Dzh has finally dropped his highly anticipated single “Relying on Me”. The 3-minute track sees Dzh paint a picture of his life growing up, and all the hardships he faced. He states he’s only relying on himself due to people’s absence in his time of need. He remembers how they laughed at him and never believed in him. He also recalls working twice as much as others due to the pressure of taking care of the house. Dzh’s delivery and lyrics help take listeners on this journey through his life. When I talked to Dzh about significance of the track to him, he said “Relying on Me” is more than just a song for me. It’s a reminder that no matter who stays or leaves, at the end of the day, I still have myself and that’s all I’ve really needed to have things done. Sort of a selfish song in a sense, but I made this record for me and myself only”. Although Dzh said he made the record for himself only, “Relying on Me” is too good a track to not to be listened to by everyone.
Rising artists Control Room and LNDN have shared a new single titled “Know You” on the Glasse Factory imprint. A refreshing collaboration between these Western Canadian producers, “Know You”‘s forward-thinking, bass-driven sound is welcomingly energizing. Containing layered, breezy synths and airy vocal samples buzzing atop bouncy, textured percussion, this track conjures a lively, immersive atmosphere.
Steadily building an enticing groove using powerful, vital bass and crisp, fast-paced drums “Know You” provides an engaging listen, while also showcasing Control Room and LNDN’s willingness to push boundaries. Unafraid to test new ground sonically, the artists show a keen sense for crafting intricate melodies and idiosyncratic grooves. The patchwork of complex synths on “Know You” make this especially evident, as they create a dense soundscape that still manages to remain highly cohesive throughout. Balancing a more maximal approach with tangible rhythms and grooves, “Know You” is a clear example of Control Room and LNDN’s focus and poise as producers, as they achieve a spectrum of sounds that is vibrant and enticing.
The latest release from these Western Canadian artist on the rising Glasse Factory imprint, “Know You”‘s progressive, layered sound drew us in immediately. With a refreshing sense for unorthodox melodies and grooves, this track provided an energizing mood that made us want to move right off the bat. We can only hope more is soon to come from Control Room and LNDN, who evidently share a natural chemistry on this offering.
Georgia artist Convict Julie has come through with a new album titled Exquisite Pain. Born in Atlanta but based in Athens, the musician’s emotionally layered sound and cathartic, angelic voice are refreshing and captivating, helping to build her a strong budding fanbase in recent years. For her latest project, Julie heightens the tension and enhances the beauty in her music to unprecedented levels, making for a gripping and affecting listen.
The atmospheric opener “Surrender” finds her blending charisma and confidence with a vaguely unsettling mood, making for an intriguing listening experience right off the bat. The song places her vocals at the forefront, and for good reason, as it introduces her compelling voice boldly. Following this track up is the heavier, bouncier “Convict”, which brings in an exciting pace with pillowy 808s and crisp percussion. Minimalistic yet engaging, this instrumental is infectious, providing much replay value. Furthermore, Julie’s vocals here are memorable, as she comes through with a delivery that is raw yet smooth.
An album highlight appears in “Battle Cry”, a grand, expansive cut containing icy, atmospheric keys that ring out over top of rumbling synths and clean percussion. Here, she delivers one of her strongest vocal performances on the record, with soaring melodies deliver in a rich tone. Songs like “Dark Matter” showcase the project’s diversity as well, as this track takes on a more subdued, nocturnal ambiance. Watery, dusky keys make up the heart of “Dark Matter”‘s instrumental, creating a mysterious soundscape that suits Julie’s hypnotic vocals nicely. Lastly, “Legend” closes out the project on a menacing, powerful note, with icy keys and head-nodding percussion, as the vocals give an example of her range, reaching towering heights throughout.
Overall, Exquisite Pain is an affecting, sharply written project from Georgia’s Convict Julie. Showcasing her poise as a songwriter and powerful, angelic vocal style, this album is a gripping listen that deeply immerses the listener in its atmospheric sound. Hopefully more is soon to come from her, as she once again comes through with an emotionally layered offering that is intriguing and unsettling, while also confident and stylish.
Los Angeles artist Cashus King has returned with an eclectic new EP called Cashus Kingdom. The underground veteran, who is a long-time affiliate of the great Dirty Science crew, alongside Blu, Exile, Aloe Blacc, Fashawn, and more, provides a refreshing offering on this EP that captures his ear for intriguing sonics, as well as his deft poetic lyricism. Bringing personal verses that draw one into the project’s idiosyncratic sound, King is admirably unafraid to explore new territory on Cashus Kingdom, making him a revitalizing voice in the underground hip-hop landscape.
EP opener “Circadian Rhythm” introduces the project’s psychedelic ambiance, immersing the listener in its otherworldly sound. With winding, dark keys and soft, creeping drums, the beat creates a thought-provoking, nocturnal soundscape that underscores King’s intricate, ruminative lyrics gracefully. His personal lyricism brings relatability to the project, as he delves into his inner thoughts within vivid, poetic verses. Following this song up is “Rivers of Babylon”, a textural, kaleidoscopic track containing an organic-sounding beat containing layered sounds such as droning, ominous sonics, and clunky, clattering percussion. Showcasing the diversity of Cashus Kingdom, “Rivers of Babylon” meshes smoothly with the other tracks while still standing out with its spacey, industrial-tinged sound.
Project highlight “SKUNK!!” appears next, bringing in raw, glowing horns that ring out atop dusty, infectious drums to create a grand mood. Here, King provides some verbose, dynamic verses that keep the listener on their toes throughout, with an exciting delivery that is executed effortlessly over the charismatic instrumental. Another highlight appears in “Kingdom Come”, a nocturnal sounding song with raw, immersive instrumentation that conjures a dark, dream-like atmosphere. Metallic, rumbling guitars play out over gritty drums and rich bass, as King delivers evocative lines rapidly, providing intensely detailed imagery. To close off the project, he comes through with the darkly beautiful “Freudian Theory”, a song that mixes airy, celestial keys with angelic, watery vocal samples to create a truly unique atmosphere. Here, King delivers some of his most vivid lyricism on the entire project, coming through with some deeply layered metaphors that plunge the listener into the song’s visceral depth.
A refreshing, thought-provoking project overall from Cashus King, Cashus Kingdom provides an array of sounds and lyrical motifs that are both otherworldly and relatable. An eclectic offering from the underground veteran that shows his willingness to break down sonic boundaries, this EP is consistently diverse yet simultaneously cohesive, creating a colorful landscape that keeps the listener on their toes at each turn.
Many people grow up dreaming to be musicians, drummers, singers, and artists who will make incredible music. However, as time passes by, the realities of the world catch up and many people give up on their dreams and settle for safer options instead. The music industry is a very challenging arena and not many people can survive. Gramps the Producer is among those who have the ultimate love and passion for making tracks, beats, and all kinds of melodies and has slowly risen to the top of the game.
Being able to be successful in this industry is not easy. People that usually follow trends may gain success and fame momentarily; however, the industry can also be quite harsh, and quick to forget those who do not bring originality to the table. Gramps the Producer has done exactly that. Track after track, he has produced original pieces that have placed him securely in the industry as a great artist.
Gramps the Producer wants to advise everyone that they should always be original and authentic with their work. He says that following trends may be easy but you won’t get far in the industry. He also wants people to know that taking risks and experimenting is important, otherwise, there will be no growth.
The plans for the coming year seem pretty packed for Gramps the Producer. He is planning to work with more international artists and produce more music. Gramps the Producer has many projects ready to impress everyone coming in 2022.
Are you in need of some slow-moving, head grooving tunes? Look no further than Saya Mosaic‘s newest release Looking Glass. This EP features everything an R&B lover needs- from slick, swung, laid-back drum grooves that get you moving without even realizing it- to smooth bass-lines and beautiful harmonies. Saya exudes a real sense of maturity and poise with her delivery on these tracks and as an artist in general, especially considering she’s only been releasing music for the last year. A personal favourite of mine is the title track and lead single, “Looking Glass”, which presents some serious old-school vibes, paired with a synth rhythm that makes it feel fresh at the same time, like if Erykah Badu was a bedroom producer. Saya Mosaic is perfect for those chilled-out evenings when you crave something silky, and honestly, her discography will not disappoint wherever you decide to start listening.
HighJak and DMAD have shared a fresh, vibrant new single called “Get My Halo”. Here, the genre-blending artists seamlessly combine pop, indie rock, emo, and hip-hop into an infectious mixture that captivates the listener with colorful sounds and catchy melodies. Containing evocative, atmospheric guitars ringing out over an addictive bassline and underscored by bouncy, textured percussion, the instrumental for “Get My Halo” is layered and vital. Moreover, the vocals are poignant and emotive, containing addictive melodies as well as dynamic, raw rap verses. An engaging, versatile track, “Get My Halo” will certainly be a notable addition to our rotation going forward.
Jacob: What made you initially want to start making music?
Fatboyshaun: As like a 4-5 year old my mom always had jay-z, lil wayne, and scarface on and i would learn all the lyrics and shit. But i found my love for music when my stepdad taught me how to play drums when i was like 10 and from there the homie dremack told me i should try rappin when i was like 12-13 and its just been my passion since.
Jacob: What was it like growing up in south Texas, and what was the music scene like there?
Fatboyshaun: Ima get a lotta shit for this one, but personally ive never been a fan of the texas sound or what was relevant in texas. Dont get me wrong cause music is all perspective, i just heard it way too much when i was younger and when it came time for me to discover music for myself i found east coast music and that was like the most fye shit to me. Now i have a deeper appreciation for Texas music, but its still not in my rotation of shit i listen to.
Jacob: Who were some of the main inspirations that shaped your sound over the years?
Fatboyshaun: I would say Doom, pro era (the whole beast coast movement from the early 2010s), Ye (when he actually rapped), NAS, and odd future were all my younger inspirations and im glad i got to exist during a period where i got to experience those artists. Now i more so find inspiration from my personal life, films, travelling, food, physical art kinda just more so things that i can interpret in my own way. I also listen to music all day everyday, im still a music nerd at the end of the day rn i listen to alot of Bronson, roc marci, ankhlejohn, and any griselda artist.
Jacob:What do you look for when selecting beats?
Fatboyshaun: The beat has to speak to me. I do this thing where when i listen to a beat pack i stand up and i pace around, if i havent started freestyling/verbally writing out loud within 30 seconds to a minute, then i personally dont feel a connection with the beat. i love production and sound design, but im a sucker for a great fucking sample loop. its a art form to sampling and when its done right 9 times out of 10 ima pick that beat.
Jacob: Which track on 100$ pasta plates was your favourite to create?
Fatboyshaun: Personally kombucha was cool cause i just posted like a “calling all artist” type thing. Shit was like a battle royale. I got back like 35+ verses and only 4 made it. But conceptually timmy chans was my favorite song to write, record, and film the visuals to.
Jacob: How did you first connect with Trox?
Fatboyshaun: I got playlisted with Ricky Mapes and through him i connected with Soko and Trox just happened to be Soko’s artist. So Soko connected us and next thing u know we were making a project.
Jacob: What was the experience like working with Trox on 100$ pasta plates?
Fatboyshaun: It was cool, glad we experienced that and made a dope connection. It also was super easy to communicate and work everything out as far as music goes.
Jacob: What do you hope people take away from listening to 100$ pasta plates?
Fatboyshaun: I honestly dont know, i just hope they enjoy it and formulate their own perspective of what im saying. Im big on letting everyone formulate their own opinion cause who am i to try and push an agenda?
Jacob: What do you hope to achieve this year with your music?
Fatboyshaun: Personally i just wanna tour, preferably a european tour. Also wanna work with some artist but i like to let that type of shit happen organically. Hopefully we drop 3-4 projects this year too. its january so hopefully another one drop soon…who knows? Let Allah lead me where im needed most.
Watch the video for “Timmy Chans” by Fatboyshaun and Trox:
“Maybe in two more years I’ll do something” is the final recollection made on IFF_’s new track released last Friday, also notably named “TWO MORE YEARS.”
Though “TWO MORE YEARS” is wrapped quite succinctly around the idea of melancholy daydreaming and controlled self-loathing, self awareness of a shared jaded view towards the future is more than apparent through the four minute epic pop-rock track.
Since early 2020 we’ve been trapped in the Covid-19 pandemic and though two years seems like a suitable time to discuss the pandemic, many artists have either executed upon the discussion poorly or have dismissed the topic as a whole.
Earl Sweatshirt of course released “Sick!” last month to critical acclaim. But while the album is of course in reference to the pandemic and its effects the themes of the album revolve around the chance to finally reflect deeply on the past since its writer is forced to stay inside. “Sick!” is a strong tape, but doesn’t hit the spot for a discussion of how the populace’s attitude towards the future has changed since COVID-19 swept across the world.
“TWO MORE YEARS” is a track that fills the COVID-19 gap. Frustration and boredom, a lingering depression, and confusion are all tied to images which serve as simple yet beautiful metaphors. A blank ceiling, a slight touch of blue in the sky which is inevitably meant to go away as the seasons turn bleak and cold, an inability to leave the house and go grocery shopping… these images all serve as connections to the lingering effects of COVID-19 and how it affects our ability to act now and move forward.
IFF_ balances the self-loathing lyrics with a dramatic instrumental and soaring vocals that serve as hopeful reminders that the frustration is backed by a shared feeling which so many of us have and wish to be done with. A bleak feeling that there might be another two years where we feel a strong indifference fueling our depression, and an inability to make the choices we need to make to put the trauma and confusion behind us. This balance is the beauty and tragedy of “TWO MORE YEARS.” Go listen to it now.
IFF_’s new tape APT 203. releases February 25th. Part 3 will be out this Friday on the 18th. Go follow his instagram below to stay updated for more of their music.
Oluwadoe and Lucidjason have shared a vivid new single called “I Will”. A spacey, retro-futuristic R&B banger, this song provides jubilant grooves packed with vitality. The instrumental from Lucidjason is catchy and textural, containing colorful keys and electrifying guitars layered atop head-nodding percussion. Moreover, Oluwadoe’s vocals are smooth and spirited, drifting atop the instrumental with grace and effortless charisma. Sharing a natural chemistry, Oluwadoe and Lucidjason provide an organic-sounding offering that had us hooked from the get-go.
ROUNDHOUSE MUSIC 