Swaying violin melodies leads us into some vintage mobster movie vibes with the latest track HARD LUCK. Studious NY rapper Ruste Juxx’s steady and vigorous lyricism commands respect with a tenacious stance. Seasoned NY emcee, Grand Surgeon mobilizes a lyrical cadence inspired by the haunting melody, painting a poignant mood, arranged by visionary producer BigBob. JS-1 of the legendary Rock Steady Crew, lends his talents with precise cuts and scratches on the track.
With the anticipation continuing to grow for the release of the "F.I.T" EP, YUNG Citizen teams with fellow Charlotte, North Carolina artists MoonLander and Rob Flo to deliver the lead video from the project titled "OutKast". Citizen, who doubles as an artist and producer, lays down a melodic instrumental consisting of multiple piano chords, horns, flutes and simplistic drums. This lays the ideal foundation for the trio to speak about going against the grain of the industry, not conforming to the cookie cutter imagery that most rappers tend to follow these days and showcasing their incredible song writing abilities.
YUNG Citizen and Rob Flo carry the verses on "OutKast" with Citizen handling the first and third. They do a splendid job of keeping the listeners tuned in with colorful wordplay that meshes new and old school Hip Hop with a splash of pop and R&B. The latter comes courtesy of the highly addictive hook laid down by MoonLander. The audio chemistry is obviously there. However, it's the onscreen relationship these three gentlemen carry on screen that leaves viewers feeling as though they've been making records for their entire lives. Director Austin Chaney does a sensational job of filming this stand out track from YUNG Citizen's forthcoming EP, "F.I.T". Tap the play button and join in on the "OutKast" movement.
True to its afro-beat home, Ugo Obinka’s “Only Trying” cuts right to the chase. Immediately, your body is seized by a pulsating rhythm, upheld by a club-friendly bassline, kicks, and Afro-beat percussions. Even the voice of its singer, Ugo Obinka, dashes into the mix; twirling auto-tuned melodies that mystically blend into the darkness of the track. Yet, beneath the beam of its melodious rush, it is very much an Afro-beat/Afro-pop record. “Only Trying” is prime anthem material, especially for the continent it belongs to. It’s Nigeria-born, East Coast-residing musician brings a classic rawness to the track that is a defined staple in the genre. Ugo Obinka taps into deliveries and flows reminiscent of the era wherein DJs were the sole emcees. He, partnered with his guest feature, Deson Teninchy, flipped “Only Trying” into a nightclub’s dream. A danceable, energy-driven record that can traverse borders and boundaries beyond the East and African coasts. That is what Ugo Obinka provides through “Only Trying”; and the longer you listen, dancing to this fresh release, you will see it too.
Motor Mouth has perfectly placed nostalgia between electronic synths and boom-bap beats. With three minutes and twenty seconds on the clock, this Hawaii-born, former United States Army soldier casts a light on every Hip-Hop legend whose inspired him thus far. That light refracts into “Back In The Day” featuring Marissa Delmonico. The producer, Darren Vegas contributed instrumental brilliance to this record; guiding it in slowly with a progression of atmospheric synths, frosted by Marissa Delmonico’s enchanting adlibs. Motor Mouth enters just as the muddy bass does, rolling along with the loop of Golden Era drums to a story he spits about his Hip-Hop upbringing. From being “on the courts playing ball with the homies blaring Biggie Smalls” to Eminem blowing his mind with every release, our Los Angeles-based artist displays a vivid love for the culture. This love is so pure and gargantuan that only Marissa’s angelic voice can emulate it. She belts a poppy, yet soulful hook for “Back In The Day”; surging with an identical passion to the track’s creator. On this record, Motor Mouth is golden. You may hear a song full of shoutouts and believe paying homage is the reason this Seattle native excels. That is not the case. It is his ability to tell the story of his upbringing , and be himself entirely, that pays this artform the greatest respect. Continue to honor that; and this emcee will be paid back even sooner.
Dripping in radio-ready melody, sprinkled with autotune and a Zone 6 inflection, is “Candy Lady”, the latest single from Atlanta, Georgia’s Leiffy Luciano. Over a sweetly dreamy trap production by Mondo, our DeKalb County resident proffers melodies and metaphors geared towards candy, and every woman who’s flavored just like it. Not a bar is wasted on “Candy Lady”. Leiffy Luciano cleverly ties each one to our favorite, convenient store snacks. He powers through an 808-driven, club-craving chorus with an infectious appreciation for his “Candy Lady”. This two-minute and thirty-second track is as catchy as it is creative. Not only does it feature an addictive bounce, topped by sugary, autotuned highs; but it maintains a fun, unorthodox theme for the duration of its play. If you were a fan of D4L’s king-sized hit, “Laffy Taffy”; then you’ll have a sweettooth for Leiffy Luciano’s “Candy Lady”. One that pressing play is certain to satisfy.
Some people travel so much, they become an amalgamation of every place they visit. They journey to a new region and easily assimilate into that culture, amazingly making it their own. East Coast rapper, Ray Reaves is one of those people. After a recent move to Toronto, Canada (likewise attaining permanent residence), the chameleon artist offers us “The Only One”; a passionate bop that is more Toronto than your favorite Toronto act. At the very least, it comes dangerously close. “The Only One” is teeming with melody. In crooning to a special someone, Ray Reaves bares the dint of his melodious soul. Certainly, the track upholds a Hip-Hop bounce: colorful synths backed by pattering trap drums. A verse from the emcee even channels his East Coast heritage: raw with lyrical aggression. However, the atmosphere on “The Only One” is insanely alt-R&B. The same alt-R&B forwarded by the stars of OVO Sound. With this record, Ray Reaves adds his own flavor to the sound of his newfound home. What comes of that is an astounding, radio-hungry banger. Give “The Only One” a play, and you too will be counting down the days until Ray Reaves is Canada’s next heralded star.
On your first listen to “Breathe (Ghetto Lullaby)”, by Apollon The Don, you may mistake the lyricist to be a fresh, Californian upstart. The whistling synth playing the back of his production harkens to G-Funk; whilst his paced, yet deliberate flow is reminiscent of the same LA legends that pioneered that style. It will come as a shock to learn that this gifted emcee is actually a native of Atlanta; however, that piece of information makes “Breathe” all the more jaw-dropping. For, it exists so greatly outside of the trap trend that currently grips his environment. From a young rapper emerging from Clayton County (Zone 3), the lyrical depth of his verses and Southern, soulful inflection of his bridges and hooks are a breath of fresh air. Apollon The Don proves on “Breathe” that he is a descendant of the greats who architected this art-form in the Golden Era. He commits his pen to storytelling; narrating the various plights of growing up in the impoverished ghettos of our country. “Breathe (Ghetto Lullaby)” is a record, that merges West Coast production, with deep, conscious lyricism and a soul-stirring, Southern harmony. If you have been searching for a fresh beacon of Hip-Hop hope to shine out of Atlanta, Apollon The Don is the answer. And he is a radiant one, at that.
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