While recording, transcribing and editing this interview all that kept poppin’ up in my mind was the alchemy of the notorious Nipsey line from “Overtime,” they say it’s 6 degrees in life / opportunity, preparation - they meet it’s nice. It’s fair to say that the independent route has numerous challenges and benefits for various artists. Sometimes the benefits outweigh the challenges and sometimes the challenges outweigh the benefits. At times you have access, support and resources and other moments you’re without. But in the midst of it all how do you define your success? Is success a singular never ending goal post -or- merely a myriad of moments where your opportunity and preparation align? Below is an interview that serves more as an inner view into how Aj Snow’s consistency and perseverance put him in position to release one of his best albums to date, NO AWARDS FOR THE REAL. Throughout the interview Snow speaks on his craft, the creation of the album and how the album also allowed for him to gain a deeper connection with producer Jansport J. This interview has been edited and condensed for clarity. Aj Snow: How long have you been doing this? Jameka: Uhm, I’ve always done music shit but as far as starting my own thing and having my own independent publication and stuff - this is my 2nd year doing it. It was just me doing shit for the longest time and I was just recently able to get 4 or 5 other writers on board so hopefully shit gets going to a different level here soon too. Aj Snow: That’s nice, congrats. I been seeing you guys gettin’ to it and consistently how y’all have been tappin’ in with me too and I just wanted to reach out, thought it made sense. Yeah! I love it, I appreciate that. It’s crazy y’all just put out this project together. I’ve followed Jansport J for quite some time and he retweeted or engaged with one of your projects awhile back - OR - somethin’ like that and around then is when I tapped into the music. It’s really cool that y’all are on this now. Aj Snow: Oh damn, that shit crazy. I didn’t know Sport was on board like that. When I met him for the first time he was like, “yeah, I’ve been hearing about you for a minute,” and I’m like, “damn, why ain’t you say nothin’?” That’s too dope. So, how did y’all’s relationship form? Aj Snow: So, he was tellin’ me that Dom Kennedy told him to start workin’ with, you know, the newer talent than what he was workin’ with. He was workin’ with the top of the top artists. I had a show in L.A. in January and Sport’s manager came out and then I performed and then the next day after that Sport had followed me on Instagram. Then, after a couple days later I reached out to him to get 1 beat or 2 beats or somethin’ and he was like, “man, I’ve been thinkin’ bout doin’ a whole project.” Damn… Aj Snow: When he told me that I was like, “ahhh damn, that’s hard,” but you know how the shit goes when people tell you they wanna do somethin’ with you. You know, they say that but they don’t ever follow thru on it. So, the next day or later that day he sent me like damn near 30-40 beats. He was serious. Aj Snow: So, that album, what we did - NO AWARDS FOR THE REAL... those were like the first songs, the first 10 songs we did. I’m real big on just droppin’ what I got. I feel very confident in what I make. I don’t need to go in the studio and make like 50 songs to make 1 project, like nah. I’mma grab these 10 songs and we gonna put them together and make it like that. And that’s how NO AWARDS FOR THE REAL came. That’s pretty cool - so, what type of time frame did it take to come up with the tracks? Aj Snow: With the tracks, shit - when he sent me those beats I think we ended up doing our first studio session at the end of January. I know by then we had done the intro, we had “How I Make It Here?” and that was like the first record we did. Even the first time we went to the studio he gave me some more beats to go home with for NO AWARDS FOR THE REAL. Ideally, we already knew exactly the title, we had everything kinda in play by the end of February. Wow. Aj Snow: Yeah, we were really reachin’ to drop the album in May but Sport he had BudaSport and a few other things under his belt and he was like, “man, lemme give this some space to breathe,” so we pushed the album back to June. Makes sense, so how did the title come about? What does that mean - NO AWARDS FOR THE REAL? Aj Snow: So, "NO AWARDS FOR THE REAL" - with the outro record, when that song came on I was sittin’ and when I was listenin’ it gave me like award show vibes. That’s why I said, the real don't get awards but this is my speech if I did. What I’m rapping is like what I would say if I won an award. That’s why the first bar too is, I Sport fly shit, I got that shit from a Jay-Z line when he said, “I sport fly shit I should win an ESPY,” and that was kinda the direction I wanted to go with it but I ended up playin’ around with it. So, with the “NO AWARDS FOR THE REAL,” I said that in a bar and then Sport was kinda like “let’s make that the album title” and I was like, “let’s run with it.” It seems like it came and flowed pretty naturally for y’all. Aj Snow: Oh yeah yeah yeah, this was really my first time workin’ on a full project with 1 producer and this was really my first time in a professional studio. Oh wow. Aj Snow: Most of the time before that I’ve just been workin’, you know, just home studio. Really just knockin’ out the records from home and send it in to get mixed. This was really the first time I sat down and listened to the album get mixed, mastered and really put my input on stuff too. Man, it was a whole team effort. You can hear it too, in the actual album. I enjoy your work that’s why I stay up with it but there’s something different about this album. This feels like a huge stepping stone. Being in the professional studio do you feel like it affected your craft or did it bring something else out of you? Aj Snow: It was very fun. It felt like I was supposed to be there, you know what I mean. That’s the best way I could put it. And the relationship with me and Sport - I always say it’s like a training camp. Like yeah, I’ve been rappin’, I’ve been doin’ this, I’ve been doin’ that, I’ve had this success, I’ve had that success but now I really got someone who’s really been in the game. That is really in the game and really done and got his achievements and stuff so I’m just sittin’ back soakin’ up everything he really teaches me. So, it’s all training camp. You know, if this is the only project we do and we split our ways and everything I learn from him is going to add to my formula. Yeah, that’s real and real universal alignment. Aj Snow: No, fasho fasho, and those are the types of talks me and him be having. We sit down and we be talkin’ about this, this and this. We definitely feel that. Do you feel like there were any challenges with making this album? Or new challenges? Aj Snow: Nah, not really. My only challenge I would say I feel like I was stuck inside my box. I feel like I’ve developed more as an artist and my challenge was seein’ how the fans were goin’ to react to it. Because you know, when a lot of artists try new stuff a lot of fans, you know - they try to put you in a box. And I have had some fans be like, “where’s the car music at? Where’s this? Where’s that?” And it’s just like - man - this is my best project I ever did. It’s touching the people a lot more so I feel like it was the best for me. That’s so interesting because I definitely would’ve not thought that. It’s a different type of music, you stepped out a lil but at the same time this is still something you can be playin’ in the whip, like fasho. Aj Snow: Yeah, I don't take offense to this shit I just scratch my head. At the end of the day this is my art, you know. That’s how I look at this. This is my art and I’mma give what I feel comfortable with. If my name is attached to it I believe in that. 1000%. About your name tho - where’d it come from? Aj Snow: Man, it’s funny. You know Snow On Tha Bluff ? When that shit was on Netflix and everything I used to tweet Curtis Snow on there and I’d be like “hey unc,” messin’ with him and shit and he’d be responding’ to me and shit. So, that’s where I kinda got it from. Then also, Pimp C was one of my favorites and his nickname was Tony Snow. That’s kinda where I got it from too. That’s dope that it was all your doing. Aj Snow: I hate explaining it but you know that’s where I got it from. Yeah, it comes when it’s supposed to. Where are you based? Aj Snow: I’m in Los Angeles right now. But you're from Illinois? Aj Snow: Yeah, I was born in Dallas. So, it’s very interesting. I was born in Dallas, I grew up in Springfield, Illinois and then I moved back to Dallas and I was there for like 7 years. I been in L.A. for a year. I’ve been out here since last May. So, I just been out here workin’. You like it out there? Aj Snow: I love it. The weather, palm trees, food - man, actually I stopped eatin’ meat not too long ago and I’ve been losin’ weight like a mug. I had gotten a little chunky out here eating all that. That’s what’s up, see, that’s what happened to me when I came down South. I’m from out West and came down here. Aj Snow: Oh okay, what part are you from? I’m from Washington, spent some time in Oregon and spent some time in Oakland too. Aj Snow: Okay, what part of the South? Right now I’m in Memphis but before Memphis I was in Atlanta for a couple years. Aj Snow: Oh yeah, you probably gettin’ all the BBQ out there in Memphis. Man, they got a lotta good food out here fasho. It’s dangerous but the pace of life is so different. Like I miss the West in those terms. And the options, it just seems like there are more options or opportunities out West too. Aj Snow: Oh yeah, most definitely. Man, it’s crazy out here - I ran into Hitmaker, Yung Berg, that nigga was leaving the elevator at my crib jus like damn. You don’t get this type of shit in Texas or elsewhere. Like I saw Casey Veggies at the smoke shop by my crib and if I wasn’t out you know walkin’ the dog then I probably would’ve chopped it up with him. You know, that might’ve been a record. It’s the access, you know. Yeah, a lot of opportunities. Aj Snow: And everybody knows somebody, you know. My bad, I feel like we’re having so much a conversation that we gotta get back to the questions. It’s all good, for real. How would you describe your sound? We’ve heard people call it car music, player music… Aj Snow: It’s more lifestyle. I feel like I became more personal. As I’m gettin’ older, I’ve been rappin’ for a minute but now I kinda look at it like if I’m rappin’ makin’ sure I’m sayin’ something. You know, inspiring people. I say more lifestyle, I’m sharin’ what I see, what I hear, you know, my thoughts. You know, grindin’ for the hopeless. You learn that there’s a lot of people who don’t get to see or even see the stuff I’ve been able to see. I just want to be the reporter and let people know that there’s more out here. If anybody feels stuck or feel like shits not goin’ - there’s more to life, don’t trip. Yeah, I feel it fasho. You’re sharing your experiences with people. Aj Snow: Yeah, you know, I was born in Dallas but I grew up in Springfield which is like a population of 100,000. There’s no music outlet, no nothin’ and now I’m here and I got an album with a Grammy nominated producer under my belt. It’s like, “how I make it here?” That’s where that record came from. I was like, “damn, I’m workin’ with Sport on an album,” and it’s like, “damn, how’d I make it here?” Shit, then you start thinking about all the odds that were up against you as long as you keep goin’ like really just keep goin’ and it’s gonna get better. That’s so beautiful, for real. Aj Snow: It’s been so many times when I would want to quit. Now, when I look back and I might say that shit on a Tuesday and look down 3 weeks later and I’m like I’m glad I didn’t because look at where I’m at now. Of course, it’s not that quick of a return but man there were so many situations and times when a nigga wanted to give up. Now, it’s like glad I didn’t give up. Just out of curiosity what type of things were bringing you to that moment of almost calling it quits? Aj Snow: Looking back - well, I saw Sport tweet this the other day, “if this shit was easy everyone would be doing it” or some shit like that. I feel like where I’m at right now everything is more pressure. Sometimes I feel like I put the pressure on myself because I feel like how Kobe feel with basketball. I just want to be great and I don’t think a lot of people have that same ambition. Maybe they don’t go thru the shit that I go thru but I literally love this shit. This is really what I want to do. This is where my passion is at but sometimes I get discouraged. Certain things happen but then you get that validation, you know and sometimes that’s for you to keep goin’. It feels like as an artist it’s all just kinda part of the journey. Like every once in awhile you’re going to have your doubts - you just grow thru it. Aj Snow: Yeah, for sure. I feel like it’s a cycle to be honest. Man, when you elevate to another level it’s just - man, I felt a little pressure after droppin’ NO AWARDS FOR THE REAL. In my head, I’m like, sonically this is the greatest fucking album. You know, I’m thinkin’ in my head and of course we’re workin’ on album #2. We pushin’ thru the pressure. But you still have these moments as an artist where you’re like, “man, what if they compare or the fans don’t fuck with this no more.” I be puttin’ all types of pressures on myself and I’m learnin’ just to go thru it and that’s why you get these moments and you cherish it more. You really learn to appreciate a lot of shit. I feel like it’s natural for people to fall at the wayside but at the same time I feel like with working with Jansport J a lot more people are getting to hear your music. With that comes new fans and supporters. Aj Snow: Most definitely, I’m real big on paying attention to numbers. I just feel like music is a business, you know, being and artist is a business. I don’t think a lot of people understand that. I pay attention to numbers. I worked jobs where we sat down and looked at numbers. Little did I know - at the time I didn’t think I really needed that shit but now doin’ my own thing it was definitely an honor to learn that and see that shit. Daily, I look at my numbers. I look to see where my music is going. Those type of things help me add to the formula or calculate and put shit together. Where to tap in at. Did you notice quite a number change in this last release? Aj Snow: Oh yeah, most definitely. One big thing was with Spotify. I remember just a couple months ago I was about to hit 2000 monthly listeners. I remember when I only had 3. Now, that shit hit up to 4100 but I think it’s down to 3800 which is natural for an album release. If I could stay in that 3000 realm that’s way more than what I was gettin’. Just a couple months ago I was thirstin’ to hit 2000. I remember one month in and I was right there at 98 or 99 then it dropped down to 60-something or 1950. And I was just like, “fuck,” you know, those little milestones niggas trying to achieve. Definitely understand but I'm sure more numbers are to come. So, there is another project with Jansport on the way? There’s been quite some talk about your latest release by people who really listen to Hip Hop, you know. People who are tapped into the likes of Roc Marciano and that kind of sound. Aj Snow: I didn’t expect you know - we’ve really been building a great friendship. We damn near talked everyday. He kinda just told me his role - and he was like, “I see a lot of me in you and my position of being an OG in the game is to really help groom and shape you. You already got it but I wanna just come in and help polish you up more.” Man, how’d that make you feel? Aj Snow: Man, it’s great. When I quit my job I played one of his productions, that Dom Kennedy, “Life.” I’m takin’ the chances, I want it all. I’m takin’ a risk, I want it all. That’s another thing too, just to finally meet somebody solid and genuinely wants you to win it’s an amazing feeling. It’s like sometimes I still get my little moments like, “damn, niggas is really in the game, this shit crazy.” Or just to have that backing, you know. Really backing you and supporting you. Everything is genuine. If I posted that I’m doing a show right now - he’ll retweet it. You know what I mean. It’s the most authentic, genuine artist-producer relationship you can have. With this game, and I know you know - there’s a lot of people tryna get over and tryna use you to get where they want to go. And with him you can just tell it’s not that. We in the studio and he be playing me unreleased Big Sean and Nas records. Just to be sittin’ in the studio or the car with him playing these unreleased records… it’s just like bro, this shit is fucking amazing. That’s really beautiful. You deserve it. That’s alignment, that’s really for you. Aj Snow: I feel like before I met Sport I was kinda in the headspace of giving up. I feel like this is kinda mine for not giving up, you know. With life man, you just gotta keep mashin’ thru whatever is throw at you - you gotta keep mashin’. I think that’s kinda one of the rewards of putting my head down and still working. I said it already but it’s a stepping stone. You bout to see levels - I’m excited for you. I hope that we’re able to build an artist/editor type relationship so I can continue to check in with you and write about what’s goin’ on. Aj Snow: Fasho, and that’s just another learning experience too. You gotta fuck with who fuck with you and that shit is way more authentic. I’ve been peepin’ that y’all been fuckin’ with me, postin’ me, y’all been on part of the journey. A lot of people would’ve ignored that and they try to go chase where the love ain’t at. I rather build with the people that fuck with me and that’s where I’ve kinda been takin’ my time and really just build in-house and with the people that support me and wanna see me win. Everybody be tryin’ to chase the support that they don’t have and that’s why shit don’t be workin’ out like that. Yeah, or they expect something else from the support they’re receiving. Or they expect something else and so they overlook the actual support they’re receiving. Aj Snow: Yeah, transitioning to live in L.A. I’ve leveled up to a whole other level and I look at a lot of shit differently now. To see even how the people react or other people have their motives and try to use you and be around. So I’ve been able to experience a lot of more shit. You can sit back and you can hate or you can be upset about how the way some shit went or you can just really appreciate it. That shit’ll change your formula. That’s kinda where I stand on it. I was able to see a lot of shit I was blind to. That shit just helped me become a better person and a better artist. That’s why I say now - tap in now, fuck with who fucks with you. That’s always been my type of thing. Niggas be chasin’. It’s funny though because Sport’s brand, All Attraction, No Chasin’. So many people get caught up with the chasin’ - when you attract shit it’s way more genuine. Man, that’s so real. All Attraction, No Chasin’. I’m not trying to bombard you about this new album or anything but what can your supporters and new fans expect from this new project? Like have you began working on it? Is it part 2? What’s going on with that. Aj Snow: I feel like the first album we were kinda introducing you to this new sound. Me and Sport we are about to go crazy. This ain’t the stop, I think we really found our pocket. He even said when the album dropped, “man, Snow helped me become a better producer.” But, we just shot the “2ND II NONE” video on Friday and Sport was DJing while we was shooting the video. What’s different with this album than the first one is that we both sat down and we’re both into the creative process of creating ideas or even samples and shit or changing the format of the records. We both workin’ on it. When it says Aj Snow and Jansport J, it’s really Aj Snow and Jansport J. It ain’t just like I rap and he produces. For instance, the outro I laid a verse on it and sent him a rough draft so he could see where I’m goin’ with it and he’d be like, “man, this should be the hook,” and he’d throw the hook idea. Then I might switch it up a bit to throw my own spin on it. I be tellin’ Sport he need to rap because he be comin’ up with some ideas. That’s another thing though, that’s just me learning from his creative style. He sat down and told me stories about being in the studio with Hit-Boy, being in the studio with Nas, so it’s like I’m really soakin’ up a lot of shit. Like the intro, “MADE BY OGs,” like how we got the hook and shit. Sport was like, “nah, you should make this the hook.” I had the bars and the verse, if I said it I’mma stand on it, found a new wave then I put my man’s on it, he was like, “yo, make that the hook and go back in to add a verse, add a 16, then we’re gonna throw the hook there.” You know, havin’ that coachin’, havin’ that support. This album I’m bringin’, I got a couple of my partners, my brothers - we’re more brothers than rappers. I’m trying to get them in the mix and spread light with them, you know. Plus, they got their shit goin’ on but just to add somethin’ more to their belt. This one gonna be a nice vibe. The last one was too so I believe it. Aj Snow: I think me workin’ with Sport it’s really showin’ my versatility. You know, I’m gettin’ off on some Griselda type beats on this muthafucka, you know what I mean. Ayyy, yeahhhh. Aj Snow: Here, I’ll play you one right now. Mannnnn, y’all comin’ with the clip loaded. Aj Snow: Yeah, we already got the album placed I just gotta go in and lay some verses and shit. We plan on droppin’ it here real soon. We just want to run it up to be honest. That’s the whole motto. He’s independent, I’m independent. Why not. Aj Snow: Why not. We get to control this shit. Man, this is exciting. *plays unreleased record* Yeah, that shit is raw! I like your voice on that type of production a lot. Aj Snow: Thank you, I appreciate that a lot. I’m learning and last time we talked and my fans were like, “that’s not car music,” and that’s another thing that adds pressure. But fuck it, this is my art, I’m going to create. Man, so many people want to limit you to one thing and it’s like nah, I’m an artist and I can jump on these different types of records. That shit be pressure but lowkey I might gain a whole other range of Hip Hop fans on that grimy rap shit. Or shit, I might link with Roc Marciano or some shit and do a whole album. It’s facts. Aj Snow: I’m more thinking bigger than just right now. That track done gave me goosebumps. Aj Snow: Oh man, that’s hard, that’s crazy. It’s still classy, it’s still your real suave type demeanor but the beat brings out a whole other side. Aj Snow: What’s crazy is Sport told me the other day, “I’m glad you jumped on that beat because I didn’t really like the beat,” but that’s one of his favorite songs right now. I’m excited for y’all. Aj Snow: Just to give you a time and you ain’t gotta put it in the interview but we thinkin' late some month. Wow, that’s really exciting. Definitely looking forward to that. On a day like today out there what music are you playin’ in the whip? Aj Snow: Let me check I’ve been playin’ a lot. Oh shit, this is funny. I was just playing Adina Howard, “A Freak Like Me,” G Perico, “Half a Bird,” Keni Burke, “I Get Off On You,” I played Jon B that, whatcha say booooo. That and just played them in the whip. I’ve been listening to full bodies of work from artists. You know you gotta have hits and good singles but I like to listen to a full body of work. I feel like that’s where I specialize at is giving a full body of work instead of one or two singles. I really don't like droppin’ singles unless it’s part of the album. Unless it’s part of the rollout. Aj Snow: Yeah, unless it’s part of the rollout. I probably won’t drop another record until I’m well on another project. It’s kinda like changing scenes… you ain’t gonna change a scene and go back to the last scene. When you change scenes in a movie, you know. Outside of music you also have your own brand - “Made by OGs,” tell me about that. When did that begin? Aj Snow: “Made by OGs,” - I dropped my first project in December of 2015 and you know, I just made a dad denim hat. This was right before the dad hats really started poppin’, you remember that… like 2016. I had made a little hat to just help promote the album. I wasn’t really thinkin’ nothin’ of it. But you know, the response that I got back from it and it did very well. So, I just kept going - and it’s so crazy that I’m doing clothing now because when I first started I was like, “man, I’m not going to do clothes because I didn’t want to deal with the sizes and everything. You know I grew into it. Right now I feel like I'm in a rebuilding stage because you wanna better. It’s like you buy a crib and the crib is cool but then you wanna remodel, you know. Yeah, yeah, evolvin’... Aj Snow: It’s gonna keep changing. So, now I’m at this point and I’m in L.A. too and there’s the fashion district just trying to put the pieces together. I want “Made by OGs” to stand as its own street wear or luxury brand. There ain’t’ no limit to where it can go. That’s facts, you have some cool pieces. Like the Crown Royal version of the Made by OGs hat. That shit real cool. When I saw you put that out I was like yeah, he’s leveling up in everything. Aj Snow: Mann, I’m learning, I’m learning. I’m more than a rapper. I’m an artist. I’ve been learnin’ Andy Warhol, Basquiat, you know. I’ve been learnin’ like, payin’ attention to Frank Ocean. To them, he might just be seen as a singer but he’s an artist. I look at where all these people stand and they're more. I feel like I’m a lot more. I wanna be considered an artist. Like Westside Gunn, he’s an artist. From his music to his clothes, he’s an artist. He’s not a rapper, he’s not a clothing designer, he’s an artist. That’s kinda where I wanna be remembered at or known for, as an artist. If I go design a car people will know, “ayy, Snow designed that,” or if I go design a house like Virgil did, you know. I feel like that’s where my style and my music come from. I’m an artist, I’m decorating it the way I hear it in my head. I’m not copying, I’m my own leader into this shit. PHOTOS: Jehn.w.a - https://www.behance.net/jehNWA PHOTO 1 & 2 Andrew Diego - https://www.instagram.com/drew_v600/ ALBUM ART PHOTO 3 & 4 Freddy Dubon - https://www.instagram.com/fotofreddy_/ PHOTO 5 Andrew Quesada - https://www.andrewlquesada.com/ "2ND II NONE" VIDEO "'83 EL CAMINO" VIDEO PHOTO 6 & 7 https://madebyogs.com/

The 6th Letter has been cultivating his craft for a good while now. After catching the attention of Jonny Shipes of the Smokers Club early, he went on to drop two projects on Toronto’s BKRSCLB, NorthernPlayalisticGetHighMuzik Vol. 1 and A Bathing Ape in a Hotbox. These established his spot nicely within the label’s universe: the fly guy who loves to get high. That first tape is especially significant, because this is the latest in a series of spiritual successors, this instalment 8 years removed. Plentiful streetwear bars intertwine seamlessly with lyrics about his love for the herb. Working alongside Raz Fresco for so long here has been beneficial: the label founder and prolific spitter has hunkered down on the production side of things recently, amassing new hardware and mastering it in what seems like the blink of an eye, and dropping beat tapes as well. This latest offering, Get Baked, is entirely produced by Raz, with appearances from Chicago’s Vic Spencer as well as the ever-impressive local Daniel Son. A steady growth is visible now just as it was on last year’s Coneman, which is another project fully helmed by Fresco. The soundscapes bring out some of his most confident flows (see "Chain Smoking Part II"), and that chemistry they’ve shown together in those past collaborations is on full display here. “That’s a cool lil brush, But you paintin the wrong picture, Look I give em sumn to feel, That’s sumn for real For the seeds it’s on me, It cost nothin to build Long as you got ya mind right, You ain’t stuck in the field You ain’t gotta be slangin, robbin or clutchin the steel…” - The 6th Letter, Sincerely While Get Baked isn’t a big sidestep thematically, the maturity that’s present here is hard to miss. He’s focused. He has his family to take care of, and that’s at the forefront in his mind. You can catch the children at the end of "Sincerely," telling the people about their love for their dad and BKRSCLB. It’s sort of similar to the Westside Pootie appearances on Gunn albums, albeit lacking that signature family braggadocio. "Poison" is another one of the more impressive tracks here. While discussing his kids, he’s also laying bare generational trauma and curses, and pledging to beat them. It’s a powerful manifestation, with a recognizable little clip to end the song off. He discusses how “the jealousy changes their perspective”, but doesn’t sound jaded in the least. It’s just the reality for rappers in this current landscape, where clout rules and they can’t help but be paranoid about people’s real intentions. Despite the occasional heaviness of life seeping in, they’ve excelled at making an album to smoke to; even the "Get Baked Interlude" is a decent addition to the canon of rap album radio skits. The standout track might have to be "Hands Clean" though. Daniel Son brings that trademark vicious presence, and some bars to make you chuckle too. “Gotta destroy in order to build, you know the deal, Keep it real with yourself, they gon’ feel how they feel, 10 toes on your square, put some weed in the air, When you play this shit here, it be taking you near.” - The 6th Letter, Hands Clean The beats are real crispy whether in your headphones or the whip, a gift from Raz for him to slide over. They range from classic boom-bap to the real hazy and almost psychedelic. The 6th Letter slips between dropping various sorts of wisdom and straight-up gliding over those pockets. Minds are melding here, and the BKRSCLB vision crystallizes a little further. While they might still be “too raw for the Junos” (When the Smoke Clears), the underground is catching on quickly to the heat that doesn’t stop coming out of Toronto. If in the last decade they’ve been laying a foundation, this is where the structure becomes impossible to miss. Released: June 16, 2022

A master class in “use what you have to make your own magic.” Recorded in his living room on a cheap mic over 3 days. Lupe delivers on his first LP after 2018’s Drogas Wave.10 tracks as an homage to Illmatic by Nas, complete with its own Halftime record in “KIOSK” on track 5 in the middle of the(m) all… Lu’s pen is sharp as ever, all records produced by Sountdtrakk, only credited features on the record are his sister Ayesha Jaco opening “THE LION’S DEEN” intro with her signature poetic style. As well as Lu’s SOSA guild protege Nayirah. A talented rapper in her own right who provides melodies on lead single “AUTOBOTO,” the slow, haunting “PRECIOUS THINGS,” and Alt-Rock inspired “SEATTLE.” The standout track is of course, “MS. MURAL,” a cerebral and layered concept record on the frustrations of being an artist forced to entertain a hapless patron. Beneath the surface is a very real history lesson on the means of production and subjects of artistic expression, complete with an Edgar Allen Poe-like macabre plot twist. Released: June 24th, 2022

Deniro Farrar's latest EP, Spook By The Door takes it's namesake from the 1969 Sam Greenlee novel The Spook Who Sat By The Door. The book later became an Ivan Dixon directed film in 1973, and is highly revered as a jewel of the Blaxploitation film era. In the story, after realizing he's just a token hire, a Black CIA officer quits the agency. He then uses his training to teach Black men from the streets how to get the man off their neck, and become freedom fighters. Deniro opens Spook By The Door with a song that shares the same title as the EP. A Cenobite produced track is the back drop for Deniro's raspy voice as he tells you what he's about, and how he moves through the streets with both eyes open for these pythons(snakes.) The next track of the EP is LT produced "Mafia." It's a more mellow mood but Deniro is not letting off the gas. What stands out overall in his music is the skill at which he executes. This isn't his first project and it shows. He's an expert rapper who is adept at crafting his bars and delivering them in a way that's convincing and also keeps you on your toes as a listener. He's a strong songwriter and you'll be chanting along to these choruses before the songs are even over. Last but not least, is my favorite, the high energy and infectious "Run It Up." Shaq Gonzoe and Don Kevo share production duty on this certified banger. This is the one that's gonna get you through that last stretch on your run or make you feel like you can lift the whole gym. Deniro's razor sharp wit and delivery are on full display as he gives you the streets in a way that only someone who has lived it can. Spook By The Door is a great project, especially if it's your first time listening to music from Deniro Farrar. I wish it did have an extra song or two. Fortunately he's got a lot of material readily available for that inevitable deeper dive you'll wanna take into his catalogue. Release date: May 13, 2022

It’s Saturday in late May, and the eve of PhoeNix’s latest, an EP titled Walkthru. In the past year, he’s released an album Redbird, as well as the second in the Crybaby Soprano series. When he picks up the call, he’s sparking a blunt, the smoke tinged pink from the lights above his head. We start by talking touring with Jack Harlow and Babyface Ray alongside Mavi, but quickly move to discussing it all: his beginnings, story, thoughts and goals. When I ask about the music that shaped him, he laughs, grumbling out, “I guess I’ve been influenced” before generously listing out tapes that he grew up on. He’s been in this game for a while, beginning in Texas as K. Mitch. He had a few small projects out under that name before adapting the moniker he’s got now. The story behind this one? “I overdosed, twice, actually died. My mama was there. Shit. And then, I felt like, oh, I need to let my old ways die. Phoenix, life and death, all embodiment. Closest thing to having a pseudonym that’s not a pseudonym.” He’s gracious, honest, and open, smiling as he reassures me not to worry; “Drugs can’t kill me, and these fuck n***** can’t either.” I believe him. He’s at The Bridge this evening, a studio in Charlotte he describes as “a creation hub that also serves as a catalyst to get paid.” It’s an easygoing, lighthearted atmosphere, and while we talk, various folks pass through the doors. This space became his second home when he linked up with his manager Cody, who runs the spot. He tells me the story of that day: “Mavi dropped me off here. I ain’t really have nowhere to rap yet, I wasn’t really rapping yet. And, we was really just kicking it, it was on Thanksgiving! And I was kinda lowkey fake sad, because n***** wasn’t out there with their families and shit. But, you know. So n***** was here. My n****, we went and got some soul food, and shit, n***** just let me rap. If not all day, close to all day. And, let that shit happen for a week, two, three, got turned into a month. And we just got so cool, and then he turned into my manager. And I can honestly say bro, it’s been the most beneficial shit in a bunch of different ways. Even outside of directly music, you know, we’re real good. I like the team I have. And it’s not a huge team! It’s really my manager Cody, my partner Jo. Shoutout Sean Stanley, who’s recently been added because when Jo’s not around, he’s like the n**** who shoot all my shit. But he stay in Atlanta, and I be out here in Charlotte. I met Sean through Cody. But that’s it, as far as intermediate team of curation of content. Outside of that, of course gang is gang. Shoutout Backkkseat, KS, etcetera. But it ain’t no million people that we got involved in this. You know, real home, ground-up foundation type shit. Really, I put a lot of that on the Bridge. Shoutout to the Bridge, man. This is a wonderful studio to be able to come to and create man. A lot of good things happened here.” A lot of good things indeed. TheBridgeCLT’s channel is home to a number of session videos from some of the brightest talents around. Among two from PhoeNix, you can see the likes of Fetty P Franklin and 10Cellphones, as well as his friends/contemporaries Mavi, Ahmir, Messiah!, Marco Plus and more. He never hesitates to shine a light or heap praises on the people around him. When I ask for recent album recommendations, he immediately names the latter four’s latest, and then mentions Smiles’ D.E.M.M.O tape a few minutes later. The Houston native has found community in Charlotte with the members of Killswitch and Backkkseat, and when it comes to his people he’s all the way serious. Today happens to be his longtime friend and cameraman Jomir’s birthday, and everyone is showing love. There’s whoops of welcome and cheer when he’s let in. Jo filmed a number of his older videos, as well the Redbird documentary, but as PhoeNix explains, he wasn’t just a videographer. “Bro, that’s my twin. Me and Jo was homeless together bro.… hell yeah. Me and Jo got evicted out of one of his spots together, we had to sleep in the car for like a month. And was just jumping from hotel to hotel. And that was like, the whole time period of making Redbird.” Redbird is the project that I fell in love with, and I expressed as much when I reached out to organize this interview. We agree it’s overlooked; he even confesses he started to doubt the quality, before we both laugh about that. It’s full of twists and turns, and serves as a great introduction to him as an artist. The Houston roots are made clear early through the chopping and vocal sludge in this collection, but there’s the breakneck euphoria and rush of songs like "Cellphones" and the heartbreak in "Fly High" that make it impossible to pin down. "Homerun" is a BeatsbySav canvas, so you know the drums are knocking. "Truestory", the intro, is devastating, and he breaks it down for me: “To this day, [Redbird] has my favourite intro. I don’t think it’s my best intro no more, because this shit, you know what I’m saying? But, it’s my favourite intro. That Truestory song is about my best friend getting killed in college. And I had came from this girl house, and pulled up on him and I seen that shit. I pulled up, and the cops had the shit taped off at my brother’s house. Just the whole situation, I remember going to therapy for like three years, and I had stopped outta nowhere, because it got to the point where they tried to force me to write a grief letter about the situation, and I couldn’t. So that was like my own form of that.” Grief might loom in the music, but it isn’t at the forefront. He’s truly versatile, able to ride a hazy blunted beat and skip right into the pocket of trap heater next. Switching cadences isn’t a problem, and free association makes way for vivid tales. "Sky" has a jaunty piano central to it that’s reminiscent of Kevin Abstact’s "Empty." His philosophy about song length and curation is fascinating, and best understood by listening to his projects. They’re short, yes, but as a whole, “very complete, in sonic and sound, and conveying the story. I feel like we’re really in and out… It’s gon’ really frustrate people, because it’s good music but it’s over really quick. And I like that. I want that kinda sensation with desire, where people are like I want more of this. And then, if people don’t feel that way, then I kinda did my job wrong. Back to the drawing board, you know.” He’s devised a formula as well: “I try to always master having a really good three track run, having a good intro, and having a good outro. And if you follow that equation, successfully do it each time, 60% of your project gonna be good every time. Because, the first impression, the last impression, and that three song run.” Even with a clear formula and a vision like his, luck never stops playing a part. Having fallen in love with the sonics, I had to ask who’d been producing these songs. He mentions himself, Wulf Morpheus, Malik Burns, Jaylace and inFull, before dropping a surprising anecdote. A YouTube producer, ProdByNev, contributed almost half of Redbird without even knowing. As he tells it, “it was this n**** on YouTube, beats I was ripping. I ain’t even remember that I was ripping them, Produced by Nev. and I used like, 4-5 of them hoes for Redbird. And so, shit, I think.. Which music video was it? I forget which one exactly, but I was running Instagram ads… So one of the people that liked it was him, he swiped up and said like “Bro, you know I produced like 4 songs on Redbird?” Like, this one, this one, this one. I was like, no way, bro send me your YouTube page, send me the beat links. Sure enough, he sent me the page and I was like “Oh shit!!!”. Even more lit. It was so cool that he was cool about it; he could’ve definitely got my project pulled down. But he was like nah, you’re fire, I like your rapping, and sent me more beats! So shoutout Produced by Nev, I really gotta love it.“ No formula is going to be able to account for all the variables. I reached out to Nev, and he told me how a copyright strike led him to finding the album: “I remember making that beat [Greyfeel] and hoping someone would do what he did on it. I loved the song, the direction and I listened to the whole project and I heard "Feel Something," which is another song I produced on Redbird. I was going through a lot at the time and beats were the last thing on my mind, but it brought me motivation again. I reached out to him in maybe mid-December of last year, and I’ve been sending new beats every month hoping something comes of it. He’s got a refreshing sound that I would love to help build and be a part of as a producer.” The urge to build is strong in his presence. On top of fostering the community around him, he preaches forever motion. He’s constantly making plays, on the move and working at his craft. In the weeks since our call and the EP releasing, he’s teased a few different songs, with new rapid-fire and staccato flows over a whole different range of beats. He’s not prominent on social media; in fact sometimes it seems like it’s ultimately a distraction to him. His Twitter disappeared early this year, and his Instagram went with it sometime this month. He doesn’t plan on stopping this pace; Walkthru is just one more step along the road. But he’s proud of this project, and it shows. After listening through the EP a few times in the week before we talk, I can’t help but be convinced of his ascent. Redbird hooked me with its honesty, and Crybaby Soprano 2 made me double down, maybe even off American Gangster alone. But Walkthru is where he steps into an entirely new level. He’s confident, composed, and in charge of the story. It’s undeniable. During our chat he makes an offhand reference to a collab project with the relentless Marco Plus, to expand upon their song Walk Hard on CS2. If all goes as planned, it could be a breakthrough. But what does that even mean, when so much is happening at once in the scene? From all the fresh collabs and posse cuts, to the classic albums dropping, we’re watching in real time as this movement expands and the collectives grow. They’re doing their thing down South, representing hard for the region. I consider myself lucky to witness. As for the rest? Fuck em. *** This interview has been edited and condensed for clarity. *** Sai: Damn, you were on that tour with Babyface Ray, right? PhoeNix: Yeah!! I’m not the biggest into Jack Harlow, but I loved how he put you guys on that. P: *laughing* Ayy, look bro. Shoutout Jack Harlow bro. Jack.. Shoutout Jack Harlow bro. Okay, if he’s got your stamp of approval that’s all I need to hear. P: I’m definitely part of the Jack Harlow agenda man. He’s a really nice young man. Especially even beyond putting Mavi on tour, allowing Mavi to bring n***** like me and his friends, putting Babyface Ray and all of fuckin’ Daisy Lane on that bitch too. That’s turnt man. Shoutout Jack Harlow. I’m tryna catch them in Toronto. They’re here next week, I love Los and Nutty man. [this got cancelled, they didn’t let Face in] P: Bro! On the tour, they was actually supposed to do a Toronto date. But Babyface Ray nor Mavi could make it. So I think Toronto, for the Jack tour, was just Jack and the homies. Like, who he grew up with, honest where he’s from. They didn’t get the full Toronto crème de la crème tour experience. I gotta see Face next week then man. (nope) P: Oh yeah, facts. Fun fact: I’m opening up for him in Charlotte! That’s crazy. You’ve been holding it down in Charlotte, you and Mavi, Ahmir and them. P: Shit, trying to. I’m really not even a native from out here, I’m really really, like really really a Houston n****. Even to this day, my home is still out there. I’ve just been grateful to come out here off the strength off my partner Mavi. ‘Cause, the way me and Mavi even met is wild, bro. For the first two years we knew each other, we didn’t even rap. Like when he posted my shit, when you seen Redbird, we hadn’t even rapped together. Damn! P: Nah, for the first two years we knew each other we didn’t even rap together, it was just like oh you rap really well, and you rap really well, and I like you. And I opened up in his first show in Houston. Pandemic happened; everybody’s life went to shit for like a year and a half, two. And I remember one day, just randomly, he was calling my phone like “Mitch, how you been?”. *laughing* I was like *confused* “Mavi??”. Like, it was just so random and odd. It was in the middle of the pandemic, the last thing I expected. But shit, we just got to talking, and I flew out to Atlanta, probably three weeks after that conversation. And we ended up playing another Houston show. Because like, after a year and a half had passed, it was like shit, time to be back outside. Jack Harlow tour happened. Hop off that, come to Charlotte. Crybaby Soprano 2. Then what we’re doing now. Jeez! I love that tape. P: Man! It’s - I love it too, it’s one of my favourites. It’s just, I shouldda mixed it better. *laughing* but I like it for music’s sake. Out of all my projects.. I don’t know, I like all my projects a lot. They like kids bro. I love all my projects. I don’t even got no favourites. But I can honestly say - ever since you and me had talked that first time, through DM.. I went back, and I’ve been listening to Redbird. Because I’ve been sleep on Redbird. The fact that you even knew something… like, everybody be like nah, Redbird really the sleeper of all of them. Because of how long it is, I guess it feels more complete. It’s not like, a little in-and-out. It feels like a full on experience. So, I appreciate that. Nah, I meant it. P: And I think Redbird does a good job of showing, like, at least a sneak peak of what my range is. Oh yeah, for sure. I was going to say, you definitely rep for the South hard. I can see that Houston influence just from the chopped-n-screwed stuff on Redbird, sounds incredible. P: Born and raised, man! All I know. That’s the- man, Screwed Up tapes, Z-RO, Big Hart, Moe. Shit, even my father grew up in the scene. Slim Thug. Mike Jones, Paul, everything! All of it! It’s all I know. It’s really what I was raised on. 8Ball, MJG. Like, all that Southern soil man. I think for Crybaby Soprano 1, and Redbird, you got lil glimpses of it. You know, how I get into pockets that are kinda confusing, like “I don’t know where this n**** from.” But I think on this one, the shit that drop tonight at 12AM, it’s no debate. It’s like, “Oh, this n**** is from the South.” Southern, like, if you don’t understand what Houston or the South is, I think this do a real good job of conveying that. I love that Southern talk man. I was going to say … I wanted to ask about Southern influences, how you linked up with Mavi. But yo, it’s honestly just really nice to sit and talk to you and hear all this. P: Aw man. Well, just to give a brief bit about Southern influence. Honestly bro, I’d have to say, the biggest one out of allll of them: Wayne. Wayne. He ain’t like everybody else bro. You gotta understand, Wayne really ran a whole generation. Like, it was a point in time where Wayne would get on your song and it’s not your song no more. Bro, what Youngboy is to the kids now, Wayne was to us. I say, Wayne, 3 Stacks, and then.. Houston is so big, I can’t even name one collective, it would be so many like - I said Screwed Up Clique, then you got UGK, and you got, shit, more modern shit like Travi$, Maxo. Fun fact, in high school, when I was a freshman in high school.. nah, middle school bro, 7, 6, 8th grade, we was all listening to - transferring outta that DatPiff mixtape era, going into like, beginning Soundcloud era. Maxo Kream. He had a tape in the city call Retro Card. And he was still in high school at the time. Deep in the swamp, which is like the southwest part of Houston. And shit. I ain’t going to lie, that kinda influenced a lot of everybody’s shit. You have to hear Maxo to kinda understand the ways, but it’s definitely there. And of course Sauce Walka. Duh. *laughing* I gotta go back to that Maxo tape, thank you for putting me on, damn. P: Nah, nah, Retro Card, definitely. He did a remix, a remix to "Rigamortis" by Kendrick and that shit was so tough. Like so so tough. To hear somebody Southern, with that kinda dialect and cadences similar to mine from an area I’m from get on shit. But to me, influences, I don’t know. Specifically Houston influences. All them mixtape CDs n***** used to play, we’d get em at the barbershop, slide in my uncle truck and listen to all the time, and then blended in between that would be some Wayne. And a lot of more shit too though. A lot of more shit too. Like, Jay was played heavily throughout - Jay and Pac was probably played a lot a lot a lot. And Young Jeezy. Cause my momma favourite rapper was Tupac and Young Jeezy. She got a thing for bald n*****. Them n***** was played a lot. So that’s why I think I got.. it’s certain ways I rap that n***** kinda, it be hard to identify exactly, region-wise where I’m from. Until I let that shit out. That’s why I lean into it so much. Cause I love being such a Southern man. The South is the best place to be bro. Yeah! I know I’m from the North, but I love how hard you rep for the South. P: Aw, bro! South man, that’s where all my shit be popping. Like, we the south, and etcetera etcetera. I don’t know, it’s a large stereotype in hip hop with the whole “Southern people are dumb, or slow, or we draw our words out like this”, and it’s so.. Nah bro, we really the coolest. We set all the trends. Like, Atlanta been running the rap game for the past 10 years. Bro, everybody and their mama started saying drip, when Sauce came through on his way. So I don’t know, I don’t be understanding too much of that. N***** let A$AP Rocky make a whole project off of literally our sound. We take a lot of ownership and claim to this Southern shit, because we where this shit started. I love that, I love that. I noticed guitars play a role in your music, you might pick some beats that other folks might not. Is that a Houston, Texas thing? P: Uh, not so much. My thing about guitars really be bro, sometimes when I’m rapping, especially when I get in that singing-rapping bag, I feel like drums’ll condition me to rap a certain way, so most times if you listen to shit like “Serious”, “Speed”, where it’s bare minimum drums and just guitar and synth looped, it’s cool little sounds in the background… I get to walking in that bitch. It’s no debate. I can dribble whatever way I want to, and so it be a little more fun. That’s what that shit be about. The only shit I say bleed into my influence from the city, it’s kinda more like, if you hear on Redbird, all of the songs that are slowed, double time, chopped, and then of course it’s naturally how I talk, but that’s gonna be like, in my music regardless. I don’t ever have to make it a point to show that. I have no choice but to talk like a certain person, because that’s, shit, all the language that I have access to! *laughing* That’s where I’m from, that’s where all my friends from, where I grew up, so. I just try to, if anything, add other pieces into this. Because I feel like the main foundation, I’m already a Southern man, so what other little shit can I figure out and add on to make it different? That nobody else has done here. I’m just trying to figure it out. I feel like each project is me getting closer and closer to figuring it out. We almost at album time! It’s almost album time. So, Walkthru, is this an EP then? P: Yup. 8 songs, it’s an EP. So, after the tour, once I touched down in Charlotte and got acclimated.. I can actually trace it back to the exact day! My mans just walked in, his name’s Cody. I was out here in the studio I’m in right now. It’s called the Bridge, in Charlotte. And Mavi dropped me off here. I ain’t really have nowhere to rap yet, I wasn’t really rapping yet. And, we was really just kicking it, it was on Thanksgiving! And I was kinda lowkey fake sad, because n***** wasn’t out there with their families and shit. But, you know. So n***** was here. My n****, we went and got some soul food, and shit, n***** just let me rap. If not all day, close to all day. And, let that shit happen for a week, two, three, got turned into a month. And we just got so cool, and then he turned into my manager. And I can honestly say bro, it’s been like, the most beneficial shit in a bunch of different ways. Even outside of directly music, you know, we’re real good. I like the team I have. And it’s not a huge team! It’s really my manager Cody, my partner Jo. Shoutout Sean Stanley, who’s recently been added because when Jo’s not around, he’s like the n**** who shoot all my shit. But he stay in Atlanta, and I be out here in Charlotte. I met Sean through Cody. But that’s it, as far as intermediate team of curation of content. Outside of that, of course gang is gang. Shoutout Backkkseat, KS, etcetera. But it ain’t no million people that we got involved in this. You know, real home, ground-up foundation type shit. Really, I put a lot of that on the Bridge. Shoutout to the Bridge, man. This is a wonderful studio to be able to come to and create man. A lot of good things happened here. Yeah it looks really nice. I’ve seen a few videos of the sessions and stuff like that held there. P: Oh, you tapped in! Turn up! Nah, I had to! P: Yeah! Fetty P Franklin’s shit was here, Mav had one here, Messiah! had one, Ahmir, Marco. 10cellphones has been here if you’re hip to him. Woo! Marco Plus, that guy is nasty. P: Yeah, Marco Plus. Hard!! Oh man. Bro I’m biased, because Marco is literally one of my favourite human beings, but Marco got one of my favourite ones. That shit was tough. And because, you had to be here while bro was recording. Bro was really on walk-down type shit, because you know Marco don’t write? …No way. That’s crazy. P: Oh no. Marco don’t write. That’s what me and Marco have in common. That’s wild, I would have never guessed. Nah. P: Nah, he’s probably going to walk through this door within the next 10-15 minutes. Today Jo’s birthday, and that n**** coming out here because we about to work on this collab project. Damn bro! You’re really dropping all of this heat right now, I can’t believe you said collab project. This year is going to be crazy. P: Oh, bro, I’m trying. You gotta keep in mind, I did Redbird. And we waited liked, what, 4-5 month stretch. Crybaby Soprano 2. And then shit. Yup, you had last year in the bag. P: That’s what I’m saying. So, now I just wanna go into overdrive bro, I really need to drop mad good music though. And none of it’s forced. I promise it’s so calculated, and put together. Like, this Walkthru shit, I really really feel like people gonna love it. It’s very complete, in sonic and sound, and conveying the story. I feel like we’re really in and out. None of the songs are.. I don’t think… yeah, no songs are longer than 3 minutes, and it’s only one 3 minute song. It’s gon’ really frustrate people, because it’s good music but it’s over really quick. And I like that. I want that kinda sensation with desire, where people are like I want more of this. And then, if people don’t feel that way, then I kinda did my job wrong. Back to the drawing board, you know. But I don’t think I did my job wrong. Definitely not! That’s the thing, it’s got hella replay value, because it’s these moments of brilliance, super gorgeous production. And you have.. I meant to ask you this later, but you have great choices in production. You gotta tell me about some of the producers you work with too. P: Aw man. Well, shoutout to myself, because I produce. Shoutout to Wulf Morpheus, he’s super hard. Let me not forget nobody. Shoutout my n**** Malik [Malik Burns], he did the intro and outro on this joint. I know so many more producers… Shout Turk Money, I haven’t got no beats from him yet but he’s super fire. I also wanna shoutout inFull, dumb fire Charlotte n****. Jaylace, dumb fire.. Oh my god, I smoked too much weed, now I can’t remember everyone’s name on the spot. Mad producers, and I’m very thankful for all of them. I don’t wanna leave anybody’s name out, and exclude them. I’m thankful for everybody. It’s a lot of people, over the little span I’ve been rapping bro, in these lil nooks and crannies of the world, know about my shit and just be like “Nah, let’s work”. OH! Main one. ProdbyNev. He’s so fye. And let me tell you why he’s so fye. Because he made probably 40% of Redbird, and we don’t even know each other. I didn’t even know he did it. What? That’s insane. P: So, it was this n**** on YouTube, beats I was ripping. I ain’t even remember that I was ripping them, Produced by Nev. and I used like, 4-5 of them hoes for Redbird. And so, shit, I think.. Which music video was it? I forget which one exactly, but I was running Instagram ads. And, this n****, you know, was one of then like, 13,000 views, 1000 likes, whatever whatever whatever. So one of the people that liked it was him, he swiped up and said like “Bro, you know I produced like 4 songs on Redbird?” Like, this one this one this one. I was like, no way, bro send me your YouTube page, send me the beat links. Sure enough, he sent me the page and I was like “Oh shit!!!”. Even more lit. It was so cool that he was cool about it; he could’ve definitely got my project pulled down. But he was like nah, you’re fire, I like your rapping, and sent me more beats! So shoutout Produced by Nev, I really gotta love it. Nah, that’s a really crazy story, I gotta check him out for sure. P: Nah, he’s super hard. A lot of them beats where you be hearing, it’s just them synths and like, maybe at most a little bass in the background, no heavy drum, snare kicking on that.. That be him! And I be walking them bitches down. The outro track, Crybaby Soprano 2. That’s got a crazy beat, crazy instrumental at the end, you know what I’m talking about? P: Oh, this how you know I do too much drugs. I gotta think about what the outro track on Crybaby Soprano 2 is. Haha, it is- P: OH! Serious!! Serious! No, no no no no no no no. Bro bro bro bro bro, listen. “Serious” is literally one of my favourite song ever, like, period. You gotta understand wy it is though. It’s not even about the quality of the song. When me and this n**** Mavi was on tour bro, every, like every long stretch of drive - because we didn’t have no sprinter, we was in the Denali going state to state. So, certain shows, we’d have to perform and jump right in the truck and drive for like 2 days. So that’d be the anthem, *starts singing* “Put a big body on road,” that’s where that whole thing came from, big body whip Denali, like, facts. That’s one of my favourite songs. But, yeah, I don’t know. Don’t put this in there, but I definitely ripped the Serious beat. That’s another Youtube. I don;t even know. But shoutout to them, cause that beat OD hard. Haha shoutout to them for real. You’ve got a thing for outro tracks too, you got a good outro on this one as well. P: I try to bro! Like, that’s how you stay good on your projects. I try to always master having a really good three track run, having a good intro, and having a good outro. And if you follow that equation, successfully do it each time, 60% of your project gonna be good every time. Because, the first impression, the last impression, and that three song run. Because, if your first three songs are good, chances are, people not gonna.. Nobody wants to keep going. I’ve never heard of a project that had three bad songs first and then the last eight was good. N**** know, that is not how that works. *laughing* but, hell yeah man. I try. I’m tryna get better at it. It be a little - I be hard on myself bro. For a minute, it’s crazy, you wouldn’t believe it. I started thinking Redbird was bad. Oh man, you’re straight tripping. You gotta be kidding! P: Have you seen the Redbird documentary? ..I did not know that existed. You just blew my mind. P: Oh, bro! There’s a whole hour documentary on it. On YouTube. It shows like, the whole buildup making Redbird. Type in “PhoeNix, Redbird The Conversation”. You fully put me on, I didn’t know this existed, thank you bro! P: Oh nah, bro it’s okay. It’s really one of them gems in the cut, but the fact that you appreciate Redbird, you’ll see that and appreciate that a million times more. Jo shot that though, Jo definitely shot that one. Shoutout to Jo again, that guy is real as fuck. It’s his birthday today right? P: Bro, that’s my twin. Me and Jo was homeless together bro. No, not really my twin, but figuratively, without being born from the same mother. My twin.We was homeless together, hell yeah. Me and Jo got evicted out of one of his spots together, we had to sleep in the car for like a month. And was just jumping from hotel to hotel. And that was like, the whole time period of making Redbird. Oh wow. P: and then n***** just stumbled into some pretty good money that got consistent. And shit. I was going to say, a lot of your music, I wouldn’t say it’s driving music but you talk about cars, being on road and moving around a lot. Like, the experience. P: Nah, I do! Cause I be on road a lot. I uh, you know, I’m on the road a lot. Yeah, I hear you. I listen in the car a lot too, I feel that. P: So that’s where a lotta that comes from. Just a lot of traveling, and having to get it in anywhere, at random moments, anywhere. That’s what I feel like all of the team be good at. Bro, the Bridge, what the Bridge is, is literally like a creation hub that also serves as a catalyst to get paid. That’s it, like, for real. That’s a great name for it then. P: The Bridge? Oh yeah, facts. Shoutout to him for that. Yeah man. This is the guy man. Cody’s the man with the plan. *turns camera around* Ayy, he’s the one I emailed right? P: Yeahhh!!! He the one that told me - look, when he told me, he showed me the email, he was like bro, look at this! I was like no way. And he was like nah, I think it’s real. *laughing* I know, Canadians sound fake! P: Aw, I been a felon for the last three years. But my shit gets expunged this year. So I’m getting to touch road - I get my passport and shit, n***** definitely gotta come to Canada. I wasn’t able to come to the Canada show when they was about to go. That had me sad. So when it got canceled, I wasn’t happy, but I was like yeah, I ain’t gotta miss Canada. I was feeling super OD depressed when everybody was about to go to Canada and I wasn’t. *laughing* Nah, you gotta come here. I’ll catch you. P: Oh yeah, I gotta pop out. I heard you guys got the real island tings!! Pretty pretty island tings. *laughing* You aren’t lying. There’s a big West Indian and Caribbean diaspora here, pretty dope culturally. P: I’m fucking with Canada already. But nah bro, this shit super fire. Like, the fact that you knew about Redbird.. I couldn’t even wrap my mind around it. Because the time period it took to go through making that bro, it was a really really, like, murky part of life. And I like that project a lot! I feel like it fell upon deaf ears, but it’s one of the ones, as my shit go up, when you go back catalog, it’s like.. Cause Redbird, to this day, has my favourite intro. I don’t think it’s my best intro no more, because this shit, you know what I’m saying? But, it’s my favourite intro. That Truestory song is about my best friend getting killed in college. And I had came from this girl house, and pulled up on him and I seen that shit. I pulled up, and the cops had the shit taped off at my brother’s house. Just the whole situation, I remember going to therapy for like three years, and I had stopped outta nowhere, because it got to the point where they tried to force me to write a grief letter about the situation, and I couldn’t. So that was like my own form of that. So that’s probably like, my favourite intro. Oh wow, I love that song, but that story makes it a lot more powerful. I think that’s what hooked me as well; you were talking about the importance of a good intro, outro and three song run. That record’s basically - however many songs are on there, it feels like a run all the way through. The flow of it is crazy, the storytelling is crazy. It touches on so many of the sounds you expand upon later. P: So how’d you - you got put on through Mavi tweeting it or Instagramming it or something? I think - yeah, it was Twitter. I don’t know if it was Redbird, or when you dropped American Gangster with him, but I know he was tweeting about you a bunch before that dropped. P: Nah, yeah! Shoutout to Mavi. Mavi’s been putting me on his social media for two years now. And the world is finally listening. He’s like the best A&R ever. But not A&R, he a rapper. That’s really my guy, it’s really a family-knit thing over here. One thing I could really say, none of it was forced. Like, even from my relationship with Cody, my manager, it was like at first it was like aight, we just two n***** chilling in the studio on Thanksgiving. Aight, you rap cool so you can rap on my shit. To aight, I actually fuck with you. All of them too, same thing with Mav, same thing with.. A lotta love, a lotta love man. What are you most proud of off this new stuff? “2step” hit me really hard, and I keep going back to all the features too, everyone brought their shit. P: Ooh, most proud. Uh, I’d say.. What I’m proud of, I’d say is the completeness of it all. You know like, I feel like it’s no filler, I feel like I tell each point pretty bold. And, full course meal wise, it doesn’t feel like it was lacking this, this, this, and I get out of there. So I appreciate that. And my standout favourites bro, I been listening literally three times a day, every day since I finally got it sequenced inside of the lil Apple Music shit on the computer. And it changes by the day to day bro. I’d say this: I like “Floor Plan,” a lot a lot, because I feel like bro, that’s the best rapping I’ve ever done on an intro from like, beginning to end. Like, it just like, “Oh okay, this is why no one can fuck with me.” Yeah, you gotta notice. Love your intros man, you don’t let them enter without noticing. P: And I like the outro a lot. But that’s biased, because I be making intros and outros to be that! But, if I had to pick outside of intro and outro - what you would say Cody? I say “Off the Head.” Yeah. “Off the Head.” It’s always fun rapping with my friends. I would say Fuck Em. “2step” is hard too. I don’t know bro!!! My first favourite, Imma go ahead and cash in my vote on “Off the Head.” Nice. P: But if I had a sleeper pick? “Choreo” for sure. I feel like, I be fucking with “Choreo,” like damn. Yeah! “Off the Head” is a good one. You and Mavi always sound so good together man. P: Yeah, I like rapping with him! It’s funny we ain’t rap that much together. Like, me and that human being have like 3 songs, 3-4. Nah, 5 now. Eh. we got… we just started though. But this is like the first year me and him started rapping, so I guess that’s why it don’t feel like that much. But then this year… yeah we got a few. *laughing* we got a few. Yes, we got a few. I’m excited for this shit to come out man. I’m anxious. We finna be in a lil hotel, it’s finna be cool. We got a lil penthouse, it’s my patna - it’s Jo birthday! Yeah, Jo! Shoutout to Jo!! Send my regards to him once he pulls through. You told me he shot a lot of your stuff right? *(Jomir) P: Man. What!!! He shot River Turn. he shot Homerun. He shot Fuck Em. He shot.. You don’t even know about this song, “22.” That’s some mad old shit. I don’t even think it’s out no more. When did you start? … Like, how far back should I be going? P: Oh, nah that not out no more. You wouldn’t be able- but, I dropped my first three songs in high school, but deleted them. But they went viral when I was in juvenile. That shit was turnt. And when I went to college, I dropped like… I wanna say I dropped a tape but I pulled that down. But I dropped four songs that are still there. Because I can’t even find out the login. They got like, mad views. But they hard. Like, them are like the songs I want to still be out from me being a super young n****. Did you always go by PhoeNix from back then? P: No. I used to go by my name. Like, Keegan Mitchell. K Mitch. And so, I dropped Mixed Emotions and Babyboy, two projects under that. One got pulled down because I had a popular feature on there, and the label wasn’t fucking with that. So, that had to come down. And one got pulled down.. Because I wasn’t seeing the money from it. Because I had bad business with one of my first managers, it sorta frustrated me and I stopped rapping for like 2 years. Damn. P: I was off that shit. But, nah, you starting at a good point. Redbird is the only traceable start on the internet of my existence. Okay, I thought I was tripping. *laughing* from my view, you came outta nowhere and I had no idea how. Like, Mavi just found you. P: Nah, I like that! I like how it feels - I feel like the city’s best kept secret man! I be feeling like I came outta nowhere. You really are. And, Charlotte in general, all them guys are way underrated nationally. P: That’s the only thing bro! I need people to stop associating me to Charlotte so heavily. And I love Charlotte. At least stop associating in the extent of like - that I’m a Charlotte artist. ‘Cause that do so much discredit to like, my Houston upbringing and how far it’s pushed me. But yes, Charlotte is like - bro, my number one streams are in Charlotte. Bro, Charlotte.. I feel like backwards Drake. I love the city bro. I definitely love Charlotte. I can’t find no negative words to put to it. I only have love for Charlotte. But, I am a Houston Texas artist, a Houston Texas man. But shoutout to the 4! I love the 4. Like I really do. And it’s so much good shit out here man. And I couldn’t dare take credit for none of the good shit out here, you know. I just come out here and appreciate it and integrate with it. And let it nurture me. This isn’t really a music question but I gotta ask. You’re in the South, I’ve always wanted to come out there and just try a bunch of different food. The culture seems incredible. P: Yeah, come to Texas! Go to Houston, Texas. Go to Dallas, Texas. Charlotte food… Nah, Charlotte got some spots, I’m capping. *laughing* But it’s a growing city bro, that’s what it is. So they got a lot more on the way. And I think that’s why I love it so much. Because it’s growing real fast. They on baby Atlanta time. And I think if you get them in like 5 years, with the help of my boy Mavi, and the rest of Killswitch, and [Lord] Jah-Monte, and their just, cultural life - ‘cause it’s a lot of culture out here bro. They’re their own people, you know. And they have a very beautiful and rich culture as far as even in the South, they own food, what they do… it’s Queen City man! You just gotta come out here and experience it. I definitely got a nice love for it. It’s real hilly, as far as the terrain. They got pretty colour, uh, they leaves on they shit. In the seasons, you can actually see the change of seasons. In Houston, the biggest thing for us in fall, some shit might be all red, all yellow, but it don’t be like multicolour palette and shit. I came out here, and looked at this and was like, oh shit, shit really beautiful!! I love it. I love it, I can’t lie. Good people too. I’ve got some music questions, about stuff you grew up on, mixtapes you ran the most in high school. P: Um, mixtapes.. I don’t even wanna shout a lot of these lame ass n***** out. *laughing* Okay, let me rephrase that. P: Nah nah, it’s cool. I’m… I’ve been influenced (grumbles the word out jokingly). Wayne, the whole the Drought series, No Ceilings, and Sorry for the Wait. Chance, 10Day, and Acid Rap for sure. Damn, real high school mixtapes for sure. P: Isaiah Rashad, Welcome to the Game. Mick Jenkins, The Waters. Mac Miller, Faces. What’s the name of Kendrick’s shit, I can’t remember. Overly Dedicated. All of Drake, literally. Comeback Season. The other one, So Far Gone. Bro, mixtape runs are so big ‘cause I really lived through that era. Wiz Khalifa for sure bro. Taylor Alderdice. Kush and OJ. He has one of the more classic mixtape runs. Curren$y too, Meek Mill shit, Lil Snupe, the RNIC one, before he died, RIP him, rest his soul. Kevin Gates, “Satellites”. Bro, I was a real mixtape junkie bro. I was listening to everything. I may be Southern, but for real for real, everything. I love that. P: Like, you probably don’t even know who Short Dawg is. You caught me, I’m lacking. Do I need to know? P: Okay, he’s popular in Houston. And he was signed to Young Money later on. But the most notable verse you’ll probably remember him last for, is, do you remember the Ab-Soul tape? That had.. Not tape, second album, that had “Stigmata” and shit on it, had Dash and em? The song.. "Waverunners." "Waverunners" had a verse from Short Dawg on it. That was probably the last mainstream notable things from him. He definitely was - in middle school? Mixtape series? Yeah. Before he got signed to Young Money? Definitely was listening to Short Dawg. And like I said, Screwed Up Clique tapes, etcera etcera. Who’s someone you listen to heavy that people might not expect? Something you don’t tell people often. P: Yeät. *laughing* You’re tapped in with the new stuff too huh. P: Boy what?? I listen to everything!! As long as I like it. And as long as you not doing a whole bunch of cap. Alright, alright. In that case, let me ask you, what are your three favourite projects released this year? Or this year and last year. P: End of the Earth. The Souf Got Sum 2 Say. and PERFECT 7. Aw, that’s not fair, you gotta give me 4. And Timeless, by Ahmir. That Messiah! project is crazy! P: Bro, Cody. we was at Baby’s Alright, New York, when bro performed it all the way through for the first time. Ooh. Hard. Down to the art and everything, yeah, definitely one of the best of the last year. P: Bro!! The best thing is, we’re all friends. In real life. That’s beautiful. I can tell. Well. I don’t want to say I can tell, I guess I could have been wrong, but I felt like I could tell when I was watching the videos, seeing you guys rap and have fun with each other. P: Aw yeah, nah. You definitely, like - the chemistry is there. When can like , call each other and you understand each others’ art, it be like literal layups. Like, I could pull up, like aye I got this, and I already know one of them gon’ go on there. Or if we all collabing on some shit, it be like boom, here you go, and then here you go. It’s very efficient, I like to say. Oh!! Fun fact. My manager Cody bro, he’s an engineer. He engineers the Bridge and owns the Bridge. Like, this is his shit. Like, this is his place, all of that. Bridge is him. Damn!! Nah, he’s doing work. I’ve seen the Bridge stuff, I’m a big fan. P: I know!!! OH! OH! I can’t hang up on you, but Jo’s outside, I gotta get Jo and Marco Plus. I’mma keep you on the phone though. Aight, say happy birthday! P: Hell yeah, the Bridge!! *as he walks to the door* TWIN! This is him. I’m in the middle of an interview. This is Jo. This begins a brief, surreal bit where PhoeNix’s phone gets handed around. He extends me over to Jomir, and we exchange pleasantries, me telling him I love his camera work and wishing happy birthday. Then, he gets the phone back and proceeds to introduce me to Marco Plus, telling him he’s in an interview. Before we resume talking, I’m convinced of the magic that is inherent to the Bridge. P: It’s my first interview. See I got famous friends man. Marco Plus be stunting on me, you know what I’m saying. He got classic albums out and stuff. I just got here to Charlotte myself. N***** is here. *to Marco as they enter the studio* I know you wanna get high. Aw bro, I just got finished telling him my favourite projects of the year. End of the Earth, Souf Got Sum 2 Say. Timeless. Perfect 7. But he only gave me three, four, and I really wanted to keep going. My n**** Smiles dropped some crazy shit this year too. Are you hip to Smiles? I’m not, but please keep putting me on. P: You gotta get hip to everybody. That’s Backkkseat. There’s more people, another collective. Like, that’s Marco’s shit. How’d you choose the name PhoeNix? What about it sticks out to you? P: Really easy. I overdosed, twice, actually died. My mama was there. Shit. And then, I felt like, oh, I need to let my old ways die. Phoenix, life and death, all embodiment. Closest thing to having a pseudonym that’s not a pseudonym. Wow, yeah, that’s very literal, I can see why that means something to you. I’m really glad you’re still here. P: Aw nah, it’s good. Drugs can’t kill me, and these fuck n***** can’t either. Why’d you call it Walkthru? P: Oh shit. The literal definition of a walkthrough is just the demonstration of an area or a task. And I’m just demonstrating to these n***** how to be that n**** while existing. My whole life is a walkthrough. *laughing* that’s dope P: Deadass. Like, I’m not laughing. I’m so serious. I done a lot of shit that I don’t think these n***** could do. Yeah, it’s not funny, just makes sense honestly. You don’t mince your words. P: Yeah, I be tryna keep shit simple. Jo dropping phones and shit. But nah, that’s definitely it. That’s why I named that shit Walkthru. It really wasn’t nothin’ too complex. And I tried to play with the names, to keep it, you know, playing around like, anything that had to do with feet, and “Floorplan” taking up space within that regard. So, “Choreo,” “2step,” but then after a certain point I started running out of words. So I just started naming them shits. Damn, I really didn’t even realize … with the names and feet and all that. P: Nah, facts. And “Decorated,” just by chance started to work out. That song is beautiful. P: Appreciate it! That’s Ahmir on that joint. Marco Plus would’ve been on that tape too, but.. I tried to tell you. I need to hear more PhoeNix-Marco Plus stuff, you guys are killing it together, just fire. P: See, Marco Plus! INTERVIEW BY SAI. ALL PHOTOS COURTESY OF PHOENIX. EDITS & DESIGN BY J. https://music.apple.com/us/album/walkthru/1626224672 https://open.spotify.com/album/68zK8JqchF9hd5ZcmZUgil?si=F-T7HupjTR6bcIcKitrB5g

"I create what the future sounds like" is the statement that greets you in the first line of Namir Blade's Twitter bio. Shortly into the Nashville native's latest album Metropolis, one realizes that he's not messing around. The album draws its namesake from the films Metropolis, one being a silent film from 1927 and the other being a 2001 anime film. Both films tackle utopian futures, which hide darker realities just below their surfaces. The first thing that grabs you is the production of which Namir Blade handled 100%. Throughout the 16 tracks of the project we get a diverse wall of sound. Everything here sounds familiar but next level at the same time. A lot of albums try to cater to all the ears of hip hop and fail, Metropolis is the exception. We got trap bangers like "Cain and Abel" that have you ready to ride out, afro-beats inspired dance grooves like "Boa," and "Mephisto" is something you imagine Benny or Westside Gunn going off on, and there's ultra mellow lo-fi style rhythms as well. I can't harp enough on how seamlessly it's sequenced and blended. We're actually getting more than one beat and style on several of these songs and it's all silky smooth. Lastly, much respect to Namir Blade as a rapper, he's just as comfortable going in and out of various rap styles and singing as he is doing the production on this project. These bars are potent when they need to be and introspective and personal when it's time for those quieter moments. It is amazing to hear him jump from street bars, to referencing One Piece and Kevin Feige, to crooning about a hopeful future. Namir Blade is the real deal. This is easily one of the best of the year! I Looking forward to what's next! Released: June 3rd 2022

The city of Compton has been known as a hip-hop powerhouse since the genres inception. NWA in the 80’s and 90’s, The Game in the early 2000’s, the current consensus GOAT Kendrick Lamar in the 2010’s, and now Westside Boogie plans to take that baton and keep the marathon going. The CPT native has been making noise over the last couple of years and that hard work landed him a deal with Eminem and Dr. Dre’s Shady/Aftermath record label. June 17th he blessed the world with his latest offering MORE BLACK SUPERHEROES. The 12 track project is the introspective thoughts of an inner city gang member as he navigates through relationships, daddy issues, insecurities, and the streets. Recorded over soulful beats that help you connect even more to the personal lyrics delivered by Boogie and his signature lisp. On “ANTHONY” he raps, “I really got this hate for you, I really hate for me cause n*ggas say I got my face from you/ this feeling ain’t sustainable but ain’t it true?” Speaking to his relationship with his father. Lines like these show vulnerability in a time when a lot of mainstream music is superficial. MORE BLACK SUPERHEROES is complete project that gives the listener a good balance between deep subjects, clever lyricism, and head nodding beats and melodies. There’s a little something that mostly all hip-hop fans can enjoy. The sequencing makes the album flow intentionally and you can enjoy it from intro to outro. Westside Boogie definitely delivered a standout record for June, and 2022 so far. Released: June 17, 2022

If you grew up in the era when Cash Money took over for the 99’ and the 2000 (and to be honest the majority of us did,) then you probably fell in love with hard beats topped with New Orleans accents. Now add that, 90’s era lyrical ability, Bay Area game, and you have Poo$ie - Still Ain’t Easy! The 8th ward native who moved to Oakland after Hurricane Katrina embodies the blend you never knew you needed. From the opening track “Celebration,” he brings you into his mind and gets you familiar with his thought process. 17 tracks might seem like a lot in a time where attention spans are getting shorter and shorter but he makes it work. A couple interludes help keep the album cohesive and the perfect amount of features don’t allow the listener to get bored of the same voice. The subject matter plays like an autobiography going from “All Of You,” a song for the ladies with an R&B assisted hook by King Tahoe. To “Cold Feet” a grimy up-tempo slap featuring Nook, Les, and a Manny Fresh-esque beat breakdown that’s guaranteed to catch your attention. All in all, Poo$ie isn’t afraid to show his range and sound extremely comfortable while doing so. Still Ain’t Easy is available for purchase directly from Poo$ie! Another ode to the creativity and business savvy this artist brings to the table. The album is also set to release on all DSPs July 15th. Grab the link and thank me later! https://linktr.ee/poosie Released: June 15, 2022 Words by Flynt Nixon

Bush Doctor is the latest release from Canadian rapper Daniel Son. After linking up with Futurewave for Sun Tzu and the Wav.God to begin 2022, the Toronto native is back with another LP in less than 6 months. Bush Doctor is a slightly bigger plate than the January release but it's no less potent. Right out the gate the Wino Willy produced "Change of Pace," sets the tone for what's to come. Daniel Son got barz, which are on display immediately as he paints a picture of the seedier side of Toronto. It's a struggle everywhere and the themes here are as familiar as something from Griselda, Raekwon and Ghostface Killah. Daniel Son's pen shines on this project as he goes through the crime rap paces. What separates him from the pack is his style and dedication to giving you the big picture. You get the braggadocious highs and also the dark, lonely, paranoid lows. The struggle here is not without consequences and he raps about the wins, dangers, and loses all the same. His flow is effortless and he's just as at home on the down tempo "Born Alone" to the energetic "Don Sonzarelli." 14 tracks of this subject matter can get repetitive but Bush Doctor mostly avoids that with a great range of production from the likes of Phybaoptikz, Vic Grimes, Futurewave, and Giallo Point. There's a nice variety in the sounds, great sequencing, and tempo changes. Daniel Son also brings along fellow MC's like Saipher Soze, Estee Nack, and Eto and more who all contribute fire verses and compliment the project in various ways. The last weapon I wanna mention in Daniel Son's arsenal is his hook game. They're potent and stick to your ribs, they're like Mobb Deep in their prime, it's truly a lost art these days on this side of the genre. The album is a more than solid effort and expect that Bush Doctor will show up on more than a few of the year's best lists. This ain't no throw away, you'll find yourself going back for more! Released: May 1, 2022 Words by Monk (@monkeyblood)

Color Therapy by Kay Anthony is a jolt to the system. The structure is made clear from the jump: skits of his therapist asking him tough questions make way for song-length answers. It’s a simple premise, more about how its executed than the setup itself. If this sounds familiar, it’s likely due to the high-profile album it shared a release date with. But while that artist descends from the clouds every few years with the world’s expectations on his shoulders, this is the picture of an artist working his ass off to get there. Stardom doesn’t hit everyone in their youth, and tireless work doesn’t always pay dividends direct. This is the story of someone not just down to earth, but bound to it, dirt under his fingernails. He’s rapping from a position that’s far too real: where neighbourhood realities never fade away, there’s always new personal obstacles to overcome, and the people around you are depending on you now, not later. Listening through, there’s plenty of pivots sonically. He can really rap his head off, as is evident right from the start. But the blistering bars and filthy 808s give way to a spacier, warmer feel as the album goes on. Guests show up to enhance or strengthen the sentiment of songs, excelling in their specific niches, and the tapestry it weaves all together is riveting. While addressing heavy topics like talking to God, angels, relationships and self-love, he never gets anywhere near being preachy or holier-than-thou. And even though the songs are concocted as answers to specific questions, they stand alone individually. Not that he’s seeking playlisting, but concept albums usually go all in on concept and sacrifice the strength of individual songs, which is clearly not the case here. Describing this album is tough; the somber tone and difficult self-truths juxtaposed with the kaleidoscope of sounds and approaches will have you nodding your head while reflecting on your life. “That’s why we like sugar but still end up with cavities, That’s why you chasing alienation and can’t master peace, That’s why your heart is at war but you’re searching for casualties, You too busy tryna defy your limits, what you think, you Master P?” - Kay Anthony, Better Many rappers have trouble making fans understand that they are people. Too often, these brilliant artists are reduced to their symbolic celebrity and the imagined lifestyle it entails. Fans can find it hard to sympathize when their favourite drops a “it’s hard being famous” album, but that’s not what this is. Sometimes, you can have all the talent and hustle, and it still feels like you’ll never stop having to prove yourself, forever clawing for the fame you know should be yours. Kay Anthony breaks down the duality of being a rapper. He talks about the pressure he faces, about feeling hopeless but having to keep going. About the difficulty of caring for yourself. He says “I heard pressure pays”, and you know he’s pushing through it. He’s been through the petty block stuff, the family struggles, and he’s done the exhausting work of climbing those mountains to see beyond them. He’s from NYC, a cold, competitive city with young drillers and old-head billionaires all in one market. Capitalism churns, and it’s up to each person to keep pushing forward regardless, and make a lane if there isn’t one already. Mental health is a continuing and essential theme in his art, as you can see in this short film of his from 2017, DEMONS/PARANOIA. The Village Voice did an accompanying article where they discuss his childhood and familial history. It's hard to find this sort of raw honesty, even in a therapist’s office. And yet, as the voice prods him to explore all sorts of dark corners in his psyche, it doesn’t feel fragmented or disjointed. Instead, we see how all of these things tie together and shape the person we hear responding. We get into his head, feel his doubt, know the rage. In the end, the answer to the question “Will you get better Kay?" “I hope so, some day.” Heard. That song, Better, ends with sage advice from a grandmother, telling us “Baby, trouble don’t last always.” It’s thoroughly an album - a complete project, and a pointed self portrait too. A number of producers were tapped for this, and the lush sound does not let up. Truly incredible tones and textures all the way throughout. Notably, RunitupDay has credits on two of the joints. Fans of Isaiah Rashad’s The House is Burning will appreciate the dreaminess, delivery, and stunning guest vocals. But outside comparisons to his peers and contemporaries, this is an album for any of us feeling lost. If you’re looking for guidance and blessings, or at the very least a splash of color on the gray, you’ll find a kindred spirit in these songs. We’re all in this together with Kay, and you’ll come out of listening knowing you’re far from alone. NOTABLE TRACKS: "Bless Me" (ft. Dot Demo,) "Hopeful Wishing" (ft. Jai Emm,) "Better," "Lord Father Pt. 2" & "30 (Interlude)" EVERYTHING KAY ANTHONY: https://fanlink.to/ColorTherapy

This past March, Harlem artist donSMITH released his soulful EP, In Loving Memory. The EP features Zacchae’us Paul, Asun Eastwood, Jay Lonzo and Kapi-Ku with production from Sypooda, Lim0, Flousen, Sum Total and RanVanDam. The EP as a whole serves as a transformation of Self, a transcendence through all the obstacles and curses that ended up being blessings. I refer specifically to “curses” as when you watch the video to “To Be Grateful (Long Live)” it is represented as a play with acts. “ACT I: The Curses Become Blessings.” Content, lyrics and message wise the EP is somewhat similar to a testimony or sermon as donSMITH explores various topics that essentially point towards gratitude for the path ordained for you. It’s an EP that asks you to hone in on the beauty of you and your life; where you’ve been, what you’ve seen, where you’ll go and what you’ll do. Are you grateful for it? For the flaws, the stumbles, the losses, lessons, moments of uncertainty that kept you guessin’, riddled with anxiety and indigestion? Are you grateful for it? Could you be who you are without it? In Loving Memory begins with the track “To Be Grateful (Long Live)” that sets the tone and theme of the project. The track begins with a woman’s voice who appears to be a religious leader giving a sermon. As her voice weaves in and out of the track you hear Zacchae’us Paul singing the hook, “I spent my whole life trying to be grateful…” followed with the woman’s voice stating, “God has blessed us to be here 1 more time.” The tone is set - to be grateful. And to be grateful of what? donSMITH enters the song with his verse that highlights an array of things he’s grateful for and the moments and thoughts that tie to those things. From gratitude to patience to privacy, creation (R.I.P. imitation,) hand-me-downs, competition, Nipsey tweet, “having strong enemies is a blessing,” the mission, long live them all. Long live the lessons, blessings and everything in between and beyond. The next track, “Long Time Coming” featuring Asun Eastwood further expounds on the theme of gratitude and how it’s connected to longevity. Oftentimes, when our flowers bloom it can feel like we should’ve received the bouquets a long time ago. Both artists on this track express how they’ve been blessed along their path the whole time even if the blessings were unseen at that time. “Long time coming, in the mirror confident in GOD and the flaws I come with” - donSMITH “It’s the ones that hate complexity try to stifle my glow” -Asun Eastwood “Lonzo’s Prayer” featuring Jay Lonzo also plays into the idea that your gifts and blessings aren’t always physical form but often things that are internal and innate that we have to develop. You know, Jay Lonzo states specifically in his verse, “can’t cry at Christmas if you know your gift ain’t under a tree,” puts the cherry on top of being grateful. In this track the woman pastor is back with more soothing affirmations. She asks the audience to really reflect on where they’re at, “you may not have the Bentley yet, the BMW but BE GRATEFUL.” In Loving Memory, then moves into the 4th track, “God Knows” featuring Kapi-Ku. The song really captures the social ills and pains that donSMITH observes and experiences in his environments. There’s a want in the song to learn how to help on the day2day but also recognizing the risks and predicaments that those gestures might put you in. Initially, there’s this hook in the background that loops, “it wasn’t supposed to be like this,” as if donSMITH is trying to figure out why things are the way they are. Eventually, by the end of the song he comes to terms with it, maybe it was supposed to be this way actually and only GOD knows. The final track, “Still DON” ends the EP strong. It completely ties up the themes of accepting your flaws and obstacles, learning to love the journey and to not just be but become. He’s asking questions of what is legacy (that may be rhetorical to some.) Is it your name? Your lovers, kids? Where you from? What you rep? How does one secure their legacy and make sure it represents you and your mission correctly? And when you’re living your legacy what does that look like in the present tense? All questions donSMITH is asking on the personal level but also very much on a universal level as well. “Legacy got me stuck in my ancestor ways / legacy got me feeling so honored to be here” When I came across In Loving Memory, I was in the midst of reading Hip Hop’s Hostile Gospel: A Post-Soul Theological Exploration by Daniel White Hodge. It’s always a beautiful moment when studies align in real time. The text by Hodge explores over 8,500 songs throughout Hip Hop that aids in his research of where GOD is in Hip Hop, how GOD is referenced, revered and etc. Without question, in another edition of the text or next volume this is an EP that needs to be referred to and in Hip Hop theology studies in general. Whether you’re religious or not, familiar with donSMITH or not this is a significant project from 2022 that shouldn’t be overlooked. EVERYTHING donSMITH: https://musaic.bio/donsmith

Harlem artist UFO Fev presents a representation of what it means to be influenced by where you come from but still remain original, authentic and 1 of 1 in his newest album, E Pluribus Unum. The album is solely produced by DJ J Hart and hosts features from Ace Arty and Jose Santiago. E Pluribus Unum begins with a clip of an interview where Mike Powers asking about a phone call UFO Fev received from Diddy and what that means to Fev coming from where he comes from. “I ain’t have nothin’ growing up; everything was a double team, break thru the defense, get the bucket - AND 1.” That specific clip of the interview sets up the listener/audience with the context needed to understand that UFO Fev got this shit out the mud. After "Intro" the album glides into “El Sapo” that speaks on the origins of UFO Fev the hustla and his day2day in a poetic cinematic manner. You know, this the beginning of the chapter that establishes where one came from, the root, the source. “Outside” featuring Ace Arty comes after and really is a track that expresses that UFO Fev and his crew were really outside with it. It’s not all talk and more likely than not more action and plays than actual talk about it. From “Outside” we move into the real hit of the album, “Money.” A track that needs to be spun on all radio stations mainstream, independent and underground because it’s really that g ood. From jump, you hear the infamous, “Get Money” loop that puts you in a New York state of mind. You know who he’s paying homage to but what will he do with it? UFO Fev walks us through how he made money off the origins spoken about in “El Sapo” while also reaping the benefits of “Outside” with the crew. With an infamous loop and equally infamous riff/influence of DMX, UFO Fev has the hook and song of the year, “For my next trick I make more money appear / THE RARE. THE REAL. THE CLOTH, WE WEAR.” From such a phenomenal track the album brings us to a grittier track, “Game Shifting” where UFO Fev touches on how he’s changed/shifted the game and continues to do so. The following track, “Pop Pop” featuring Jose Santiago has serious content/theme but delivered in a catchy and fun manner. Then, the album switches back to another notable song on E Pluribus Unum, “In The Rain.” Off production alone this track is gorgeous especially with the use of “In The Rain” by Bill Cooley and Alan Munson. You know, I’m sure all the tracks come from the soul but you feel the soul in this one. You hear the perseverance and feel the climb to greatness. Rain brings growth. “We the kids they never worried bout, the stories you never hear about, parents barely knew of out whereabouts / check the sole of his sneakers, I used to wear ‘em out / now the type of shit I’m doin’ is paramount” “Swish” is a track where UFO Fev is telling pieces of stories of the trenches and how he still made it out. There’s another catchy hook/chorus on this track too. The album switches to the track, “Light” which is more of a love song to friends, family and romantic lovers who have provided some kind of support, some kind of light throughout his life that helped illuminate the path. Those who have provided a source of purpose and perseverance for him. The outro of this track has another clip from Mike Power’s interview that touches on how UFO Fev was about to hang up the mic because he was investing more than he was returning before meeting Fat Joe. From there, E Pluribus Unum transitions into the final track of the album, “Business Man.” This track really captures the ascent of UFO Fev into another realm and also as a businessman. Almost like a more present feeling of the transition for him. As a whole E Pluribus Unum serves as a reflection of personal and generational plight that highlight environment, experiences and elevation from those lessons and learnings. Throughout the album there are various stories, dope hooks, poetic verses and inspiration/motivation to continue with your own craft - turnin’ the hustle to a business. E Pluribus Unum is one of the initial chapters in the story of how UFO Fev turned the hustla into a businessman. Out of one, many; the future is bright and beautiful for UFO Fev. EVERYTHING UFO FEV: https://linktr.ee/UFOFev & https://www.epluribusunum.nyc/

New Orleans and glbl wrmng artist Kr3wcial delivers his EP, Less Than Three. The EP hosts features from BLU, Mick Jenkins, Pell and Kalipop while also enlisting production from Ghazi Gamali, friendkerrek, Cronos and Kr3wcial himself. Throughout the EP, Kr3wcial fuses Hip Hop, neo-RnB with a hint of Pop to create a smooth “collection of reflections” of experiences with love, <3, Less Than Three. The intro track, “Jewelry” begins with a very calming energy that has Kr3wcial reflecting on the appearance and feeling a lover gave him, “You sure look good on me after I wear you out like jewelry / nirvana, when I feel you give me peace / there’s nowhere else I rather be.” The 2nd track of the EP, “Standards” has both Kr3wcial and Mick Jenkins speaking on some of the standards they’ve come across and employed themselves when dating or embarking on love. Standards have always been a thing but it seems as though in this current social media era that standards have been heightened to almost unrealistic expectations physically, financially, emotionally and intellectually. “Ego Trippin” is the next track of Less Than Three - and just as the title implies it’s about ego. The track expresses how ego can cause conflict in love but also can inflate situations as well. The yelling, the fighting, the lack of seeing eye2eye, needing to be right and maybe a drop of self-sabotage too. Next, the EP slides into the gem of the project, “Who Do You Call?” Off dribble, the production has this real gorgeous soulful appeal coupled with the combination of Pell and Kr3wcial’s similar content yet varying textures in voice. This is the type of song that triggers you in a good way, you know. Where you really have to sit back and assess, “who do you call?” - especially when the person you want to reach out to could have you dip back into toxicity. Or dip back to a place that you grew from or are growing from but you still need that familiar voice of encouragement despite it all. “Who do you call when that drinkin’ ain’t maskin’ the feelin’ and you wanna fix it?” The final track of Less Than Three is “Dumb Bitch Juice.” This was a solid way to end the EP because it speaks on wants, boundaries and at times getting lost in the sauce of romantic encounters. You know, do you keep sippin’ someone’s potion that is not sustainable or beneficial in the long-run? The intuitiveness that comes eventually of knowing someone has something you want but also knowing that it comes with a price and a life you’re already trying to wean yourself from. Less Than Three explores the complexities of romantic love throughout its various stages. The EP highlights how ego, standards, companionship and lack of mutual understanding/communication influence the trajectory of relationships. Even if the trajectory didn’t go as planned there’s always collections of reflections at hand. Additionally, Kr3wcial created his own universe (Kr3wniverse) for the release of Less Than Three. https://linktr.ee/ikr3wcial

King Diamond by Bryce Savoy “& just to clarify I was never in them streets but tell me what’s the difference when ya niggas in it deep” Oakland’s Bryce Savoy delivers his album and 4th quarter trophy, King Diamond. The album has a lot of dope attributes that allow the listener/supporter into a deeper glimpse of Bryce Savoy and the environments and events that allows such a poet to flourish, express and inspire. From jump Bryce uses a piece of “Ocean Views” by the late Nipsey Hussle to grasp attention, set the tone and show how he’s carrying on Nipsey’s legacy in his own way - or even the ways in which he was influenced by Nip. Additionally, in “Forever Oakland” Bryce uses a clip of Tupac talkin’ about the importance of Oakland to him and from there the track turns into a beautiful ode to Oakland full of love and experiences. King Diamond in entirety is a well rounded album that displays variety, versatility and vulnerability. From love to independence to growth, goals, aspirations and manifestations King Diamond is undoubtedly a momentous project in Bryce Savoy's catalog. If ya ain’t had a listen yet you’re definitely missing out. Notable Songs: "Heavy Head," "On the Phone," "Alotta That" & "Forever Oakland" Don't Pop Pills, Pop Champagne by Aj Snow “lately I’ve been blessed because I haven’t been movin’ out of fear / the main goal is to double up from last year” Dallas artist Aj Snow delivers his first project of the year, Don’t Pop Pills, Pop Champagne. Aj Snow is an artist I make sure to always to stay current because he’s creating his own lane while simultaneously maintaining a similar lane/tradition of playa, suave music that you might hear from the likes of Dom Kennedy, Larry June, LE$ and more. Some coin it “car raps,” “cruisin’ music” but truly at the root of it, it’s good music created by an innovative mind. Besides a fly and statement making title (in a time where pills and opioids are at an all time high) the content and sonics are real suave and real playa. Don’t Pop Pills, Pop Champagne serves as a playa’s manual/huster’s manual that focuses on leveling up, celebrating accomplishments or redirections, lifestyle changes and keeping your soul, body and mind aligned. Notable Songs: "What's Happenin'," "Hustlers Need Love Too" & "Evening Cocktail" Super Heroes Don't Exist by Malz Monday “they see I’m ridin’ clean, they tryna throw dirt on my name/I can’t let them trick me out of positions I worked hard to claim” New York MC, Malz Monday delivered and lyrical manifesto, Super Heroes Don’t Exist. The album art and title of the album make it seem as though it could be more than an audio album but could be a cartoon series that illustrates each song further. Each track is an episode. Throughout Super Heroes Don’t Exist, Malz Monday is a very humble yet confident lyricist who is proving to be well-versed in his craft. The album in totality is about recognizing you’re your own hero and finding the strength to truly support yourself. Malz Monday is definitely a true lyricist, poet and independent. Super Heroes Don’t Exist could easily go down as not only a classic in his discography but really in this specific time period of underground/independent releases. If you seek motivation and a blueprint of how to actualize your dream(s) and goal(s) - this is a good one to start with. Notable Songs: "Mother Nature," "Circadian Rhythm," "One Day Never Comes" & "Father Time" Diggin' in the Tuff Kong Crates by Buckwild “every speech meant to motivate / don’t let the weight of the world make your shoulders shake” Bronx artist/producer/curator, Buckwild crafts a sonic symphony for some of Hip Hop's most seasoned independents from the underground. His new album, Diggin’ in the Tuff Kong Crates hosts features from the likes of Boldy James, Lord Jah Monte-Ogbon, CRIMEAPPLE, Guilty Simpson, Lauren Mayhem and more. The album seems to be part of a series Buckwild created. In 1998, he released an album called Still Diggin’ and in 2007 released an album called Diggin’ in the Crates. 2022 he’s Diggin’ in the Tuff Kong Crates. If you love sounds that fuse traditional Hip Hop with modern innovation of the art form, spin this one. Notable Songs: “Savage Monks,” “The Ghost” & “Co-Op” 12:29 in Boston by Jameel Na'im X “I’m so ahead of my time I reminisce about the future” In all honesty, Jameel Na’im X is one of the best in the game right now. By the time you hear the bar set up and process it he’s already on his 3rd set up; his wit and knowledge is unmatched. His recent release 12:29 in Boston only further shows his versatility in his artistry. This is an album that you’ll love instantly but also will love even more over time. Initially, there was one song I wasn’t too fond of and it was probably because I wasn’t really listening, but it ended up being one of my favorites after the 10th listen. Every release has me in awe when it comes to his lyricism but also how he’s able to create a sacred atmosphere through his music; there are some tracks that have looped mediation samples and even a track that samples what sounds like the Islamic Call To Prayer. And of course, with ease he raps over them as well as trap beats, boom bap beats and soulful beats. 12:29 in Boston is an un-skippable album full of everything that’s important and necessary in a Hip Hop album. Notable Songs: "Wicker Chair," "Joe Jackson," "Bleek & Beans" & "Bitter Sweet" 4daFree #Sorry4daDelay by JohnNY UniteUs “like why was I stressin’ / made it work in time, work for mine / learned workin’ for others wasn’t worth a dime” Brooklyn native and one of Hip Hop’s chosen, JohnNY UniteUs drops off a 4th quarter album, 4daFree #Sorry4daDelay. As with all his drops JohnNY has a real talent for creating thought-provoking bodies of work that left me pondering and further researching the significance of 4. Throughout the album JohnNY uses the number 4 in multiple of the titles. The number 4 is symbolic of many things that tie into the content and themes presented in 4daFree #Sorry4daDelay such as self-expression and self-fulfillment thru one’s own passion(s) and purpose(s). What echoed after hitting pause on the album was finding peace and stability within one’s self while also making those dreams tangible. If you enjoy music that balances fun, intent, motivation and inspiration then head over to Bandcamp and cop the project. Notable Songs: “4ward (So Far So Good),” “4orce of Nature” & “You’re Worth A 4Tune / 400 Acres” Jody Ca$h by Jody Joe x $hrames “I’m married to the game, I jumped the broom, got eloped / sacrificed my life for this - shit, I took an oath” Nashville artists Jody Joe and $hrames team up for their album, Jody Ca$h. Throughout the project $hrames provides productions that not only shows off his versatility but also his trap and tropical sonics influences - he always manages to create production that allows the body to move. Alongside $hrames versatile production is Jody Joe bringing raps that boast his mathematician skills as well as his ability to create his own plays and provide for him and his. Jody Joe touches on topics involving an array of women and his connections to them as well as how he’s living out his plans and goals. Jody Ca$h overall, is about Jody Joe getting to the dough, how he does it, who he does it with, what he does with it and how the business ventures will grow. Notable Songs: "Nonchalant," "Carry On" & "Guns N Butter" TRYNA TELL U HOW I FEEL by Kameo “just because you get it first doesn’t mean the money’s gonna last ya” New Jersey’s Kameo delivers his album TRYNA TELL U HOW I FEEL exclusively on his site. I found this aspect of his artistry to be really cool because it denotes the faith he has in his art to not need any DSPs but his own weblink. That’s next level independence and faith. As this was my intro to Kameo, I was genuinely blown outta the water. Kameo has this real raw, static, refined out the basement texture to his music that puts me in the mind-frame of an East Coast cypher. You can tell he’s about the knowledge, culture and expression just off the things he raps about, the way he presents his art and displays it to his audience(s). For sure an artist that I’ll be writing more about as the music presents itself. TRYNA TELL U HOW I FEEL is really for Hip Hop. Notable Songs: “Forever,” “Magnetic” & “The Essence” Live From Choppa City by T.Y. “I can’t fuck around I’m really on a mission / cut off a few niggas now shit movin’ quicker” New Orleans artist, T.Y. delivered his album Live From Choppa City this past December. The album appears to be an ode or homage to his father, B.G. who released albums with similar titles such as, Chopper City and Chopper City In The Ghetto. While T.Y. has been carrying on tradition he’s still able to put his own style and hustle in. Live From Choppa City is an album that explores the current state of hustlin’ in New Orleans from the lens of T.Y. He addresses topics of loyalty, fast life, gettin’ to the money, fake niggas, personal growth and knowing what you’re doing with your hustle. Above all, the album is a body of work that will encourage anyone to get their hustle up and really become You. Notable Songs: "Can’t Fuck Around," "Fake Niggas," "Bad Mood" & "Loyalty" Money Bags by aroomfullofmirrors "the gin and juice make my dawg so corrupt / ice lay on my tee, I'm sellin' coco and dust" T.D.E. and aroomfullofmirrors presented an EP, Money Bags that also has a visual film counterpart. The EP comes from the collective “aroomfullofmirrors” that includes: Lyric Michelle, Jrias Law, Hari, Nick Grant, Earlee Riser, Daylyt, BillyMaree, Punch and Ichiban Don. Sonically, Money Bags has a variety of production with thought-provoking content delivered from some top tier artists. What mostly caught my attention with Money Bags, is the actual name of the collective, aroomfullofmirrors and what that means as far as symbolism and music. Whatever is center in a room full of mirrors can be seen from various angles depending on light, perspective and vantage points. Whatever is not center in a room full of mirrors can only be seen from certain angles. Is it an expression of vulnerability while still recognizing the portals around you? Various portals, various angles just reflecting different aspects. Notable Songs: "Woah," "Nobody Dies" & "WestSide" Black Keys Wit Melodies by Rahiem Supreme x Ohbliv “the sauce came from home, came from where I been, sauce came from family, came from where it originated” D.C. artist Rahiem Supreme and Virginia’s Ohbliv come together for their project, Black Keys Wit Melodies. The Mutant Academy producer provides the perfect 80’s influenced sonics for Rahiem to flow over. In Black Keys Wit Melodies, Rahiem uses a modern beatnik/Gil Scott Heron type delivery; you know, real suave, real fly with it but still with purpose. These two artists make the luxuriously fly and authentic music seem easy. Black Keys Wit Melodies is thought-provoking, witty, uplifting and free in a very retro/vintage demeanor. Notable Songs: "secret sauce," hot date" & "outro" Original Since Birth by Reggie Rare “I can’t lose my assignment while the Sun still shining / GOD told me perfect timing” Palmdale artist Reggie Rare dropped off his first album of the new year, Original Since Birth. The album hosts features from the likes of Smoke DZA, A-F-R-O, Bryan Keon and JAG. What I enjoyed about this album was the story it was telling about time, what perfect timing is and how everyone experiences “perfect timing” differently. Throughout Original Since Birth, Reggie Rare expresses how he’s been authentic since he entered this world and his perseverance. He also speaks on more vulnerable topics that highlight some obstacles and trials he endured while on the route to his purpose(s). If you enjoy what you hear be sure to also spin his newest album, Not To Far Off - which I imagine I’ll be writing about if it’s anything like Original Since Birth. Notable Songs: “Timely Fashion,” “Sun Down” “Talk To Much” “O.S.B.” CA$H: The Elegant Fella by Kai Ca$h “if we goin’ head to head I”m addin’ tags to a toe / so keep it classy fosho” Brooklyn artist Kai CA$H delivers his latest EP, CA$H: The Elegant Fella. The EP is a very vulnerable project that explores a lot of personal topics that are also universal emotions and thoughts as a genuine artist and creator. The content that the project holds is impressive especially because it’s a 6 song EP but despite the length Kai is able to flow effortlessly over many topics such as mental health and social media, patience with your craft and gift and more. The EP plays like an album and Kai’s delivery is real suave, confident and still humble. Real inspirational and motivational EP for any creative that knows their time is coming and really are just focused on progressing the craft. Notable Songs: "7 Seater," "No Letting GO," "Round The Way" & "Time Coming" God Speech by Rey Morado x Javion Bishop “I be starving my ego to feed the soul” Rey Morado and Javion Bishop team up for their EP, God Speech. The first thing that stood out in God Speech is the texture of both their voices individually and together. Both artists on the track have thought-provoking lyrics while using different styles and flows. It was exciting to listen to because they switch each song who starts and who follows. One comes on the track and delivers a dope verse then and the song could be complete off that, but then the other one comes and lays down a verse that takes the song to another realm. The combination of the two is hazardous. Sonically, God Speech sounds raw, unedited energy and intentional and possibly even unconscious conversations with GOD. Notable Songs: "Good Sh!t," "Spreading Out," "Mazerunner" & "Ill Ones" Food For Thought by Che Noir "fuck peace, when it's time to survive, I'm with a knife / if it's war then it's eye for an eye, I went in blind" First things first, Che Noir is a talented poet and bearer of Hip Hop tradition. As far as this recent album, Food For Thought, it was a challenging listen considering how much I enjoyed her previous work. I hear her set-ups, I hear her bars, the thoughts, features, flows and productions but all of those things didn’t quite align in Food For Thought. The production fell a bit short of what I was expecting and also had me nodding off on certain songs - this could be a combination of Che’s monotone texture/delivery and the down-ridden beats. The perseverance aspects of the album are heard and related to, but the album felt colorless, dull, overcast and gray. Overall, Food For Thought wasn’t the best of her work but that doesn't mean I won’t stop listening to what she comes up with next. Notable Songs: "Eat or Starve" "Ladies Brunch" & "Table For 3" BANC by Banco "I'm obsessed with the game, I even work when I sleep" BANC is an album from Texas artist Banco who makes it clear he’s accepted his destiny and bound for greatness. BANC, gives a glimpse of what Banco’s commitment to his growth has brought him. Banco speaks on moments that express the new luxury he’s stepped into but there’s still more he aspires for. While this is one of Banco’s best projects yet it’s also unspoken in the album that this is just the brink of what he will create, express and elevate to. A very well arranged album with stories of love, goals, new experiences and the pursuit of growth and greatness. Notable Songs: "Spilt Liquor" "What About Us" & "Diamond Pumas" Runnin' With Scissors by Nuke Franklin “I’m certified at finding the pain / a ghetto rose, you know I grown in the rain” Cleveland artist Nuke Franklin allows himself space to express his vulnerabilities and reflections in his new project, Runnin’ With Scissors. Originally, “running with scissors” is an idiom that points towards recklessness, danger and often forbidden acts. A lot of the project is Nuke Franklin reflecting on how he’s been Runnin’ With Scissors his whole life. There are moments where he talks about love and learning to love oneself before you can love others. There are also moments where Nuke speaks on his ego and hurdles as an artist. Runnin’ With Scissors is a very versatile project from content to sonics; somewhere between thought-provoking and being able to dance through it. Notable Songs: “One Way St.” “OHSHEITGAWDDAMN” &“Hidden Hills” Macc Files: Case Closed by Macc “in this thing called life, you either pay your dues or you pay the price” New Orleans/Houston artist Macc releases his album, Macc Files: Case Closed. This is my intro project to Macc and with each listen I’m more impressed. Off the first listen I wasn’t sure of the region/geography he was coming out of but what I did hear was real smooth, real ridin’, playa music. It’s about grindin’, hustlin’, growin’ and aspiring for a luxurious lifestyle by any means. Similar to the title of the album, Macc Files: Case Closed - each track serves as a file about/on Macc. Each file/track is sure to be filled with Macc’s desires, goals and Macc, the mac. An artist with a lot of potential without question. Very determined but still has patience with what he’s creating/aspiring towards. Notable Songs: “Feelin Like” “Eastside Pimp” & “Champagne & Caviar” FAMILI 3 by RU$H x Jay Nice “we gonna criticize that actin’ ‘til they flip the script” Luxury raps, real cinematic, “I’m at the top of my game enjoying the benefits but still got these pains and gains to get off my chest.” Delaware artists RU$H and Jay Nice come together again for their third installment of their FAMILI series. FAMILI 3 is about the challenges and trials that RU$H and Jay Nice have traversed in order to get them at this point in their journey to where they can celebrate. FAMILI 3 has beautiful classic sounding production coupled with seasoned flows on the mice. Real fly art. Notable Songs: "Philippe Chow," "Blicks at Hot 9" & "Underground Art Legends Interlude" Welcome To Loveland by Nick Grant "we talk ideas and what happens in the afterlife / to them you public enemy but you surpass the hype" New York’s Nick Grant is one of the best current lyricists in the game right now. From his individual projects to group collaborations he’s sure to be one to stick out in terms of content and flow. Out of nowhere he dropped off a real funky, ode to love, pre-Valentine’s Day, Welcome To Loveland. Throughout this album Nick Grant expresses his sensuality, singing ability and g-funk influence. This is easily one of his more fun projects in his catalog that represents the type of versatility and variety he can provide and produce as an artist. Welcome To Loveland could easily go down as a timeless project from this current era and maybe even beyond that. Notable Songs: “Brutal Honesty” “The Simulation” “Love & Other Drugs” & “The Ingredient” Pastor Ralfy 2 by Ralfy The Plug "niggas must've been mad that our crowds are liver / Drakeo stood on 10 toes with a smile against 1000 fighters" South Central’s one and only Ralfy The Plug speaks on the recent passing of both Stinc Team members, his brother Drakeo The Ruler and Ketchy The Great in his album, Pastor Ralfy 2. The Stinc Team is notorious for creating and expressing a new way to flow and rap out of L.A. while also influencing many of the newer rappers coming out of the region. Ralfy The Plug uses Pastor Ralfy 2 to give his own personal sermons about the life he came from, the life he leads and the influence the Stinc Team has. While many of Ralfy’s raps are braggadocio he’s also a lyricist who has pretty much perfected every hook of every song. Pastor Ralfy 2 displays a more seasoned Ralfy that doesn't shy away from talking about the darkness he’s battling, grieving and also getting to the bag and continuing plays. As long as Ralfy The Plug is around, so will be the legacy of Drakeo The Ruler and Ketchy The Great. Notable Songs: "The Truth" "Bruce Lee Kick" "Keep Up" & "Being Me" D U L L by Kareem Ledell Soul Raps 2 by Osbe Chill “wasted half the time I had on learnin’ how to go all in” Tennessee artist Kareem Ledell delivers his first offering of the new year, D U L L. Kareem is a poet who is becoming more and more well versed in expressing his vulnerabilities, realities and creative endeavors. D U L L is an EP that assesses Kareem’s present moment and the darkness/dullness he experiences in the midst of creation and expression. It’s easy to listen to Kareem for his laid back demeanor and the patience he has with his flow. D U L L hosts various producers from: Plantif Earf Marow, 9thaGod and Blue Magic Beat Co. as well as a single feature from Nashville’s Ron Obasi. Overall, D U L L contains thought-provoking words and moments that aren’t afraid to acknowledge and sit with the scars of the journey. Notable Songs: “Endzone (Intro),” “Second Coming,” “Green Lady” & “Lifeline” Soul Rap 2 by Osbe Chill “I’mma keep it solid ‘til the day that I depart / but you know I’ll never die I’ll be living thru my art” Soul Rap 2 is definitely a compilation of raps from the soul. South Central artist Osbe Chill flows over many topics pertaining to the soul. Some of the things he touches on are personal but also universal; from politics, personal flaws, friends, family, generational stories and lineage. Osbe also speaks on things that he’ll have to teach his kids about environments and people. One of the reasons Soul Rap 2 is dope is that Osbe puts his family in the forefront (as shown on the album art) of his life and sheds light upon them in the project. There’s even a moment where Osbe mentions Interscope and that the family image isn't necessarily what they were trying to push. It’s refreshing seeing artists stick to truly what their soul knows is important and possible. Looking forward to any other work he decides to put out. Notable Songs: "Intro" "I Got Me" "Free Infant Pharaoh" & "No Hard Feelings" Motivational Purpose by Philthy Rich “ain’t a fan in the crowd, niggas came from nothin’” I’m always at a crossroads when it comes to supporting Philthy Rich. People who of the artist know about his past and his businesses that he runs (as a woman and having friends and family involved with sex work.) One thing I must say is that his independent grind at the level he’s at considering his city and environment he came from is motivational. Motivational Purpose and his last album, Solidified are some of his most polished and seasoned work with top tier content and features. The music are his conversations with GOD and I suppose also to provide motivational purpose for those who listen and are on their grind/hustle as well. Notable Songs: "Safe," "On Me," "My Everything" & "Leave Me Alone"

SWISS ARMY RADIO (live link): https://s2.radio.co/sf4a463e22/listen https://linktr.ee/SwissArmyRecords PHOTOS: KODAK K First things first, who are you? Where are you from and where are your people from? Promise: Promise, a producer based in Atlanta. I was born in the Bronx, New York, I was raised in Philadelphia and surrounding areas around Philadelphia… predominately this spot called, “North Town,” I guess that would be the Riverdale of Philadelphia in a sense. In about 2012, I moved to Atlanta, where I’m currently at, my senior year in high school. That’s wild, but that actually makes a lot of sense now. But I was recognizing that you’re very connected with East Coast and Midwest rappers or even rappers who are along the South but push that East Coast barrier. I always wondered how you were so connected but it makes sense because you spent time in all these different areas. Promise: Yeah and Philly it’s really knockin' on doors and standing on people’s porches type thing. So, moving down here everything is a drive. It’s not really transient like there’s not much trains and buses in the city. I just feel like that sense of pulling up, it was nothing especially once I learned how to drive. I think I got my license the day I turned 18, maybe. But I think everyone in Philly drives before they get their license, it’s like a right of passage. As soon as I got my license I was already a couple years into producing and that was really my way of building a rapport. Relationships are important, also the music is important. I always had that early on. Even when I was in Philadelphia any chance I wasn’t in school I was back in New York. It’s the same with Atlanta, anytime I wasn’t working or anytime I had a chance to take a vacay or wasn’t in school I’d go right back to Philly and New York. And I really just started putting on the shoes of like an A&R, sort of kind of due to a lot of pieces I was missing or I felt like was missing. But I’m not the type to be complacent or complain about it. I’m going to get active to it. So, that’s really how I made Swiss Army Records, in 2013/2014. Even beyond the name, the way the label functions was already preset to how I seen underground labels run whether in Philly or moving to Atlanta. But, Atlanta, this city… I wouldn’t say it’s the opposite to how the North is but it has a lot more to offer than what you see on the outside of it. I guess people see a system but deep within that system there’s a lot of different genres and communities when it comes to R&B or rap or punk, it’s a lot. There are a lot of different artists down here. Yeah, when I lived in Atlanta a couple years before coming up here to Memphis and that’s what I noticed in Atlanta. Of course on the outside people see the Trap Music influence and what not, but as I went to smaller shows and shit it was real eccentric and punk type music I kept running into. It was really cool to see. A lot of house music. It’s cool to hear you say that as well. Promise: Yeah, I’ve seen a lot here. I remember this venue called High Five which was inside a Thai restaurant with a venue in the back, it was real big. Around the middle of A$AP era. There was a lot of eclectic venues like that back in the day. I say back in the day but it was a couple years ago. It seems so long ago for Atlanta because Atlanta is really going through a big property shift. COVID really ramped that up. I just see a big opportunity for this generation to not just be consumers to what the culture is down here, but, more so to be active participants to what the culture is down here. In the amount of venues you’ve seen been taken away from Atlanta - have you seen many more pop up? Promise: Yeah, not to scale yet as the previous ones before. For obvious reasons, COVID just still is what it is and the city ain’t what it used to be but not in it’s own fault. A lot more gentrification, a lot more moving around, a lot more attacks on the homeless, the whole city is a mess in itself. But for the community, there’s definitely a lot more different scenes. Like we had a big thing down here called Controllerise, you know, weekly, lofi, anime, food, dance and music type of vibe and they’re thrown every Monday. Oh, for real? Promise: Yeah, that was pretty big down here for a couple years. I’ve been to them accidentally at an A3C afterparty. It was like an A3C pop-up, and they were like, “see y’all next week,” and I was like, “oh shit, it’s weekly.” Damn near every video game you can think of… it was a free to play. With music and shit too? Promise: With music in the background with lofi, they got like premier DJ sets, it was a real good setup. Then COVID kinda cramped things down. Yeah, stole a lot of shit. Promise: Even outside of that there’s still a lot of things the music community to get together on. The pace didn’t stop. Knowing the city I kinda know that. Before the lockdown, I felt like we were going to go through a renaissance or a speakeasy phase of some sort. Knowing Atlanta, it’s not going to stop anything it’s just going to be more intimate. Yeah, I can see more private events. Promise: Which is really how it’s turning out too. It’s not bad, a lot of curators are collabing with food bars or video game bars which is dope in itself because it gives more grassroots and builds for later on. That’s what I was gonna say, the collaborations create the community. I’m curious to know more about Swiss Army Radio, Swiss Army Records. Promise: Swiss Army Records is what I would call my tree because I got a lot of programs that run under Swiss Army Records within itself. Then you got a branch which is Swiss Army Radio which gives more of a spinout put on premiering/debuting and breaking records for the underground and records in general that aren’t targeted for billboards. Still good music in the city. That’s pretty much what I’ve been gearing up to run towards with that. To lock in a 24/7 place for videos, skate premiers, a lot of ideas, there’s a lot of contemporary art that I want to tap into. A place for all mediums structured by the programming however it may be but that’s the biggest aspect for Swiss Army Radio. We’ve worked with many different mediums. We’ve done different collabs with Dash Radio, Dash XM, we’ve done collabs with this radio station down here, “Highly Unique Radio,” monetized, weekly, 24/7 live radio. We ran through a couple different partnerships to kind of figure out what format works best for us. How do you run it now? Promise: Right now, I got the hub now for Swiss Army Records with the new office space. I’m planning on locking in something that’s more global. A site, after you lock in it’s a 24/7 thing. You know, setting up the traffic on that to really give artists the premiere they deserve, that’s needed, that’s kinda missing from videos that could put batteries in different sectors. Or put batteries in the backs of other producers, you know, get creativity flowing. Especially the art scene down here because we have a lot more resources than artists back then did on our own tangent. It’s a lot of opportunities missing, like even looking at the videos of back then and seeing the videos now… there’s a reason for the video quality now but there’s no reason for us to follow that formula. Especially when we have the same gear that the industry is running with. The industry’s downfall has nothing to do with the independent in a lot of sense. Once we wake up more to that and gear more towards that then I’ll definitely be a couple feet ahead on that race but I’m taking a lot of people with me because it’s not a private race, it’s not a private thing to win. It’s like being a missionary in the sense of that word. Just letting everyone know what all they can do once they are in this ecosystem of music. That everybody got a role. So true, so true, a unique roll too. What else do you have going on under Swiss Army Records? Promise: We’re soon to have a skate division with a couple skaters from the Southside of Atlanta and give them the proper rollouts for the things they want to do. Photoshoots, getting amateur decks, you know, seeing if they can get some fashion designers some signature shoes for people. Oh wow, that’s so cool. Promise: For years, I was on a skate team damn near tangent to me being in the music scene for so many years. There’s a lot of fields in there I know that people are missing or people are still consumers and they can be active participants. I remember there were some years where I was like how cool would a sponsorship be. We are at the age where we can sponsor any little kid with a dream that you see real potential in, you know or know what he can be. Once he’s at the age you’re at it, it does a lot for a lot of people. Yeah, so that’s SAR-SB. We have more music geared up for the FREELUNCHPROGRAM. I can give you a run down of the artists that are in the label actually. Yeah, that’s actually my next question. So, that would be great. Promise: There’s me, I fill in a lot of hats, I’m not solely the producer. There’s different artists on SAR that fill in at different times whether it be managing, going out of state or locking in a venue somewhere. Sometimes I run as manager or the money guy to see what plays fit best. I have a lot of homies that do clothing design so I do advertisements and promo work for them. So, some of the artists are: Chebba, south of Atlanta he’s a Hip Hop artist and we have a group within the label called “T’ALIIA B.” Ohhh, there was a recent project by them right? Promise: Mhm, we’re doing a catalog like demo/premiere/launch, 3 volumes worth before we start rolling out albums. Right now, we’re premiering our second volume. We have RnB artist Destiny Greene also from south of Atlanta, Fayetteville. We also have a member that’s part of SAR-SB who is an artist on SAR - so he fills in as a skater and an artist in itself, Daiiily Asè. My homie, A. Young, my mans Ryan Milla. Oh okay, I ain’t know Ryan was on it. Promise: Yeah, he’s one of the newest. He really sees the vision with SAR and we’ve locked in many times just on a personal note and sessions. I feel like there’s a lot that I can help him with and build towards, fill in some spaces he feels like he is missing. He’s an artist that believes in himself heavy, he’s cool people, he’s real solid. True, and I really like his project he just put out. His tone, he has a really cool tone. Promise: We have a single that we’re about to roll out heavy, “King Mable.” Mannn, that track go, for real. That production was so cool. It reminded me of early B.o.B. the bounce that it has to it is really cool. Promise: Thank you, my main mission with production is just to stand out from the discography in time and that’s my long goal mission. 20 years in, any artist I work with play their records but play the track produced by Promise and the production as a whole they're gonna tell you that’s the one. There will be a lot more coming with me and Ryan because he knows exactly what to do with the production. That’s exciting. Promise: We have Divine Abstract who plays the trumpet for a lot of my production. We have a group called, “Riverdale Saints” within the group where we just do free form jazz mostly. What?? Promise: It’s thru live production and thru beat machines like I have an MPC 500 that I implement in a lot of our songs. We both use SP404s back and forth in the production. We also have Horus Ra Mindset on the label, we also have the group FREELUNCHPROGRAM and we’re working on the second volume of self titled. We have a subgroup within that that he produces called iLL Mindset with the homie Ill Khalil who is also an affiliate, not a member but an affiliate of SAR. But Horus is just heavy on production with him, they’re like a Biggie/Junior Mafia. He’s getting into projects and producing and getting an ear for other folks and having an era in SAR. When he ended up going his separate ways I scooped him up quickly as far as seeing his potential and knowing how far I could take him as far as managing and having him on the label. There’s a gang of us, there’s a lot of folks but those are the folks that have debuted. There’s still artists I’m working on and with as far as developing a sound and getting them comfortable for debuting records. You know, whether they see their music long term or if they see what their character is long term as far as music. Yeah, and I know you work with Jah-Monte too. Promise: Yeaaah, that’s the cuzzo. He just stayed over at my crib like a week and a half ago. He came to a concert and he comes by pretty much anytime he’s in Atlanta we link up in some way. It may have been off of his projects but also I think I heard your production off of Mikem’s project. Did you do work with him? Promise: I did, I worked with Mikem maybe around that same time. I had a lot of records out I was producing but I remember me and Nahmir were doing a lot of records. Yeah, that’s another talented artist. Mannnn, tell me about it. Very talented. Promise: “My Black Skin” from A Moment In Time. Yeah, there we go but I think I was familiar with your work before then too. You must’ve been on that AMERIKKKA album. Promise: Yeah, I produced a lot of that. Okay, yeah. So, do you have a lot of artists outside of Atlanta that you’re working with? Promise: Oh yeah, I don’t just stick to Atlanta at all. I have a lot of artists that I produce for or have done productions with pretty much everywhere. A lot of New York, a lot of folks in the Charlotte, Raleigh and North Carolina area in general. I have a lot of respect and a lot of love for North Carolina and a lot of their different pockets. My girlfriend has family in the Rocky Mountains in a real small part of North Carolina but there’s something about the state. I hear a lot of good things about North Carolina. Promise: Their music scene is not bad at all. Me and Koncept Jack$on had work, there’s a lot of RnB artists. I got production with homie Matt McGee out in Maryland. You know, Nahmir out on the West Coast. My homie Space out in Texas. Well connected. Promise: Pretty much everywhere. I got folks out in Russia I’m trying to work with. I joke with people all the time like, “ayy, who gon’ go to Russia with me?” You know, just showing them these beats and showing him what Atlanta’s on. Yeah, because it’s the international connects that often end up having a larger impact. Promise: Facts, crazy enough I was gonna spend 2 months in Germany before I moved to Atlanta but I ended up moving to Atlanta so I didn’t get to do the foreign exchange program. Damn. Promise: Yeah, I took German for like 3 years just to go to Germany. Man, you gotta go for sure now if you ain’t been yet. Promise: Listen, listen, this passport bout to be stamped heavy, everywhere. I been out there one time and Germany is definitely a place I’d go back to. Promise: What part you go to? I was in Munich. You know, so we went to Czech Republic too because it’s like right there. But yeah, Germany is dope as fuck. If I knew German, man I wouldn’t have come back. So, as an artist I know you do more than just produce - what all exactly do you do? Promise: As far as art mediums? Yeah, all of it. Promise: I like to wear many hats. I skateboard, I’ve been skating since I was about 10 which kinda played heavy on music because there’s a lot of different genres that you’ll just catch. I used to draw since I was a kid. I actually ended up winning a NAACP award. You kidding. Promise: Yeah, I did some art shows through the library and shit and they ended up having a banquet for me and like 5 folks. That’s so crazy. Promise: Yeah, I gotta pull it out one day on MTV Cribs. For real tho. Promise: I got a hand in a project here with art development or game development and trying to figure out what’s my niche as far as making games. I know as a whole I rather one day be a part of a team that could be able to do some. There’s been games I’ve played that I thought had like a million dollar budget and really it was like 12 folks and a dream. Video games are kind of like books to me like if you get a good one it kind of takes you out of wherever you’re at. That’s something I always even as a child held onto the idea of and I’ve got way closer nowadays than when I just got my hand into it. You gotta learn like different code languages, have an actual eye for design to scope what you see fit to having around you, this that and the third. Mid-twenties I’m way closer to being down that line of doing what I need to do with it. I talk to folks here and there and different mediums I do it thru that always catch peoples’ eye. I don’t like folks to catch my different mediums outside of music when it comes to social media because they either get this idea that I’m this video game guy. Well, with pressure washing, a lot of artists that I know I’ve pressure washed their cribs and they don’t know that I do music. It won’t click until we’ll both be at a mutual friend's house and they’ll be like, “what’s the pressure washing guy doing here? He does music too?” That’s wild but that makes sense. Promise: It’s like I said, just different hats that I wear. It’s not even on purpose, it’s just always having a drive and knowing where to take that drive. Does that ever bother you to do other things for artists outside of music? Promise: Honestly I just keep it fun first and do what makes sense to me. I think about what would be the most fun in terms of partnership or a music idea and just work around that so that it can stay interesting. None of my hats that I wear I don’t wear them at the same time because I know that would burn me out quick. But I know that certain things just call at certain times. I know if sometimes I experience a music drought I know I can put that down. Last year I didn’t really produce too much music in terms of staying in the lab and chopping up beats but I had enough work to move those around and still make albums and records that are cohesive and still notable. Even when they’re small spurts like FREELUNCHPROGRAM EP we did it all in one day. Every record was built right after the next in how it’s made even when it was recorded. That was just spur of the moment/in a session type thing. I wasn’t producing heavy before and I wasn’t really producing heavy after that. It just hit. Promise: Yeah, it was just that moment in time. I don’t really run into a drought so when it’s time for it I can put on that hat. I don’t like to overuse creative muscles in certain places. Man, that’s smart. Promise: Or I don’t want to get bored too quick. I advise everybody to experience different hats. You don’t know what you don’t like until you try it. Yeah, and sometimes when you express in a different way that shit will launch different ideas for the things you’ve been working on or hit a block on or whatever. Promise: Exactly, I tell people that all the time. Like when I’m not working on music that doesn’t mean that the music isn’t still being inspired or fueled. When I’m working on video games I’m inspired to score these things or animated movie ideas that I could score. The music is always there no matter what I’m doing. If I’m eating, the music is there. When I’m working, the music is there. If I’m reading, the music is there. Even when I get back to it, like a cousin you’ve missed no matter how many years you haven’t seen them, it’s back up, y’all linked forever. That’s how it is. ‘Cause you can’t stress it that’s for sure. The last few questions. Who have been your influences? Musically or whatever. Promise: In life, my parents and even down to musically because we’re a big musical family. So, I grew up with a variety of any selection. We always had MTV Jams or 106 & Park on, there was always something musically. Music family. Promise: Yes, like the whole family. We was the family to throw cookouts and block parties. It’s similar to how I move now. I throw block parties at the park or just block parties randomly in Atlanta. Umm, musically, Marley Marl, the source. The inventor of the essence of samplin’. Uhh, Kool Herc, MF Doom, Dilla, Q-Tip, Raphael Saddiq, Stevie Wonder, a lot of folks throughout the years that have given inspiration. I’ve picked up on small aspects of all the legends. And it’s heard through your production for sure. Promise: Thank you, I still like to feel like I’m growing. I started in like ‘08/’07. Dang, that’s a long time. Promise: Yeah, I used to have a desktop and it was like dial-up era. I used to go to this Mexican supermarket and pick up the dollar demo CDs for like 30 days and get another one in 30 days. We got this small ass laptop off this Comcast deal and through that small laptop I downloaded Mixcraft, Audacity and I got to cookin’. I’ve been teaching myself since. You still have some of those tracks? Promise: Oh no, no no no. I remember my first rap song it was called, “One With The Breeze.” Oh also, that last member of SAR is Winky Wright, self alias I go under sometimes. Winky Wright? Promise: Yeah, when I feel like I gotta get the rap bag off, Winky Wright. Oh man, I’mma be looking out now. Promise: I’mma send you a few things. But as far as inspirations skateboarding, Stevie Williams. I mean shoot, black people in general. My inspiration is through my people. It’s the fashion, it’s the comedy, it’s the cool beats. The diversity of us. Promise: My people keep me going and I’d like to add to that for folks in the future. Inspired by all, that’s love. Who would you say are your Hip Hop legends? Promise: There was a DJ way back when named DJ Butterfly. He was like late 60’s/early 70’s. I heard a few tapes of him but that was like untold Hip Hop. Even in the grand scheme of things Hip Hop had a pinpoint but it’s like slang and things… when people catch on then it’s been. As far as the early early DJs he’s one of them. Kool Herc of course. Prodigy, Hip Hop legend. Ice Cube, Hip Hop legend. Run DMC, Hip Hop legends. I feel like Beastie Boys are uncrowned kings when it comes to Hip Hop legends. UGK, legends. Also, another kind of uncrowned, Ludacris. Man, I love Luda. Promise: He had Neptune beats, the craziest, next-level shit bumpin’ thru the window. That’s also really inspiring, he’s also a legend. His run in the city. Yeah, his creativity too. Promise: Yeah, Kool Keith also I feel like is an uncrowned legend. Weird enough he’s like the pioneer of porno rap. He was raunchy but lyrical in his raps but very imaginatory. Kool Keith, I’mma gonna check him out. Promise: Another legend, Missy Elliot. Me and Horus are having a fan made versus between Missy and Busta. See, I said that it should've been a Versuz a long time ago. That’s going to be the best one. Promise: I was telling Horus and he wasn’t believing it. I had to play the records like verse to verse and he was like, “yeah, you right.” Missy is fierce. Promise: Yeah, she, listen, listen - not too many can keep up with her. He didn’t even know she was in a group before all that. You know, I don’t think I knew that either. Promise: Yeah, listen - roots go deep. Who was the group? Promise: Ahh shoot, what was the group's name? I’ll have to Google that. Yeah, you can’t deny her. Promise: Then Dilla, of course. Amp Fiddler, a lot of people don’t know about Ant Fiddler. Blue Scholars, Hip Hop legends. Yeahhh, The Blue Scholars, I’m so surprised you mentioned them. Most people be forgetting about us up in the Pacific North West. Promise: You can’t forget. I feel like I more so listen to a lot of jazz or funk, I tap into a lot more of that for the things I like to sprinkle into my music. Sly The Family Stone, there’s a lot of people. Have you seen the Summer of Soul? Nah, not yet. It’s on my list to watch. Promise: Well, you gotta watch it. I kinda envy that you haven’t seen it yet so that I could watch it again for the first time. I’ll do that. I’mma do that for sure then. What did you enjoy about it? Promise: The untold history of our people. Like, a festival in Harlem, in the 60’s where everybody was either at their genesis or peak of their game - like B.B. King or they had a whole Gospel section. You just gotta watch it, it’s real good. I will, I will then. That’s definitely the type of stuff I like to watch. Promise: You should definitely watch it then. Music documentaries, oh yeah. Promise: What’s your favorite music doc? I’m about to interview you. Man, my favorite one… man, I don’t even remember the name of it but it’s telling the story of back in the 60’s with Janis Joplin, Jimi Hendrix, you know like right before they all passed. It wasn’t telling the story of Woodstock but it was kinda telling their battle with addiction, fame and shit like that. But I also like Tupac, “Resurrection,” that one’s one of my favorites. Promise: That’s a good one, yeah. Have you seen Biggie, “I Got A Story To Tell”? Yeah, I have seen it but I need to rewatch it. Promise: I really like how they did that doc. I’mma rewatch that one too. You’re just giving me a list. There’s this new one about Women In Hip Hop but there’s only been like 1 episode so far but it’s cool because they’re digging deeper. Promise: What’s that on? I believe it’s on HBO or Hulu, let me see. Promise: I definitely want to see that. I got this huge ass book. The book of Hip Hop. What? Where’d you find that? Promise: No cap, it’s probably like 10 pounds. You can probably find it at Barnes & Noble. Do they still have a Barnes & Noble? Yeah, they do, I think. Wait, I’ve found it online. It has a guy with a grill on the front? Promise: No, it’s like a huge ass leather front. It’s real deep, it’s really documented. It goes through like all fields and people, b-boying and… Wait… is it KRSONE’s book? Promise: I believe so. Yeah, yeah, I got that shit. The Gospel of Hip Hop, yeah. That shit is real cool. To be honest, when I started reading that - you know, I’ve always kind of wrote about artists and shit like that and been part of music companies when I lived out in California. I started applying to writing positions at different magazines and Hip Hop sites and shit and they were basically telling me I needed a bigger portfolio. So, that’s why I started CROWNTHEM because I was reading The Gospel of Hip Hop and it just really inspired me and was just like, “fuck it, I gotta get this shit going.” Promise: Right, right, even as a producer - there’s nothing stopping you from being an archivist or being there to play that role from a literary standpoint. Yeah, we need to. Everybody gotta archive because everybody sees the story differently anyways. Promise: Exactly, and everybody can gain something through someone who was there through the experience. Like someone who is there, an archivist, like we need a Hip Hop book. I was reading a Run DMC book the other day. It was written by someone who was off tangent but being there and that close to Russ and being there through the tours. He had stories of Biz Markie and Big Daddy Kane and those are important or just important stories to just be able to tell through the years. That’s lost information, what have we done if it’s not passed on? And now we can see being part of the couple generations after how important it is to archive and keep our history because there’s so much that people don’t have access to anymore. Promise: Exactly, it’s important for us to keep up with. Well, Promise, do you have anything else to add? Promise: The interview has been a pleasure. Awesome, I’m so glad you agreed to this. Promise: I’m glad you hit me up. I’m a fan of CROWNTHEM ENT., heavy fan that’s why I genuinely support, I see what you’re doing. I appreciate that, for real. I really do.