NVRTOOLATE #002 // NOT THAT NORMAL PT. 1 - Kasai

Break ups are hard and the process of getting over it is even harder. Luckily, under 13 mins, West-London born artist Kasai provides the soundtrack for someone who’s finally found peace with a break up. On her debut EP ‘NOT THAT NORMAL, PT.1,’ we go through the emotions with Kasai as she assess her past relationship, while also coming to terms with personal grace. Enriched by the eclectic string arrangements, the trap-soulish production is preen but woeful with intent. Every track title feels like a heading for a journal entry. In my opinion, “Drunk Diary, weed & Liquor” embodies The Weeknd’s Trilogy all wrapped in one track.

NVRTOOLATE #001 // Transit - AJRadio

Upcoming Brooklyn artist , AJRadico, dropped his debut project Transit back in February.  With all songs produced and written by AJRadico, he precisely takes us on a futuristic adventure, with the NYC subway lines leading us to the oyster. AJRadico stays true to melodic lines and heavy 808’s to carry his message of proving his disbelievers wrong. 

On “Ballhog” , he holds no punches towards the doubters. AJ is fully aware of his place in the world and the challenges he’ll have to endure during his journey. 

The nonchalantness of “that’s on me” being repeated on “Centre,” proves that AJRadico understands nothing is perfect and sometimes you have to roll with the punches. 

With brazen, AJRadio shows no fear in entering various genre’s and allows his vocal bending abilities to guide his creativity with no barriers. 

“Why they hate? (I don't know) And they chat?

I'm in ya downloads, I'm in ya apps

On my downfall they wanna hatch

Tweet, tweet, but they never left the nest “

Dedisart Is Having An Episode: Interview

MDM! by Pennsylvania’s Dedisart feels like an abstract art piece covered in vehemence and foresight. Throughout the project, Dedisart goes through various stages of emotions that project his thoughts about himself and those around him. Every song feels like a monologue packed with dense metaphors and similes. He carefully dissects his own thoughts but makes it difficult for listeners to do the same off of an initial listening. The poeticness of his delivery feels like bright colors splattered against a black wall. The balance between lightweight horn riffs and emotive drum patterns in production strikes your curiosity and frames the open space for Dedisart to vent. 

“Runnin like a rugrat”

The concept of success does not correlate with happiness. On “z/dunce,” Dedisart raps about societies rat race to obtaining success. Dediart cares more about protecting his dynamism rather than falling victim to the narrow propagated messages the media portrays. At the end of the song, he repeats “take care of your son,” which felt like a double entendre. Obviously, he’s saying take care of your offspring but at the same time protecting your energy is just as important. 

“Energy does not last and you could either find a way to build it or kill it “ - Dedisart

In “On The Loose,” Dedisart goes through the trials of cutting things out of his life that no longer provide fulfilling energy. Whether it’s vices or people, he decides to detach himself by reciting “good riddance.” Underneath the complex lyrics and dark production undertones, there’s self discovery and realization that shapes the framework of the project. Dedisart makes it clear that he is aware of what’s going on around him and uses the reflection of others to assist with the reflection he wants to see within himself. 

I had the opportunity to chop it up with Dedisart about music, film and the appreciation of patience.

Our conversation, lightly edited for content and clarity, follows below.

I was scrolling on twitter and came across your ambiguous promo video, (chuckle) but it definitely made me curious to hear more.

Man, the reception of that video was so welcoming but a surprise at the same time. My guy Apollo put that whole thing together for me. Whenever I’m working on a song, I see a movie scene simultaneously, the video helps follow suit of the bigger sound. 

What inspired the sound of the tape?

 For me, music is a course, but it's also like episodes, everything is a piece. I took my time choosing beats because I wanted every track to feel like its own manic moment. 

The project birthed itself. I was recording a lot during quarantine and would polish a few records that stuck out. Once I had a couple of records and knowing what headspace I was in, life wise, I knew what direction to go in… Which happened to be manic. Me and the homies would link, play a few beats and I would continue to piece things around the records I had. I tried not to force anything and went with what felt right sonically.

Why the title MDM and what does it stand for?

So MDM stands for a manic depressive moment. At first, it started as a song title. I was working on music with one of the homies and that was the title of the verse. Once I started working on the project, I felt the title was the sound I was going for, while at the same time describing what I was battling personally. There’s no better way to put your feelings on wax. 

I feel there was a balance between bright and dark in production, was that intentional? 

It was me playing it by ear and doing what I like to listen to. I knew I did not want to go in one direction and keep it versatile but, in the same way, keep it cohesive. A lot of the production was me and the homies chopping things up and putting it together. Like “Ultimate Warrior,” I knew that was going to be the intro because of the dark undertone. The goal was to keep that light and dark contrast for the world I was creating.

“Feeling like a slave, bitch I’m Boxed in” 

That line refers to being in my bedroom feeling that emotion literally, but in the same realm, describing people who are on the internet, everyone feels boxed in. We’re all in this rat race and we’re all trying to achieve some shit in life or some accolade. 

In “On The Loose,” you’re going back and forth between women and vices you had to cut loose, how has cutting certain things shaped you as a person and artist? 

It's been one of the hardest things, I grew up very open hearted. I'm a pretty cool person and I like to give a lot of love out because whatever you give out, you’ll  get back at the end of the day. People can be villains sometimes and smile in your face, niggas try to get money with you, or women try to lay with you. Whatever it is , I had problems learning how to be cold on certain shit, not getting wrapped up in shit my heart is truly not into. 

“Standing in arraignment, like we didn’t see the summerslam 3D visions, I’m bubba we bombing that, now they dream about me they cardiac be arrested.”  It was just some fly shit to say standing in matrimony but people could be behind your back, really fuckin you. 

How has Pennsylvania shaped you as an artist?

I feel my community has taught me patience. 

How so?

There’s a few people in my town that I’ve learned from due to the way they’ve moved and It made me question how potential can be wasted. Patience gave me confidence on how to play my cards right in both society and music. Also, writing more and understanding the value of a catalog goes further than one great record.

You can tell you took you time with the project, going back to the texture of the sound, light and dark , what was the message you were trying to convey?

I wanted to introduce the idea of hell on earth. The feeling of everything is ok but in reality , you’re getting punched in the face. I wanna make people have to go listen back to my lyrics but also pay attention to what’s going on around them.  

What's next?

I’m working on a couple of visuals and in the process of working on new music. Going forward, I would like to start directing for a few people as well and maybe even modeling. 

Last three albums?

QUARTER THING - JOEY PURP 

Couldn’t Wait to Tell You… - LIV.E 

SAVAGE MODE 2 - 21 Savage & Metro Boomin

No Moor Bad Days For Chuck Indigo: Interview

I remember back in June and July, when the protests against police brutality were at their highest, everyone and their mommas were releasing black power songs that were timely, but felt cheesy. It was obvious the movement was not their driving force but FOMB, The Fear of Missing a Bag. All the songs shared the same sound of chanting over triumph music, but barely capturing a message. When James Brown said “I’m black and I’m proud,” you felt that shit. When Kendrick said “You gon’ be alright,” you said “damn that nigga may have a point.” Or even the poet Gill Scott Heron. Music that becomes the soundtrack to our lives were typically never created with that intention, but it happens because of the authenticity and integrity of the artist. 

Nashville artist, Chuck Indigo, released his latest project No Moor Bad Days at the beginning of October this year. It’s a consistent reminder to be proud of your blackness and not to be boxed in the stereotypical categories placed on us. Through the guise of jazz samples, hollow drums, and a variety of tempos, Indigo depicts the gift and curse of being a black man in America. Indigo said he wanted this project to “feel like an affirmation of telling yourself that you’re freeing yourself from oppression and stifle.” This project feels like the soundtrack to the revolution.

“If it aint black, then it aint that”

No Moor Bad Days embodies a modern version of Gill Scott Heron’s 1971 release Pieces Of A Man. Around the time Heron was working on the album, protests against racial discrimination were taking place on college campuses around the world. Media attention was rising after the National Guard had killed four black students at Kent State University in Ohio during a peaceful rally. Supported by bluesey-funk keys and afrocentric drums, Heron delivered his most notable piece, “The Revolution Will Not Be Televised,” explaining that the real war is happening outside your windows, not on your TV screen. Fast forward 50 years later, we’re experiencing the same shit our ancestors endured and even worse, it’s live streamed on our phones. Both artists allowed their current state of mind and environments around them to curate art that rejuvenates and speaks up for their community. 

“Yo skin is dangerous/ Entertainment slave trade/ Victim to the melee”

The first track, “One Moor Day,” acknowledges the past and embraces the joy the future could bring. Indigo understands that change can’t happen overnight but you must start somewhere. While it’s obvious that the white man has had their foot on our necks for centuries, generational trauma and enslavement mentality has also been a hindrance to our community. “We’re stuck in a cycle of getting paid, paying bills and using whatever we have left to get a lil drink or some smoke. And it's sad that people are content with that shit” said Indigo. 

On “Burn It Down,” he raps about the frustration of talking about change and no change coming about. Indigo describes the financial disadvantages that all Americans face and how it’s a rat race to obtain an elite position in life, as well as the injustice of our justice system that continue to keep the Black community suffering. “Tired of marching for freedom, shit/ I’m just more buy sum guns/ Go to war/ Eat the rich.” Burning the system down symbolizes a necessary rebirth, not a reform.

“Harder to tell whats the facts from the fictional/ When you do everything you’ve been conditioned to” 

I had the opportunity to talk to Chuck Indigo about his latest project, social justice issues and the importance of knowing your history. 

Our conversation, lightly edited for content and clarity, follows below.

What part of Tennessee do you live in?

I live in Nashville.

What was the drive for the cover art to be claymation?

My guy, SECK. He’s the video director and creative director for the label, Third Eye, and he came up with all that on his own. I sent him the tape once I was done recording and was like “do whatever inspires you.” A few days after sending the project, his reaction was “this project feels black as shit” and asked if I’ve seen The PJ’s. So we have about seven alternative covers in that realm. 

Who’s that speaking in the intro about men sticking to their word? 

I don’t know the man's name exactly but I was going down a rabbit hole of Black leaders on YouTube. It was literally a 17 minute montage of Black people expressing themselves very eloquently, but you felt the anger. I felt it summed up how I feel towards America, because I don’t think things miss context.  

How has being a black man during this time of police brutality and the Black Lives Matter uprising influenced your music?

 A lot of what was going on is not shocking to me. It sucks and hurts my heart to see it but it's become a normal thing. Honestly, it encouraged the release of this project because I’ve been wanting to say something, but I’m selective on which platforms I use my voice on. As an artist, I feel I could explain what's on my heart and don’t have to explain it to anyone. But seeing what's going on, knowing that it is repeated, we become emotionally responsible.

On “Burn It Down,” you say “Tired of marching for freedom shit, I’m just more buy sum guns.” Do you feel another solution is needed?

In regards to my emotional response, it's irrational sometimes because yeah, I want to go to war but at the same time, I'm not trying to pose a threat to 12 because I’ll be dead. Shit, I’ll be dead just for putting my hand in my pocket. In the second verse I'm saying “broken simulation over stimulated the whole system made for the elite.” The top people who belong to the 1% as far as wealth owns 83% of the wealth, so we’re all broke then. If 99% is fighting over 13%, the world is definitely fucked up. So when people talk about reform, this shit doesn't work at all. It may look good on paper but there’s no true change. So it’s either present something new or get the fuck out of my face (chuckles). Gotta burn shit down to build. 

When did you start recording No Moor Bad Days?

Technically, since 2017, because “Pray For Us” was the first track recorded. But as far as like, intentionally making a project, I started in July. I made about eight of the tracks within a two week span. 

How was the session for “Hood Rat Shit?”

Man, so actually, that clip was just the track getting mixed and mastered (chuckles) and we were just in there, goofing around for the final cut. When I recorded the track though, I was by myself. I had to do a lot of vocal stacks, so I was making my voice sound like different people. I enjoyed making that song.

Why moor and not more?

When the Spaniards were trying to conquer America, it was the moors that helped Christopher Columbus “find the land.” Also I believe in England, they call Black people Moors. So it was just a play on words for black. 

What's the story behind No Moor Bad Days?

It’s intended to liberate black people and provide healing. I wanted the project to feel like an affirmation of telling yourself that you’re freeing yourself from oppression and stifle. Yeah, I touch on issues of the government and how it affects black people but also I wanted to touch on daily struggles we face. Shit that cripples us. 

Can you explain the concept of “Okay Today?”

“Things go wrong, but I won't complain. I'm all right, but I ain't okay today “ As black people, we suppress our feelings a lot. Like, it's not ok to not be ok. It’s a disadvantage that we feel sorry for ourselves. 

You show multisided Blackness, which is why I feel the project is important. Where does the confidence to display all sides of your Blackness stem from?

My confidence comes from knowing where I come from. I don’t know my ancestry too well, but I think it’s just as important to be knowledgeable on people who look like us. Like we all were not slaves. Folks are really pulling the wool over eyes to control the narrative. 

How would you describe your creative process?

It's sporadic most of the time, but with this project it was more intentional. I knew what I wanted to say with this project back when I caught the wave in July. But, for the most part I try to catch a vibe and write how I feel. Be as real as possible and try not to stress myself out in the process. 

What’s next?

With the way the world is right now, I don’t want to set any expectations because we don’t know how tomorrow will play out. But for the most part, I’m a new Dad so I’m focused on being a father to my daughter and obviously sharpening my sword. The next time I drop, I want to release something carefully crafted. 

What were the last three albums you listened to?

Chuck Indigo - No Moor Bad Days 

Reason - New Beginnings 

Giveon - When It’s All Said And Done

.Jmack Is Having A Quarter Life Crisis : Interview

With the DMV on the rise for the past few years, it’s amazing to see refreshing sub-rap genres emerge. Jmack, an artist from Virginia, dropped his latest project Quarter Life Crisis in August of this year. With heavy boom bap drums and sinister chord progressions, Jmack allows his audience to sit in on his therapy session. By inserting actual conversations between him and his therapist, the lyrical unpacking of his past trauma and vices paints the picture of an artist's transparency in his music. 

“Drugs have been my hiding place but I ain’t been aware of it”

Jmack takes ownership of his flaws, while proudly saying the past is behind him. He does not shy away from talking about his past drug habits, while also providing reasons for his usage. It seems as though he’s allowing the world to see all the good and bad of him so it cannot be used against him.  

“A loaded Tarintino clip of my anxiety spiking”

He mentions anxiety playing a huge role in his decision making during his adolescence and how it plays out in his adulthood. On “Coolest Kid in Rehab” he tells the story of going to rehab and finding appreciation for the experience. 

Using the metaphor of a vacation for mental breaks on “June,” Jmack explains feeling lonely at times, despite it being his choice to be alone. “June” represents the opportunity that time provides for him to be more alone or to make more mistakes.  

On “RIP” featuring Jazz Ingram, both artists exchange verses about the allure of life and how it all comes to an end eventually. “I don’t fuck with Virgil, I don’t rock no off white.” He makes it clear that he’s grown past the superficial aspect of life and realized there’s more things at hand. 

Throughout the eight track project, Jmack embraces his flaws while flaunting his confidence to highlight the ways he’s overcome. On “Alarm,” which occupies the last track slot, Jmack embodies the person he’s becoming during his moment of clarity and relief. Jmack is not trying to be your favorite rapper but a rapper that matters. I had the opportunity to talk to .Jmack about Quarter Life Crisis, rehab, and his appreciation of music.

Our conversation, lightly edited for content and clarity, follows below.

I like how at the beginning of the project, you come off as nonchalant or even a bit shy about your music, but the first is the complete opposite. How do you manage confidence?

My confidence waivers in certain moments. Sometimes I feel I can’t describe my music to people because I truly rap about things that have to do with me. Those conversations throughout the tape were really with my therapist. It was a real conversation between us with the intention to give an in-depth feel. 

The production is so cohesive, how do you go about finding beats?

I've been blessed because the people I've met in my life have led me to the people I am working with musically. On this project, my good friend John Wehmeyer produced some tracks.  

When did you start recording music?

I started recording music four years ago. Not until this past year I started to take it more seriously in regards to the extra steps of mixing and mastering. Its necessary. 

What’s your recording process like? 

I’m big on being in the room with a producer, compared to getting the beat sent out. I like when things happen organically, so usually I’m chilling, drinking or smoking… the producer will play a few beats and we’ll get to work. 

How has your environment influenced your sound?

Being from the 757, Virginia has shaped my mental state more than anything. Being a black man, there’s not many opportunities. We’re subjected to selling drugs or playing ball. So that definitely  influenced the audience I’m trying to touch. But, in regards to sound, a lot of my favorite artists and influences are from NY, whether it's Jadakiss or ASAP Rocky. I appreciate both new and old school. 

Why the title Quarter Life Crisis?

Quarter Life Crisis is that feeling of over confidence but still dreading the more life to come. Social media has created this idea that if you don’t make it in life by 20, it’s over and I feel that people in my age bracket live by that mindset. I had to leave college during my last semester to go to rehab. The pressure society places on us is terrible.

Describe the concept of “The Coolest Kid in Rehab.”

I was 21 when I went to rehab and the closest person to my age was 30. They would call me college boy. Being the youngest in the group, I received a lot of support from the other folks in there. It felt good that they saw my potential and knew this was not forever. They made me feel like the coolest guy in there. 

How was it working with Jazz Ingram?

I’ve been a fan of his music for a long time and I felt he was emerging into this new sound, which made it a perfect time to reach out. He got back to me within a day, which surprised me. He has so much potential to be huge. 

On “somewhere quiet,” the song ends with voicemail. Are you known for not answering? 

Yeah, I get so anxious. Honestly, it took a lot for me to make this call. But while I was in rehab I didn’t have my phone, so I had endless amounts of voicemails from loved ones. I wanted to end the album with “I love you or you did a good job” because I need that. 

I feel like a fly on the wall while listening to the project, hearing you get shit off your chest. What should listeners take from this project?

We all reach a point in life that’s difficult and there’s so much going on. It’s hard to see the light at the end of the tunnel, it’s only the dark. I want people to know, like all things, it shall pass. I don’t want to be a role model, I’m just another voice. Kind of like an echo chamber to share my experience more so than advice. 

What’s next for you?

I’m in the process of shooting videos with people in the area and then I'll be releasing singles off the follow up. It’ll be more upbeat. 

What were the last three albums you listened to?

What’s Going On - Marvin Gaye 

Things I Do for Money - Father 

Burna Boy - Twice is Tall 

Bairi Is In Control Of Her Destiny : Interview

Music is intended to move you. Whether it's emotionally or physically, there’s a force from the vibrations of sound that induces a reaction. Due to the pandemic, the joy of experiencing these vibrations live have been stripped away, which means both the artist and listener are receiving the short end of the stick. For many musicians, their income is driven  from touring and merchandise, especially for independent artists. Now having to strictly depend on streams and album sales, artists are beginning to utilize Bandcamp a bit more. Bandcamp has been a useful platform for independent artists during the pandemic, offering 100% of song revenue to artists on “Bandcamp Friday.”

One Friday, while scrolling through Twitter, I came across Bairi, a NJ based singer, who released her single “Brat” strictly on Bandcamp for a limited time in efforts to raise money for her mother’s surgery to remove a tumor. 

I gotta get to the bag, I’m on a roll 
Not into setting the vibe, get in and go 
Imma get mine, then maybe you can get yours 
Nothing less & nothing more 
So when you walk through that door 

Bairi embodies R&B to its core, while still providing a refreshing tone that highlights her vocal contributions on tracks. There’s a sense of empowerment and confidence that exudes through her music. On “Brat,” produced by Naqui Macabroad, Bairi is taking control of herself right now while appreciating the journey of getting to the bag. During the pandemic, Bairi released a cover of “Pink + White” by Frank Ocean and also released a song titled “Medu$$A.” 

I had the opportunity to chop it up with Bairi about music, the importance of being grounded and creative freedom. 

Our conversation, lightly edited for content and clarity, follows below.

So, I became hip to your music after your release of “Brat,” which was originally only available on Bandcamp to raise funds for your mother’s surgery, can you tell me a bit more about that?

My mother told me about her tumor the day after I filmed the video for “Brat” and it threw things off for me because you don’t think things like that will happen until it does. Both my Mother and I were scared of the outcome and even more about the bills. My Mom has worked two jobs for the majority of my life. I woke up one day wanting to do more and felt my music could help. I just really believed I could do it for my Mom. 

I think it's beautiful that you put your Mother first before the streams… 

As much as I love streaming, they don’t pay bills! (chuckles) A few months ago, I dropped a project on DSP’s but I took it down and put it strictly on Bandcamp. I wanted to take a chance on myself and see if I could support myself through music. 

When did you start releasing music?

I attended Purchase College in NY at the end of 2015. Initially, I was a literature major but that was before I realized I was attending an art school. At Purchase, everyone was doing what they love and expressed themselves through art. I shared a psych class with my friend Dave Langston, who is also a rapper. He invited me to work on music together and it just clicked from there. 

When did you have your moment of clarity that releasing music was the main goal?

I worked a few internships that varied in fulfillment. I used to intern at a boutique label in the city but personally it was not doing much for me compared to an art mentorship I worked at in Peekskill with kids who had faced unfortunate circumstances at home. That experience felt more fulfilling compared to being a workhorse. I believe it was the idea of working a 9-5 that pushed me as well. 

I love your flip to “Pink + White” by Frank Ocean, what inspired the flip? 

Frank Ocean is one of the greatest artists of our time and Channel Orange is one of the most influential albums. “Pink + White” is one of my favorite songs. Quarantine was not just quarantine. Police brutality was at its highest and the Black Lives Matter movement was being recognized. I just hated seeing everyone go through so much pain. I participated in marches and signing petitions, but I felt like more from myself was needed. I felt the pressure of using my music to influence and make a difference.

I went to yoga one day and I kept thinking “kiss the earth that birth you,” and that same day, I started in the “Pink + White” cover. It took about four days to get it all together. 

What’s your creative process like?

With writing, I don’t push myself to be inspired. I just let it come to me. But, with life, it comes in waves. Sometimes I feel I have to reflect on the past and be able to intellectualize it for other people. Another inspiration is the future, which is why I’ve been writing really optimistically… also, my spirituality.  

Before the quarantine happened, I wasn’t in the best space. I was letting life take control of me and that was reflecting in my music. But, since the quarantine happened, I've slowed down. I moved to NJ and I’m in a creative space that has been such a blessing to me. A reset was necessary. 

What inspired the track “Brat?”

I was really hustling and getting to the bag at the time but, I wasn’t as productive as I am now. I was working a cocktail waitress job, writing, and being mixy all in one. I was invited to perform at Baby’s Alright and met Naiqui Macabroad, the producer of Brat that same night. He sent me a beat pack a few days after the show and I was just sitting on it. My homie Zero McKenzi invited me to a session in Brooklyn, so I started going through my packs and came across Macabroad’s beats . I legit wrote that verse on the subway heading to the session. 

Would you consider yourself a brat?

When I was younger, I would call myself an army brat. We weren’t relocating and stuff,  but it was something I adopted. I’ve always been a princess since I'm the youngest in my immediate family… (ha) I feel I’ve earned the right to expect certain things in life and have a standard . But I can admit it, sometimes I am a brat. 

Is your family supportive about your music?

My family has always been supportive. No one knew I was serious until I graduated from college and came home. My mom has always loved the fact that I was a singer, but the main conversation was “when will you get a job?” It would fuck with me a little, but there was always this gravatational pull that made me work on my music. My dad is really supportive even though he doesn’t understand it too well. (chuckles) But my mom is a bit more involved with all the planning. 

What’s next?

I have a video for “Brat” that’s coming out with the homies. Planning more covers and more interviews… I have another single on the way and if all goes well, I’ll probably drop an EP.  

What were the last three albums you listened to?

Gunna - WUNNA 

Hanz- Praylude 

Giveon - TAKE TIME

Stream Brat !

AM Is Done Practicing :Interview

The pandemic has forced us to sit down and embellish on life with more freewill effort. Before the pandemic, life was constantly on the go. You barely had the opportunity to breathe or indulge in activities that bring peace. 

Long Island rapper AM dropped a short and concise EP at the top of September titled Shut Up , I’m Practicing. The title fits perfectly for the project , while we watch AM run a lyrical scrimmage over his long-time producer and friend, Akari,  beats. AM chose a loose delivery over boombap beats that opens up the space for him to be patient with his words but direct with his preparedness. 

The concept of patience with yourself feels like the driving force of the project. Taking away the pressure of being perfect and just being. 

The joyful “onthisside” recounts future plans and grows to understand that life is not a race, it's a marathon. 

“We not trippin on this side”

On “Better Friend,” AM raps about the kinship he has with his friends and the adversities they face as minorities in America. 

The standout track for me is “cosmik/rift.” The clutteredness of the drums and AM’s smothering delivery is striking… and I hate that it’s the shortest song on the tape. 

I had a chance to chop it up with AM about music, the importance of bandcamp and friendship. 

Our conversation, lightly edited for content and clarity, follows below.

I remember turning 21 and having so much confidence whipping out my ID, I know your birthday just passed. How was being 21 ?

When you enter your 20’s, all the things you’ve always wanted to do feel more feasible. You have the opportunity to navigate through the world better because you’re more emotionally mature.  

Being 21 and on the older side of Gen Z, would you say that the internet has influenced your sound? You’re also from Long Island. Would you say that influenced your sound as well?

I’ll say it's 60/40 — 60 internet, 40 environment. But they go hand in hand because the people you meet in real life, you connect with them online and then you connect with their friends. I’m from Roosevelt, which is like the smallest town on LI, but I’ve met so many people in this town that helped shape me and those experiences are translated in my music. But, I feel the internet takes away the concept of genre, which helps me feel a bit more inspired.

Genres are being so fused together that it's getting impossible to differentiate. What’s your recording process like?  

The pandemic has made it really draining to be inspired. For the most part, I have a sporadic recording process. The demos I released, I made in a week. I just have days of feeling creative and I act on it.

What influenced your decision to only put it on Bandcamp and Audiomack?

These are the two platforms that show they care the most about underground artists and I love the community it brings. There’s something special about sharing music unapologetically between those two communities. You actually engage with people who care about not just your art, but you. I just want to share my shit and share others' music because people deserve it.

I feel that’s such a selfless thing to do as an artist, giving an assist to other creatives.  How did you pair up with Akari? 

We’re best friends from high school, since 9th grade.  Akari moved to NY from GA. At the end of freshman year he wanted to start producing and needed someone to rap on his beats. I wasn’t great but I knew I was nice at rapping. We both motivated and elevated each other by giving it a shot.

I commend you for keeping it in house and taking a shot with your friends producing. People are so tied to the name and not the art.. Why the title Shut Up I’m Practicing?

I’ve been home the majority of the pandemic which sucks because I get a lot of inspiration from going out. But I realized if you don’t use it, you lose it. So I started to go through all these beats I was sitting on and was just rapping and trying shit. I wanted to create something with no real structure. 

Explain the concept of “Better Friend?”

I’m so grateful for the friends I have &  the opportunities we open up for each other. Sometimes I feel I could be a better friend, even when I try to be a good friend. I’m sure my friends feel differently but, for me, I never give myself the benefit of doubt.

Have you become a better friend to yourself?

I'm constantly trying to… it’s something that’s just a life journey. 

Whats planned for the future?

I’m working on another project. Whenever I get inspired to work on a project, I find myself working on two 

What were the last three albums you listened to?

Kurt Hazard - Kurt Must Die 

Paris Michael - Publicity Stunt EP

Westside Gunn -  Pray for Paris

Flwr Chyld Is a Modern Soulquarian: Interview

R&B is constantly shifting and embracing new influences. As new sounds come to the forefront, Flwr Chyld is one of the leaders in submerging fresh sounds to create an intentional ebb and flow.

Flow feels like the title. It’s a comforting listen from beginning to end, with many stand out moments that demonstrate Chlyd’s growth as a producer from his previous release Iridescent Love. Flow is experimental and challenges traditional chord progression and drum distributions. The graceful intro track, featuring James Tillmans, reminds listeners what it takes to have a good day and to appreciate the ups and downs it may bring. 

“You can never escape yourself”

 Chyld’s production on “Aurablu” featuring Mia Gladstone and Elujay feels like a cloud submerging the sun. Bright, but shady when necessary. The bluesy chords are mystical.

“Walking Away” featuring Emmavie is one of the stand out tracks for me. Chyld’s production and Emmavie’s voice blend perfectly and feel like they belong. The production reminds me of Jill Scott’s debut album, Who Is Jill Scott, sharing a familiar pocket where the production challenges the norm. 

The drums on “Morning Dew” are vibrant and Mia Gladstone's vocal contributions remind listeners to appreciate moments of stillness. With this project, it feels like Flwr Chyld is teaching listeners how to embrace change and appreciate the things that may not bring automatic gratitude. I love how the last track, “Garden (Outtro)”  feels like it’s building up to something, but in reality it's more of a reflection towards the project. It’s like that first listen of “Enjoy Right Now Today” off of Tyler the Creator’s Flower Boy. For 3 minutes and 55 seconds, you’re on the edge of your seat waiting to hear more of Tyler after he just poured out his heart for 40 damn minutes. It takes growth to realize when enough is actually enough. After all your hard work, you have to take a step back, bask it in and smell your flowers. 

Our conversation, lightly edited for content and clarity, follows below.

Pretty much my whole life has been about growth …

Would you say your schooling had hindered that growth previously?

It’s crazy to think that you’re in school from 4 to 22. That's a long time to be tied down to that type of structure and be expected to to quickly adjust to the real world. 

What inspired Flow?

Flow stems from ebb and flow. I graduated college August 2019 and since then, I've transitioned out of friendships, lovers and embraced new experiences. Since graduating, I've learned to really appreciate life and my L’s. A lot of people get caught up on getting to this place and fail to acknowledge you have to endure some shit. 

Was it an easy flow after graduating college?

I was broke as hell straight out of college (laughs) and my anxiety was also really bad around that transition into adulthood. I started meditating. 

That's amazing you picked up meditation, it helps you stay grounded. Especially now, being in quarantine for all these months and having to face your fears. It was a necessary reset. 

To piggyback off of that, quarantine has made me appreciate things for what they are and being happy with it. Flow is about not letting little things bother you because at the end of the day, everything that is meant for you will come to you. 

How has Atlanta influenced your sound?

I moved to ATL with my dad when I was 7. My dad was pretty young when he had me so we basically grew up together. He was a band director in Cobb County, so I was always around marching band culture as a kid. Even the car rides from and to school, my dad would have the greats in rotations… Outkast, Erykah Badu, Jill Scott... My ear was being trained early and luckily it was a lot of Jazz and Neo-soul. Trap music has always been here. As a teenager I emerged myself more into that culture and you hear those elements in my music, moreso for feeling and not what you hear sonically. 

What’s your creative process like?

Before Covid, I would just play with my buddies a lot. Well mainly one guy, Alex Hassell. He was on one song for Iridescent Love but he’s all over the new project. Typically, I would come up with a chord progression and then add drums. Then later on I'll decide if I should add a guitar based on feeling. With this project, I was really intentional. 

Do you write as well?

I write but not as often as I produce. On the last project Grimm Lynn and I wrote “Feel the Breeze” and for this project we wrote “Moonlight.” But most of the time, I give the artist the freedom to do what they want. I take a back seat because whoever I'm reaching out to, I'm already a fan of what they do. I want them to bring that to what I have going on, so there’s a middle ground. Sometimes, the artists will ask me “what you are feeling for the song?”

I love that you have frequent collaborators, how is it working with James Tillman, Mia Gladstone and Elujay?

They are two of my very close friends and they always come through. I was opening up for Elujay last year for the tour leg in ATL and I met Mia, who also opened up for him. I’m always a fan first. I was working on the intro for Iridescent Love and thought she would sound crazy on it. Our relationship has blossomed, same thing with James. I listened to his music a few years prior, emailed him and to my surprise he responded back.. and here we are, all these streams and recognition later. They both help me execute my vision. 

How did you go about getting a feature from Emmavie?

She was in my related artist section on Spotify and we have a mutual homie who’s a writer. She mentioned Emmavie to me before and sent me a playlist with Emmavie’s music on it. It's crazy how this artist shit works, I woke up one morning to all these notifications of Emmavie giving me all this praise and I'm like “Me? Nah you’re fire…” I believe in the power of manifestation. I’m grateful that she’s another creative peer I could call my friend.

Were there any challenges in the making of Flow?

There was a feature that didn’t make the project, but aye, things happen. I'm still a fan. There were a lot of no’s which was crazy, because I got a lot of love from Iridescent Love and figured it would be easier for the next project.I was deadass wrong. I had never sent so many emails to people that sent back an either no or no response. It didn’t really sway me, I was really confident about my growth in producing. I stayed the course and trusted the process. 

You’re a perfectionist. Would you consider yourself a challenge?

At first, yes, but I had to learn how to be patient and not jump the gun. I’ve worked with different engineers and had to learn to take my time with note giving. I leaned to sleep on it, so I could give better detailed notes for the mix. I would play it in the car, speakers and headphones before making a choice. This project was about learning when to let go,  trusting myself and ear. 

What did you do differently on this project?

I wanted it to be more intentional. Iridescent Love was less intentional. I was just making a lot of vibey shit. With this one,  I knew I was going to take some risks but people are familiar with a certain boundary. I was listening to alot of  SOS Band and that’s why you hear wide/really fat baselines or like heavy drums that feel lightning. For me, it was how can I put my growth on full display in a way where people could still appreciate my growth. One of the things I admire about Tyler is that every project of his is different. He has a way of having constant growth, sonically and visually.I want to show people that I’m consistently growing. It's my job to create the music, put as much emotion into it as possible, but it's the listeners job to make it unique for their existence. 

What’s next?

Getting back to a lot of artists who wanted to collaborate. I was so locked in my project. I’ve been working with Elujay on his album and working on visuals 

Last three albums/artists you listened to ?

• Ego Ella may - Honey for wounds

• Foushee

• Nick Hakim - WILL THIS MAKE ME GOOD

Armani Caesar - THE LIZ

The first lady of Griselda, Armani Caesar, has finally blessed us with her latest project, The Liz.  The anticipation for this project has been bubbling ever since her features on WESTSIDEGUNN’s Flygod Is An Awesome God 2. Armani exudes confidence in her music that shows she is not here to be buddy buddy with the opposition and that she’s been preying on the moment. 

This project feels like a Griselda project at its core. Smothered with heavy boom bap loops, lavish chord progressions and samples from crime movies, Caesar steps up to the plate and shows that she's right where she belongs. With production contributions from DJ Premier, Camoflauge Monk, JR Swiftz, 808 Mafia and more, Caesar skates over these beats breezily delivering hard hitting lines that make your face scrunch up. The 11-track project features her label mates WESTSIDEGUNN, Conway The Machine and Benny The Butcher. 

“Drill a Rama” is one of my favorite tracks off the project. The back and forth between Armani Caesar and Benny the Butcher is refreshing and demonstrates that she could go head to head with her label mates. “Ginger Rothstein” pays homage to Sharon Stone's character in the 1995 film Casino.

Armani Caesar is making her engravings to music.  

Stream The Liz I



Avery Abbott Is From Another Planet : Interview

Rapper and producer Avery Abott recently dropped a five track EP, South Jupiter, that shows off his skills as a lyricist and orchestrator under the guise of soul samples and astronomical ambiance. The short duration takes listeners into an outer space realm filled with Abbott’s hazy cadences. Co-produced by YuxiGuru, South Jupiter resembles sounds from the southern greats like Outkast, UGK and Juicy J. The soft feeling of the project gives Abott the space to display his hues. Songs like “Juice Box” may come off a bit facetious but Abott’s use of metaphors displays the bigger universe he’s trying to create with his music. 

“I ain’t ever wanna be the bad guy

Pass me a little liquor I get just right

You can’t hold me down

B*tch I’m long gone”

On “JudgeJoeBrown,” which Abbott also produced, he rides the beat with no dilemma. What I appreciate about South Jupiter is that it’s just a glimpse of what Abbott is on the verge of framing with his music. Your 20’s are all about figuring shit out. Through his music, Avery Abbott is allowing us to join his journey.  

Our conversation, lightly edited for content and clarity, follows below.

What was your creative process for South Jupiter?

I’ll start drinking, Austin will start making beats and we’ll get to work. A lot of the beats are spacey and soulful. Those five songs came together naturally, blended very well. The majority of my writing is on paper and it helps me with my expression, so I'm able to make about 3-4 tracks a week.

Why the title South Jupiter?

It was a name that randomly came to me at night, way before we started on the project. The initial cover was even before the title as well… it just had the iron giant, but we threw Jupiter on later. But, a lot of the production feels like the title. I feel like my sound is spacey southern shit.

On your song “Juice Box” you say “I ain't ever wanna be a bad guy/ Pass me a little liquor I get just right.” What's your relationship with alcohol like? 

I drink a lot, but I don’t do no fucked up shit. I feel like I am always being portrayed as a bad guy in different situations. “Juice Box” is a relief to a lot of shit… life ain't that pretty. The experiences and surroundings have made me more of a pessimistic person but I'm growing. (laughs) Today's my off day! 

How’d you meet Yuxi and how was it co-producing together?

I produced two tracks on that project and we produced “Judge Joe Brown” together. It’s definitely a natural connection with us. We met about four years ago, when he first started making beats. I’ve been rapping for a while and he would come over and play beats from time to time. We lost contact. Then, a  year ago, KLow brought me to Yuxi’s studio randomly and it just took off from there. Felt like we met at the wrong time initially. I see this man all the time now.

What’s next?

I’m planning on dropping a full length project, but that’ll be a bit later. For now, I'm trying to get some videos off and record live performances with local bands. 

I love to see what other artists are listening to, so what were the last few albums you listened to?

Duckwrth - Supergood

Sir- Chasing Summer



GRIP Is Everything You Could Ask For In a Rapper: Interview

With the one year anniversary of Snubnose approaching, Atlanta’s rapper Grip drops a short ep that’ll probably make you question your favorite rapper. 

Proboscidea has an abundance of witty lines and intricate flows. Grip’s distinctive delivery and Tu’s punching drums mesh together perfectly. Proboscidea feels like a short film shot during the 90’s.

“Art for Pennies'' is probably the reason why Proboscidea is not available on streaming platforms but only Bandcamp. Its a necessary fuck you to DSP’s. DSP’s have continued to spit in the faces of what should be considered business partners in the industry. Bandcamp has always been for artists and it’s beautiful to see more artists utilizing the platform. 

“Grip", occupying the second slot on the tape feels like a public service announcement. On this track , unleashes his thoughts on how he has gain the upper hand despite the triumphs he had to over come to get here.

“I’m still in my bag from last fall”

The fourth track featuring Kenny Mason and JID, Grip shows that he can hold his own in any room.  This has been a collaboration that many hip hop fans on twitter dreamed for and it was a great surprise to hear the trio exchange verses provoking the feel of a high speed chase.  Hearing all these new Atlanta artists on one track was refreshing and needed. There’s never a point where one outshines the other , there’s a balance and energy they provide to one another.

My favorite track on the project is the monologue at the end of the EP, titled “Smoove Speaks.” GRIP takes a moment away from himself and allows his friend Smoove, who was murdered a few months back to unpack his consciousness without the often glamorous production provided by TU. It felt like a moment of zen or clarity in a film. You know, the character that’s usually going with the flow, but then has a moment where they have to use their voice for a bigger purpose? That’s what it felt like. 

Grip is everything you could ask for in a rapper. Right before dropping his second EP of the year, I had a chance to chop it with him about music, life, and the waves of admiration the game provides.

Our conversation, lightly edited for content and clarity, follows below.

How’s the pandemic treating you?

I'm used to it now, but I'm not comfortable with it. I'm just in here perfecting my craft. 

Are you finding yourself working harder on the music because of the free time? 

It comes in waves. 

What’s your recording process like? 

A lot of the time, I write on the move. So either in the car or just out and about. I have a studio in my basement and sometimes I spend the whole day down there recording ideas. Once I have a bunch of ideas, I bring them to the main studio because I’d rather have solid songs rather than making something out of thin air.

With this project, what did you do differently?

I made these fairly quick, like a week and some change of just writing, minimal hooks. These are pick up games.

How do you go about choosing beats?

Well for the EP’s, it's the same producer, TU. I’ll have him send me some samples, he’ll chop up the ones I like and I’ll write to them. It's really simple, choosing beats for albums is more complex.  

Do you prefer EPs or albums? And why?

I enjoy making albums because you can dive in more. EP’s are pretty easy… well, the ones I make. I don’t have to over exert my thought process with EP’s. 

What was your thought process during the creation of Porch? 

Porch was the first project Tu and I made together. I just wanted to build a world and tell a story from three sides. He produced every track except one. We would link up, he'd start playing beats and we would get to creating. It was a totally different experience for me as an artist. 

Porch feels like the admiration of the streets while Snubnose feels like the embrace, was that intentional?

I think there's levels to this shit, man. I dropped Porch when I was 27 and I’m 31 now. There’s an advantage to being older because the coast in front of you is a bit wider and most of the things you already faced have been defined. When I was working on Snubnose, I had many intentions. I wanted to blow Porch out of the water and my growth was definitely there.

Do you feel like you’re still on the porch, in regards to music?

I’m kinda off the porch. I ain't out the yard yet (laughs) but, I'm off the porch, def almost there.

What inspired the concept of Subnose?

Initially, I had this idea of telling the story from three different perspectives. Growing up, my uncle had a gun and it was always this ominous thing. I had a release party for Porch and I was caught slipping that night in my car. The dude came out of nowhere, had the strap in my face and said run everything. So, I empty my pockets and I’m like “aye, I don’t even see you, take what you need and get the fuck on.” I could care less about the $80 in my pockets. There are six shots in a revolver, and I believe there’s six evolutions and cycles black people go through. 

SNUBNOSE- http://smarturl.it/snubnose GRIP - Yams Interlude directed by Caleb Seales produced by Pliznaya https://www.straysocietymusic.com/

But, it had to be first lick because he was so tense and I was just going with the flow, trying to make it back home. I had a shorty in the car and I have kids at home. He ends up not taking nothing and running off. That moment influenced the concept even more, showing the perspective of the one in front of the gun and the one behind the gun.

It feels like the gun is the protagonist. Why the title Proboscidea?

With Halo, I wanted the project to feel like God flows, just bars. A halo goes on your head and I felt the flows were going to go over a lot of people's heads. I was playing with the idea of sacrilege. Heaven, hell and earth. Proboscidea is a plant, but also anything with horns, like an elephant. There’s a plant with the nickname devil horns, so it was another example of it going  over heads. If we complete the trilogy, the next project would be Crown. Probidsida is a bit more gritty. 

I gotta ask, why does Bbymutha have you blocked?

Apparently, the day before she had retired and I mentioned working with her to my manager but, I had no idea that she retired. Don’t get me wrong, I understand where she is coming from as an artist. It gets rough for everyone. As a fan, it feels like a slap in the face but I get it. Long story short, my manager and I got blocked right after randomly.

I end all my interviews with this question, what were the last three albums you listened to?

• Beach Boys - Pet Sounds 

• Music To Be Murdered By - Eminem 

• A Written Testimony - Jay Electronica

Mickey Woods Jr. Is Done Wondering When: Interview

Understanding your value does not come easy. It’s a process. Better yet, it’s more of a journey to find your self-worth. Of course, there will be some hills you’ll have to die on but there will also be some hills you’ll make it over. 

It’s the feeling of overcoming your adversities and acknowledging your progress that Texas artist, Mickey Woods Jr., bears on his listeners in his new project, 40 Days and 40 Nights. He welcomes us on his path with jazz filled production that includes southern elements that resemble UGK and melodic chords that ooze in resemblance to The Love Below.

Woods' cadences feel like a long drive down a highway, where there is some fog blinding the distance but the soulful supporting vocals accompanied by B. Honey put your mind at ease. 

On tracks like “Nomad’s Revenge,” Woods embraces the journey of understanding who he’s becoming. 

On tracks like “Pressure,” Woods is embracing the conflicts he overcame which helped shape him into the person he is today.  

The lofi production on “Remedy,” feels therapeutic as Woods takes the time out to clear his mind and elaborate on a few thoughts he’s pondered on. 

“I know my purpose way fatter than my pockets” 

My favorite track off the project is “The Usual.” Those Dilla-ish drums that come on after the 50 second mark strikes my soul every time. It occupies the second to last spot on the project and it sort of feels like a conclusion to Wood’s journey of self-acknowledgement. 

I had a chance to chop it up with Mickey Woods Jr. about the album, life in Texas, and the pressure that comes with growing pains.

Our conversation, lightly edited for content and clarity, follows below.

What inspired the sound?

Being big on jazz instrumentation and immersing myself in the southern culture, I wanted my sound to be more polished than everyone else.

Around the start of the project, I was trying to get in numerology a little bit. I kept seeing the number 40  over and over again and being raised in a southern baptist church, it stuck out to me. God made it rain for 40 days and 40 nights when Noah was building the arc or when the Israelites were roaming in the jungle before reaching the promised land. The Israelites knew where God wanted them to go but they were making their own path, I feel I am doing the same, finding myself and realizing my purpose. 

You have a track called “Nomad’s Revenge.” A nomad is known for being a wanderer and you mention finding yourself, do you believe there’s ever a point where you ever stop finding and learning yourself?

Learning is a process and I feel I could never get to the point where I stop learning. There's a line on “Nomad’s Revenge”...“Lost a fight with fear and now he trying to seek vengeance”

I'm speaking on myself, having battles with fear throughout my life. “Nomads Revenge” is me gaining control over those fears and embracing certain aspects of myself.

I agree, because that's how you become stagnant. Growing up in a small city in Texas, has that experience felt hindering?

Port Arthur, Texas is a small city but it’s not too far from Houston. A Lot of our influences came from Houston. I’m happy I was not sheltered as a kid because my environment taught me how to be an individual. I appreciate the fact that I grew up in a rough place because it taught me how to evaluate situations and people.  

What was high school like?

Man, it was weird. I wish I cared more but I only cared about ball and girls... I wish I would’ve taken music more seriously around that time because who knows where I would've been. 

When did you start rapping?

In the 10th grade. But, I started to take it more seriously during my sophomore year in college, so around 2012. 

How was the support from your family? Was there any conflict with your parents due to your church background?

When I first started, I was sneaking out to go to the studio (laughs.) But, once they found out, there was a lot of support. It’s not like the content I was rapping about was disrespectful but it was the stigma of the church that weighed over me. 

You have a great ear, how did you find the beats?

I was living in Houston after I graduated school in 2015, but now I’m in Atlanta. So, I became immersed in their culture. The first person to send me beats was this kid named Tony Dark. He produced the intro and “The Usual.'' There is another guy named Todd Louise, he’s part of the Nice Guys. He produced “For the ISO,” “Nomads Revenge,” and “The Remedy”… a lot of the upbeat shit. I found a few on youtube that provided a different vibe for the project...

I paid this one guy to play horns throughout the whole album.  

Who's singing throughout the project?

Her name is B. Honey, she's from H Town. 

I love the soft soul element she adds to the project, what made you want to layer her voice over yours?

I really enjoy hearing my voice with a female voice and my engineer would always tell me a female voice over mine would be a nice balance. 

How has Texas and Atlanta influenced your sound?

I'm big on giving credit on those who came before me. Big Krit is a big inspiration to me, down to his writing and producing and especially with the way he moves In the industry. 

There’s a line on “The Usual” that stood out to me. “I woke up feeling underrated..” Can you elaborate on that?

I have days where I'm on top of the world and there’s moments when I feel low. It's crazy because the people you’re closest to are the last ones you give you your props. I feel I'm underrated because I still haven’t gotten props from the city I'm from.

There is a power struggle of understanding your value and not being happy with where you are throughout the album. On “Fill a Void,” you rap about filling the void of a woman. What other voids are you filling in your life?

I recently got engaged to my girlfriend, actually the day I dropped the project. You know how it is, you have to delegate time for your woman. But, when I'm getting off of work, I just want to get to work on my music. So, time management is constantly something I’m dealing with. 

I grew up with the notion of family first but sometimes I get so caught up in the music, it’s hard to find the time. But, I'm working on it. 

What inspired “4:09 AM?” 

It's the area code of where I'm from. So, it's sorta like paying homage to the people in my city. I wanted to give them something  to ride to. I make a lot of my music with that intention.

What’s next for you?

I'm considering releasing an ep that follows the same aesthetic of the album and new content that would get more people to go listen to the album. 

What were the last three albums you played?

Blonde by Frank Ocean, every day 

Teflon Don by Rick Ross 

Before The Deal by GP-45 

Couldn’t Wait to Tell You - Liv.e REVIEW

“So, tell me, everybody has a love story, right?”

In order to love someone else, you must love yourself first. Dallas born Neo-soul artist Liv.e reminds us the importance of self-love on her debut album Couldn’t Wait To Tell You…  At the age of 22, with a co-sign from Erykah Badu and collaborations with Earl Sweatshirt, Pink Siifu, Maxo, and Black Noise under her belt, Liv.e is finally ready to tell us “What’s the Real.”

Couldn’t Wait To Tell You…  feels like a guided meditation led by Liv.e’s despotic voice along the plush Jazz-lofi production. Liv.e chooses her words wisely and allows herself the free range to stack vocals that reminds you of a Motown classic mixed with elements from the Soulquarians. The project feels loose and free spirited but the vibe is consistent. The vibe shifts from a sound bath to a poetry slam. Liv.e forces her listeners to be present while she embarks on her musical journey of reaching her higher self.

“I can’t keep breaking my focus”

On “To Unplug,” Liv.e sings about maintaining focus while balancing happiness. Liv.e wishes to disconnect from worldly things and questions her own wants and needs. With money being the focal point, Liv.e recognizes the detriment and benefits that come from the root of all evil.

“Is it all about money?”

We’re experiencing Liv.e falling in love with herself as she lets go of things that provide her no value. On “How She Stays Conflicted ….I Hope He Understands,” she talks about leaving a relationship for the benefit of herself. 

”I’m making moves for myself “

The following track “You the One Fish in the Sea,” Liv.e demonstrates her Badu influences, while reminding us of what falling in love with someone should feel like.  

 What I appreciate about Liv.e’s sound is the atmosphere she creates with her vocal layering, choice of words and production. The production never becomes overbearing with Liv.e’s soulful tone. She allows simplicity between the beats and her lyrics to paint a watercolor based portrait rendering love and time.  

While listening to this project, I recommend cloud gazing under a tree. Allow yourself to drift away from your current frustrations and engage with Liv.e’s guided journey to self-love.

Kahlil Blu Is More Than a Producer, He’s a Musican: Interview

Harlem, New York, artist Kahlil Blu can be compared to a collage. He utilizes a wide variety of sounds to help influence his production, which makes it easy for him to transition through trap-ish, lofi, and pop-ish records with ease. On his latest project, DOG, Blu holds no punches when it comes to showing his artistic abilities. He produced and wrote all 20 tracks, and even painted the cover art himself. The production on DOG is scattered in a way where you don’t know what the next song will sound like, but it compels you to embrace the new age vibe Blu is bringing forward. He mixes southern tempo with New York abruptness, along with alternative guitar chords that remind you of Mac Demarco. His production could go from a “Playboi Carti type beat” to a “Earl Sweatshirt type beat” in .5 seconds, which highlights the experimental realm he’s resting on. He gives just enough bounce to have fun but also heavy hitting/harsh vocal arrangements that make the listener pay attention because it’s easy to miss a word.   

On “Coldsweats,” occupying the 2nd slot, Blu projects his confidence toward surpassing the limitations that’s placed on his artistry. For the past few years, Blu has produced for many artists, such as $ilkmoney, Mavi, M*dhane, and ICYTWAY. While producing has opened many doors and opportunities, Blu is ready to fully display his lyricism and wants to be viewed as a musician and not just a producer. 

One of my favorite tracks on the project is “Brand New.” I love the alternative textures and following along Blu’s hazy singing. I appreciate the chanty hook on “Runway Talk” featuring Mavi. It’s something calm but it hypes you up for the verses to come. Even the catchy hook at the end of “October:” “I just do my dance , I don’t do romance.” On “Land,” another one of my favorites, it’s a bit more pop-ish, which is a lane he occupies with grace. He sings about questioning a lover's intentions and where he’ll be emotionally once “its all over.” 

“All these niggas copy cats, trying to do what we do” 

On “Melwood,” Blu feels extremely comfortable with the production. It feels like he’s getting his shit off on a beat he would typically give to another lofi artist.  

“Lol play this when ur sad” is a fun song to blast with the windows down and I do recommend playing when you’re sad. DOG reminds listeners to believe in themselves and learn how to weed out the energy that provides no value to their life.  

I had a chance to chop it up with Kahlil Blu about music, life and the limitations the industry places on musicians. 

Our conversation, lightly edited for content and clarity, follows below.

How did you get the name Kahlil Blu?

“Well my actual name is Kahlil and Blu was inspired by Mac Demarco. Early on, I would listen to Rock and Roll Nightclub and there was a song called “Baby’s Wearin’ Blue Jeans” that I just loved so much.”

What high school did you go to and what was it like?

“I attended Frederick Douglas Academy in Harlem. I wasn’t involved in anything in high school because I always felt different. Don’t get me wrong, I had friends but they were not particularly people I had class with. It’s hard to connect when you’re ahead of the curve.”

Can you explain a little bit, how were you different?

“You know how most kids are into sports? I was into niche designer clothes and architecture, so people would look at me like the weird guy. Especially for our generation, where every school year, we’re into the “it” thing. I was never into “it.” 

“Coming from Harlem, growing up, it was all about Tru Religion, Moncler, and Murmount. But for me, since I was young, I was into Billionaire Boys Club, Kidrobot, Bape, Super Vintage clothes and I had a hightop fade. I stood out from everyone else.”

When did you start rapping?

“Whenever Goblin came out, that was the year I wanted to become a rapper. I just remember hearing it for the first time and never hearing something similar to it. There’s just something about Tyler, especially after finding out he wrote and produced everything, I was more intrigued to try it out myself.”

What has influenced your sound more, NY or the internet?

“The attitude and content is NY but sonically my sound is far removed because I am not a fan of boom bap. Don’t get me wrong, I started off that way and I have love for J Dilla and DJ Premier production. But, at the same time, I love the South, Florida, Virginia, and Atlanta. I love how all the beats have a certain bounce. When you really want to talk about it, they set the blueprint for how we make music now.”

What's your writing and recording process?

“So first I’ll get the drums down, freestyle, add a melody and so on.  Sometimes I’ll record that same day, week later or even months. It depends.”

What inspired the title DOG?

"I moved to Pittsburgh for one year, after being in community college and hating it. My roommate had a dog and I ended up being the one who took care of it. When it was time to move back, I tried to bring him with me but my mom was like nah. I eventually had to give away the dog, which was hard since I already developed a relationship and bond with him. The type of respect and bond with a dog is different from humans. Also within that process, having to depart from someone I cared about taught me how to depart from people, attitudes and things that were not providing good energy.”

He continued..

“With this project, I wanted to get more respect as an artist than a producer. Certain publications would post a song that I produced but not include my name. I felt I was not getting credit. I wanted to hown in and really establish myself as an artist.”

How did you get a $ilkmoney verse?

“I've known Silk for a min through the internet. He would come down to NY to do shows with my friends in Divine Council and we would all just hang out and I would play my beats. We naturally became really good friends. I've produced three of his last projects.”

On “Cold Sweats” you rap about not fitting in. What motivates you to go against the grain and create what feels good?

“That song is just me shitting on people. I don't even think it's going against the grain. I feel I'm residing in myself and figuring out the things I like. I wanted to flex and introduce people to me.”

When did you start to feel confident? 

“I used to humble myself to the point it was detrimental to my character. Being passive in certain situations I shouldn't have to be. So that confidence came from acknowledging that I’m good and knowing that feeling that I’m good doesn't take away from other people, it should encourage them.”

How was it getting Mavi on “Runway Talk?”

“I met Mavi through M*dhane, they had a show. He pulled up to M*dhane crib, I pulled up a beat,  he recorded it and we headed to the show. I’ve produced some songs for him but nothing has come out. Connecting with artists for songs is easy because I am known as the producer.”

Would you say that association has benefitted your catalog?

“In some instances yes and others no because I am often made to feel like this is the producer guy who wants to rap. Honestly, producing is getting me in the door and opening people's ears to give me a chance. Especially once I started to produce for artists bigger than me.”

Your story sounds similar to the Kanye story early on…

“I understand the Kanye story because people would try to marginalize you in a corner for just being a producer and not giving you the opportunity to hear what you have to say.  My intention is to be an artist from jump. I'm not a producer, I'm a musician who happens to produce. The only reason I started to produce was because I could not find the beats I was hearing in my head.”

Are there any takeaways you’ve learned from those bigger artists?

“Being around artists who are ahead of you, you learn alot from them. Divine Council and M*dhane taught me how to perform and control a crowd. I learned different recording processes from SIlk. He’ll get all the beats, write to them and record them in a day or two. Silk would even tell me about business shit too because he was signed at one point. 

What was your family playing in the crib?

“A little bit of everything. A lot of carribean and southern music. My mother is from the Domicanan Republic and my dad is from Trinidad. So a lot of soca, reggae and Lauryn Hill was played. I remember my father always had his Hot Boys cassettes and my mother was the one who put me onto College Dropout by Kanye West. My older bro was into Pharrell, NERD and 50 Cent at one point and also music from the 80’s and 90’s. He put me onto mad shit! I found out about jazz by looking up A Tribe Called Quest samples and song credit research.”

Since dropping 11 last year and DOG this year, how have you grown?

“11 was something light but DOG was like “he’s here.” 11 pushed me to come out my comfort zone sonically because I experimented with my vocal range.”

What's next?

“I'm working on two other projects. Right now I’m producing for my friend Fifthpower.”

What were the last three albums you listened to?

Ungodly Hour - Chloe x Halle

Shoot For The Stars, Aim For the Moon by Pop Smoke

Thriller 25 Super Deluxe Edition - Michael Jackson

You Can’t Place a Label on Rodney Chrome: Interview

Society tends to put pressure on people to place a label on everything. We place labels on identities in order to simplify the meaning of who or what we are to others. We are pressured to place labels on emotions and feelings in order to define what doesn’t need to be defined. It just needs to be felt. Through that feeling comes expression and however you perceive it is up to you. Rodney Chrome is an artist who prefers to express his feelings through rhythm and sound. 

On Queer Pressure, Rodney Chrome deconstructs the pressure of defining a feeling by displaying multifaceted emotions, decorated with funky baselines that remind me of The Parliment. The basslines and techno textures throughout the project paint a picture on its own, leaving open space for Chrome to exude his confidence about his happiness and sexuality. Chrome understands that his voice is an instrument and uses it in different variations throughout Queer Pressure. 

Chrome is direct with what he is saying. His choice of words and descriptions make the listener think twice or ignite a quick Google search. 

On “Pulpit” the production is abrupt before transitioning into melodic chords. In this song, Chrome goes back and forth between subtleness and aggressiveness, signifying that he is in charge of his destiny and to “never let a nigga get in your way.”

Queer Pressure sonically sounds like Grace Jones and Kyle Dion with JPEGMAFIA production influences. The whole project is clean af and there’s a balance between Chrome’s writing and underscore’s production.

During an impromptu trip to Philly for my one year anniversary, I had a chance to chop it up with the emerging star on life in Arkansas, NYU and music. 

Our conversation, lightly edited for content and clarity, follows below.

What was it like growing up in Arkansas?

“In Arkansas, as you can imagine, there's not a big music scene. I grew up dancing and performing with companies here and in ATL during the weekends throughout middle and high school. But despite it all, I felt I wasn’t fulfilling all aspects of myself and eventually incorporated music in my artistic expression.”

What was high school like? Were you a part of any performing arts programs?

“In school, I was really a sports kid and dancing was for after school. I played varsity football but had to quit because I had to attend a music program in New York for the summer and my coach was not having it.”

Ha, so it’s safe to assume that sports are big in your town?

“Yeah, it’s very heavy in this community, with any sport they take that shit to heart. (chuckles) I didnt tell my parents I was quitting till the last minute and they were like “what the fuck?”

How did that conversation about quitting football for music go with your parents?

“Since football is a family oriented sport, their whole world was disrupted. My dad is heavy into football but my mom is a bit more cordial, so it was easy to talk to her about it. Honestly, I had to realize I'm not living their life, it's mine, so I have to do my own shit. If it happens to be a mistake, its my fuck up. Eventually, they became open to see what I could do and I greatly appreciate their understanding.”

How’d you get the name Rodney Chrome?

“Well Rodney is my actual name. I had just come to NYU for my freshman year and was ready to transition out of my previous artist name that I went by in high school. I was going by Atlas and wanted a name that was more personal to me.”

Were you always this confident?

“I was not always this confident. I had to learn not to discredit myself and realize the value I bring.  I remember in high school, going through a transition of emotions and felt I was displaced in every aspect of my life.  I had to find comfort in not having all the answers right now, which eventually built up my confidence through the past couple of years. So when I started this project, I figured I should just talk my shit. Either I  feel confident one day or sad the next day, I wanted to expose both sides of myself.”  

How would you define Queer Pressure? 

“It's still a definition I'm molding.  When growing up, I knew I had these feelings or I was moving differently but I did not have the word to explain how I felt. I feel like Queer Pressure is a relevant term to express how I was feeling. The pressure to title how I was feeling.”

What's your writing process like?

“I love to write a lot, so on the notes app on my phone, I have a page for quick lyrics where I just jot down cool shit or one liners that come to mind throughout the day; To help jump start songs. 

Who are some song writers who inspire you?

“I really look up to James Fauntleroy for writing inspiration, the way he jumps around from melody to melody and still storytelling. So now i'm learning to talk about things without saying it.”

What’s the music like in Arkansas?

“There’s not a mainstream sound here in Arkansas, so a lot of those who do music down here do southern trap or something along those lines.”

When did you start working on the project and what was that process like?

“Around December 2018, while hanging with one of my good friends, underscores, I came to the conclusion I wanted us to make a project. I had two other producers in mind but once we started working, it felt right. Like we didn't need other people in this dynamic. We just made hella shit that was aimed towards the project till we were burned out.”

How did you meet underscores?

“So we both go to NYU. Funny story, in high school, while under Atlas, I released my first song called “2k” and one of his friends, Williams Crooks produced it for me. So during orientation at NYU I ran into underscores, introduced myself and then he said “Yo, you’re the kid that made 2k.” I had no idea he knew of me. We ended up having the same professor through the Clive Davis Music Program and he had multiple students share their music. I played him mine and after a few students, underscores played his. After the class our professor said we need to start making music together. The first song we made together without a project in mind was the “intro:” and then the second song we made was “Problem Child.”

On “Problem Child,” you say “What if my daddy finds out” before the chorus comes in. How’s your relationship with him?

“Outside of music, I'm really a private person, so writing this song was a bit tricky because I was not sure if I was being too open about our relationship. My dad is very old school. Like hood old school (chuckles.)I respect it but talking about certain stuff is hard so I tried talking to him through the record. A lot has transpired since releasing the song, so I’m grateful. It was definitely needed more than I thought it would be.”

On “Chin to My Chest” you say “She gave me time just to inhale, respect my mind and all the details.”  How’s your relationship with your mother and how has it evolved?

“Your mom is usually the first one to know when something is up with you. She has always been so open and supportive with me. She may question some things but she always has my back. So one night, my mom was just talking deep and letting me know she got me regardless. So I had to pull out my phone and jot this down. I wanted to make something that any parent could listen to and reconsider their reassurance for their child. This was a generational step for us.”

How did you decide on “5starz” being the single?

“Honestly, it was not going to make the project. At first, 5starz was supposed to be a loosie. I started writing “5starz” in a songwriting class. I wrote it over Kanye West’s track “30 Hours.” Underscore told me I should use the verse for an actual song, so I gave it a shot. Production wise, we were going for an old Outkast sound, something that would feel good playing in a Cadillac.”

What inspired the video concept for “5starz?”

“Big thanks to Zachary Dov Wiesel for directing the video. I had to decide if I was going to make the video just as explicit as the lyrics or create something playful. I wanted to add an alternative meaning, so we used the idea of having a 5 star meal and devouring my invited guest.”

What’s next for you?

“I’m considering dropping more music videos for the album. I would like to show more of my creative side with visuals.”

I always like to see what other creatives are listening to. So, what were the last three last albums you listened to?

SZA - CTRL (daily)

6lack- 6pc Hot EP

THEY.- Nü Religion 

If you’re looking to get your spirits lifted and feel confident, give Queer Pressure a listen.

Klow Is Kickin’ in the Door: Interview

Acworth, GA rapper Klow takes his listeners on a journey of hopeful beginnings and unpacks past trauma on his debut project FACES. Disguised by lyrics about women, drugs, and a lavish lifestyle, FACES is the coming of age story of Klow. He basks into his vices over dense drums, heavy 808s, and lighthearted claps, and within these musical elements Klow finds comfort in distinguishing his wants and needs on his journey to the top. 

What stood out to me about FACES, in addition to the abstract cover art, was Klow’s ability to mix the sounds of the south and north so perfectly that it feels faultless. With the majority of the project produced by his childhood friend, Yuxi Guru, Klow is given the creative space to make the beats work for him. On “Open the Door,”  Klow demonstrates his ability to ride the beat and switch flows. This song proves his willingness as an artist to approach every beat differently.  As Klow was leaving work, I had a chance to chop it up with the 22 year old about music and life. 

Our conversation, lightly edited for content and clarity, follows below.

How did you get the name Klow?

“It's sorta a nickname. I’m Nigerian, so my full name is Kaelo Amanambu, but no one was going to say that long ass name, so they just call me Klow. At first, I was not going to use it as my rapper name, but it was simple and it stuck.”

Being a first generation, how do your parents feel about your music?

“They know I make music but they don’t pay attention to it too much. You know Nigerian parents are all about school and shit.”

What made you want to rap and when did you start making music?

“I’ve always been into the arts, whether it be poetry or music. I started around 16 or 17.  I remember when I was young and 50 Cent dropped Get Rich or Die Tryin. I saw my older cousin rapping to “Many Men” and me being like “Yo I wanna rap like that.” I even memorized that verse. That’s why I have a lot of New York influences in my style. Biggie is my favorite rapper of all time.”

Being a fan of Biggie, someone who’s known for freestyling, what’s your writing and recording process like?

“I know for the new age of rappers, writing is like an old age thing, everyone likes to punch in. But, for me, personally, I write and it feels as if it’s the best way for me to get my point across. It feels more genuine.”

Why the title FACES?

“Just in the past couple of years, I lost three of my closest homies and throughout the years, a nigga had to put on different faces… Whether it’s fake happiness or just putting up a lot of fronts. That album signifies my different approaches to life. Whether it's some hype shit or some thought provoking smoke shit.”

On “Open the Door,” you rap about wanting the chance to experience a more lavish life. What doors are you trying to open with your music?

“I see music as my main avenue to reach other things. Whether it’s entrepreneurship or philanthropy. Niggas are tired of being broke and I’m ready for a new life.”

How do you find your beats?

“Most of my beats were produced by my homeboy, Yuxi Guru. I’ve known Yuxi since the 4th grade. I do reach out to some local producers around town from time to time as well.”

On “Overthinking,” you’re rapping about being overwhelmed. What else are you overthinking about?

“Man, I have anxiety, so I overthink a lot. Around that time I was having issues with my girl, trouble with the law and also was putting my parents through shit. I was raised in a bad spot, so any little thing could get you fucked up. It was just a testament to where my head space was at.”

How did ATL influence your sound? 

“This is my home. The trap sound has been engraved in me since I was a kid, but it’s definitely the New York sound that motivates me as well. I’ve been inspired by music from up north but also my Mom played a lot of music in the house, from Mary J Blige to ABBA & my Dad was playing reggae. And I also have two sisters at home listening to TLC. I'm getting different looks from every way, it's not just ATL.”

What’s next?

“I’m thinking about dropping a deluxe for FACES and keep pushing out more of my visuals.”

I always like to see what other creatives are listening to, so what were the last three last albums you listened to?

Edgewood- Trouble 

My Turn - Lil Baby 

Wunna - Gunna 

With a deluxe project on the way, Klow is definitely an artist you should follow and give a listen to his lyrical contributions. 

Redveil Refuses to Allow His Age to Define Him: Interview

From “Traffic” music video.

Age does not define maturity, knowledge and experience does. 

Redveil, a year 16 old rapper from PG County, Maryland, has been shaping a sound for the past few years with a potent message that strides on his blackness, all while still embracing six degrees of separation of the typical sound people in his age bracket would create. 

Apple Music: https://music.apple.com/us/album/soulfood-single/1507443816 Spotify: https://open.spotify.com/album/1ed0i6ICvyEO8ZPGqqFvnq?si=RnMfN_YrRQO2ZGg0CZ...

No funny shit, homie is 16 rapping like he’s in his 20’s. Back in 2019, Redveil dropped his debut project Bittersweet Cry, where he exchanges witty lines over J Dilla-ish production. (BTW he produces his own beats, crazy!) Since 2020 started, he’s dropped four singles “Callback,” “Soulfood,” “quarantine freestyle,” and “Traffic.” Redveil is young but secure about his purpose. He understands the value of words and the impact his art will have on others. On my way into Brooklyn, I had a chance to chop it up with Redveil on the phone.  

Our conversation, lightly edited for content and clarity, follows below.

I know you’re from PG County, Maryland. Would you say the DMV influences your sound?

“Yeah, it hasn’t really affected my sound per say, it kinda affected my fashion sense. Like New Balance, that’s some DMV shit. But not really the music. “

What about the internet, has it helped shape your sound?

“Definitely. The sound I’m doing now has been influenced by Tyler, J. Cole, and Kendrick. Also, on the flip side, xxxtentoxicon, the distorted stuff.”

How’d you get your name?

“Man I got my name from literally just walking around my house…there's not much of a backstory. It just stuck in my head and it felt catchy. I wanted to change my name because (laughs) the first one was corny.” (He refused to offer up the first name lol)

How long have you been doing music and what was that moment where it all connected?

“About four years, but under Redveil for 2 years. I started around summer 2016,  but took it more seriously around December 2016. I started rapping and kept putting out stuff. Not that people were gonna find out about it but once I knew what I was best at and what my strengths were, that’s when I started the Redveil name. It became more intentional.”

What was the first beat you rapped over? 

“Actually, it was a beat I made.”

Really! So, tell me about that process. Do you produce all your beats?

“Yeah man, besides Soulfood, everything else I produced.”

You must have a strong ear and music background to find good samples.  What were your parents playing the crib growing up?

“It wasn’t even what my parents were playing because my mom plays a lot of gospel. But, it was more so of going on YouTube and finding samples. But also, the process, it depends on how I’m feeling. Llike my feeling at that state of time drives the beat. And, half the time, the lyrics would come after the beat. I like to tweak the beat and my writing at the same time while recording sometimes.”

How does your mom feel about your music content? Is it tough?

“Yeah, it’s kinda like that”

On “Traffic,” you say “We burn this shit to the ground and building it back.” That really stuck out to me. You talk about police brutality and the frustrations of being a black youth in 2020, what’s your thoughts on the global protests and how are you coping?

“I’m using my art, definitely & specific resources to contribute, I’ve been to some protests as well.”

https://docs.google.com/document/d/1-0KC83vYfVQ-2freQveH43PWxuab2uWDEGolzrNoIks/edit Dir. by redveil & Tyler Shuler DP: Brian Jackson tunnel vision since the...

Do you feel hopeful?

“Yeah, man, like on that song (Traffic) I say “I’m turning 16 to the tune of liberation” because now more than ever, we have the momentum to be liberated.” 

That’s beautiful, man, optimism is needed! Back to the music, how do you feel you grew from “ Bare Naked Hatred” to “Traffic?”

“Sampling has definitely influenced the evolution of Redveil.”

What’s next?

“Next is the album, it’s almost done.”

I love to see what others are listening to, so what were the last 3 albums you’ve listened to?

1. Almost There by Lucki

2. Alfredo by Freddie Gibbs and The Alchemist 

3. Freewave 3 by Lucki 

With an album on the way, Redveil is an artist you definitely should keep an eye out for. He’s got a great ear for enriched samples and is a lyricist! I would describe his sound amongst the likes of Earl Sweatshirt, MIKE, and Mavi. Redveil will be one of the forthcoming leaders of the new wave of lofi rappers, I’m calling it! 

$ilkmoney Reminds Us It’s Ok To Be Angry

Angry and Cinematic!

This shit right here is supposed to make you uncomfortable. The production on Attack of the Future Shocked, Flesh Covered, Meatbags of the 85 is luxurious and the punchy rhymes are not to be listened to on a surface level as they may be considered controversial. Sampling the King of Soul, James Brown, as a MC tool who opens and closes the show, allows listeners to know this project will be a show... A Black AF one at that. $ilkmoney feels like the older younger cousin who’s seen some shit, or maybe even lived a life prior to his current one. It feels as if he’s fully equipped with the information to confidently relay the necessary gems so people can wake the fuck up. $ilkmoney makes his point and forces listeners to question their previous thoughts on these topics based off of his wicked poetic storytelling. His rhymes show you the beauty and ugly of the world. The production on “Detour” reminds me of the intro to Bad by Michael Jackson, loud and abrupt. $ilkmoney’s stern delivery makes it impossible to trip over his message. 

The sampling of Justin Bieber’s “one less lonely nigga” video that leaked on YouTube for “Black Hefty” reminds us of how culture vultures capitalize off black misfortune and pretend to care about black lives while still making a mockery of us. This project was released a week before George Floyd, an unarmed African American man, was killed by a Minneapolis police Officer Thomas Lane. 

“Fuck a Peaceful Protest

Sometimes force allows a message to penetrate more effectively. As peaceful protests flooded the streets across the nation, police decided to combat against our first amendment. Due to the authorities lack of concern for their community’s well being, peaceful protestors began to defend their voices with force as well. There’s no right way to protest, as long as the message is being presented. At a time like this, we need a soundtrack to the movement. Something that reminds of us what we are here for while, also energizing those on the front lines. 

“Nigga, I'm not Chuck D (D), because I say nigga, I love to do it.”

“Sick and sad I have to dumb my message down with fictitious mash

You niggas trash, tryna maintain a image and fit a fad”

On “White People Don’t Clean Their Chicken,” $ilkmoney expresses his frustration with mainstream music and the bittersweetness of staying on his pivot by not washing down his content. 

On “Oh No! The Nepalese Honey Spilt All over My Dick!” kicks knowledge on the generational disadvantages that were passed down after the Regan era. 

“Fuck bein' woke bitch I'm just pissed off, quiet is kept

You can hear pens fall, when the pigs call I lose my tongue and stay ten tell

'Cause that's what's coming with this job like

401Ks and gettin' dents[?] all you niggas Reagan agents

$ilkmoney reminds us its ok to be mad”

Bottom line , "$ilkmoney reminds us its ok to be mad.

A Catch “.22” Sends ATL Artist Wesson Desir on a Superficial Adventure in New Video

ATL artist Wesson Desir reminds us of the catch “.22” of fame in his new video which pays homage to the 2006 film Click starring Adam Sandler. With the click of a button, Desir is faced with the worldly/stereotypical aspirations for a rapper… Flashy cars and IG models. The video starts off with the lyric “The world is a product of my design,” and cuts to Desir tied up against his will. Directed by Amandla Baraka and produced by Matthew Schonfeld, the use of the remote as the focal point brings about nostalgic feelings and foreshadows the catch 22 of success, pin-pointing that desires can ignite demise. It seems as though the remote symbolizes fame and the cost to obtain it. On “.22,” Desir delivers a laid back flow reflecting on past triumphs and what’s to come for the future. It’s the type of song you’d put on after a fun summer night, recapping the antics while preparing a Henny and Coke for tonight's endeavors. It’s a guilt free track.

“I hummed the hemisphere to fit me exact.”

Desir is done trying things and is aware of what works for him. “Universe speaking in colored lines” speaks to the duality of speaking things into existence and following up. Desir reminds us there is always a price to pay, but you determine the cost. 

Indie-Blues Artist Aidan Ochre Conducts Science Experiment on Love vs Lust

20-year-old New York State indie artist Aidan Ochre explores the derailing emotions of differentiating what’s love vs lust on his latest ep release Ochre. Ochre feels like a science experiment. On “Is This Love” Ochre questions his own intentions and feelings before reacting.

“Playing with emotions/ It all feels hopeless/ Unless you’ll be feeling it too.”

The plush production allows the spacing between his words to show curiosity and optimism. Disguised under heavy reverb, fuzzy production, and beautiful guitar solos, Ochre allows his unguarded feelings to conduct his research on “Let You Know.” While still acknowledging his adulation, Ochre decides to “Slow Down.”

“I don't want to rush now/ If we don’t have to.”

The atmospheric transition from “Let You Know” to the jazz-funk influenced track “Slow Down” feels like Ochre might’ve jumped the gun by putting his emotions out too early and is now seeking to ground himself. Usually, after some research, your hypothesis is slightly adjusted before the experiment. Occupying the fourth slot is “Keep it Moving,” which is a bit more upbeat compared to the rest of the project. On this track, Ochre is dancing through the pain.

“We keep it moving but it’s so easy to see/ I’m losing feelings and you keep on pushing me.”

Now that Ochre is finally experimenting with those emotions, he’s coming to the realization that maybe it wasn’t love. “Guess I should've saw it coming.” On “Ever Changes,” Ochre cuts right to the chase and comes to terms with his conclusion. Sometimes, the truth feels better than the bliss. But, you’ll never know unless you test it out. This project feels very blue. Honestly, closer to indigo. The bluesy and fuzzy production is comforting while filling space in the mind of Aidan Ochre. Ochre is encouraging listeners to just go for it because moments of uncertainty could provide growth and healing. 

This project feels very blue. Honestly, closer to indigo. The bluesy and fuzzy production is comforting while filling space in the mind of Aidan Ochre. Ochre is encouraging listeners to just go for it because moments of uncertainty could provide growth and healing.