Kingston, North Carolina rapper CamoGlizzy‘s infectious single “Woah”, produced by stardustszn, is an electrifying banger that excites the listener with heavy production and charismatic flows. The beat is powerful and catchy, containing frigid keys underscored by heavy 808s and crisp percussion, providing engaging vibes that keep the listener on their toes throughout. Over an instrumental carried by his effortless flow, founded on booming yet melodic instrumentation, CamoGlizzy offers an enticing snapshot of how he paved his way as an independent rapper. An infectious track from CamoGlizzy, “Woah” has us excited for what may come next from him.
Austin, Texas singer Terrence Léon has returned with a new single titled “GO SHAWTY GO”. Across a series of singles and projects, Léon has been defining his style, with groove-heavy, smooth instrumentation and evocative vocals. Now, he has returned with an infectious, atmospheric cut that mesmerizes with spacey, future-minded production and memorable melodies containing impressive vocal range. Containing sharply-crafted verses and an explosive, catchy hook, “GO SHAWTY GO” provides heavy replay value and a smooth, immersive listening experience. The latest from Texas’ Terrence Léon, this single continues his prolific run as a rising R&B artist to keep an eye on.
Rap heavyweights Paul Wall, Termanology, and Statik Selektah have joined forces for a smooth new song called “No Asterisk”. A single from their upcoming collaborative album Start 2 Finish, this track follows the release of the project’s first single- the Pete Rock-produced “Recognize My Car”. Here, an elegant instrumental centred around angelic backing vocals and atmospheric keys provides a warm, luxurious foundation for the two rappers’ engaging, evocative rhymes. They exhibit a natural chemistry, trading off verses packed with vivid imagery and charismatic braggadocio. A strong track from Wall, Termanology, and Selektah overall, this is an addictive, relaxed offering that is suitable for cruising in the evenings with the top down.
German producer Superior and Syracuse, New York rapper Stove God Cooks have shared a soulful new maxi-single called “THE GOD THAT SAT BY THE STOVE”. With raw, rich production from Superior and characteristically charismatic, flexible rhymes from Stove God Cooks, this offering feels like a match made in heaven. It opens with the stylish “161”, which brings in textured, smoky guitars and minimal percussion to create a solid foundation for Cooks’ vivid wordplay and smooth delivery. He tackles this beat with ease, drawing in the listener with his detail-rich lyricism. Next, “Sweet Dreams” brings in layered sampling and warm bass, adding elegant percussion to give the song a silky feel. Atop the laid-back instrumental, Cooks delivers strong verses full of engaging punchlines that keep the listener glued to the speakers throughout, trying to catch every word.
Manchester, UK production team The Mouse Outfit have shared a new track called “Chillout Vibes 8”. Produced by Chini and Metrodome, this song’s elegant, relaxed sound caught our attention immediately. The track begins with watery, dream-like keys and winding, infectious bass, before grooving guitars and graceful synths are brought in to give it an immersive, layered feel. A warm, glowing single,”Chillout Vibes 8″ makes for a great soundtrack for wandering around the city at night time, or for focus and reflection.
Atlanta artist Tristan has shared a refreshing new single called “Bring You”. Following up his debut single “She”, the 21 year-old musician delivers a forward-thinking, genre-blending offering containing sharp songwriting and ethereal vocals. A highly dynamic track, “Bring You” shifts between sweeping electronic-tinged verses containing airy, ambient elements before dropping into an unexpectedly grand, ecstatic outro. Containing powerful guitars built in layers atop punchy drums, the song truly finishes on a high note- with an ending that feels like sonic fireworks. Showcasing much promise in its songwriting, “Bring You” has us looking forward to whatever may come next from this young artist, as this is only his second single to date.
“I don’t wanna be that guy anymore. And I pray that human beings can change their nature. Cause if they can’t, then you and I are in big trouble…”
These haunting words open Nate Cross’ Dracula Days, an album that reaches down into the depths of Cross’ psyche, insecurities, and paranoia. These three themes work in tandem to express Cross’ obsession with changing himself and his environment. Much like The Sopranos, and its violent yet surprisingly empathetic main character Tony Soprano, the struggle to change is the ultimate focus of this project. Led by an unreliable narrator in a ruthless world, the listener must decide whether Cross has met his ultimate goal, to change, by the end of the album.
Backed by an incredible lyrical performance, Dracula Days’ greatest strength is indeed its storytelling. Consistent self loathing and regret ooze their way in as the tracks dive into the swamp of both the overarching and individual stories Cross tells. Several times on “Push It” Cross will share his inability to care or keep fighting for meaning in his life. Cross states “I lost myself and that’s my nonchalant excuse. What can I say, I’m not myself!” and bleakly admits that he’s “lost [his] mind.” This creates an interesting juxtaposition as, ultimately, Cross repeats “PUSH IT” on the chorus, revealing his opposition to several of his seemingly nonchalant and ‘too cool for life’ feelings. In addition, this juxtaposition also builds a distrust in the listener as it makes them unsure of how Cross truly feels.
Many more times Cross will go on tangents in his tracks that reveal an extreme inability to cope with one’s thoughts, and his paradoxical behavior. In “My House” for example, Cross describes the inside of a horror movie-like house where the ceiling will crush him and the ground will swallow him whole. He describes it as “barely a home.” His relationship with paranoia is both terrifying yet beautifully woven and explained to the audience. All the while Cross on a majority of the track is gleefully chanting “Na Na Na Na”, like it’s a whimsical Beatles track. With this being said, we must not forget the sound and moods explored throughout the project which also give us a portrait of Cross’ feelings.
In the abrasive “Oblivion Beach” Cross utilizes violent guitar riffs and rough vocals to hide insecurities of loneliness. Many times on Dracula Days it will feel like a hardcore, heavy rock inspired project where aggression is Cross’ main focus, which indeed it is. But, “Live Here Reprise” and “I Used To Live Here” bring a further variety to the tape by exploring ambient, more solemn spaces which give way to more reliable reflection. The airy “Live Here Reprise” serves as the first time on the album where heavy riffs and fuzzy guitars don’t appear. Instead, it’s a wordless, slowly building symphony of synths that one might resonate with hope, and in this case, the hope to really change. But it’s not until “I Used To Live Here” – four tracks later – that the tone changes again. Only this time there seems to be a power and a rage behind Cross’ hope for change, and a finality to the answer of whether he has changed.
By the title of the track, the audience can assume that Cross is beginning to move on from his fight with paranoia and insecurity. He opens with the question “Do you think we’ll miss this place?” and states that “From the start [he] knew [he’d] break. All the drama, blinking, you might miss it… Where the love began.”
Cross is ultimately expressing a twisted yet relatable sentiment that we all must deal with; the comfortable relationship we form with apathy. It’s a relationship that can be found in Cross’ nonchalant, unserious attitude in many of the tracks. It can also be found in the hopeful chords that bring the album to a close. It’s glued to the front and back of every feeling that we either do or don’t want to feel. Apathy is much more consistent in our life than anything else sometimes, making it an easy feeling to “fall in love” with. But Cross decides that moving on from it is the best decision to make, even if it’s a terrifying decision, and brings the album to a triumphant close.
After taking some time away from music to focus on co-writing and production, Jack Conway has returned with a fresh new single called “No More”. Here, the Indiana artist’s atmospheric, emotive sound is captured through the usage of airy keys and sweeping guitars. As crisp percussion drops in beneath, Conway’s smooth, distinctive vocals captivate with memorable verses and a powerful chorus. Catchy yet poignant and honest, “No More” is a song that inspires reflection and introspection while also being easy to simply hit play on. The latest from Jack Conway, we are excited to see if this may lead to a longer project from the up-and-coming singer/ songwriter.
Vancouver rapper Lazarous and producer Stvrk‘s new track “Don’t Look Back” is an electrifying banger, providing infectious production and powerful vocals that hook the listener in from the get-go. A song from their new collaborative project Vita Nova, “Don’t Look Back” is a two-part track that begins with a heavy, bracing beat from Stvrk that is a true sonic tour-de-force, containing bright synths and grand, charismatic guitars floating atop driving 808s and crisp percussion. Lazarous enters the song ferociously, attacking the beat with descriptive lyricism, and raw, intense flows suitable to the rugged production. Then, the artists offer a pleasant surprise with a beat switch into more laid-back, airy section that finds Lazarous delivering introspective lyricism across heartfelt verses. Here, he is underscored by uplifting, layered instrumentation from Stvrk that enhances the track’s bittersweet atmosphere. The latest from Vancouver artists Lazarous and Stvrk, “Don’t Look Back” is a powerful offering that is both exciting and reflective.
Nigeria’s M.I Abaga has shared an infectious new single called “Daddy”, featuring Chillz. First rising to prominence in 2006 when his song “Crowd Mentality” became popular in his native Nigeria, Abaga has since had a storied career in music, prolifically releasing a series of albums and hit songs.
On “Daddy,” M.I Abaga blends his confident rap flow with an electrifying, mid-tempo rhythm that leaves the listener bobbing their head. He is accompanied by fellow collaborator, Chillz whose sonorous voice and catchy hook add much replay value to this offering. Cathartic, vivid production underscores Abaga and Chillz’ vocals, as they handle the beat with ease, delivering smooth rhythms and melodies. “Daddy” is the lead single off M.I’s forthcoming project that has been much anticipated. This song reintroduces M.I as a renowned artist; ready to deliver lines and bars that have a good hook on listeners.
ROUNDHOUSE MUSIC 