Showing posts with label undergroundhiphop. Show all posts
Showing posts with label undergroundhiphop. Show all posts


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


“The Obi Files: Volume II”



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As it seems, the warmer it gets outside, the hotter SmokeTheGreat’s bravado burns. So much so, that months ahead of the summertime, he has already released the most confident, stunt-worthy track of the sunny season, “BITCHMETOO”. Featuring guests E.WILLS, and NETWERC, “BITCHMETOO” is about as braggadocious as a Midwest banger can get. Seeing as most of the music in this region is largely focused on the extreme violence plaguing Middle America’s streets, this Flint, Michigan release is actually a handsome deviation. As each of these Goat Money Music rappers lyrically clown certain women’s boyfriends, while simultaneously flaunting their riches, influence, and boss statuses, they bring the Midwest mindset back to where it should be: on chasing a bag. Boisterous anthems like “BITCHMETOO”, through their radiating haughtiness, are precisely what light fires of ambition and the hunger for similar success within us. For, no one wants to be the one “talking like he’s got it, knowing he don’t” as perfectly mentioned in the second verse. Speaking of verses, each spitter on this thunderous, trap hit uniquely gives their all. As radically as their deliveries may differ, no one in Goat Money slacks with their pen. Their booming bars and FliCity flows will be the exact reason that, before summer has even arrived, “BITCHMETOO” is heating up your attitude and aux.



“Bitchmetoo” on Spotify
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After having released their first installment in the “Koinda” series a little over a month ago, the powergroup Koindanomics has returned with “Koinda Vol. 2”. Contrary to their last effort, “Koinda Vol. 2” proffers a total of fifteen tracks with a revised cast of stars. Verily, this project sees the recurrence of the first’s phenomenal artists, such as P5YCHONOMIXXX, BLAKFIST, CG Que, and Brian Nightingale; however, it likewise bolsters new, illuminating talent. JSoul delivers a soulful, boom-bap chop for the album’s intro; Marrani is moving with a Afro-beat tirade, “Olisa”; Esco and Ace Burns light up the party with a terrific, trap banger, “Someone Do It For Me”; and BYNO delivers a cinematic, R&B jam through “Once Bitten Twice Shy”. The album is an amalgam; yet, soul is as present as ever before. “Koinda Vol. 2.” is abundant with well-crafted, mesmerizing music. With so many distinct, emotive flavors pulled in from the world around, it paves an identical path of success to its predecessor: uniting everyone through the objective of economic empowerment. That is the goal of Koindanomics; and with a project as appealing as this, their message is rings even louder across the globe.




“Koinda Vol. 2” 


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An alluring melody, matched with rattling hihats, are the first sounds you’ll hear on “Upset Stomach”. That is before Brasko attacks the modern-trap beat with a torrent of bars. The moment this Nebraskan upstart opens his mouth, the speaker-shaking banger can not be stopped. It’s evident that Brasko has been rapping since his youth. The lyrics and flow you will hear on this two minute and forty-three second foray are the markings of a rapper whose found his path. “Upset Stomach” is exclusively for the flexers of the world. It radiates with charisma and confidence; sustained by Brasko’s unwavering presence on the mic. One of Brasko’s greatest motivations is his brother, who passed in 2012. He certainly does him proud with “Upset Stomach”; for, it is an anthem that’ll see the Omaha talent rise to the top.




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“Upset Stomach” 











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“Sugar water, no koolaid in sight...” For any one well acquainted with living in urban, American poverty, these bars will shake a part of your soul. Although their rapper, LOF BOSSGHETTO, delivers them in s suave, autotuned blur, they pack a poignant punch. Such is the trend for many bars in the New York spitter’s recent release, “94”: an open-hearted, modern-trap hit produced by DJ FLII. The record is precursed by a sorcerous surge of ambiance and keys, which are eventually satisfied by the boom of a pristine 808. A snare backed by hi-hats and a sparkling triangle complete the beat; and once so, LOF BOSSGHETTO is free to glide. He wastes no time on “94”, hitting the mic with an undying fire the moment he hops on. Rhymes regarding his trauma and suffering, deaths of his mother and friends, and the crushing drug addiction of his father are plenty on the Tacoma-based artist’s new track. Despite how calm he is, you can feel the pain in LOF BOSSGHETTO’s voice, and it is inexorably moving. It wrenches you deeper into his story; until you, yourself, feel hurtfully apart of it. You have never felt agony like you will on “94”; and you will never hear another artist put pain together so pleasantly unless the talented LOF BOSSGHETTO is involved.



“94” on Soundcloud 
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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.






“Just Jig” on Soundcloud


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The beginning of RK DMOB’s colossal single, “B!+CH”, is mellow and slow. Yet, the moment his voice collides with the mic, everything explodes. A North Carolinian whirlwind rips through the booth, leaving nothing but a trunk-rattling banger in its wake. “Diamonds on my neck, bitch! I run up a check, bitch!” RK DMOB is scorching the very moment the first 808 drops; rocking the chilled, rhodes chord progression with a flurry of modern-trap drums. A Houston twang, which has crept into the rapper’s delivery through eight years of living in the Lonestar State, wobbles at the end of each and every bar. The fusion of these two influences (North Carolina and Texas), into “B!+CH” make for the perfect Southern, club-ready hit. Whether he’s banging out of your aux, or blasting from the speakers of your local venue; one thing’s for certain: RK DMOB will be climbing the charts.


“B!+CH”
[Download /// Stream]



  
Houston rapper, TheFNKing’s, latest single, “Walk Away”, is as angelic as it is nefarious. Contrasting the abysmal, villainous Jordan Vandy-production that upholds it, is the seraphic singing of Holly Simmons on the chorus; bestowing a powerful duplexity onto an already vigorous record. Darkly, keys sparkle in the background of the beat, furthered by the lunge of piano chords and moving trap percussion. Like a light at the end of the tunnel, Holly Simmons splits this darkness with a resplendent belt, igniting a catchy, soul-stirring hook with every breath. That light only glows brighter with the blast of King’s awe-striking first verse. In this verse, and the one after it, King delivers that classic, Texan passion no ear can resist. The microphone is utterly crushed under the weight of his spirit, as he volleys bar after bar in a pure fire of conviction. Truly, “Walk Away” is for the fierce and determined. It is a roar of perseverance; and when matched with others, on TheFNKing’s “Long Live King” mixtape, the world is destined to hear. 


“Long Live King” on MyMixtapez 


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New Hampshire is closer to crowning a new star than you may think. As the CEO of Rycore Records, Pockets the Mastermind, dropped his latest “Bad Year” project, he simultaneously proves that there is talent in the East Coast outside of New York. Likewise, that the Manchester-state is on the rise. “Bad Year” is an eight-track opus highlighting the trials and tribulations of Pockets’s 2017. Over a fitting blend of radical, boom-bap to trunk-thumping, energetic trap, Pockets unhinges a monster of lyricism and flow. Not only does he demonstrate the ability to create an enthralling album; but that the songs within it can be just as infectious. “Bad Year” is the ideal album for a riotous, mosh-worthy performance. Let Rycore do its thing, and 2019 will be the exact opposite of his title.


“Bad Year”






After his phenomenal showing in 2018 with the 16 track “THC-4” project, many would have thought there was no higher a zenith for Wisconsin emcee, Obi Khan, to ascend. Not only did he display a marvelous ear for boom-bap, Hip-Hop beats; but he likewise proved that he could lyrically ravage them for an hour long. Now, he has returned with another LP, “Guerillaz”; and for those of us who thought he could get no better, he impressively proves us wrong. Upping the ante with 8 tracks more than “THC-4” offered, Obi Khan reintroducing every aspect that made the previous project impeccable. Close collaborators, Jabba Tha Kut and Merc The Big Body Benz, frequent the record, as they did the last, with outstanding guest verses. Thanos Beats, a prominent architect of “THC-4” diabolical, old-school sound, restores that aesthetic with a plethora of instrumental offerings to “Guerillaz”. Yet, what rockets this album echelons above its predecessor is Obi Khan’s own vision, education, and execution of the art. You can tell the Madison rapper has delve even deeper into the craft and art of a Hip-Hop album, since his last release. A few skits and instrumental breaks in between jaw-dropping, Golden Era-styled records gives “Guerillaz” a sense of pace and proficiency. It removes the 24-track work from being another, standard Hip-Hop album, and truly gives it a life of its own. This amplifies the power of his dark lyricism, guttural delivery, and grimey, puristic beat selection we champion him for. Every second of “Guerillaz” is electrifying. When added to Obi Khan’s discography thus far, the glint of his crown as an heir to the underground, Hip-Hop throne becomes crazily undeniable.

“Guerillaz”
[Download / Stream]
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Ghostly. No better a word can describe the melancholic beginning of 4cah’s new record, “Lost”. Upon realizing the inspiration for this song; the reality of that word’s significance towards this track makes it ten-times more faultless. From the slow tap of the rimshot, to the heartbreaking crawl of grand pianos underneath a bone-chilling, soprano chorus; everything is devoted to honoring 4cah’s cousin, Eric, who recently passed away. Certainly, his spirit is coursing through the instrumentation of “Lost”; and when our DMV emcee arrives on the track, that same spirit dynamically possesses him. The rapper begins to detail exactly how recent losses have traumatized him, alongside telling personal stories of his cousin’s afflictions. Every bar comes infused with a passion and emotion that only shared experiences from us, his listeners, can truly unpack. If ever you have been struck by the death of a loved one, “Lost” will wrench those sentiments to the surface. Tears will pool your eyes, flowing as freely as the melody, rap, sung vocals on the record; and you will be irresistibly enthralled by its visceral power. Previous releases showed us that this Maryland rapper is talented; however, “Lost”, is an evolution for 4cah. It puts him on a very small list of artists who can paint perfect pictures of pains we face, day in and day out. That makes 4cah a treasure in the current landscape of Hip-Hop. One that Eric would be inexplicably proud of.
“Lost (Tribute)” on Soundcloud


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“We be the goons!” In an unquenchable burst of zeal and hunger, H6Z100 (Hbeezyonehundred) is letting us have it with “100”, his latest, hard-hitting release. It is a three-minute and twenty-two second tirade proffered through his Soundcloud, equipped with everything you would expect of a Michigan anthem. The vigorous prance of 808 kicks rumbling beneath a malicious, piano melody and scattering trap percussion, creates a bounce reminiscent of the Detroit sound. Yet, our Ypsilanti native makes it uniquely his own. Through his lively delivery, street-hardened lyricism, and melodious, auto-tuned hook, H6Z100 fully invites us into his existence. Warring between a life on the block, and a love for God, this Midwest emcee has his back against the wall. Yet, as “100” proves, when the heat is on, H6Z100 becomes a force to be reckoned with. He will hit the booth and lash out with a bombing banger. All of his turmoil is destined to pay off; for, “100” is just the song H6Z100 needs to explode.


“100” on Spotify
https://open.spotify.com/track/44ohRQu9bybAhQSCpfSu19
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Time is money; and when it comes down to it, the international, economic organization, Koindamonics’, 45-minute group LP, “Koinda Vol. 1” is worth more than you can imagine. Especially when their goal is to bring financial education to communities that need it the most. That makes “Koinda Vol. 1” priceless. Yet, if there had to be a value affixed to the music of this massive mixtape, it would be nothing less than pure gold. Composed by Angi Maxx, BLAKFIST, Brian Nightengale, Brooklyn Lou, CG, P5yckOnOmixXx, and Saturn; “Koinda Vol. 1” is rich in realness and originality. With songs ranging from Neo-Soul, Golden Era Hip-Hop, Abstract Hip-Hop, R&B, Worldly, and Trap, this album truly has something for everybody. It tethers all people and communities through a lovely batch of diverse, yet outstanding sounds; and that alone brings the collective closer to their altruistic goal. Koindanomics proves that music is still the most powerful medium for spreading a message; and upon playing their project, “Koinda Vol. 1”, you’ll hear there’s loud and clear.




“Koinda Vol.1”


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Add some flare to your week with this new, resounding trap smash, “Challenger”. Coming courtesy of rapper, Daniel Jackson, “Challenger” is two minutes and ten seconds of apocalyptic, modern-trap production, coupled with a fiery flow to ride it. Here, Daniel Jackson flexes an astounding affinity for song-writing; penning, and delivering a record that is nothing short of an anthem. Each bar lands perfectly along the gallop of booming 808s; highlighting Daniel’s well-timed flow and admirable vocal control. As an added bonus to this heavyweight banger, the emcee likewise gives us a visual. In perfect parallel to the ominous sonics of the record is a paradisal music video; featuring Daniel rapping in the center of the shot, from the hood of a glimmering white vehicle. He is as poised as his delivery and flow; solidifying in two minutes alone that there can be no “Challenger” to his imminent rap rise.


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