Brilliant emcee Lee Ricks posits a classic tale of dichotomy while leading the listener through a lyrical journey in a truthful pursuit of life with the newest track, "Worlds Apart".
Lee never ceases to amaze with his eager lyrical delivery which is balanced by shifting flows, intelligent, constructed bars and his ability to vocalize his deep expressions. These abilities transport the listener to his space. Melodic and dark, the music production by visionary producer BigBob further concentrates the mood, with Ricks singing a catchy hook. The latest track is from the forthcoming collaborative EP, "Beats For Breakfast".
Listen to "Worlds Apart" on Audiomack and stay tuned for the EP to arrive.
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.
While Cardi B and Nicki Minaj are embroiled in beef, another femcee is darting straight for the crown. She is North Carolina’s own, Tangelica Dominae; and in 2019, she’ll be making “Boss Moves” to become the new Queen of Rap. “Boss Moves” is a stark booming anthem. Her fearless intention to rupture the rap game translates perfectly through the sinister bounce of its backing progression. Hellish, is the orchestral hit that layers these melodies; giving way to Tangelica’s tenacious bars and an impeding 808’s pound. The moment that 808 impacts, our Raleigh rapper is launched into a tirade of lyrics and flow. Through this earth-shattering, speaker-rattling banger, Tangelica is empowering to her fellow, independent ladies. She embodies a boldness and bravado in the booth, that every woman listening can applaud. Letting every one of them know they can make the same “Boss Moves” she is. For, if our Southern powerhouse continues making anthems like this, it won’t be long before Cardi and Nicki are ghosts of the past.
To turn up your next party, with a through-the-roof banger, Chang$ has dropped “Do You Believe Me Now”. It is the ATLien’s debut single, aimed to rocket him into an energetic 2019. “Do You Believe Me Now” commences with a melodic jumble of ad-libs, buoyed atop bubbling synths and ominous atmospherics. The pound of a distorted 808 pushes his vocals into the mix; and when the beat is paired with his rhythmic flow, a contagious bounce ensues. Obviously, Chang$ is well-versed in the art of making a hit; seeing as “Do You Believe Me Now” sports all the elements of a promising trap smash. Its bodacious beat, infectious flow, and exciting chorus makes the Decatur, Georgia record a promising New Year slam. It is swift and satisfying; perfect for your local house party or nightclub mix. How Chang$ will follow up this climatic debut? We must wait, with bated breath, to know.
“Who am I s’posed to trust?! It’s like they’re all out to get me...” will be ringing through your head by the end of Lilman’s latest release. The Bay Area-born, Pittsburg, CA-based rapper is indomitable on this new banger; burning holes through the track with an incendiary series of bars. Melodies, embellished by sparkling guitars and reverberated pianos, are scorched to a crisp the moment Lilman aims for the beat. He blazes through lyrics regarding the turbulence of his addictions, personal life, and street life; as well as the damage all three have done to his reliance. Under this heat, even the galloping trap drums have melted into his delivery. All in all, “Who Im Supposed To Trust” is an exciting, new smash from the Money Star Mob talent. By the end of his chorus, Lilman chants “Oh, you think that gun really makes you tough?!”; erupting with a pure, fiery energy that welds a hot trap anthem right beneath his belt.
"Dream at Night" is Bianca Clarke's latest single release and is one of the singer/songwriter's most personal records to date. After the passing of her beloved grandmother, Callie Eldridge Lambert, Bianca dedicated the song and video to her by featuring footage from the funeral and performing the entire video on location at her grandmother's home. Director Alex Young brings the Yung Blokk constructed record to life and finds Clarke unloading her feelings via rooftop with exquisite drone footage of the city lights blended in. Celebrate the new year with Bianca Clarke and her latest below.
Bianca Clarke was born in Mobile, Alabama on May 31st, 1992. At a very young age, her grandparents had her highly active at church. Bianca first started out singing while in attendance. This experience is what would lead her into honors chorus while attending Leflore Magnet High School and ultimately lead Clarke to songwriting. Aside from her grandparents, Clarke's aunt happened to be the lead editor at the local paper. When the time came, she would help Bianca sharpen her reading and writing skills. Then in the summer of 2010, Bianca packed up and made the leap of faith in her career to relocate to one of urban music's hottest areas, Atlanta, to attend the Art Institute of Atlanta for a degree in Audio Production.
While attending, she made the decision to pursue music full time. Bianca began grinding the open mic and showcases circuits in hot pursuit to build a buzz and name for herself. Shortly after, she returned to Mobile in high spirits and began showcasing the incredible talents she had garnered while in Georgia. Soon after, she caught the attention of Splash Life Booking and the partnership began growing from that point forward. This opened the door for Clarke to become tour support for artists such as Trina, Chanel West Coast, Young Dolph and Gucci Mane. With the newfound success, a production deal with Spalsh Committee was birthed.
In addition to these accolades, Bianca has received 14 miscellaneous awards from shows in Alabama, Florida and Georgia.
Along with her latest release, "Dream at Night", the entertainer is hard at work fine tuning her debut project titled "Holy Trinity". Stay tuned to her website and social media profiles for updates, pictures and much more.
G Pea’s phenomenal, new opus “Glass House”, is opened with a poignant spoken word. Shrouded by a miscellaneous cacophony of noises, the rapper ushers us into the concept of his project. In a solemn, yet creative code, he speaks on the state of living in 21st century society; drawing countless parallels to “living in a glass house”. As moving as his soliloquy is, this ten-track album was seething for a sonic entrance to the glass abode; and G Pea provides one with the thunderous “Doors”. It is a magnetic trap banger, riddled with insightful jewels from G Pea’s own experiences and perspectives. Likewise, it cements the bases for much of the project’s sound. Tracks such as “WIFI”, the impactful single “Fishin”, “Progress”, and “Where You Going?” each adhere to this harmonious rubric; thumping club-ready beats coupled with inspiring, conscious bars.
Two personal favorites have to be the victorious, poetically-written 8th track “Foundation”; and the soulful, auto-tuned ballad of the 9th track “Devote”. Both show the splayed range of G Pea’s artistry, and add gorgeous architectural dimensions to the “Glass House” aforementioned. Truly, the masterpiece is a concept album, through and through; where the intellect of G Pea’s lyricism aims to refurnish the “Glass House” we’ve all been living in. By the end of the album, we discover that G Pea does not find this residence problematic what-so ever. The problem lies within the fact that, in the 21st century, we are all throwing stones. He hopes, with a listen to this incredible album that he can begin to remove those rocks from the palms of our hands.
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