It is utterly insane how electric Jetcity Records can make a twenty-two track project sound. With their long-awaited debut, “Welcome To Jet City”, this high-flying Hip-Hop collective takes compilation albums to new, modern-trap heights.
Peep the sweet video interview with JetCity Records:
Almost every track on “Welcome To Jet City” is a profound posse cut. Loco 2k, Nucky JMC, Rup Monsta, Skyler, Big Ox, Aye Michelle, and Ag Souljah are the prominent pyromaniacs of the album; blazing through hooks and verses with lyricism and inflections that keep the energy at an all time high. What is likewise captivating about “Welcome To Jet City” is that it is not a constant stream of original content. Rocking the ride, every now and then, is the turbulence of mainstream remixes. “Thotiana” by Blueface; “Lil Bebe” by Danileigh; “Middle Child” by J Cole; “Going Bad” by Meek Mill and Drake; each one of these records are terrifically remixed by the talents on this album, steering it into clouds of spontaneous exhilaration. Certainly, “Welcome To Jet City” may intimidate you with the length of its tracklist. However, once play is pressed, and the debut opus truly takes off, you will not regret a single song. With such an invigorating list of bangers, this soaring collective simply cannot be shot down.
There is always a diamond in the ruff. For Burnsville, Minnesota, the multifaceted collective, On Our Own, is precisely that jewel; and summer 2019 may be their defining, shining moment. At least as far as one of their member’s, OOOAndre, latest release can measure; for, “Switch Up” is a modern-trap gem worthy of an imminent crowning. Although the Midwestern crew are well-versed in both R&B and Hip-Hop, “Switch Up” leans ostensibly on their thunderous, trap potential. It is a quintessential banger of today’s sound; fueled by pummeling 808s, invigorating rhythm, and OOOAndre’s unique, yet befitting flow. Obviously, he is the man OOO can go to for a irresistible hit. The way this Gopher State talent maneuvers through the beat simply exudes effortlessness; making “Switch Up” likely a natural phenomenon for ‘Dre. If that is the case, there are tons of records just as potent as this club-ready anthem, hidden within the On Our Own archives, just waiting to be dropped. The moment they are, following the promised success of “Switch Up”, the diamond will no longer be in the ruff. It will be crowning princes as they become kings of the new-age, Hip-Hop scene.
One thing that will always go absolutely respected over here is versatility. The ability, as an artist, to prove that your talent extends beyond just one form of artistry; and how variously you can connect with the audience of the world. After dropping his modern-trap dedication to his younger brother, “25”, Brandon Mitchell is spinning back around with “Dope”; and its sonic difference from the aforementioned banger proves exactly that: he has much more to offer the globe. Featuring Rockomal and Sasha Mari, “Dope” is a more intensely, melody-powered track; bolting a luscious, slow-jam groove that totally rivals the last. It exhibits Brandon Mitchell in a completely different atmosphere; spitting over a colorful chord progression, ghostly background vocals, and bouncing trap drums. The music video that chaperones this drop is just as vibrant; depicting the Kansas emcee, as well as who appears to be Rockomal, rocking to the feel-good smash in the middle of a desert. If not a metaphor for this summery single, it certainly could be. The song is as hot as the earth they are walking on. Between Brandon Mitchell’s rhymes, Rockomal’s and Sasha Mari’s unique, sing-song offerings, and the torrid production that backs them, “Dope” is definitely poised to rule our May, June, and July. And this lyricist, with his immaculate versatility, poised to climb the charts.
Already pulling in a thousand views on Youtube, JADDA’s “03” is a New York banger awaiting. Albeit, it pulls from the trap sonics of the South, and drill-inspired sensibilities of the UK, it still carries that legendary, lyrical essence of the East Coast. The BKAY-produced record spotlights JADDA as an upcoming magnet for modern, Brooklyn rap. Through the pinging triangles, hellish melodies, and indomitable drums, the Empire State rapper unquestionably shows off. He batters the beat with no consideration for the heat he discharges, resulting in a fiery anthem that every burrow will ultimately embrace. For, “03” is that igniting. Alongside 22Gz, Casanova 2x, Young M.A., and other contemporary reflectors of Brooklyn rap, JADDA is yet another example of New York Hip-Hop’s evolution. Only his is positioned to create a tidal wave about the East Coast, and wash an energy onto the city that has never been felt before.
Evil keys, an explosive trap beat, and endless, Georgian flow are all kevystaysnappin needs to serve us a dynamic anthem. For, that is what “Gucci” packs; and by all accounts, it is anthemic. Tailored perfectly for the entire culture of Southern Hip-Hop, “Gucci” is a sharpshooter of a single. Although hectic, with its pulsating 808s and pounding trap snares, kevy’s performance gives the record magnitude and direction. You will easily be magnetized by his almost never-ending bars; which sway through an ATLien inflection, and various, lyrical references to other Southern hotspots. There are even a few moments wherein his adlibs are pitched through a muddy, Texan, chopped-n-skrewed filter; only increasing his homage to the South. Such is why “Gucci” is a track that every state below the Mason-Dixon can embrace. Don’t be surprised if you hear this record banging from the trunk of the car beside you; or lighting up the southerly house party you just walked in. kevystaysnappin definitely has a hit.
“I can’t flex, Yeah I went and spent 100 on a whip!” What starts as a shiny haze of autotuned adlibs quickly becomes a single worth the charts. All due to a Columbus, Georgia rapper’s incredible command of both melody and bars. With “100 On A Whip”, Rico Tracks’s latest, bubbly offering, the Southern artist shows just how ready he is for mainstream success. Across foaming, bright synths, sparkling tines, and speaker-shaking trap percussions, Rico Tracks sing-song raps through a catchy chorus; undoubtedly prepared to seize your local nightclub. However, when that infectious hook is over, the Georgian up-and-comer proves he has even more to offer with two, hardbody verses. In powering through a poised flow and street-hardened delivery, Rico Tracks also ensures that “100 On A Whip” will be played on every block in Columbus. In this current, Hip-Hop climate, Rico Tracks’s latest smash is a model modern-trap release. It can easily be embraced by the industry, as well as the streets; and that versatility always leads to the hits we sing.
Philly Blocks is as slick as can be on his fresh, Kentucky anthem, “Days Of Our Lives”. Packed with an accompanying music video, which features the rapper fancying a typical, Louisville night, this new-age trap smash is beyond impressive. The Bluegrass State emcee brings his best wordplay, delivery and metaphors to this nearly three-minute opus. Stark 808s boom across a malevolent melody, with scattering hihats and trap drums, as Philly Blocks raps about his upbringing in those Southern streets. What juts out about “Days Of Our Lives” is how lyrical the record is, and how vivid its visual grows to be. Both elements of this hardbody effort get better and better as the runtime lunges on. Between scenes of the talented spitter frequenting corner stores, blocks, and his fellow Team 563 members, Philly Blocks delivers a lyrical performance synonymous to the greats of the Golden Era. He is precise with every bar he lays in the booth; and that precision not only enhances “Days Of Our Lives”, but likewise makes the Kentucky rapper a treasure in the current era of Hip-Hop.
If you were unaware of the city of Opelousas’s existence before, P.A.T. will be damned if you are not enlightened by the end of this record. He, alongside iconic emcee, KXNG Crooked, land on “Soul 4 Real” with the intention of leaving a mark. One that puts this phenomenal lyricist, as well as his Louisiana city, undoubtedly on the map. At least, that is the impression you’ll receive listening to P.A.T. rip through verses on the new-age boom-bap track. He is lyrically relentless on “Soul 4 Real”; spitting bars that hold both introspective and conscious weight. KXNG Crooked takes this angle a step further with his own 16, ridiculing emcees who spend more time rapping about their riches than speaking a heartfelt, beneficial message to their fans. When placed over such a futuristic, electronic melody, pulsating 808s, and dusty Golden Era drums, these verses purely convey that Hip-Hop has indeed been resurrected; and it is taking an evolved, sonic form. “Soul 4 Real” is that illuminating. It shows how easily conscious rap and new-age Hip-Hop can fuse to create an anthemic hit any lover of the culture can stand behind. All thanks to the artistic capacity of P.A.T. With little over three minutes, he proves that he is one of Louisiana’s most gilded upcomers; and Opelousas is clearly a goldmine.
A viral, dance trend is the only thing standing between Brandnew Swayy and mainstream stardom. When he drops the music video and challenge to his latest record, “Just Jig”, he’ll shatter the glass ceiling and immediately rocket into fame. He already has the artistic talent. “Just Jig”, by its lonesome, is a contagious, trap banger, outfitted with a spirited delivery, dazzling flow, and party-starting rhythm. From the groove, to the structure of the record itself, “Just Jig” is impeccably written. Everything that makes a catchy, modern-trap smash can be found between the prance of colorful, milky pianos; bouncing 808s; and compelling percussion. Likewise, the performance of Brandnew Swayy himself is unignorable. The life he brings to this beat is actually what takes it over the top; solidifying the Palm Beach County, FL talent as a hitmaker indeed. We cannot wait for someone to “Just Jig” to this dance-ready record. Brandnew Swayy will dominate 2019.
Grief comes in many shapes and forms. For Ohio rapper, NotaSlave, it rears its head bearing a fiery track that’ll scathe your January. Straight from Victery Records, is the burning-hot banger, “Fire Within”. Over its vocal-sample melody, dark progression, and astonishing trap percussion, our Dayton emcee releases a torrent of blazing bars. All centering around the abortion of his unborn son. His agony has conglomerated into this sweltering, hellish record; with which he targets the culprit of that misery: his ex-girlfriend. NotaSlave’s lyricism goes about describing events between them excellently; painting the perfect portrait of his pain. Matched with the raw, combativeness of the instrumental, the impact of these Midwest bars becomes undeniable. You will be absorbed into NotaSlave’s trial and tribulation; and by the end of this outrageous smash, you too will feel the “Fire Within”. A special thanks to Bryant Corbitt for spinning “Fire Within” on Kiss FM!!!
Silky, soulful and smooth. Those three words will be the first and only rebounding through your mind, once play is clicked on Christiano Can’s “F.A.N.S” extended-play. As the rapper’s debut project, “F.A.N.S” seeks to make a grandiose introduction; and it delivers that statement in more eclectic ways than one. First and foremost, the soulful, sophisticated textures of this music make it a awe-striking, pleasant listen from the jump. Golden horns, colorful chords, and a luscious female vocal form a dreamscape out of the intro-track “D.A.F.H.A.H”. Style changes as the tape progresses; with a variety of sounds, rhythms and grooves, erupting from the depths of the mix. Raw, quirky Hip-Hop is at the root of “Oddly Awkward” (Neo-Soul gushing throughout its remix), and pure, undulating Funk bubbling about the final track, “I’m Only Crazy”. Alongside this evidence of Christiano Can’s uniqueness as an artist, there is the overwhelming proof of his competence as a rapper. As the EP surges on, Christiano draws from myriad flows. On the track, “Oddly Awkward”, something Eminem-esque is transpiring; with our genre-rapper having the lyrics to do it justice, as well. He is nonchalant on the remix, smooth on the intro-track, and energetic on the out. As sporadic as “F.A.N.S” is as a body of work, it is immensely impressive and certainly satisfying. All over it is the mark of true musical artistry; and we can do nothing but look forward to Christiano Can’s drops on the 5th of every month this year. Fingers crossed, they’ll be as jaw-dropping as this.
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