JANUARY 2021 PLAYLIST ARTISTS FEATURED: YUNGMORPHEUS, RYANN, BLACKMAYO, 704 CHOP, CHAVIS CHANDLER, JAY LUSE, BRYCE SAVOY, LG, BUN B, LE$, LORD JAH MONTE OGBON, WRAY, THE MUSALINI, NAPPYHIGH, DOT DEMO, MAASAI, PROJECT YOUNGIN, JODY JOE, SPANISH RAN, AL-DOE, BIG KAHUNA OG, MONDAY NIGHT, NAE, IAN KELLY, G PERICO, CHASE N CASHE, DEF SOULJA, REAUX MARQUEZ, EMILIO CRAIG, VEGA, HENNY LO, $HRAMES, COUSIN FEO & O FINESSE.

www.livingplusgrowing.com

Vol. 1, Issue 3 (December) Playlist

$ilkmoney - Attack of the Future Shocked, Flesh Covered, Meatbags of the 85 Lorde Fredd33 Folklorde Ron Obasi Sun Tapes T. Carrier - Gumbo God Effect Bino Rideaux - Outside Kamaiyah x Capolow - Oakland Nights Deniro Farrar - Sole Food Duke Deuce - Memphis Massacre 2 Joey Fatts - Still Cutthroat Jameel Naim X - '06 Weezy Brittney Carter - As I Am Nana - Save Yourself Sheff G - Proud of Me Now Chris Crack - White People Love Algorithms Shordie Shordie - >Music Flee Lord - Hand Me My Flowers ANKHLEJOHN - As Above So Below Blacc Zacc - Carolina Narco Larry June - Keep Going Sleepy Hallow - Sleepy For President

KRS-ONE - Between Da Protests Smoke DZA - A Closed Mouth Don't Get Fed E40 - The Curb Commentator Channel 1 Slim Thug x Killa Kyleon - Down In Texas Blu & Exile - Miles Royce da 5'9 - The Allegory Freddie Gibbs x The Alchemist - Alfredo Ransom x Nicholas Craven - Director's Cut 3 Styles P - Styles David: Ghost Your Enthusiasm Killah Priest - Rocket To Nebula

Great John fav 2020 prods: One and Only by Sheff G (album) Ohbliv fav 2020 prods: Sages by Henny L.O. Drew Banga fav 2020 prods: Quarantine EP by SU'lan Pete fav 2020 prods: At Heaven's Gate by Jimmy Golden Jansport J fav 2020 prods: Soulfidelity Tip12lve fav 2020 prods: >Music by Shordie Shordie Cookin Soul fav 2020 prods: Caribbean Bites Hit-Boy fav 2020 prods: Also Known As by Dom Kennedy 38 Spesh fav 2020 prods: Trust Army II Knxwledge fav 2020 prods: 1988

BLESSED NOT LUCKY is an album that unapologetically reps East Atlanta. Buddha’s storytelling abilities use various similes and pop culture references in order to convey his narrative. Throughout the album Buddha references several Hip Hop veterans and/or legends in his lyrics. He is also very apt at mentioning historical sports moments and figures in accordance to thoughts, feelings or the innerG of Buddha’s life. I was initially drawn to the album because of the cover art. The imagine above shows: Buddha smoking, wearing a Michael Vick jersey standing in front of the Big Boi portion of the Outkast mural in L5P. Hella Atlanta. The album begins with production by Rudeboii — slight sirens, a deep bass and Buddha in the background loosely singing the hook until the beat builds up and he comes on the track commanding: “I’m on Runtz and D’usse, D’usse and Runtz/tell me what you say you want/ this ain’t no game, Jayceon/ I want that blunt and the bong/ passed a backwoods to my momma/ I’m getting high like Obama/ I don’t gotta hide like Osama/ my shit a new groove like dat llama” Initially, I felt it was too simple and was like, “wow another one of these youngins rappin’ about runtz and D’usse.” Hype…but as I listened to the project a few more times through I found myself singing the hook and looking deeper into the lyrics and found multiple meanings within the lyrics I initially found simple. The Obama aspect of the line has 3 meanings I was able to identify: “getting high like Obama” — a simile referring to the infamous picture of Obama smoking weed, “getting high like Obama” — rising in social rank and importance to a particular community, and “getting high like Obama” — could be a direct correlation to smoking on Obama Runtz. It also feels as though the alternating line, “I ain’t gotta hide like Osama” could refer to opps but seems connected to Buddha smoking with his momma; that the woman that gave birth to him knows the ins and outs of what he’s pursuing. There’s a certain pride one can carry themselves with knowing that one or both of their parents are somewhat fucking with the aspirations, dreams and means to get there. Familial support is important even if it’s represented as smoking a blunt with mom. The last section, “my shit the new groove like dat llama” — love this simply because The Emperor’s New Groove is a Top 10 movie from childhood but also because BLESSED NOT LUCKY does have a different groove to it. The second track, “Vibe Check” is upheld with a smooth and clean production by Banbwoi. In the song Buddha questions various situations and people tryna understand where their innerG at, “vibe check; where the fuck are the vibes at? After a vibe check you’ll find Buddha using similes to express and harness his own vibe with likeness to the determination of Tom Brady and ruthlessness of Tom Chambers in his line, “Do whatever to win, like Tom Brady/ Put my foot on they neck like Tom Chambers” After “Vibe Check,” BirdieBands brings us into a more playful and fun production with “Slip N Slide.” This is one of my numerous favorite tracks on the album because Buddha was able to catch a balance of declaration and celebration. “I saved the day and I paved a way/ I made a play but I can’t fade away” In this line Buddha is taking credit for the path he is forging — a slight flex of personal capabilities and taking his dreams into his own hands (despite the path others may have wanted him to take.) This was a track that I could hear features from other Atlanta artists like KEY! or Young Nudy (although the track is great the way it is.) BLESSED NOT LUCKY then slows down a little in the next song, “I Know a Girl” where Dylan Furai creates a smoother and daintier production that still has a consistent hitting bass. In this song Buddha speaks on the balance innerG he receives from women in his life. For every woman that loves and supports Buddha there’s a woman or two who may be waiting on his downfall. The following song, “Check In My Name” has such a beautiful production by Crackgod that rides the line between R&B and Hip Hop/Rap. Definitely a production that you cruise to late at night looking at city lights. The song features Cluu (also from East Atlanta) and DAVESTATEOFMIND (who laces the track with gorgeous vocals.) I LOVE this song purely off of the vibe and the texture both of the features add to the song. After a more sentimental song Buddha gets back to drawing a line in the sand between him and whoever believes they’re in his league with, “We Don’t Relate.” And if I’m being honest there’s not more I can say about this song besides Buddha’s lyrics: “we ain’t run the same race/ we ain’t playin the same game/ we don’t wear the same thing/ we don’t think the same way — we don’t relate… goat shit call me LEBRON BRADY” Yeah, bars and confidence. Besides that great production by Miles650. We get back to another dope production by Dylan Furai (Dylan Furai hoe) on “POP.” I didn’t like this song too much (not because of content or sound but just how the song/content was laid out.) But what I do appreciate about the song is all the geographical references such as: Marta, Smyrna and Turner (which I probably wouldn’t have not recognized if I didn’t live in Atlanta for a couple years.) Then we get to the track, “Dr. Dolittle” with production by Danny1of1 that sounds like a combination between drill and trap (which are kind of cousins.) The song features Jourden who just magnifies the track to the 1000th degree. Her entire verse has so many dope punch lines and references along with a laid back confident delivery. My favorite line is below but y’all just gotta really tap in with the project and hear this song and verse for yourself. “I’m bumpin’ that Wu/ this how a Ghost talk” Again, I just appreciate how many Hip Hop legends made it into conversation in this album in entirety. The next two songs, “Stuck!” and “Misunderstood” are great tracks with production by OVRCZ and Devin Leavell. My only comment about these two tracks is that they are the two shortest tracks on the album and are lined up back to back. I’m not too fond of that layout. I do wish they were separated or even made into one song like how they did in the early 2000’s (having 2 different songs be one.) Although, I do understand that that’s just how things work out sometime maybe the sounded best by each other when creating BLESSED NOT LUCKY. Dylan Furai may be one of my new favorite producers. Just off this album he’s already produced 3 of my favorites and the next song, “Gresham Road” is one of them as well. I always love when artists genuinely represent where they are from and don’t shy away from the realties of where they come from. “I got a backend I ain’t tryna reverse it/ I am who I is/ I ain’t gotta rehearse” On “Gresham Road” Buddha tells us a little more about what it means to be from Zone 6, East Atlanta. He also makes a reference to Sean Carter and aspirations to be on that level one day. After Buddha’s verse we get to the chorus that is signified by the bass picking up, dropping a little harder and Buddha coming more dominately, “Say he got smoke on Gresham but nigga I post on Gresham/ I blow zaza, no regular and I’m smoking some pressure.” This song reminded me of Zone 6 (Remix) by Young Nudy — not in the sense that Buddha was copying or that the songs sound similar (because they don’t,) but both artists in both songs are representing and celebrating where they are from at the same time. “GO BIG” produced by Diitii was one of my least memorable tracks but when I asked my girl (who is from Atlanta) to spin the album this was one of her favorite songs so I paid it more attention. The chorus stood out to me the most, “Shawty want tits, I’m with it/ shawty want ass, I dig it/ shawty want lips, I get it/ shawty want dick, she get it” This was dope. Buddha ain’t policing his woman and the way she wants to present or enhance her body. There seems to be a double meaning here; that his girl(s) want all these aesthetic/body type enhancements and Buddha acknowledges it because he got it (or will in near future) to provide her with the resources/money to get it done. It also sounds like he’s simply just supporting and acknowledging what his girl(s) wants/envisions/how she wants to claim her body — there’s a pattern of Buddha supporting his girl and friends in this song… he states what his girl or friends want or talking bout then he follows up the rhyme/bar/line by giving his response to it (in support of.) The final track , “Defrost (outro)” is a genuine outro track. Wakai’s production slows down and makes it feel like a wind down/end of album/but we’ll be back. This was the song that had me spinning the album over and over and it was specifically for this line: “They ain’t just killin these sons they killin these daughters/ I know we lambs of God — is that why we slaughtered?” Not very often do rappers talk about that reality for women too and this was my first time feeling like an artist genuinely cared about us in that way. Shoutout Buddha for thinking about us women beyond attraction or family. Besides this line I really fucked with the chorus too, “Back and forth road trips, Atlanta — B.R./ I bring my strap for protection not tryna be hard/ I do this shit cuz I’m chosen it don’t be hard/ they say once your heart frozen it won’t defrost.” There’s a theme here of our reality as Black people and what’s threatening our lives but also how we can protect ourselves (the best we can.) BLESSED NOT LUCKY is an impressive debut album from Atlanta artist Buddha. He has impeccable beat selection and is able to tie in many references and similes that tells us about him, the world he’s living in and where he is going. If you enjoy hearing what’s bubbling in the undercurrents of Hip Hop in the South (specifically Atlanta) this is a great one to tap into! Available on all streaming sites: https://album.link/BNL

“Is this what Heaven like? I feel like I’m living in Paradise,” Jimmy Golden sings in his opening track, “Paradise!” off his new album, At Heaven’s Gates solely produced by Acr0bat. The hook creates a dichotomy in a time period where we find ourselves weighed down by the current factors facing humanity and the world — in different countries, various cities and towns, and in an array of languages. Knowing, seeing, hearing, feeling our reality right now I wondered: what is it Jimmy Golden is experiencing that has him expressing innerG of a heightened state? As I moved through the album several times over it became apparent that the “Heaven” and “Paradise” Jimmy captured in that song is stemming from actively staying in the present (a very difficult task when everything around you is constantly moving and changing.) The second track, “I Can’t Decide!” represents being present with a bit of indecisiveness. Acr0bat, of course, laces the track but this time with a more playful trap/pop influence that gives the song an ambitious innerG. The transitions throughout the song were very enjoyable — Jimmy is able to switch between rapping and falling into melody quite effortlessly. The song also represents an urge to MOVE, see, feel… like a yougin’ is really just tryna live. Truthfully, Jimmy Golden has provided the best line to sum up how many of us feel, “I don’t even know what day it is / Quarantine got a nigga bent / bitch, I’m lit I’m tipsy — you know I get jiggy, yeah.” We get to the third track on the album, “Baby Tesla?” which sounds exactly how the album cover looks — shooting for something, reaching for stars, immense symbolism that can be decoded in time. Around the one minute mark Acr0bat switches up the beat to a smoother sound that feels as though you’re on a space cruise navigated by Acr0bat and Jimmy Golden. One of my favorite lines, “I’mma stay with it no matter how sad I get — bitch I am the best I am far from the average.” This line is an affirmation — a moment where Jimmy exhibits belief and faith in self through his acknowledgement/awareness of feelings or thoughts. There’s a knowing that his pain or sadness is inevitable but so is growth, love, light and happiness. Then, At Heaven’s Gate pivots a little in the track “4 the Old Heads.” This was one of my favorite songs because Jimmy shows his rapping versatility using a reggae/dancehall influenced flow with how he breaks flow patterns to rap from the back of his throat. With the different flow it makes it easy for the listener to hear his rawness and confidence using a more slightly aggressive flow. A notable line from the song that exemplifies Jimmy’s intricate rhymes, “And don’t you fuck with a vet/ runnin your stairs like Artest / they barely playin Harden defense ain’t no way I get checked / or get a foul, foul out, then I’ll plow the ref, get me a tech, flight the desk, get the team jumpin…” Then again, Jimmy and Acr0bat switch the sound and flow up a bit more on, “We Are Golden!/Wrestle With Jah!” where Acr0bat gives us production that feels/sounds like galaxies speaking in a grungy basement. Additionally, Jimmy comes rapping at a higher velocity and punk appeal that you can feel reverberate through his throat chakra. The second half of the song, “Wrestle With Jah” holds strong symbolism of God/Jah/Allah and an internal battle of what can be perceived as good vs. evil. “They gonna say that I’m lucky but I’ve worked so hard/ I just be talking to God, He is never too far/ I give to Allah, He talkin to me — I just be talking in all of my dreams/ Allah told me to go shoot at you geeks — wait that was a demon/ talkin to me for no reason/ I need a date with the deacon/ really been looking for Jesus — please tell me why I can’t see him” I found this part of the song interesting because “Wrestle With Jah” feels like a direct reference to Jacob wrestling with God: “And Jacob was left alone, and there wrestled a man with him until the breaking of day” (Gen 32:24.) For some of us who aren’t too familiar with the Bible — Jacob wrestles with God (mentally but feels physical) at Jabbok. It’s a place that is lonely and must be faced alone; a private war between you and God/Allah/Jah/The Creator. Ironically, physically, Jabbok is a tributary of the infamous Jordan River. In Hebrew it means, “to empty itself” and is known as a place of total surrender. The theme of Jacob at Jabbok mirrors Jimmy Golden in our current world and possibly even where he’s from, Tampa, Florida. Regardless, the theme is constant throughout At Heaven’s Gate — Jimmy searching for God/Jah/Allah and wrestling with his own existence and the factors that may threaten it but still proceeds to come out on top. Below you can watch Jimmy Golden’s performance for “We Are Golden!/Wrestle With Jah!” on ByteTV for one of their #Crispy Sessions. His innerG is off the charts! “I Vaguely Remember” is my favorite track from At Heaven’s Gates. I love it because Acr0bat and Jimmy’s chemistry is undeniable and really dope — they compliment each other’s style and versatility well. It was nice to hear Acr0bat vocally on a track juxtaposed with the texture of Jimmy’s voice/tone. This track has a real laid back, almost “West Coast” vibe to it with unique vocals. Also, this is a song where Jimmy touches on the reality of being Black in the United States. Subsequently, Acr0bat provides beautiful production on the song “Witch Prollems” featuring Cosmella Sol. This song was my least favorite song but also is the song that peaked my curiosity about Jacob at Jabbok; “I think this is the battle that Jacob had dreamed at Jabbok.” In this song it felt as though Jimmy is battling in a different conflict than what was expressed in previous songs. This feels like a conflict more intimately connected to lust and how it’s hard to identify lust as a conflict when it provides so much pleasure. Lastly, “GO!” serves as an outro, summary of topics (in a sense,) and intermission until Jimmy Golden goes on his next mission and shares it with us. He adds one a couple more affirmations to the track, but I’m partial to to the positivity, “I gotta glow I don’t care how dark it get.” Overall, At Heaven’s Gates is full of symbolism ranging from God/Jah/Allah to sports and our current state as humanity. The album is a testament to Jimmy Golden’s obstacles and triumphs — a telling of affirming where one is going despite the pain, hurt and confusion. Most importantly, At Heaven’s Gate reinforces the importance of having fun and finding enjoyment in the moment you’re in. I look forward to more work from Jimmy Golden and Acr0bat (both separately and collectively.) If there’s anything more I could ask for it would be to have more music videos to experience Jimmy’s visual storytelling alongside his vocals. Be sure to give the album a spin! Spotify: https://open.spotify.com/album/4eby0qCeDeq5bm0S2uXZuX?si=_u3knPmBQQuF6HsDGzy6SA Apple Music: https://music.apple.com/us/album/at-heavens-gates/1533285533

CROWNTHEM Newsletter| Issue 7, Vol. 1 featuring Atlanta artist VEGA & Inglewood artist KIIIA. 25+ Recommended albums & EPs from April 2021.

The artwork for RNR, Vol. 1 by Malcolm Eppz has hues of pink, purple, blue and you see Eppz on the cover with a city scape below — while this cover is beautiful, artistic and shows us that there is something to know about this artist (what city is below, why did he choose those colors? are the colors indicative of the content?) When you hit play on the album it does not give you pink skies or colorful tones but a story of grit before luxury; a telling of getting it out the mud. Cleveland native Malcolm Eppz that now currently resides in Hawaii created an album of raw testimony without an obsession of self but celebration of the oppositions and obstacles along his journey. In RNR, Vol. 1, Eppz uses subtle self-references that also highlight where he has been and heading towards. Throughout the album you’ll find soulful production with some dusty loops that sounds like a contemporary boom bap sound. Within the first few songs, “Beijing Reyjene” and “Good Lord,” we learn intricacies about Eppz hustle and what he did to set himself up for success and away from a rougher environment of Hough Heights. In “Beijing Reyjene” Eppz notes, “in the military, 20-somethin, I tell you I was on a mission, buzzin / I wasn’t goin to be a statistic” This line infers that at a young age Eppz came to terms of his reality as a black man in the United States and wanted to avoid that statistic that is known and apparent everywhere. The second track, “Good Lord,” opens production by Sheed The Buddah and Eppz lacing the track telling us about his rise from Hough Heights in ’89. Eppz has great storytelling ability that often leaves the story up for interpretation on whether it is a personal lived experience or another’s experience that he noticed — or maybe it’s both. “Eppset Bomb,” is the third track on RNR, Vol. 1, with production by SAV that brings this aspect to the forefront, “I rather play chess with frenemies than be some ordinary nigga pickin through bud stems simpin’ over underwhelming women” While we can wonder if Eppz is talking directly to his life or not it does allow us to understand how one can take control of their destiny even in the presence of fear or uncertainty (playing chess with frenemies.) Either way the lines serve as a statement to get out and go get it regardless of the opps/obs (opposition and obstacles.) Additionally, the line infers that it is often easy to sit in despair or lack of ambition out of fear, but you must proceed anyways. As we fade out of that track a more political statement is made on “Panoptican.” On the first listen of RNR, Vol. 1 this track caught my attention because of the politics embedded within and my own knowledge and weariness towards the concept/theory of the panoptican. I was instantly interested if Eppz would expand on how the concept/theory is used in prisons, our communities, schools, virtually/digitally and essentially everywhere. In the track Eppz raps, “eat your turkey burger — play with your watches, the panoptican / watching us through binoculars / it’s more than cops tryna stop ya, the panoptican / surrounded by opps with no other options” This was a pivotal moment in the listening of RNR, Vol. 1 because the line represented that Eppz is far more than a wordsmith but a wordsmith with content that many rappers are not necessarily engaging in. There’s a lot of dialogue about what the cops are doing to us as “black” people (it’s more than cops tryna stop ya) but hasn’t quite expanded yet to other ideologies that allow for continual state violence of civilians but specifically “black” civilians. Additionally, when actually listening to “Panoptican” there is certain tone that Eppz holds that signals that “We The People” can also use the knowledge and awareness of the panoptican to our advantage. After a track that advises you to look beyond the politics and realities in our face the album transitions into a real player-esqe production with a smooth hook, “we want the chips and the paper.” Another strong suit of Eppz is his use of double entendre. As you vibe out and want to take a cruise with the track “Chips & Paper” playing, Eppz shows us his skill in the very memorable line, “I rather ride the Cadillac / wave out the top like JFK / I just want the paper — give me the masters, fuck bein’ a slave” This line serves as a social commentary towards record labels in relation or comparison to similar ownership portrayed in slavery (master/slave.) The line also is a self-declaration or vow of independence to keep/own one’s masters to not become a slave to someone else’s ownership. Also, throughout the album you will hear Eppz call himself “Malcolm Eppz” and some references to Detroit Red which then alludes to a double entendre on his name. Is he calling in the ancestral spirit of “Malcolm X,” is he calling on himself, “Malcolm Eppz,” or is a combination of both? Does his elevation of self resemble the transformation of Detroit Red to Malcolm X to Malik el-Shabazz? “The POP” has a very gritty, underground/basement type feel and production. This was a track where I wished the vocals were brought forward a little more but was still a great song regardless. A notable line, “masculine, fashion-forward, Gucci slippers with the ankles out” I enjoy this line because it expressed that Eppz isn’t afraid to be him despite opinions. It represented that he is comfortable in his masculinity and it can look like whatever he wants it to — don’t take his fashion-forward appearance for more than what it is. A declaration of “being fashionable does not make me any less masculine.” Next on the album was “Popular Slut Club” which has a beautiful sample that contributes to the flawless production by Racks Nicholson. This is the only track that I can say was not my favorite but nonetheless was still interesting and valuable towards understanding aspects of Eppz. What was initially interesting to me was how the title is somewhat vulgar, but the actual contents of the song are not very vulgar at all. The most vulgar part is the line, “she put the pussy on my mustache / now I’m in a trance,” which is modest considering countless other vulgar Hip Hop lyrics. A very memorable line because often sexual lyrics point to the woman doing something to please the man (not saying that eating pussy is not,) but the lyrics often denote submission instead of assertiveness of what may please her instead. I expected the song to be vulgar or a pussy-popin’ anthem but it’s more of a recalling of a one-night stand while out with the crew (you hear their voices and laughter come in and out of the track.) On “The Glow” Eppz shows us more of his entrepreneurial free spirit that points at his evolution. “I burn one, I used to move them by the pound now I smoke them by the O.Z.” Additionally, he has other lines that speak to finding independence when it comes to the weed or in general to be more mindful of certain products you use, “all the new flavors I don’t trust ’em / only like the calm shiht / if you grow your shiht that’s boss shiht.” Another moment of political commentary that points to holistic health. The commercialization of weed and how processed and detrimental it can be — an advisory to grow your own if possible, you never know what could be done to the flower you ‘bout to smoke. On “Dunder Butter,” Eppz is very reflective of where he came from but also tells us how he is presently moving into his future created by his ambition and hustle. “this that dunder butter / we break shiht down / move racks to pounds / we losin count.” As we move into the last two tracks of RNR, Vol.1, “Volumes” has gorgeous production and the song serves as a thematic wrap up of the album. But, again, Eppz does it in a manner that doesn’t come off redundant. He makes a couple references in the hook, “stay tuned for the next volumes” and surely, I’ll be looking forward to the next releases of this series. The final track on RNR, Vol. 1 is “Late Night Cruise” where the production puts you in the mind state of cruising beach side through a city at sunset. The chorus of the track, “late night cruising/ we all under stars, palm trees and bomb weed, speedin,” enhances the mind state with your crew and celebrating wins but figuring out how to level up again. I found RNR, Vol. 1 to be a cohesive project that was sequenced very well to tell a story through several stories and experiences. I appreciated the space in his story and how he doesn’t give us the same stories or part of him repeatedly. Instead, he offers controlled doses of his story — every track there is story of where he comes from and what he’s doing it for. Eppz has a strong voice and confident delivery that has you wanting to catch every line. It’s very obvious Eppz is an authentic artist who delivers a rawness that is only present when it’s brought out the mud or through gritty circumstances with soul still intact. I look forward to see/hear what Malcolm Eppz delivers next and how he levels up and makes his next moves. Spotify: https://open.spotify.com/album/2D2yi5ImbbQ2gWgTpGTLiL?si=apm-T_OkQxSNAr2-t1jkdA Apple: https://music.apple.com/us/album/rnr-vol-1/id1522051469 YouTube: https://www.youtube.com/playlist?list=OLAK5uy_kxZb0JtOrQ1wvmhLTSmBqeq7m57TCqe04 11 songs, 31 minutes

Young yet mighty was my impression of Trilly!'s latest EP, Awaken from Reincarnation. Hailing from Smyrna (right outside of Atlanta,) the 18 year old is nothing short of a poet. Many of his interludes, songs and verses reflect the pain of his youth - from loss of friends, suicide, lack of familial support for his dreams and the forging of his own path of success. Trilly! defines success for him as, "waking up everyday being able to do what I wanna do and change other people's lives." Awake from Reincarnation is a very cohesive project without one skip. Trilly! is on his way of being a master at telling his story, thoughts, dreams, feelings and ambitions. A couple of my favorite tracks were, "Don't State" and "Doubt It." Both tracks highlight pain and trying to find footing/grounding in different ways and somewhat along similar topics. "Don't Stare" serves as Trilly!'s critique of the supposed leadership figures for the youth. He points to different ironies in lyrics like, "parents wanna lie to me, teachers keep on doubting me, counselor think he counselin, thinkin gas as loud as me, pastor know everything like he born in B.C., everyone think I'm ignorant because I was born in the century, be little me…" It reminded me of Tupac's song "Ghetto Gospel," where he states, "we've left them a world that's cursed and it hurts." Trilly's lyrics represent the symptoms of the cursed world that has been left for the youth to deal with and part of the curse is not respecting and valuing the youth goals and dreams. The track "Doubt It," points to the lack of familial supports with lyrics like, "fam fucks me over the most, trust NOBODY." Simultaneously, Trilly! provides lyrics of, "I'm just tryna get my mom right." These almost opposing lyrics made me reminisce on the similar relationship I had with my mother in my youth and still currently but also how the youth often have to put on for their parents. It's ironic because because the youth do this through their creative means that their families do not often support. Even when the parents or family aren't being supportive there's always an inkling of, "getting your moms right" - that's a lot of weight and worry to carry but is very much a reality for a majority of our youth. Another interesting aspect of Awaken from Reincarnation is, "Wise Words from Lisa" and "More Wise Words from Lisa," where this Lisa character's voice and support is woven in thru the intro and interlude. Her voice and support represent the opposite of what Trilly! shows us/tells us within his other tracks. Although Trilly! seems to be yearning for his mother's support of his dreams, Lisa seems to be that figure delivering that support and love. I'm excited for what Trilly! does and how he continues to enhance and elevate with his craft. He is a definite underground Atlanta gem moving in the undercurrents similar to his predecessors like JID and Grip. Tap in! Spotify: https://open.spotify.com/album/0ZkliB7XBUC62k8qDsEC7O?si=uHL_JobjQSW6bw2RPzw3vQ Apple: https://music.apple.com/gb/album/awaken-from-reincarnation/1474113121?uo=4&app=music SoundCloud: https://soundcloud.com/ohwowtrill/sets/awaken-from-reincarnation YouTube: https://www.youtube.com/playlist?list=OLAK5uy_kqhsaVRUKKoOs_UzNmwi7wIsrhubFim6o

It's been more than a few months since March Madness but somehow Charlie Wayy's Sweet Sixteen is right on time. With The Bronx being the birthplace of Hip Hop and Wayy also hailing from there commands a certain level of pedigree and expectations for an artist. Fortunately, Charlie Wayy more than rises to the occasion on his first full project since 2019's Sidewalk Chalk. “Vancourtland” produced by Swedish Prodigy sets the tone. If they were making modern day film noire based in NYC, this is what I would imagine it would feel like. Over the sinister backdrop Charlie Wayy unleashes a flurry of observations and affirmations. "We clean up nice, even though we got it out the mud Shit, we never confuse love for daps and hugs" It's a potent 16 bars which reminds me to mention the interesting choice of format for this album. Charlie Wayy made it a point to only bless these songs with 16 bars each, no hooks, and even set the same limitation for his featured collaborators. As a result the listener is treated to something I feel is rather unique. The curation of the beats and the sequencing is done with great care and effort. Even though 12 producers lent their skills here, it feels like one person produced the whole thing. There is a drawback to such brief song structures because you'll definitely want to spend more time with some of the offerings but that quickly fades because the next one is just as good, and it's a lot of next ones. It can feel like a sampler, but if you were in the Sweet Sixteen restaurant all of the bites could be main courses. It's an interesting strategy in an era of short attention spans, and Charlie Wayy just may be ahead of the curve. Charlie Wayy's style is a confident combination of streets, stream of consciousness, bravado, with a dusting of sports and pop culture references that add some fun to offset the intensity of his delivery. On the Ethan Stoutt produced track, “Armageddon 2000” Charlie Wayy and Yon Cash trade WWE inspired bars that mention Bobby "The Brain'' Heenan, and wrestler finishers like the Diamond Cutter and Razor's Edge. On the Erra produced track, “Capital Grille,” Charlie Wayy calls in an assist from one of Portland's finest rappers, Milc. It's a match made as their styles compliment each other, it feels like they've done this together before. The Alesandro Barbosa produced track, “God's Work” brings Sweet Sixteen to its conclusion, it's one of my favorites. Over a simple, dusty sounding loop Charlie Wayy proclaims, "this style is an acquired taste, 10,000 hours and a hundred thousand takes". The way the horns drop on the tail end of the song is magical, it's also my cue that it's time to run the whole thing back! I definitely give Sweet Sixteen a recommendation. I know we're all tired of the heat but summer is just gonna drag out a little bit longer with fire projects like this coming out. Charlie Wayy has worked hard to get to this point, he's disciplined, poised, polished and this album feels like an indication of great things to come. I'll definitely be keeping my ears open for what's next. Check out the interview below for more insight. The interview below has been edited for quality and coherence. Hip Hop as of late is going through a robust DIY phase. All over the nation talented, resourceful and determined individuals are getting things done in their own way, on their own time. In this interview we talk with The Bronx's own Charlie Way about his process, motivations and influences. We also get an inside view of the creation of his latest project Sweet Sixteen. Monk: First of all man introduce yourself to the people. Charlie Wayy: I go by the name Charlie Wayy, I'm from The Bronx, New York by way of Charlotte now. Oh you in Charlotte, North Carolina? That's crazy, I got people down there! Yeah Charlotte is cool but I lived in The Bronx all my life, so October 31st makes a year I've been down here. That's what's up man, let's get into this music. Why rapping, it's interesting having The Bronx influence all around you but what else made you wanna pursue the craft of rapping? I've always been into music, and I just wanted to be around music any way possible. Initially, I started engineering. My brother was always into music, he was rapping. You know, you always freestyle with your friends, I really wasn't worried about it, I tried to make beats and help my brother make beats, I was enjoying it. At one point in time I was helping him with lines every now and then it was like I just felt like I could do this myself. I wasn't too fond of the way my voice sounded, so that's one reason why I wasn't doing it. And then you get over that a bit, and then you start spitting your raps for people. You say it to somebody and they'll be like "yo who that?". I would say it was lines from somebody else and they'd be like "yo that's fire!". When you say it's yours it's like "awww I don't know, I ain't really messing with it." But at one point in time I felt like "yo, I can do this." That is one of the biggest hurdles when you enter these spaces. Even when I started doing my podcast, I had issues with my voice. You get used to it the more you do it. It's funny, I felt like that before I even recorded my voice. And then I started to record my voice and other people liked the way my voice sounded cool, I guess. The shit I was so hard on myself about, nobody ever cared about. So sometimes it'll be funny how you stand in your own way with these things. Long story short, I always had an affinity for music and how music was created. I was always one of those people that read the credits and track listing. I have an extensive vinyl collection that was passed down to me. One of my favorite artists is Rick James. I'm very much into music. If I wasn't rapping I think I'd probably be managing music, or helping others write music like I do now, or just any way I could be around it. So how long would you say you've been doing music seriously? I've been at it with music for maybe 12 years. But seriously like putting things together properly, making sure everything has that proper sound, I would say six years. I've really been driving properly, putting things on Apple Music, Spotify, making sure it sounds right, contacting producers, making sure my BMI is proper. So what are some of your influences from the past that you draw from, artists that inspire you? Rick James, Prodigy, Ghost and Rae, Meth, Jadakiss, Styles P, Jay Z of course, Nas, Eastsiderz, Snoop. I'ma bring that back around, what about people now that are putting out stuff now? Kendrick, Jay Cole, Freddie Gibbs, I like Gibbs a lot despite how people feel about him. Even though he does a lotta lame duck stuff, The Game, he's very talented with the music. Game can really rap and put projects together. He's a really strong artist, it's sad that his antics really overshadow how good of an artist he really is. I like Griselda. Sometimes I draw from producers themselves, Alchemist, Madlib, 9th Wonder. So do you also do production as well? I would love to produce a little more, that's something I would want to get into in the next stages of my music obviously, engineering and other stuff like that. I can sit down with a producer and get what I want. If we sat down and they opened up their DAW, I could tell them to play this sound, quarter step this, half time that, aight lemme get an 808 here, a synth here, tweak this a lil bit, maybe reverse this sound. But doing it by myself, I don't think I have that confidence yet, or that patience yet. If I'm with somebody who has the awareness of what's going on, I can get a beat out of them. My man said "you're producing right there, you may not be producing but you're doing it". Sounds like you're really hands on, more so than I think most people are during the process. They just contribute their bars and hand it off. I like to be hands on, I feel like it's my art and you can't really claim art unless you're wholly in it. Even down to the engineering, I try to sequence my stuff, I record myself, I got my equipment here. Then I'd send it to my engineer, with as many notes as possible. We were working up close but I knew I was gonna move, so I started prepping, I started recording myself. Even though we were a ten minute drive away from each other, I wanted to get in the habit of doing everything myself. I can say the last year and a half of my releases are all things that I recorded and sequenced myself. My engineer Blessed By Saint John, I send him the files and he does what he gotta do. But I leave him with enough notes, I drop out the beats when I need to, I tell him I might need a filter here, or a lowpass there, and I let him do what he gotta do. So it seems like you were developing a shorthand form of communication with your engineer before you left. So how has doing things remotely impacted you? Have things been more difficult or have they gotten easier? Things got easier, I feel like it's almost machine-like now. If I'm in a good space I knock out features the same day, or 48 hours. Sometimes I write them and they'll be done, and I'll sit with 'em and then record them the next day to make sure it has the same feel as when I wrote it down. But it's so good to be able to do these things myself, because now you don't feel handicapped, you don't feel locked in or bound to a particular way to create. I can take this anywhere I wanna go, If I'm on vacation with my lady or family I can take this with me and do what I need to do. I got my MacBook, my rogue, my interface, I pay for my Pro Tools, and I record. If I feel something I can just fire this up. Getting this project together, I completed it while I was moving. I started part of it in New York, obviously out of my house, in my bedroom, while I was moving to North Carolina. Shout out to my guy Ricky Mapes, he's the executive producer on the project, he hit me up and said he wanted to EP my project. He sent me 40 beats and we narrowed it down to 24, came back and narrowed it down to 16. I sent out my verse first on everything. The only one I didn't send out my verse first for was Neako, the track called "Penn Station." We were talking back and forth, I got some production from him and he said, "I like you a lot and I wanna give you a feature". He gave me the beat and it fit what we were trying to do so it's the only feature on the project that I didn't send out my verse first for. What's behind the name Sweet Sixteen? I saw the cover art, and it's interesting looking at your bio, you got the sports podcast, there's a lotta sports commentary on your twitter feed, how did that play into it? I'm a former athlete, I watch sports everyday, doesn't matter what it is. I golfed in high school, in the offseason from football. Sweet Sixteen is obviously from the NCAA, it's always one and done. In college with basketball now a lotta players don't stay around for a long time so they're one and done. So that's kinda what we thought about, project wise, like Sweet Sixteen, these are all one and done tracks. Every track is sixteen bars, and the feature gives 16, there's no hooks, no bridges no nothing. That's why we named it 16, and there's only 16 tracks so it's a lotta 16s in there that we were working with. That's interesting because one of the trends I'm seeing lately is just shorter songs, people are not even bothering with a 3rd verse anymore. Was that a factor in creating this? That's kinda the thought process to a lot of short form content. That's what people are liking with their attention spans. If I'm rapping at the highest level possible and I'm condensing it down you'll be more likely to replay that and it's gonna be shit I say that makes you wanna replay it along with it being so short. Some people hit me like, "yo, I like this why'd you cut this record short?". When I do drop my projects that are full length, it's gonna make you wanna tune in. If I did this with sixteen, what would I do with a hook, and a bridge attached to it, a second verse or a third verse? So that's kinda where I came from with it, and we just wanted to adapt to short form content. Let them know you can still be lyrical as hell, and you can still paint pictures in small spaces of time. We're just adapting to the times, trying something different. The cats outta the bag, I'ma make this a yearly thing, and i'm looking to have the best artist from around the country on this. I have my man Def Soulja, he's from The Bronx, my boy Ricky Mapes, he's executive producer, he's on there as well on "Kumite." I got LOS on there, he's from Mississippi, Milc from Portland. My man J NICS is from Miami, so we moving all around, we had a lotta different people, all dope spitters, all doing their own thing, all in the culture, all moving properly. We're gonna do Sweet Sixteen '23 for 2023, and we're gonna try to get that out there by March Madness. How were you able to the project to have a cohesive sound with so many different producers? Shout out to Ricky Mapes, he did a hell of a job executive producing, and getting the beats. I just had to do what I had to do and make sure I brought it on every record. Every record sounds different but it's all still cohesive. None of the flows are really the same and none of the tracks sound the same but they fit well together. You spoke about working with some of the homies but how did the Milc collaboration happen? How is The Bronx connecting all the way out to Portland. Again shout out to my brother Ricky Mapes, he had a relationship with them. A lot of them were on a tape due to him and then they heard my music and were like "Oh I'm really, really in, this ain't even a favor no more, he's like that!". That was cool and we've established lines of communication, now creating a bigger web and network of artists to work with. It's so cool that everybody is doing their own thing and they're really great artist. That's what makes it better, great artists find great artists and make magic. What can we look forward to in the future after Sweet Sixteen releases? I'm working with every artist possible, If you get a chance to see this contact me. I'm not Hollywood, I'm ready to work at all times, let's rap, let's make music. I feel like a lotta times there's too much Hollywood stuff going on. Let's just rap, let's do that, make dope records, and get 'em out to the people. Ok man I don't really have anything else for you right now, so tell the people when they can expect Sweet Sixteen to drop for them and how they can connect with you on social media. Sweet Sixteen is dropping August 31st. The first video off the project will be "Webside Weber," that will drop the same day the project drops. You can find me on all social medias @ CharlieWayy_, It's also my gamertag. Also check out CharlieWayy.Com. I'm easy to reach, tap in with me! https://soulspazm.ffm.to/sweetsixteen https://linktr.ee/monkeyblood

The Blue Hour by Berkeley, California's Rexx Life Raj is an island of introspection in a sea of braggadocio. It’s rare that an artist really opens up and invites the listener in to watch them navigate pain, grief, solace, and the cycle therein. But yet this exact formula is what made artists like DMX, Tupac, Lil Boosie, Mac Miller, etc timeless staples in people's lives to always be remembered for helping them out of a hard place. That's exactly what Raj will be immortalized for with The Blue Hour. Having lost both his parents within months of each other his latest offering plays like a live therapy session going through the rollercoaster of emotions between grief and healing. The project is narrated by his mother through pre-recorded phone calls, her prayers and messages take things to the next level of personal. On track 2, “New Normal” Raj toils with the idea that this pain is something he’ll have with him forever. Something that he has to find a way to normalize in order to attempt to heal. On songs like, “Hands and Knees” and “Balance” he details remaining calm to the public while being torn on the inside. Something we all can relate to. Looked in the mirror and realized I was all I had Had fam and the gang as a landing pad But if I don't steer the plane it then this still crash I had to leave you in the past, I don't feel bad Know it's still love, ain't no ill will fam I just had to stay around people who wanted it real bad Or at least as bad as I do - Rexx Life Raj, Save Yourself A well rounded offering, songs like, “Beauty In The Madness” featuring Wale and afro-beats star Fireboy DML have the potential to be worldwide hits. But this album will be remembered most for helping anyone dealing with loss realize that they are not alone. That healing is a process that some say is never complete. That there is always light at the end of the tunnel and The Blue Hour held your hand and walked you toward it. Released: July 15, 2022 https://www.rexxliferaj.com/

Hip Hop has had an undeniable influence on the world. It's no surprise that it's reach has inspired people worldwide to try their hand at making their own Hip Hop projects. Portland isn't as far away as the Ukraine or South Korea but it can feel equally as distant because it's not a place one thinks of first when it's time to go down the list of Hip Hop cities. Reminds me of LL Cool J as God in the movie In Too Deep. One of my favorite lines is when he tells the undercover J. Ried, "I didn't know they was getting money in Akron." Well I didn't know they was rapping like this in Portland. Low key the city has cultivated a formidable and prolific community of MCs and producers and they've been really busy lately. The subjects of this review include one of Portland's finest MCs Milc, and Seattle based producer Andy Savoie. Their latest project Windbreaker XL, is actually an extended version of the Windbreaker EP which released in March. It includes 5 new songs making it a full length project. The EP was a nice enough meal but the extra tracks are like that plate a good host packs for you to take home so you can continue the experience. The Bandcamp page says the bonus songs were pulled from the original album sessions but they don't feel like throwaways. Milc definitely doesn't come across as the kind of rapper that's about wasting bars. Each line in his laid back, effortless, stream of consciousness flow feels like it matters. He's got bars that emphasize the slick talk, blended with some of that good ole street talk. He's definitely had some experience with the shadier side of his city. Windbreaker XL is a mostly mellow, but driven affair with Andy Savoie's lush production providing the perfect backdrop for Milc's observations, bravado, and razor sharp wit. Milc brings along some friends like Blu, Greg Cypher, and Soop Dread to give you an even broader picture of what's happening in Portland. "Citgo" is the posse cut that welcomes more of his fellow MCs like Chima The Stubborn, C'estla, and Farnell Newton who all take turns spilling over a beat that bounces effortlessly between a hard charging main and the smoothest jazz horns on the chorus. Perhaps my favorite offering on the project is the aggressive "Blue Faces." Milc is in his bag as he rides this beat and humble brags with the utmost confidence. It's a shift of tone from the rest of the project but it's interesting because Milc doesn't hurry his flow to match it, he just finds his space and gives it to you just as laid back and as easy as he does on the rest of the album. He's like a sinister surgeon with words as he matter of factly, delivers lines like: "Life is foul, I tried being a righteous child But the evils come out when I write shit down I don't need a piece of the pie, just need a piece of mine Everytime they increase the rent, we increase the crime" Technically this is Milc's 3rd project in the last 12 months if you count the two Windbreaker drops as one, and he shows no sign of slowing down. In my experience this can be a magical time for artists who are putting in this kind of effort back to back. Windbreaker XL is good but I think Milc has a few more gears he can hit and I'll definitely be checking for future releases. Released July 22, 2022 https://smarturl.it/windbreakerxl

The Grand Nationxl collective is doing the groundwork and becoming some of The Bay Area hip-hop scene’s standout artists. One of the men at the forefront of that is Richmond’s very own Mani Draper. He kicked July off with Communion: Book 2, a follow up to his EP, Communion which dropped earlier in the year. With a run time of just over 17 minutes and features from Rolanda D. Bell, Brookfield Duece, Dame Drummer and Kevin Allen not a second is wasted, from beat selection, flow pattern, skit placement, everything serves its purpose. Mani’s baritone voice, variety of deliveries, and range of beats make him like a center that can dominate the post but still bring the ball up court and shoot the 3. The intro track, “Bright Side” produced by Jay Anthony is reminiscent of OutKast, with a hook and beat that I wouldn’t be surprised to hear placed in a T-Mobile commercial. A notable thing Draper remains consistent with throughout the project is his lyricism. On one of favorites tracks, “Kush/Gospel.” he raps, “Red beans and rice on Granny life n****s been prayed over unsigned hype, box for the likes was sposed to get you closer would future me had relayed this sober? in the main sanctuary reekin no sense in tryna mask the odor.” Mani Draper is staying true to himself, creating a lane, excelling and it's not going unnoticed. Communion: Book 2 is the perfect soundtrack for that quick commute. A complete product from content, tone, structure, production, and sequencing. If you appreciate hip-hop in its purest form then you’ll have no choice but to enjoy this EP from start to finish! Released: July 1, 2022 https://manidraper.lnk.to/c02