. Through this whole process it’s been reassessing the value, the intention and what this gift is really for. It should be less about, (it’s not to talk crazy about artist process or what our culture is now) ...instead of sittin’ down to think about a rollout, sittin’ down and thinkin’ bout a video to shoot or so much other shit that kinda goes through an artist’s or creative mind once they have the resources to do all that shit. Pen it, voice it and be a scribe, you know what I mean. Let the stories tell itself. Let the energies carry itself. I said very very loosely that I was inspired by how we grew up on Wayne and all them droppin’ the mixtapes but I can’t say that that was the intention was but then at the same time not everybody has access and that’s the shit that was goin’ through my mind. Every time I’ve done that like you said droppin’ the shit over SoundCloud or Audiomack it’s always felt better because I always felt like the people that are goin’ to listen to that there’s no promotional dollars behind. I said the rollout to the music of WHYSOSIRIUS? was the music. Just like, ‘hey, I’m droppin’ a mixtape today,’ you know, if you fuck with me then this shit is definitely for you. It’s self fulfilling and that’s what I mean by feeling better. There’s been other times where music has dropped and it felt good but fulfilling is just a different thing. All those moments fosho felt fulfilling. And just being able to have freedom to drop shit whenever you want to. Yeah, man, and it’s crazy because there are ways I tried to explain it to myself but I really can’t because it’s like the way that algorithms and then having to submit music 4 weeks before it actually comes out, pick a date and all that shit. All that shit has really served as a mirror to me because that is okay but it wasn’t okay because for a brief moment I felt that my values and my intention had really taken a backseat to that. I just started havin’ a whole aversion from all this and started feeling like all of it was fucked. I just had to take a step back. You know, I had started the top of the year droppin’ like that. I was just like I didn’t feel like I wanted to submit or ask nobody to speak to the people. To speak to my people. You know what I mean? That shit is silly to me. So, gettin’ off that way and even droppin’ the mixtape now - no matter what people say you always learn that people silently still go by the structures of everything. No matter what people tell you. They can tell you about freedom, they can tell you all type of things but people silently go by structures and a lot of us don’t want to acknowledge it or we can’t see. Even with WHYSOSIRIUS? was my way of sayin’ again, FUCK THE STRUCTURE. FUCK ALL THE STRUCTURES. I don’t have to continuously do it the way anybody expects me, you know. I don’t want nobody or myself to get used to abiding by anything except for spiritual insight, inspiration, letting the gift do what it do and keep goin’ - that’s what I have trust in. That’s what I’m supposed to develop trust in. Rather than everything else. That’s what I’ve learned through this whole process. That’s where a lot of the inspiration is coming from bruh. Really just allowing the transformation to happen again. You know, once again. At this point, whatever the representation is or perspective is, I’m okay with it. That was another thing too. I’m okay with the stoic, the seriousness or whatever and it was like I don’t even wanna battle that or change that. But what I did want to change was that you can’t be like that with yourself ‘cause then the gift don’t flow. And I mean the gift don’t come naturally, the message don’t come naturally, the feeling don’t come naturally. That type shit and it’s so crazy bro because the title of the mixtape came 2 days before it came out. How did you come up with it? I was sitting on the couch with my lady and I was readin’ more of the excerpts from this guy… like an elderly African brother his name is Credo. Someone can correct me on that but there’s probably an accent or whatever. It’s kinda crazy because a lot of other artists kinda stuck him inside their music or whatever more so a lot of African artists from African roots - but, the brother has a lot of powerful messages. Anyway, I was listenin’ to him talk and [at this point I’m already aware of what the Sirius star is and that we have a whole tribe of people called Dog Star people who found the star in the sky way before any Western civilization… scientists say they found it and named it Sirius. You know, they were already aware of a 2nd Sun out there that affects this planet.] It all just bridged right there on the couch with my lady. I was gonna name the mixtape, Only On Earth for a Sec. And that was inspiration from the UFO track on CASHVILLE ALIEN B.C. Again, like you said - that’s why it’s crazy that you said it felt like a precursor… because the intention of it was. It wasn’t like I wasn’t trying not to connect the two or make a bridge. That’s what the title, Only On Earth for a Sec would say - but - WHYSOSIRIUS? popped in my mind and I asked my lady and she was like, “yeah, WHYSOSIRIUS?” [Laughs.] I love the play on words even like you said, the title and an expression of having fun for sure. Yeah, and it’s like - it’s so interesting because through your titles you tellin’ a narrative thru them alone. I had to map it back out. We can even just go to S.U.N. Tapes and what that project was about and then movin’ back into FREE THINKERS and WARRIOR SPIRITS and what that was about, you know. Now, WHYSOSIRIUS? - we literally went from the Sun, to Sirius and then when CASHVILLE ALIEN B.C. come out that’s really tellin’ the story. Yo, we here but we part of somethin’ else out there too. Our Source, you know what I’m sayin’? Just thru those titles and then people listen to the music and hear the themes from project to project. The synchronicity is cool and alluring (to me,) I’m an intellectual tho. That type of shit is interesting. [Laughs.] Just embracing that part because I was ready to take a step back from that because I started havin’ questions within myself. Am I forcing the synchronicity or is it really there for me to channel? You know what I mean. I can stand on what I say and what I put in the music. Obviously, there’s versions of my own interpretation but standin’ on exactly what I’m sayin’ and what I’m connected to… why it goes so deep, why we go so deep and why you can’t have no fear to speak on that kind of shit. But it’s like I had my questions; am I forcin’ the timeline to be what it is? I had that moment of like tracin’ back to where I began to be open to the story being told. Or when the synchronicity began - even down to Notes on a Scale or even down to those titles. You know, I’m not just sayin’ shit in that title. The title itself was where I was and where I was comin’ into the realization and where my epiphany was comin’ from. It just really feel like your ancestors tellin’ you to trace some shit, for real. And the process of you havin’ to trace that shit to just understand if you are forcing it or I don’t feel like that’s what it is at all. I feel like that’s an honest question to ask yourself but I don’t know I’m not you. It’s like you said, you’ve acknowledged that you’re a scribe for all these different energies and people that are tryin’ to talk thru you. It only seems right that your light would attract somethin’ that would propel your journey like this. And it’s like, man, the most beautiful part of it like you said of what my Ancestors and Guides have given me is the reassurance that is not just my voice or my ego. All of those things are important. This conversation itself is important. So, in Dallas - I had an oracle readin’ here. It was not planned you know what I mean. Shit, so crazy. I’m with my lady or whatever and it’s so funny because I had on this Ne-Yo shirt that day [laughs.] And you know it’s someone who is very near and dear to her and they’re a very respected oracle here in Dallas. 100s, 1000s of people have seen her for her oracle reading for guidance. That day it just happened to be in the path and at this point I’m relishing in the whole journey aspect and I do need direction. I’ve prayed for it at this point. I was havin’ like hectic ass dreams and the whole reading was about helpin’ me with that. In the reading, in the pullings and in all the confirmation all of it doubled down on me bein’ a scribe. All of it doubled down on me tryin’ to achieve balance in this life. All of it doubled down on havin’ to answer the call from my Ancestors, bro. Just speak their stories. To speak my stories and to connect it all back. You know, I said that on, “U, ME & EARTH,” the oracle told me I was a scribe. You know, ever since then it’s been like, okay, now that you’ve had that confirmation you really can’t play with it. It’s like that once you know somethin’; once you aware you can’t play dumb to it anymore. For the cause and effect come back tenfold. Whether it’s a fruit you for workin’ it or it’s a crazy karma from misusing the gift. All of that happened in the same big ass moment, all of it. All of it happened where there was clarity and what I had to say at this point, what it is I had to connect back to. I just feel blessed to be one of those many people who get to link it all back. I feel like a lot of people or a lot of us if they haven’t gained awareness then we’re workin’ towards what this prophesied time really is. What types of times we’re really standin’ in right now and how important it is - to tell these stories, to tell our stories and link those back past the mundane shit. Take the falsehoods that is really here and really really break them into pieces. It’s crazy because SUN Tapes can happen and all music in between ‘n all of shit but still in my mind and my heart knew I lacked the confidence to bare that torch. No matter what an outsider perspective is, you know what I mean. But now, now the freedom comes ‘cause it’s like now you’ve ran the lap, now it’s experience, now you really are open to the channel. And it’s not just lettin’ it come to me. I had to really really change a lot of my own internal, mental and physical behaviors to tap into it more frequently. To really act on it more frequently. I was well supported around. I was gettin’ all the love that I really needed and understandin’ and shit and all that. And it just came how it came. WHYSOSIRIUS?, I can really say on wax - it’s the most fulfilling moment of it all because it’s not just a representation it’s a man really turnin’ a corner in his life. In his personal life, in his eternal life at 28 years old and turnin’ 29 this year, whatever. Elders, men elders, woman elders they’ll tell you this is a prime turnin’ point, this is a crazy turnin’ point. Whether you’re into other teachings, astrology - all of it - say this is a major turnin’ point. It’s all learnin’ and encapsulating all that that is. I can feel it. Like I said, you let loose. You even got a track on there, “HOMESICK” where you singing lightly. [Laughs,] yeah. That shit was cool tho. That’s what put me in the mind state of when I first told you it sounded like a free jazz. It was really you using your instruments however you wanted and doin’ it in ways that was unsuspecting at moments too and “HOMESICK” was definitely one of those. Yeah, “HOMESICK” is, I really really love that song. You know, when you write it - I’m at home I’m singin’ and all of that shit and then goin’ to record it, it worked. It was an affirmation of the creative process, [laughs,] it’s a beautiful tune man. Wrote that shit 3AM just lookin’ up at the stars, like homesick. We here and I love it especially once you embrace Earth, it’s cool. The experience can be beautiful. But just lookin’ up out there as long as I’ve been lookin’ up since I was a kid I always had a homesick feelin’. You know, connected to somethin’ out there. You know, you don’t always want to speak for everyone so I’ll say - I know I’m connected. I know somethin’ has always spoke to me from out there. You know, even down to the CASHVILLE ALIEN titles. Yeah, some type of ultimate belonging out there. Our ancestors called them primordial waters. It’s crazy, it’s crazy man. But yeah, “HOMESICK” is a tight tune and I’m glad I did that shit. Once it flowed thru it also let me know that the freeness is the confidence. The fun is the confidence, you know, tryin’ somethin’ new. I gotta say too it’s beautiful hearin’ you’re in love man. I loved hearin’ that you had a couple moments in CASHVILLE ALIEN B.C. where you’re mentioning her and y’alls connection. You know, there’s a couple moments in WHYSOSIRIUS? It’s a beautiful thing to hear and to hear that your love is flourishing. It is man, it really is. Honestly, it’s so crazy because everybody says nothin’ is a coincidence and all that shit and not even to be cliché. But, the relationship in itself really really has been so much a part of this spiritual growth and for both of us. Being able to take it and bring it to the music is somethin’ totally different. It’s so crazy because - I wouldn’t say it was easy but I got used to tellin’ the underdog story. I got used to the overcomin’ story. Playin’ with the wordplay and braggadocious and all that. And all the relationships and relationship experiences up to this point served what they served but this is really ordained. To even talk about it out loud. When I talk about the love I share with this woman I’m not talkin’ bout somethin’ that - it’s really from a understanding of my higher self to understand what it is we really share. There really is an energy between us that’s beautiful and I’m grateful that I can translate it into music. I can put it in the tunes and again it’s an affirmation that it is different. People can talk about a lot of the things that they share but you know, turnin’ it into art or translation or being transparent with it is something totally different. Completely. Yeah, completely different. You know, just bein’ able to do that and get her blessing. I am talkin’ about us. I’m talkin about her. But yeah, just bein’ able to really have that there. I probably said enough words to really say what I was sayin’ but the love in itself is also a part of the opening, a part of the journey and help me with less resistance and all that other shit. The love doesn’t keep flourishing or not even just with her but the love for my daughter and the love that they share with each other. It’s been really enlightening and an epiphany in itself. The art itself is a feeling because I’m not tellin’ the story that I had to or forced to. Right. And I never had to. I don’t think I’ve ever been that with my art. I always gotta be completely honest. WHYSOSIRIUS? doesn’t feel like a prophecy of some sort. It was really a reflection of what the hell I got goin’ on. Right now. Yeah, it very much felt present. [Laughs,] that’s the word for it. It was very very present. Literally for both meanings. You also had some new features on this one. New artists I haven’t heard of like - SHOWMESTATE, he a DJ? Yeah, that’s the homie. He’s a couple other people DJ but he’s a part of the $upreme Radicalz team. He’s my DJ for sure. Okay, and then was it Nise, the Nymph? Nise, the Nymph, shoutout to her. Hey man, I’m very high on her as a person and an artist - she got a crazy aura. She knows what it is she wants outta this shit. She’s 19, from Kentucky and she just tryin’ to find her way in everything or whatever. Is it cool to get a backstory on that? Hell yeah. So, we put together the very first Supreme Radicalz show and we booked our first show and she had to come all the way from Kentucky. The show didn't happen because right before there was a crazy storm that we had been watchin' all day. Ohhh, it was that day. It was that day. The show was outside and it just ruined everything. It was an L, it was really an L. It was hard, you know, because niggas move with intention and it was like that happened and it was like it was back to the drawin’ board. Anyway, she had came from Kentucky and I was like damn we don’t wanna just let the night go to waste. I called Coleman or whatever and asked Coleman because he was gonna come to the show. Change of plans, pivot or whatever. Just tryna get to studio and record somethin’ and Nise is here. Shoutout to bro because he was like, “yeah.” We get to the studio and SHOWMESTATE started playin’ beats. Well, Coleman was playin’ beats and SHOWMESTATE also make beats - he produced that beat. He made the beat man and me and Nise just went crazy on that. I love that song and I’m glad that song was one of the songs that made WHYSOSIRIUS? You know, because from my own backstory I know that that was somethin’ that was channeled from an L. You know, took a moment of disparity and ended up turnin’ out really really cool. Even just to talk about more of the features man, DEMO. He goin’ crazy, I’m really really high on those 2 artists, you know. They move diligently in what they do. Their confidence is very very inspiring to me and they younger than me. DEMO is 24 years old, type shit. I’m glad it was those 2 that were features fosho. And then you had Jack. Yeah, Jack was the vocals that was on “555.” Ohhh, okay, that make more sense now. He made that beat and he just sampled his own vocals. He just looped his own vocals. Ohh man… Yeah, Jack is crazy because he made, “MIDAS TOUCH” too. What? Yeah bruh, he’s crazy. Mannn... you got these wild ass white boys on these beats. [Laughs,] bro, it’s so crazy because comin’ into it really really knowin’ them it has broken even a lot of my preconceived conceptions - the Soul don’t got no face man. That’s beautiful and nah it don’t. Those 2 brothers specifically and even talkin’ about this transparently it ain’t like niggas ain’t ever met nice white people. Nah, they for sure out there. Nah, for real. Facts, but those 2 brothers are really different. They’re really selfless and they thank me for opportunities. But I’m like, bro, there is no opportunity for me if y’all don’t do what y’all do. There is none of it bro. Man, Jack made “MIDAS TOUCH” and I watched him make that from scratch. This nigga did the drums, he did the bass, he’s ridiculous - there’s no sample flip in that. That is him. That’s all him. That’s why it sounds so funky because it’s all him. [Laughs,] and then he took “555,” he had laid some vocals (I didn’t get to see him make that beat.) He can sing too, he writes his own music and he laid the vocals and flipped that shit. I really wrote “555” in the passenger seat drivin’ thru Dallas. That’s pretty beautiful though that Hip Hop and music are able to change our perceptions of shit sometimes. Nah, for real. That’s another thing to double down on with any frequency that we put out. Any frequency that we’ve created. Music has always had the ability to heal, spread the message, reflective of times and share our story. Niggas can’t tip toe around that anymore and we also gotta be open to the other people we come in contact with throughout this whole shit or whatever. I mean our people, our tribe. Really learnin’ that that has no face. It’s just been a beautiful thing to really create more with those 2. They just really get the shit on a Soul level so there are no barriers on the other shit that surrounds what’s goin’ on. We don’t duck and dodge the shit that goes on in the world. Everything we do that’s on the Soul level and everything we do with the music… it’s really tight. That’s so beautiful. Shoutout to them dudes. I don’t know, sometimes that feels like the reason we do what we do. The soul connection, genuine soul connections and the lessons that come with that shit. You can really miss ‘em bro, you can really miss ‘em if you’re wrapped up in your own shit, like I was. I said that the day I dropped the mixtape that I really had been wrapped up in my own fucking world and battling my own ego of what I think the world should be. Or what I think my world should be like. It’s an everyday thing. With creating WHYSOSIRIUS? what was your favorite moment of the mixtape? You know, the best moment I had with recording it of anything of any song - of the whole project was, “OHHHOWLOVELY.” I love that one. If I could have that on video, if I could’ve kept that moment and how exciting it was for me to hear it back. Or even writing that track. Coleman made the beat and him flippin’ that sample or whatever and to just what the sample is saying. About the stars and God watchin’ us - all of it. Really, what I said on that record really stated a lot of shit of where I was. It was so self reflective. You know, we talked about it at the beginning of the conversation and what the “perception” was or what one of the perceptions. Vibes make up for shit that I couldn’t say / time make up for shit that I shouldn’t say. You know, I let people know that whatever your perception of me is, enjoy that. For real, because I really feel like if it was the other way around I don’t think you’d be able to handle. I’m not sayin’ that nobody doesn’t have their weight. The channeling, the scribe, the tellin’ stories that are a million years old - I think it would break a lot of people mentally. It would break a lot of people spiritually. I think a lot of people they (I don’t want to say awarded,) but I like to say they have baby souls here. Like, they’re new to Earth’s truths and a lot of the truths that are here they still haven’t tapped into it. Like, everything is still mundane to them. It’s still structure to them. You know, and in the songs me really really expressing I’ve never had that luxury like even from a fuckin’ kid. I never got the smoke in mirror - I’ve always seen straight thru. I’ve always had premonitions. I’ve always had these deep dreams. I’ve always had the weight of havin’ to be the shaman in my community, in my family. Takin’ negative energies and then breakin’ them, you know, I’ve always had that. Anybody’s perception is fine to have but you can’t really amount to or know just how much has been to me and for me. I say all that to say, “OHHHOWLOVELY” and “U, ME & EARTH” are my favorites. They are so personal to me and so out-pouring. No matter what the vibe is no matter what the Sun gives they are sayin’ very fuckin’ clearly what I have realized. “U, ME & EARTH” is just me usin’ my weapon to turn around; I used to want the houses on the hill, realizing all my desires and shit was all rooted in bullshit, for real for real. None of that shit is real and I know what’s real now. Yeah, you did a hell of a job on this project Ron. Music is always so interesting to me because clearly this mixtape is a pivotal moment. It serves as a pivotal moment as it represents the present for you right now. As a listener and as a supporter of your artistry a lot of those things that you were grappling with about ego but the mixtape felt like being able to find gratefulness as well. Being grateful for you cards. Absolutely. And you know, I was goin’ thru some things, some growth for real and this project really got me like, “oh shit, I’m not the only one goin’ thru these things.” I’m not the only one carrying all these different types of weights and lights from all my different types of lineages. It’s a beautiful moment when it’s personal but findin’ the universal in the personal as well. Everytime bro, everytime. I wanna thank you for putting it out. I really appreciate it man. The listener aspect, the supportive aspect but more so I’m always knowin’ that like if you hear what I’m sayin’ and you hear what I’m talkin’ about and relate to that - it’s always a reverence. Shit, is not easy. It’s not, and it’s not meant to be but I do feel like we should find more of the gratefulness. And we should find more of us relating in that aspect. When we think it’s just us wrapped up in our own world and then we do put it out there and we find out there’s someone on that same frequency. Somebody with those same realizations. That part is priceless. I was researching the Sirius star after you put this out, you know - they were sayin’ that that star is the reason there be mid-summer droughts. Yeah, its aligned with the Sun right now. Yeaaah, I thought that shit was real fuckin’ interesting. We just got some rain today. It’s crazy because this alignment is part of a prophecy. A lot of people are talkin’ about it at a very cliché and surface level but this summer is not a 1of1. This summer solstice is a pivotal turning point; for weather, for our frequencies, mental levels. It’s alignment in all aspects. In ALL aspects bro. Really really in all aspects. The Universe and it’s creation and the Creator and it’s creation. Alignment and synchronicity it was always there. It’s so crazy, because even in the understanding of what we’re talking about with the Sirius star. I don’t want people to... even what we do when we speak on these things - it’s not to tell people to give more or less of a reverence to what they do have their beliefs in. It’s really a reverence, we give so much reverence that’s based off the lack of knowing, that’s the thing. Or that we think that the Sun is the only Sun that’s heating us and giving energy. Or that it’s the only star in the sky. We should have a basic understanding on the Solar level of what the science of it really really is. There’s no way that you think that you think that Sun is the only thing giving us light or feeding us or feeding this planet. There’s a million stars up and out there everyday - so, if our star is operating like that then every star out there is operating. Every star out there. That was also the intention. Like what you said somethings are meant to be channeled thru the frequency. That shit say more. Obviously, I’m rappin’ on the shit or whatever, I’m sayin’ shit but the frequency is comin’ thru different. It’s hittin’ the cells different. I want people to be like, what is Sirius? What is that? Yeah, not just some Harry Potter shit or some Batman [laughs.] [Laughs,] Nah, for real because that’s what they take and that’s what they do… they play with it. They make it cliché. Exactly, man - I remember some years back Joey Bada$$ done said some shit like, “the internet is the new history” or somethin’ like that. That shit be annoying because I’ll go to Google some shit. For example, when I went to research Sirius star the shit that popped up was Batman and Harry Potter. I had to go thru like 2 pages - whereas, that should be the #1 thing that pops up. Facts. Like you said, they play with important shit and make it surface level. They play with it. But once you, you know, that’s where you take accountability and responsibility of discovery and goin’ deeper. Meeting the knowledge with the desire to want know it. Meeting the power with the desire to want to know it. As far as translation and putin’ this shit in basic english and to be talkin’ to people that shit ain’t always clear, cut and dry like that. I feel like we all, (whatever our instrument is and how we tell our stories,) I feel like it’s imperative… well, I can’t speak for everybody but it’s been imperative for me to put it in there. It’s not everyday that I get to sit down and tell somebody, “hey man, the Sirius star is out there aligned with the Sun. It’s very important that you get out there and get some Sun right now - if you’re us. It’s an evolution goin’ on. There’s DNA evolution goin’ on right now… so you need that.” You know, muthafuckas look at you not like you’re crazy…but that. I don’t understand why a majority of the masses has a lack of understanding in that. No matter how much the masses like to portray like they know what’s goin’ on right now. It’s so crazy though - to me, if somebody comes up to me with a real serious tone that’s on an ancestral/indigenous type plane of language, you know… I’mma stop and listen to that shit. That’s a Divine message whether I wanna hear the shit or not. Absolutely, [laughs,] that’s where the pricelessness or the ancestral or presence of the warrior reveals itself because not everyone is supposed to hear it. It ain’t supposed to be for everybody. I had to come into that realization with my heart as well. How do you even know you’re tellin’ the story for the people right now? Sometimes that realization - that shit can make you feel lonely. For real, because I’m not separated from, “bro, I want as many people in the world to hear this shit. Right. Now,” because my intention is to help, tell my story and have fun and all that shit. As I’m goin’ around this summer listenin’ to Roy Ayres, Roy Ayres is not aware of me at least personally. He didn’t know Ron was goin’ to be drivin’ thru Dallas at some of his lowest points playin’ Roy Ayres, you know what I mean, gettin’ the medicine that he needs. So, just havin’ that realization with the art, with the message and with things that I want - just be a channel bro. It really is okay, there’s force and there’s flow. You know, just flow with it. Force and flow… and sometimes finesse. [Laughs,] that’s cold, I need that on a t-shirt. Force, flow and sometimes finesse - that’s true though. Like I said, I appreciate, you know, more than the outline or what the conversation is, where we goin’ or what we doin’ - I distinctly remember from the S.U.N. Tapes conversation you’re really 1 of them 1’s in a rare fashion that understands what I’m sayin’. People interpret it and I hear any words that people put on it but this is different because it’s conversational. Even in the conversation there’s an understanding in real time… like work being put in that’s goin’ to serve for the now and the forever. There’s and individual understanding like you said as an example of somebody that would come up to you and be like, “yo” or start putin’ some game on you and not bein’ closed off to that. And that in itself makes a difference between the shit that I say and how somebody interprets it. It’s easy to say this shit is good, my nigga. You know, thank you, it’s easy to say that. It’s easy to say, “you can rap nigga.” But did you feel the shit tho? Did you hear where I was at? Did it make you figure out what the fuck I was talkin’ about? ALL PHOTOS COURTESY OF RON OBASI
- Diamonds in My Cartiers. by Oba Rowland
Oba’s back rapping y’all. Fresh off the heels of his March ‘22 release I Need My B*tch Back, Detroit’s own Westside Legend OBA ROWLAND dropped a new project this month. Diamonds in My Cartiers. gets back to Rowland’s basics: melodic hooks, blink-and-you’ll-miss-it bars and competitive guest appearances. We got a sneak peak to a few tracks and let’s just say, if you were a fan of Northland, then you will not be disappointed. Tracks like the very soulful “Avenue of Fashion” (possibly just the working title, but fitting nonetheless.) is an ode to the historic Detroit Livernois Ave, particularly between 8 Mile to 6 Mile. It feels like a Saturday afternoon with Rowland singing the hook along with a unison of ladies: “fast cars/ fly clothes/ bad h*es”. Previously released single, “Big Tymer” samples 40 Water’s “Sprinkle Me”. He gives a call back to his infamous “my b*tch got double D’s” bar, with his laxed yet hard hitting cadence. And it wouldn’t be a true Oba project without a spiritually inclined track, “Word of Faith” where he humbly belts out “pray for me /pray for me / pray for me.” Diamonds in My Cartiers. is sure to become another one of Oba’s hood classics. With timeless street ballads, features riddled throughout (Boldy James, Skilla Baby, Cash Kidd, Drego and others,) and memorable catchphrase bars the wait was definitely not wasted.
- "Black Vladimir" by Meyhem Lauren & Daringer
Black Vladimir is the latest project from Mayhem Lauren. Lately the Queens native's projects have been collaborations which feature a single producer like DJ Muggs, Buckwild, or Harry Fraud handling the entire project. In 2017, he was ahead of the curve in recognizing the rising talent coming outta Buffalo, NY and featured Benny The Butcher and Conway The Machine on his DJ Muggs produced Gems From The Equinox album. A few more years, and a few features later, it only makes sense, and feels organic to have Griselda's own Daringer construct Black Vladimir. This is a perfect match and the chemistry is apparent immediately as Meyhem Lauren does his thing over a diverse wall of sound provided by Daringer. The beats knock and touch on moods and tones we haven't heard yet in Daringer's other works, he's got tricks up his sleeve. The imagination behind some of these rhythms is amazing. Meanwhile Meyhem Lauren might be doing some of his career's best rhyming on Black Vladimir. His style is direct, boastful, vivid with imagery, and witty. On "Nigerian Vegetables" he raps: "Your lighting fixtures ain't fly enough It ain't your fault your fucking ceilings ain't high enough You gotta step up, try and play catch up Black v neck with some jewels, (I) won't even dress up" Yup I did look up at my ceiling, which is actually high but my chandelier that came with the place is trash, and had like 8 seconds of existential crisis. There's an Only Built for Cuban Linx level of flyness and drive in Meyhem Lauren's style. He raps about the hustle, the dangers of the streets, and enjoys the finer things. What I've always found interesting is that he doesn't come across as a bully, he's more like a classy, seasoned street gentleman, giving you tough love, while trying to motivate you by example. Meyhem Lauren brings a few friends along, and it's a true treat to listen to him trade bars with Action Bronson, Elcamino, Flee Lord, Westside Gunn, Conway The Machine, and Hologram. I'm not sure what the meaning is behind the title Black Vladimir, but you might need one of them big Russian hats when you listen, because this album is one of Meyhem Lauren's coldest!
- KIIIA INTERVIEW
This interview/inner view with KIIIA honestly helped me re-align and continue with what I’ve been sent to do. I, myself had been in a dark and lonely place for the past few months and it had intensified the day before and day of the interview. I laid in bed, struggled to get up and thought about rescheduling, shit, or even callin’ it quits. Anyways, I made the call and through this conversation the Universe, our Ancestors, the Forces that be spoke to both of us. Definitely beyond blessed to have had a chance to talk with such a rare and beautiful soul that’s bound to do phenomenal things. Eternally grateful for his time, words and inspiration and hope y’all appreciate it too. Who are you? Where you from? Where your people from? KIIIA: Shit, so, my name is Kia. That’s my real name I just spell it differently and my rap name I wanted to keep it as authentic as possible. I already got a weird ass name, you feel me. I added the three “i”s because, you know that’s a whole little swag with the 3rd eye thing going on and HiiiPower and all that. Because, you know I fuck with T.D.E. like that. I’m from Inglewood but I stay in South Central for the moment. I’m all around L.A., really. As far as my family, I’m Moroccan, I wasn’t born here either. I’ve been in L.A. my whole life but I wasn’t born here. I’m not a citizen. I don’t know if I should put that citizen part in the interview but fuck it, it is what it is. Yeah, I’m just an alley cat, I’m everywhere. You were born in Morocco? KIIIA: No, I was born in Europe. I was born in Belgium. Yeah, what were you doing in Belgium? KIIIA: They had refuge there. It’s a deeper story behind all that but they moved and they went there because they speak similar. They both speak French but it’s different dialects but that’s why a lot of Moroccans be going over there because it’s the same language, it’s easy. I don’t know why they fully went over there, I know some parts of it but I don’t even know anything about over there. I was just born over there. I came here when I was probably 1 or 2. Being outside in California, when we first moved out here when I was real real young from Europe it was straight to Oakland because my dad had family over there. That was for a couple years of my life, while I was young, then the rest I’ve been in L.A. The two main cities in California, fr. I definitely didn’t expect that. You feel like that experience has influenced how you navigate your world? I guess, it always does - in which ways has it? KIIIA: For sure it has because growing up I really didn’t have a relationship with my parents like that and that carried onto my life now. You know, I’m real distant and it’s weird to say so nonchalant but I don’t really have good connection with my family like that. I think it’s something I’m trying to work on but it’s like a mental, emotion, you know… everything. It’s like a toll but it’s something I’m used to because I’ve been taking care of myself for a good minute. That’s a whole ‘nother story. It for sure affects how I navigate everyday life. Shit, on my own. Outside is my friend, you feel me, I’m mostly outside. I’m really walking outside, all day. Really outside while everyone is inside. It for sure affects a lot of areas and everything. The way I look at things or the way I move, the way I react, for sure. So, growing up - did your parents expose you to Moroccan music? Like what type of music did you grow up on? KIIIA: Yeah, it was a lot of traditional music I would hear but at the same time it was a lot of what was popular in pop music. Michael Jackson, like shit like that, that type of music. I would hear Snoop all the time, I’d hear Biggie but that was just off radio. I don’t think they really knew what that was, for real but they playin’ tho. I can remember things like driving in the car and my mother randomly playing some Kanye or some shit and I just be like, “what the hell, what you know about this?” It was popular at the time I guess. Everybody got a little Kanye. KIIIA: Yeah, but music definitely was a huge part of my life. My dad would like play the guitar and stuff like that. There was always music around in my house. How would you describe the type of music you make? KIIIA: That’s a good question ‘cause the easiest answer would to say I rap and I make Hip Hop music. To me, I feel like it’s more than that. I can’t describe the way things just flow out of me. You know, when I hear a song and the way I start thinking of lyrics and the way I just start flowing and stuff like that - it just feel like it’s more than I’m just rapping stuff. I for sure make Hip Hop music. I make boom baps and all that and I’m a fan of Hip Hop at the end of the day. Before I started rapping I would just listen to music heavy and using it to guide me type thing or teach me things. I would take advice from certain songs and artists and I would apply it to my life because I would relate and it would be in front of me and I’d be like, “oh, that’s how…” and move accordingly. I’m for sure in that realm of musIc. Is No Hooks your only project? KIIIA: Yeah, it is and it’s really just like a little surface level. I just wanted to put something out, you know, because I had no project out. So, I just wanted to put out a quick lil EP. It’s definitely not in depth like I’m really just talkin’ real general. But it is, it is in depth at the same time. KIIIA: It is, you right but I feel like I can go way deeper than that. I feel that for sure, that’s what it felt like - you were kinda giving us this little taste of what’s to come. Like, literally, no hooks on that shit. When I was going through it I was writing down hella notes and shit and really what I kept writing down about No Hooks was like, underground poetics. Like real underground poetry. I ain’t heard this type of vibe in a minute. KIIIA: That’s what I was about to say. I feel like this project I put out was real calm, it was a calm vibe and I feel like that hasn’t been around in a cool lil minute. And I just felt like putting something like that out, something different. I don’t want to be like everyone else. I’m in the middle of working on a couple EPs right now and some albums too that’s in the cut too, that’s already finished, but I wanna put out more EPs. Definitely the next project I put out will be more turnt up and rowdy. What was your creative process with No Hooks? KIIIA: Shit, so, we were in the studio and my big bro, P, he’s also my producer and he’s like my mentor. We were just sitting and stuff and I was like let me just do something because, me, when I rap I really just wanna rap a whole long ass verse, it’s like a bad habit of mine. When you make music you really need to break it down, you need a verse, a hook, a chorus, you know. But we were like fuck it, lemme just put out a project called, “No Hooks,” and just straight raps, straight bars and stuff. But, I think I made it in a way where some songs were still on the story mode feel, like you didn’t even notice it needed a hook in it, to me. Short songs, it’s a little ride, something you can ride to. So, when you were making it did you make more songs and you just chose those five or were you intentional about making those 5? KIIIA: I definitely made a bunch of songs and for some reason those felt like my most solid ones and they fit together because they’re all on the same vibe. Calm and stuff, I thought it was perfect. We were already going to to 5 songs for the EP cuz that’s a little sampler especially in this time where everything is real microwaved society. You know, everything goes so fast - artists just be dropping projects left and right and people just be forgetting about them real fast. I see, makes sense. When and how did you start rapping? Where did your inspiration come from? KIIIA: Really just going through regular life and I just started listening to music in a different way. For some reason I started researching all my music and just listening, looking back and digging back on old records and stuff like that. At the time, I guess, we always go through shit but at that time I was going through a certain thing in my life and I felt like music was helping me and guiding me. Most of my life I’ve been alone and at certain times things get dark so it’s like you use those people you hear in your headphones and it’s like, “let me see if someone else can relate to me.” That’s really why, I love the feel of that and I really liked how I can relate and how certain things were like, “holy shit, this is happening to me right now.” So, I wanted to do that for someone else and I wanted to be a part of that feeling so I just started. Really, I just put on a beat - actually, no I just started writing shit in my notes on my phone, like acapella. Just writing out what I was feeling, a beat would come on and I wold put it to the beat and it would just fit and that’s how it started and I just kept going. It’s really like it turned into a real passion because I’ve done a lot of things and never fully went through with it. But with this as soon as I started I just keep going and I could do it forever, really happy about that. That’s cool, so the time you spend alone gets alleviated with the time you spend with your passion. So, you do you have a crew? KIIIA: It’s for sure Pakk Music, that’s my crew, it’s really like family, for real. When I met everybody, they really brought me in on some family stuff. Like I said, I’m really alone out here and plus I just turned 23 and I met everybody I know now when I was 19 or 20. Like these last couple years we all really bonded and they took me in and they see that I got it in me. They believe in me and that really helps. I feel like I say this is my passion and I love it to do it but it gets more intricate in this game where you have to know certain things and do things a certain way. They really helped me realize all these types of things and learn these things and they force me to practice it and keep going and ask questions and all kind of things. I’m real grateful for it, my team. Real support. KIIIA: Until the end. How did you end up at Pakk Music? KIIIA: Really it’s cuz I ran into Yoshi, random as hell, like she ain’t even from over here. She from a whole different state, she from Flint. It was crazy, we had no idea that each other existed. I first seen her in Watts at the T.D.E. Christmas, that’s where I seen her at but I still didn’t know her. A couple weeks later I had met her and long story short she kinda brought me into the camp and everyone was really fucking with me for real so I stayed around. Universe stuff. Yeah, yeah, real Universe shit. I don’t know much of your life before Pakk Music Group but it sounds like it was a lot more lonelier. KIIIA: It was a lot more lonely, for sure. I was just bouncing around everywhere just trying to figure it out. Like just figure out life like what I’m going to do with my life or I’m not trying to live like this forever. But then I found music and I’m like, “okay, I think I can do something,” because the people who were around me at the time, anyone who was around me at any time they would tell me, “yo, you’re actually kinda good at this music stuff, keep going.” And I just kept going. We’ve all been through things. I’ve been through a lot of weird things in my life. Seen a lot of weird shit. Done a lot of weird things. But still, things are still active here. Still things haven’t changed, we’re not on some famous rappers, yet. It’s still the come up, so things still go down, things still happen and we still gotta do what we gotta do. But at the same time this music thing is still looking like it’s finna happen for us. It’s like part of our life project. Universe shit like you said, for real. KIIIA: There’s no other explanation. I don’t know how I got here but I’m here now. I know how that go. Who would you say are your influences? Musically or not, who influences you? KIIIA: It’s cool that we’re kinda tight knitted with the whole situation but T.D.E., for real. Like those times when I was listening to music, doing my own research stuff like that, T.D.E. was really them, the 4 horsemen, you already know who they are. Jay Rock, K.Dot, Q, Soul, like they’re really like the 4 horsemen. It’s just a whole different level over there with making music and they still show it to this day. You already know, they’re different and they run this shit too. Who else better to look at? I’m too young to have that whole Dr. Dre era and stuff like that, that’s not my era. My era is T.D.E. There ain’t a better group. KIIIA: There ain’t, but for sure pay homage to the greats who influenced them. Like Jay-Z, shit, Lil Wayne, Dre, Snoop, everybody, East Coast to like everybody. The list can go on and one, just really good music, stuff that really moves you, inspires and makes you think for real. It’s easy to think about pussy, money, weed all day, that’s too easy to me. I wanna think of something, I wanna figure something out and I feel like that comes with all that. Like that style of music and what they do. Quality, real quality shit. KIIIA: Quality, for real and really connect. Really just different as a whole, all around. Musically, instrumentation, just everything flows. Shit, everything. They definitely the blueprint to this shit. I feel that for sure. It’s crazy because most of the interviews I’ve done this far, I haven’t even done it a full year yet but a majority of people have mentioned T.D.E. or a member as their influences. Almost everybody references T.D.E. KIIIA: That’s how you know. Here’s the thing, I wanna be that but better. I wanna be that thing that’s better. I’m competitive in everything that I do. For sure, respectful and always pay homage but I’m trying to be better than everyone and I’m trying to have Pakk Music be better, I’m trying to have Pakk Music be the next T.D.E. That’s how we movin’. I can see that, for real. You have a lot of content from what you talk about and the way in and out of different topics. It’s real laid back but it’s also not laid back boring. You got a lot of stories to tell and I think that the stories you gotta tell are hella important. And then you got Python P on production, that’s real timeless shit. I’m excited to see what you do. KIIIA: Me too! I’m excited. It’s all the process but the process is fun tho. So far, what’s your proudest moment? KIIIA: I feel like the day P kinda told me to pull up to Interscope, Interscope Records. So the whole process of getting there and going up and passing security and just the whole thing. It was a cool ass experience. It’s mad artists and crazy people who are just way older than me that’s been struggling to get up because that’s where you go and when you get up there. I was able to just stroll in there, pants saggin’ just like high as hell just on some cool shit. That’s the first time I met Soul so it was cool to be walking around and Soul just come out the studio. “Ayy, what’s up” and dap it up and whatever and just being able to fit into that type of studio environment and feel what it’s like. P kinda showed me what the future could look like if we keep going. That was kinda early on too and I think that’s dope as hell. You know, you get up there and the elevator open and you go through the hall and you just see paintings of all the greats and stuff. Just being at the very top of the building and just seeing the whole crazy view and stuff. It’s like, “man, the greats that I listen to they be working up here.” It show you a different perspective of life and how it can get. For sure, that’s one of my proudest moments besides me making a hard ass record and I’m like, “wooo, I can’t believe I just did this right now.” I’m forever grateful for that and my family in this music thing. I know that shit felt amazing, I already know. KIIIA: It did, I walked in there and the employees already knew my name and stuff like I’m already in the system and stuff like that. I popped up and they were like, “you Kiiia?” and I’m like, “what, how y’all know my name?” It was cool, it was for sure an experience. That’s alignment, real alignment. KIIIA: And it was the day after my birthday. So, Nip passed on my birthday, on my 21st birthday. The day after I was at The Marathon and just paying homage or whatever, I lit a blunt and all that for him and stuff. Then I get a call from P and he was like, “ayy, pull up.” When I went up there, while I was up there I was still in a weird mindset because there were just a bunch of things going on and I was being all mopey and stuff and just feeling like shit was weird. It was my birthday and it wasn't feeling like it was and then that happened. It seems like everything is moving fast for you. Not too fast but swiftly. KIIIA: I feel you, it’s moving fast enough. It makes me feel like I’m ahead in a lot of ways and people in the game. For me, these things happen so naturally. I don’t even push for it to happen, it’s the Universe, it just happens like that and I just accept it and it just confirms for me and makes me feel better about the situation like, “I’m really supposed to be doing this.” I’d be a fool if I stopped doing it and stopped taking it seriously. A fool would be an understatement. KIIIA: Yeah, for real. Because you know, I’m over here listening to music before getting into rap and then the homies start telling me, “oh you sound like so and so or you sound like Soul, like you’re part of T.D.E. or something.” Just stupid jokes and shit. Then not even too long down the line all these things kinda appear infront of me and I start getting in the mix of all these things. You know how many people do music on this planet? You know what I mean, I know so many people that make music and rap and stuff like that. Especially in L.A. KIIIA: Yeah, just even in L.A. and they’re not in the situations that I’m in or that Yoshi’s in, you know. We really chosen out here on some chosen shit. I feel it, and just like how you were saying earlier that y’all don’t have to be all over social media. KIIIA: Right, and at least for me I wasn’t on it before this music stuff. I’m just learning how to post pictures and how to get pictures taken and post ‘em and then put out content and stuff. I’m still not that good at it but it’s part of the whole process. So, you didn’t have no social media at all? KIIIA: I didn’t, I wasn’t messing with it. I don’t know if you’ve seen but not too long ago I wasn’t following nobody. I followed 0 people and some people were like, “oh, you think you’re cool?” and I was just like, “nah, I didn’t feel like seeing what people doing all day,” it just distract me from I’m supposed to be doing. I’m just that type of person. I’ll get distracted and start scrolling and looking and then I’m like, “why do I even care that this person is making pancakes at 7AM?” They about to eat their dinner and shit, I don’t give a damn. It’s weird, it’s a distraction to me but gotta have it though, it’s part of the music thing. I feel that, on my personal Instagram I don’t have very many posts because I feel similar about it. A lot of times when I use social media it’s people’s thoughts intruding my own thoughts. I want the space and peace for just what is going on in my head. I ain’t got time to worry about all that other shit. KIIIA: Exactly, it’s just like corruption. You see how it is when you just be chillin’ and having your own thoughts and going about your own day - things really go good, it moves different. I don’t know if you’re into psychedelics and shrooms and acid and all that. I ain’t tried ‘em yet but I’m on my way there. KIIIA: Aight, aight, well when it happens is when it’s supposed to happen. Don't force it, for sure, for example when you’re on things like that you really see how the world really is. You really see what is alive and what’s really dead. You’ll see things like your phone and social media and you just don’t even wanna look at it because it give off a weird vibe, like an evil vibe. You kinda just put it away and just stick to the real world and the nature and the plants and the animals, the people. The shit that really matters that you should be focusing one. More confirmation that we ain’t really crazy and why we really don’t like the social media shit and why it’s not connecting with our soul because it’s not real. It’s another part of the system of trying to keep us down and all that. Truly is, you really have to use it as a tool and that’s it. KIIIA: For real, that’s a fact because look how we doing this interview right now and talking about having this good conversation and it’s because of social media, it’s through social media. So, it’s not bad fully, there’s still good things that come out of it. It’s still part of the agenda but because people like us don’t give a fuck about the agenda we use it as a tool for a good purpose. Get what you can outta of it, for real. KIIIA: It’s like money and stuff. Money is a weird thing but it’s useful at many times. Where you see yourself in the next 5 years? KIIIA: Man, hopefully in a big ass house. A big ass house and the whole world know who I am and I’m still movin’ how I’m movin’ and I’m still, I’m not bougie and stuff like that, I’m still humble and grateful and still really making music for real and still trying to change people’s perspective. Keep it pushin’, comfortably. That sound beautiful, for real. KIIIA: I’m gonna be comfortable out here but not too comfortable. A balance. KIIIA: Balance, yin yang. ALL PHOTOS BY: MPVINNY300 KIIIA's Music: https://songwhip.com/kiiia/no-hooks
- Five On It: 5 Bay Area Projects From August '22
In a region known for it’s independent hustle August served to be a fruitful month for The Bay Area Hip Hop/Rap scene. The independent realm had numerous releases and celebrations for ground-breaking work. Flynt Nixon allows us a glimpse into the diverse soundscape from Vallejo, Sacramento, Richmond and San Francisco with brief reviews of: Champagne Gummies by LaRussel + Tope, Playing With Fire by Shootergang Kony, Free P The EP by Bez19, Kourtney Kardashian by The Dakota Wytefoxx and Spaceships on the Blade by Larry June. Champagne Gummies by LaRussell x TOPE Like 2 Hydrogen and 1 Oxygen atom, sometimes the formula is perfect! That’s exactly what LaRussell & Tope have with their musical chemistry, the perfect formula. Champagne Gummies, their latest collective release just reinforces that sentiment. Tope creates the music, then no look passes to LaRussell for the finish. Reminds you of a prime John Stockton and Karl Malone (no pun.) At 9 tracks and just under 25 minutes of playtime, Champagne Gummies is a lot like a gummy, short, sweet, and to the point. LaRussell's addictive sing-a-long flow shines through on this project and makes the jewels he drops stick in your mind with ease. No wonder his shows are a lesson in crowd participation and retention (If you haven’t seen him live I highly suggest one of his backyard concerts in Vallejo, CA). Tope does his usual thing and provides the perfect canvas for LaRussell to paint on. A style that keeps your head nodding while simultaneously allowing you to catch every gem. Champagne Gummies is yet another mile in a legendary run that LaRussell and Tope are on. With no signs of stopping, from Portland, Oregon to Vallejo, California the whole coast is in good hands. https://linktr.ee/Gcompenny Playing With Fire by Shootergang Kony Over the last couple of years Shootergang Kony has been establishing himself as a household name in the Northern California music scene. From his breakout single "Location On The Flyer" he’s shown that he has the skill and the consistency to keep the ball rolling. But the one thing that all artists need is that premier album which serves as the highlight in the overall discography... that brings us to his latest offering, Playing With Fire. The growth and maturity Kony shows on this project is something to marvel at. The last year or two has been controversial and eventful for Kony, a lot of rumors, internal misunderstandings, friends lost to death or jail, etc. Instead of the all too common social media rant, he took things back to the heart of artistry and addressed everything in his music. In a real 'waiting to exhale' moment Kony gave the world his most personal and introspective album to date. Songs like "Miss My Dawgz," "Preaching," and "Write My Wrongs" capture internal feelings and expresses them in a way that only art can. Staying true to his sound the album still boasts songs with real hit potential, my favorite being "Bounce Out." No wasted verses, wasted features, or throwaway beats were involved in the making of Playing With Fire. If someone has never heard of Shootergang Kony and wanted to get familiar, this is easily the album I’d suggest. It’s the perfect culmination of his sound, his story, and his lyrical ability. His growth shows that he isn’t taking his craft for granted. Instead, he’s working hard to solidify himself as a legend, and he’s on the right path to get there. https://music.empi.re/playingwithfire Free P The EP by Bez19 Richmond, CA's Bez19 dropped his highly anticipated debut project Free P The EP and exceeded all expectations. As the flagship artist on Lil Pete’s 4ES label he had a lot of pressure on his shoulders being the 1st one out of the gate. One of the few artists to be on multiple tours without ever releasing an album, it was time to step out on his own. And he stood tall! Free P The EP is dedicated to his little brother who is currently incarcerated if the title wasn’t self explanatory enough. The album is full of real life tales of pain, struggle, sorrow, success, triumph, and everything else that comes with life and the streets. Full spectrum! “My cousin killed my cousin, I pray hard cause I love him that’s how it go down Cutting, these streets don’t love nothing” he raps on "No Pop Shots." Giving you detailed accounts of a world a lot of us might not be familiar with. The standout track and single is the Rexx Life Raj assisted "Crazy," that combines a soulful beat with hard lyrics and a melodic hook (a proven recipe for a successful song.) Other standouts like "Dusty Feet" and "Rich Rollin" capture that Bay Area street sound that leaves no question where Bez19 was forged. With features from Lil Pete, Rexx Life Raj, WantmoreN8, and Gleeko, Free P The EP is one hell of an initial offering. If he can stay consistent, Bez19 can establish himself as a force to be reckoned with. Catch him live on a couple upcoming West Coast dates alongside San Francisco star Lil Pete. https://linktr.ee/bezone9 Kourtney Kardashian by The Dakota Wytefoxx When I first heard the artist name and album title I didn’t know what to expect, The Dakota Wytefoxx - Kourtney Kardashian? When I took the time out to listen, the album cover only added to the confusion. The Dakota Wytefoxx with a blowout, laying on the lawn, posing like Teddy Pendergrass. Next step was to look over the tracklist, seeing song titles like "I Woulda Shot Goldi Locks," "I’m Not Scared To Lose My Life N***a," and "We’re Gonna Tattoo Your Orange Lamb Truck" made me clear out all assumptions and jump in blind. Little did I know the Rexx Life artist had delivered one of the hardest Bay Area rap albums in the last 20 years. As a product of the Hyphy Movement, not the digestible one served to the masses, but the raw and uncut one happening on Bay Area streets. I’m a sucker for hard beats and energy. Now add outlandish bars and olympic level wordplay and what else can you ask for? That’s exactly what The Dakota Wytefoxx gave us with Kourtney Kardashian. “You n****s really p***y need a iced out nuva ring” and “Shout out Jesus but I got other n****s that died for us” are just 2 of the infinite lines all over the album. What stands out most is the originality, a real breath of fresh air in a time where the majority of music is follow the leader. From the beats, lyrics, samples, movie clips, etc. Kourtney Kardashian delivers at every level. I wouldn’t be surprised if this album ushers in a new take on a classic sound and inspires a wave of music that reshapes the region. https://open.spotify.com/album/5c2zVx1IONfbuy500tNybZ?si=iPm0oPWRTeisIo68ekzWaQ&nd=1 Spaceships on the Blade by Larry June Uncle Larry is back! It’s hard to find a California artist on a longer, more consistent, or more productive run than San Francisco’s own Larry June. He only widens the gap with his latest album Spaceships On The Blade. With production from legends like Cardo and The Alchemist his signature sound can only be classified as luxurious hood. Imagine champagne flutes, sheepskin rugs, and original art pieces on the walls of a trap house, that’s Spaceships On The Blade. At a playtime of 53 minutes and a track number of 20 Larry didn’t hold back at all. A lot of times longer projects have some filler but this album was carefully curated. Every song fits in place and nothing sounds like a throwaway. In Larry June tradition the album opens up with a legendary spoken word piece provided by Uncle Herm. That transitions right into one of the standout tracks Private Valet, a perfect example of the “Larry June” sound. Smooth flows delivered over an orchestra of instrumentation full of 70’s-esque horns and modern day bass lines. With features from Curren$y, SYD, 2 Chainz, Babyface Ray and others he was able to pull the featured artists into his world and still make it work. Larry June personifies another side of Bay Area hip-hop, the smooth player side that rarely gets shown to the national audience but has been there from the start. That changes now as Larry’s star grows brighter and brighter, merging audiences from trap stars and P’s, to stock brokers and avocado toast eaters. It’s only up from here, keep going Larry, NUMBERS! https://open.spotify.com/album/2aydhloXt99nJk9Nsu5AV4?si=pLUoAEn5ST6n1KhBloBJtw&_branch_match_id=787011461312008964&utm_medium=marketing&_branch_referrer=H4sIAAAAAAAAA8soKSkottLXLy7IL8lMq9TLyczL1g%2F2D3ECADqKNSEZAAAA&nd=1
- ISSUE 11, VOL. 1
ARTISTS FEATURED: PROMISE, SWISS ARMY RADIO, SWISS ARMY RECORDS, KODAK K, CHUCK INDIGO, KEVIN ALLEN, PHILTHY RICH, CRIMEAPPLE, SEAFOOD SAM, 3SUNZ, FEMDOT, NICK GRANT, LUTE, MIKEM NAHMIR, IRON FEATHER, NIKO G4, SOUTHSIDE HOODLUM, MARCO PLUS, LARUSSELL, TOPE, JAMEEL NAIM X, BEANZ, UFO FEV, STALLEY, APOLLO BROWN, CURREN$Y, POUYA, 100GRANDROYCE, FLIGHTEOUS, JAY PLUSS, TENTEN, RADAMIZ
- CROWNTHEM Newsletter | Issue 10, Vol. 1
ARTISTS FEATURED: KLASSIC KELL, CONNIE DIIAMOND, GRIP, PINK SIIFU, G PERICO, JA'KING THE DIVINE, BUTCH DAWSON, HBK SKIPPER, BENJAMIN EARL TURNER, BIG K.R.I.T., NAVY BLUE, PROBLEM, MALC, MAT RANDOL, GOD BODY BINGO, SMOKE DZA, MILC, INTRO, K CARBON, ANKHLEJOHN, KILLAH PRIEST, FLEE LORD, CJ FLY, RICK HYDE, AKTHESAVIOR KLASSIC KELL: https://linktr.ee/Klassickell
- CROWNTHEM Newsletter | Issue 9, Vol. 1
ARTISTS FEATURED: CHELSEA PASTEL, YELOHILL, DEZZIE GEE, ROME STREETZ, BINO RIDEAUX, BLXST, BOSSMAN, MIC CAPES, KURATII, COACH TEV, BLAKE CRIS, JO8, BANCO, RANSOM, UFO FEV, G PERICO, DONTE THOMAS, BOCHA, COREY G, PAT JUNIOR, HUGH AUGUSTINE, OMB BLOODBATH, DEVY STONEZ, DAVE EAST, HARRY FRAUD, KING JAHSH, REMBLE, STEVIE CROOKS, FLY ANAKIN, SINDIAN, STALLEY, RYAN MILLA, VINCE STAPLES, BIG KAHUNA OG, UNLUCKY BASTARDS, K.A.A.N, ISAIAH RASHAD
- CROWNTHEM Newsletter | Issue 8, Vol. 1
ARTISTS FEATURED: KURATII, PACMAN DA GUNMAN, NIPSEY HUSSLE, MOZZY, ICEWEAR VEZZO, RAZ FRESCO, YL, BIG YAVO, CHRIS CRACK, LACEY JACKSON, T. CARRIER, DONMONIQUE, SKI MASK THE SLUMP GOD, GOLDIE REBEL, POLYESTER THE SAINT, G.T. SLEEPY HALLOW, SY ARI DA KID, HOODRICH PABLO JUAN, THE MUSALINI, SHA HEF, ROB49, MIKEM NAHMIR, UFO FEV, LARRY JUNE, JETLIFE FAMILY, BOBBY SESSIONS, ROB VICIOUS, LIL DEUCE, BFB DA PACKMAN
- Hibachi III by Panama Jane
Panama Jane, Otaku It-girl? No. Goth Tsundere Trap rapper? No. Gangsta Boo and La Chat’s sinister love child with Alucard from Hellsing? No. Let's dig deeper. Straight from the frostbit mouth off the source. Jane has her quirks, she unapologetically wears her bright and sarcastic personality even silently when she is completely obscured by a motorcycle helmet and spiked high heel boots and barely anything else. A woman of culture if you will. She and her team at Out da Trunk Studios have crafted an album some might call (it's me, I’m some) the best mashup of classic Southern Rap and raunchy modern pop culture fueled raps one can make. “When you let a young Georgia raised Panamanian girl get her hands on a Three Six Mafia album, Akira VHS, and a bottle of Jack Daniels who knows what may fly out of her mouth! You brought this on yourself America! cover your children's ears! -sincerely senorita petty! Deep in the depths of Wicked City they scheme, scam, sex and soliloquy to roaring 808’s and top-notch sample choices, this imaginary world created in the fabric of Jane’s entire body of work. But today we are here to talk about her latest release, the third and final? Hibachi; Hibachi III. 26 minutes of trunk rattling, new age 8-ball & MJG, Gangsta Boo, and UGK influenced pimping, hustling and shit-talk. Yes, the tall leather and spike-clad woman on the cover is giving it up like that, and it SOUNDS even crazier than it…sounds, to you, reading this. Jane opens the album with a distorted voice recalling his time in school, he mentions a singular girl, weaving a tale of how she wanted to be a spice girl, and was into “anime and shit like that”. She dressed in all black and it was weird, but the moral of that story is an important one, one of the most important in American culture across the ages: “She had some big ass titties.” From there we take a ride with Jane into Wicked City, where the main event is an effortless free associative flow over 808s and flawless chops of Father’s Children’s, "Dirt and Grime." Up next is what some (its me again) may call the HARDEST song released this summer, "Pimps Don't Cry" is an unbeatable pitched up Cee-lo sample over her long-time collaborator Bad Klad, (formerly Skantily Klad…seeing a pattern here?) Holding absolutely nothing back on the drums, bass and percussion. Jane’s delivery and sense of humor carry her through a myriad of brag lines and shit-talk that would fit right in with the early 2000’s dirty south emergence into the mainstream. If you see a P.I.M.P. then you probably seeing Jane If a nigga L.O.V.E. then i disappear, David Blaine I was born overseas so my mama she drove the boat and my daddy was a navy nigga i was born to float Coast to coast, like Toonami, take your space and then go ghost - Panama Jane, Pimps Don't Cry 90s kids, do you feel seen yet? No more sample snitching, "How Long" is the same formula but much more focused, telling a story of Jane breaking hearts and collecting checks in the game of love/lust/lies. How long has this been going on, is in fact a good question to ask by the time we arrive at the end of the second verse’s rather unfortunate reveal for the male suitor who is one of the subjects of the record . "4giveme" is more flexing over another iconic sample and continued amazing production with all manner of vocal stabs and distorted adlibs, dark and chaotic are words that come to mind. Jane is proudly owning both her sexuality and outward sex appeal on this track while paying subtle homage to the forebearers of her sound. "Innie Minnie" brings in the first feature, Jacob Waddy over a bouncing synth as they take their pick of their options to recruit into their cartoonishly humorous but dark brand of Wicked City pimping. Waddy brings charisma and a welcomed energy shift to the track getting off lines that only work in his distinctive lispy southern drawl. 2,4,6,8 make yo bitch appreciate, I invest in ASSests in case that ass depreciate Ghostface comes to mind for being the best example of a rapper who uses their voice and charisma to bring lines to life that anyone more serious or monotonous sounding just simply CAN’T. "SZA" goes back to the sample formula to Jane to relish in more hedonistic desires and bars about getting hers by any means. The hook complete with what sounds like some (hi again) would say is a comedic impression of auto-tuned talk-sing impression of singer SZA. but some could be completely wrong. Moving on, "Telephone (remastered)" is a record filled with dirty talk and moaned adlibs befitting a fantastically absurd alternate world’s sex talk hotline, we are in Wicked City after all, this is world building. "Bitches Aint Us" a 2 minute banger just begging for a million Tik Toks and dance floors. She continues the Harlequin-esque whirlwind romance with sex, schemes and money making. The repetitive hook is simple, and straight-forward laid out perfectly for groups of young women in the club to yell with their drinks up. "Sha'Carri" is more of the same energy but full of metaphors about running track, an intentionally ironic metaphor for, you guessed it, pimping. Hibachi III closes out with what might be the most impressive flows on the album as she brings this insane trip to a close with more of the “hard on hoes and their perpetually inept tricks” attitude she has carried from track 2, "Welcome 2 Wicked City." This album works off the strength of some of the last words on the album: “Jane is a one of one”. Though there may be limited subject matter on this album, the production choices, the charisma on display, the humor, the references and off the wall energy carry it from top to bottom. Artists like Jane, Doechii, and Rico Nasty through a combination of distinctive aesthetic choices, personality, and atypical production and flows make their projects stand out and offer originality in the growing realm of sex-positive rap projects from women. Released July 15, 2022 https://fanlink.to/hibachi3 words by Xlo
- ISSUE 12
ARTISTS FEATURED: LOS, BRYCE SAVOY, AJ SNOW, MALZ MONDAY, BUCKWILD, JAMEEL NAIM X, JOHNNY UNITEUS, JODY JOE, $HRAMES, KAMEO, T.Y., AROOMFULLOFMIRRORS, RAHIEM SUPREME, OHBLIV, KAI CASH, REGGIE RARE, REY MORADO, JAVION BISHOP, CHE NOIR, BANCO, NUKE FRANKLIN, MACC, RU$H, JAY NICE, NICK GRANT, RALFY THE PLUG, KAREEM LEDELL, OSBE CHILL, PHILTHY RICH,
- Jameel Na'im X - 2 Birds 1 Stone
https://www.whoiscyph.com/ New Orleans artist Jameel Na'im X (JNX) drops off his first project of 2021, 2 Birds 1 Stone. The entire project is self-produced without any guest features. JNX gives soulful and intuitive bars about himself, the world he perceives and his plight to higher degrees throughout 2 Birds 1 Stone. JNX's humbleness is apparent but so is his ambition to claim/achieve/attain/obtain what is his and the higher being he is becoming. Without question, JNX is one of the most consistent and competent in Hip Hop. What makes him special (in my opinion,) is he does it all on his own time. It's not a matter of releasing when the majority are or when the industry says you should. I appreciate that he always allows his music and work ethic to speak for itself. A line that caught me on "Nancy Kerrigan" was, "I'm like AI crossin' MJ in '97/ what would I do if I was in his shoes, no question" In one line JNX gives commentary on the a historical NBA moment among 2 of the best players while also stating he would do the same as AI in reference to his literal shoe through Reebok. This is just one of the many dope lines that could be broken down into more. So many metaphors, similes and really intentional lyrics I could highlight, but I listened to 2 Birds 1 Stone 10+ times in entirety and found new wit, flow and multiple meanings of different lyrics. The bars are never-ending. Alongside diverse lyrics, flow and content JNX also gives a variety of sound through his production. 2 Birds 1 Stone is an album you don't want to miss but to even get further context of the artist be sure to check out his earlier releases too. Precise, practiced, determined.
- Coach Tev x Pat Ron - Shut Up & Rap
Dallas artists Pat Ron and Coach Tev team up for their collaborative EP, Shut Up & Rap. Straight RAPS, like real raps with flow, diction, content, confidence, competitive demeanor and progressive intent. Storytellers, but they're athletes with it, almost like they're playing 2v2 basketball. Both their crafts individually are amazing, but together the game is incredible from assists, individual plays and putting on for their home city. Athletic raps, if you will. Whole tape feels like behind the back passes & alley-oops - like watching an AND1 game but you're listening to two artists express it as rap, rapletes. All the tracks on the EP are hybrids of sorts too, they hold/create a space where the chill and smooth delivery of their raps does not alter the the height of the energy expressed in each song. In all honesty, this EP is FULL of bars, wit and memorable lyrics. I'll highlight a few below from the beginning of Shut Up & Rap but the best ones you'll find when you listen to it in entirety. One of my favorite lines by Pat Ron in the initial song, "When In Rome," "The juice, the sauce, the drip... whatever you call it/ these niggas do not be on shit they just wanna be seen, these niggas ain't artists" And if we're still thinking in terms of basketball "When In Rome" serves as the 3-pointer off dribble after tip-off - an obvious moment that boosts team morale. Then Coach Tev makes a huge contribution on the song, "Shut Up & Rap," "I ain't buddying up with niggas, that shit overplayed/ I've been skipping out on group projects since like the 7th grade/ rap God veteran, coaching and I know the game/ I can tell your future shit ain't fuckin' with my throwaways" Shut Up & Rap has no fillers every song is intentional and concise, although my favorite is "B Roll." Pat Ron's delivery in "B Roll" is reminiscent of the puncturing tone of rappers in South Central in the '90s - precise, intentional with a commanding tone and a story to tell. And when it comes to the the way Coach Tev delivers his raps - I always envision him in the Wild Wild West and just every time he draws his gun he's just slinging words, phrases, wit that are deadlier and more precise than a bullet. Shut Up & Rap is an amazing project that I'm sure I'll be spinning for the rest of the year and beyond. If you get a chance to listen give it a spin too! https://www.coachtev.com/
- Seafood Sam - Rocco's World
Long Beach artist Seafood Sam is back with his latest release, Rocco's World. The album is an embodiment of what Seafood claims in the intro, "some old player shit," and with any real player shit you can expect truth, motivation, wit and luxury delivered in the flyest of forms. Out the gate, Seafood Sam sets the tone in the intro track, "Cuban Linx" purely off his line, "I"m so North I should get a tattoo of Sansa/ you gotta learn how to play it smooth & conquer." The smoothness is also apparent in the use of the sample of "Fuck My Car" by UGK on the song, "Lil Boy, Old Soul." While the infamous line loops in the background Seafood Sam touches on everything from family, women and the integrity of his soul and craft. Seafood Sam also has lines that further aligns/affiliates him geographically like in the song "Apple Eve" where he shouts out other Long Beach artist Joey Fatts & his business/label "Cutthroat." "Better than most, the black sheep turned to goat/ word to Joey I'mma cut me a throat & that's on Northside, double up if you short 5." This is a project without any skips and at any point of any song there is a poignant line that I could highlight but it's best y'all just give it a listen for yourself. Rocco's World includes production from MelloMatt, NiceGuyXVinny, Cam The Chef & Damablanca and features artists Huey Briss and Rae Khalil. Rocco's World is for sunny days or times you need motivation and beautiful production. Every track is a scene from the day2day of Seafood Sam chasin' and conquering his dreams. If you play this around your uncles, aunts, moms, dads, cousins, grandparents - the whole family gonna be groovin' to it. If you play this around your friends or your significant others - they gonna be groovin' to it. If you play it to yourself - you'll be groovin' to it. The beauty and positive energy of Rocco's World is undeniable.