Rising rapper Boot Raymond has dropped off a new album called, maim. Coated with an air of warm nostalgia, and paired with vividly detailed, personally rich lyrics- maim makes for a thought-provoking and immersive listen. Showcasing Raymond’s innate lyrical ability atop a set of abstract, soulful instrumentals, the album draws the listener in from the get-go with its emotive feel.
Opener “black sambas”, with KIDD, uses a pastiche of layered sampling and gritty, organic percussion to create an apt backdrop for Raymond’s imagery-laden poetics. “ego trip”‘s weaving, psychedelic production provokes deep thought while Raymond reflects on his past, and how it brought him to where he is now, as well as his hopes for the future- making for a relatable cut. “fein4love”, mixed by @croko.moko, makes for an uplifting offering and a project highlight, with cathartic vocals that ring out clearly, chalk full of emotion. The hypnotic feel and lucid lyricism of “another praise” feels laid-back and pensive, with a certain soulful wistfulness that shows up throughout maim and gives it its own character.
Boot Raymond’s latest offering maim is a heartfelt project full of enticing moments that draw the listener into his world. It paints a personal portrait in a vivid manner while demonstrating sharp lyricism and a keen ear for engaging instrumentation. Listen to maim here now.
This shit is dope. I just want to say that right off the bat. Freetape 4: Renegade Rap is the fourth project in the Freetape series, where Free Hamze pairs up with one producer for a whole project, to make magic. This one is a collab with fellow Austin producer YoursTruuly, and it lives up to its title. Freetape 4 is an anti-imperial hustle manifesto ladened with equal parts unshakeable resolve and grief. The unlimited range of YoursTruuly’s beats provide the perfect canvas for Free to paint a landscape of emotional peaks and valleys as he navigates the complexities of his existence.
“Still” starts with an excerpt of Miles Davis in an interview, talking about a peer of his taking things to extremes. Was he referring to Free Hamze? Who’s to say? (note: Davis passed away several years before Free Hamze was born). Either way, I’mma assume the snippet is indicative of Free’s own temperament.
Then the beat comes in. The airy sample creates a breezy and serene atmosphere that feels like taking a stroll through a cloud. Free saunters on the beat with equally easygoing and melodic flows ‘bout flippin packs, unabashedly carving his own lane, and bein content with the life he’s created. If you’ve listened to Free Hamze, then you know this is his modus operandi. He’s BEEN on this tip and he’s STILL on this tip. “Still’ is a smooth intro track that showcases Free’s trademark swagger.
“I Can’t Lie” shows us the fatalistic side of Free Hamze. Free immerses himself in a somber and captivating beat as he speaks on feelings of hopelessness, the family he’s lost, and how all of this led him to trappin’. The depression Free raps about comes from the trauma of imperialism and white supremacy, havin been subjected to the evils of Isra-hell and the U.S. as a Lebanese immigrant who ended up in Austin, Texas.
It’s no wonder he’d seek freedom outside the conventions of society. Free Hamze’s hustler ethos is the result of his determination to change his circumstances by any means. This determination is shadowed by deep feelings of survivor’s guilt. More than anything, he longs to return home, for his people to be free, so he does what he can. But there’s an acute awareness that no matter how hard he hustles, it won’t fill the void left by the destruction of his home and a still-growing list of martyrs. It’s important to Free that we know this about him, because otherwise we could never understand him or his art.
We know now that there’s an ever-present sadness in Free. On “Two $idez” he shows us that grief can act as a catalyst that pushes you to revolutionary action. He’s joined by Locuust (rap moniker of YoursTruuly), on a track that serves as a battlecry. The intro consists of a Lebanese freedom fighter saying they’ll never be defeated as long as they keep their heads high. Then, Locuust comes in guns blazing, letting us know what the fuck she’s about. Her verse is a pithy denouncement of Zionism and the military-industrial complex. It’s colored by intricate rhyme schemes and clever metaphors, delivered with infectious zeal. Free starts his verse by asking a set of rhetorical questions that highlight the brokenness he feels- a brokenness that can only be combated by earnest self-expression and a commitment to resistance. He implores us to pick up arms in the fight against fascism ‘cause these hypocritical crackers ain’t gonna defeat themselves (tru).
There’s a fascinating synchronicity taking place here that I wanna elaborate on, so stick with me. The essence of the sample is a powerful, energizing swell of violins that sound like they’re from a Middle-Eastern composition. YoursTruuly and Free Hamze take that and flip it to make a Hip-Hop beat. A western art form created in response to the material conditions of oppressed (Black American & Caribbean/ Latino specifically) people in the west. That beat is then used to decry imperialism and the western powers that be. Every part of “Two $idez” works together to create a piece of art that demonstrates how the Palestinian struggle for freedom is directly linked to the struggle for freedom everywhere. Like… damn dawg. That’s poetic justice if I’ve ever seen it.
“Mirror World” featuring Chucky Blk and Locuust is the stand-out track for me. Together the 3 of them go fuckin bananas. The beat is beautifully haunting. It has its own gravity, like stars shimmering in the vast emptiness of space during the creation of the universe. Chucky Blk steps up to bat and expounds on that with a poetic verse that speaks of danger to come, creating yourself anew, and the arduousness of the task. He talks about how the birth of his daughter spurred his transformation, the satisfaction that’s come with it, and ancestral veneration. All of this is said with an air of defiant pride & joy in Chucky’s delivery, as he creates his own pockets in the (mirror) world of the beat. Free elaborates on Chucky’s sentiment that something is coming, a combination of natural disasters and man-made horrors that will strip us of our humanity. He draws lines between A.I. and the increasing violence of fascism. Free is nonetheless unfazed as he locks in on his art and revolutionary struggle, slightly annoyed you haven’t figured all this out yet.
It’s evident in his sobering tone and razor sharp flow. An internal locus of control guides him. The only man he’s concerned about is the one in the mirror. This level of focus makes him a threat to the powers that be. He coolly confirms they’re right to be afraid. The beat strips down to just woodwind. Locuust is there sipping tea, reading the leaves, finding solace in their guidance. Then the drums come back and she oscillates between hope & uncertainty in her journey of self-discovery in the context of increasing (mirror) worldly turmoil. She’s also seen what’s coming, and offers condolences. There’s a tension in her voice that captures the teeter-tottering of her orientation, and the verse is bolstered by her characteristic wordplay. Ultimately, she chooses to embrace hope and trust herself as we see how the story of our lives plays out. In a world where black, brown, and queer people are demonized for their very existence, this track shines. A mirror can only reflect what you bring to it, so they choose to bring their A-game.
On the song “Ouroboros”, Free Hamze brings us back to harrowing reality. Back once again to trappin, this time framed as a foregone conclusion. Like the sky being blue. Because he already knows that chasing desire will ultimately lead to his own demise… but we all need money. The fatalism from “I Can’t Lie” re-emerges, and Free confesses that even his dreams are wrought with grief (“I dream of processions/ And coffin parade/…. Tombstones of the martyrs/ With Surahs engraved”). Understandably, he’s too consumed by the sorrow of his circumstances to try to break the chain. Free’s M.O. to operate outside the status quo isn’t entirely from a desire to move different. The first rejection was western society’s failure and rejection of him. It makes me think of the African proverb “The child that is not embraced by the village will burn it down to feel its warmth”. Free’s knowledge of his contradictions can’t save him as he too becomes the Ouroboros, the snake that eats its own tail. Despite the seriousness of the subject matter, Free glides on this beat like a gritty paper airplane, and the hook is infectious. Wasteey Monroe follows Free on the track with a unique and provocative vocal performance, but the lack of lyrical content on the verse makes it feel out of place in the context of Renegade Rap. The feature feels more like two verses put on the same song than it does a collaboration.
“Gunpowder Spliffs” is the closing track, and a fitting goodbye to Freetape 4. It’s got a proper outro feel. YoursTruuly comes through with a soulful beat that starts with James Baldwin telling us that the kids want to live. Free hops on this joint emanating a melancholy optimism when he speaks, one that was forged in the blistering crucible of experience. The survivor’s guilt is still there, transformed into a source of motivation that no fascist could ever begin to fathom. He reaffirms his commitment to speaking truth to power. There’s a tenderness he reserves for the kids that we get a glimpse. Because he was one of those kids that Baldwin mentioned. One of those kids that wanted to live, and he has. He’s STILL here! Free Hamze lives in the songs he makes and in the hearts of anyone who hustles because they have to. Anyone who stands tall in the face of capitalism, white supremacy, and imperialism, the three-headed beast that looms over so many people. Nothing can stop him!
Free Hamze showcases a rare penchant for songcraft and a moving sincerity that can’t be duplicated by machine-learning or the uninitiated. YoursTruuly’s production honestly leaves me awestruck. The beat for “Mirror World” is one of the craziest joints I’ve heard in a minute. Her occasional features as Locuust also poignantly add a layer of depth to the tapestry that they weaved together. Freetape 4: Renegade Rap is a must-listen project for anyone with a goddamn heart. So give it a listen if you haven’t, or repeat listen if you have! No number rating ‘cause that shit is for chumps.
Detroit mainstay Valid continues his journey of the well-received Peach Brandy album with the release of an evocative video for “Places.” In this visually captivating piece from Lucky Penny Media, the MC honors his roots while reflecting on the city that shaped his identity. The video incorporates heartfelt home footage, whisking viewers back to 2005, the year of Valid’s last visit to Serbia as a young man. It serves as a celebration of Detroit’s rich hip-hop culture, intertwining memories of the past with hopes for the future.
“Places”, produced by Knowhere2run and Vibin wit DJ Mono, is a potent track from Valid’s recent album Peach Brandy that explores his heritage in Serbia and how it shaped him into the man he is today, with vivid lyricism set to a back-drop of rich, atmospheric guitars, warm strings, and organic percussion. The new visual, alongside the track, acts as an homage and tribute to his homeland with heartfelt, nostalgic shots that capture the song’s emotive narratives.
Mentored by Grammy-winning DJ Head, Detroit emcee Valid is making waves in hip-hop. After his acclaimed debut album, Mihajlo, in 2019, he released the Plum Brandy EP, gaining traction in Eastern and Southern Europe. Valid has collaborated with notable artists like Apollo Brown and Skyzoo and recently teamed up with Stretch Money to form the duo Bill & Isiah. Their album gained significant attention, charting on college radio in the U.S. and Canada, and their freestyle on Eminem‘s Shade45 became a defining moment for Detroit hip-hop. Performing alongside legends like Xzibit and ThaDogg Pound, Valid’s influence continues to grow, with exciting prospects ahead. His latest offering, the fresh visual for “Places”, makes for a poignant, memorable release, coming after the drop of his engaging, versatile Peach Brandy LP. Give it a watch here now on our platform.
Mama Yaya, Jake Bass and The Light Works have come together once again for a new single called “Truth or Dare (The Light Works Remix)”. A potent meeting of minds that brings each of their vibrant, character-rich sounds to the forefront, “Truth or Dare (The Light Works Remix)” presents another strong track from this trio of collaborators.
“Truth or Dare (The Light Works Remix)” is a versatile new offering, with its poignant blend of electronic, dance, R&B, and alt-pop elements. Immersive keys and rich guitars drift atmospherically alongside Mama Yaya’s soulful vocals, underscored by an infectious drum-line that incorporates DnB aesthetics. Building dynamically, powerful bass, raw synth lines, and added cathartic layers of percussion give “Truth or Dare (The Light Works Remix)” an epic feeling, culminating in a massive chorus, and giving the track much replay value.
Mama Yaya is a Chicago-based singer-songwriter of Palestinian and Jewish descent. She launched her music and acting career in the fifth grade and has performed at notable venues like U.S. Cellular Field, the Chicago Symphony Center, and Pritzker Pavilion. She has also collaborated with the Detroit Symphony Orchestra for the Deaf and the Loud Symphonic Experience.
In the summer of 2018, Mama Yaya signed with Detroit producer Jake Bass at Boca J Music. For her latest release, “First Off (The Light Works Remix),” she teams up with Bass, who has been immersed in music since childhood. Starting at eight, he learned drums, piano, guitar, and bass by ear. By 15, he founded Boca J Music and gained recognition in the Detroit music scene. In 2016, Jake co-produced the 20th anniversary remix of Eminem’s “Infinite” and its accompanying documentary. He has also composed for various artists, filmmakers, and brands, including RYN SCOTT, Drew Verdé, and Mama Yaya.
“Truth or Dare (The Light Works Remix) features a collaboration with The Light Works, the creative duo of producers Ludlow and Freddy Todd. They blend Chicago house, Detroit techno, drum and bass, and hip-hop/R&B to craft a unique and infectious sound in electronic music. Raised in Detroit, the pair met in high school and have since established successful careers as producers, accumulating hundreds of millions of streams and touring globally.
Listen to “Truth or Dare (The Light Works Remix)” here now:
Mama Yaya, The Light Works, and Jake Bass have connected for a new single, titled “First Off (The Light Works Remix)”. This song finds this talented cast of collaborators joining forces for a vibrantly emotive single that blends genres enticingly. Featuring rising, colorful synth layers and cathartic woodwinds drifting atop an energizing, buoyant rhythm section, “First Off (The Light Works Remix)” builds powerful grooves alongside engaging instrumentation. Further enhanced by Mama Yaya’s heartfelt, ethereal vocals that build dynamically across the track, “First Off (The Light Works Remix)” is an example of a song that brings all of the collaborators strengths to the table, with each adding their own unique dose of creativity. It makes for an uplifting song that courses with energy, as pulsating rhythms blend smoothly with bright synths and hypnotic vocals for an infectious new release.
Mama Yaya is a Chicago based, singer/ songwriter of Palestinian and Jewish descent. She began her music and acting career officially in the 5th grade and has since performed at venues such as U.S. Cellular Field, Chicago Symphony Center, Pritzker Pavilion, Uncommon Ground, and more, as well as performing with the Detroit Symphony Orchestra for the Deaf and Loud Symphonic Experience. In the summer of 2018, Mama Yaya signed with Detroit producer Jake Bass at Boca J Music. For her latest collaboration “First Off (The Light Works Remix)”, she joins forces with Jake Bass, A Detroit-based composer and producer, Jake was born into the trade, fashioning his sound by playing drums, piano, guitar and bass, all by ear, starting at eight years old. By 15, he founded his production and publishing company, Boca J Music, and he was already catching the eyes and ears of the Detroit music scene. In 2016, Jake co-produced the 20th anniversary remix of Eminem’s “Infinite” and produced the related documentary. Jake has composed for automakers, television, filmmakers, and many additional artists including RYN SCOTT, Mama Yaya, Drew Verdé, and Apropos.
“First Off (The Light Works Remix)” is a collaboration with The Light Works, the brainchild of producers Ludlow and Freddy Todd, who fuse Chicago house, Detroit techno, drum and bass, and hip-hop/ R&B to create a distinctive and infectious sound in electronic music. Raised in Detroit, the duo met in high school and have since built successful careers as producers, amassing hundreds of millions of streams, and touring the world.
“First Off (The Light Works Remix)” makes for a poignant meeting of minds that blends R&B, pop, electronic, and dance aesthetics for a memorable new song. Take a listen to it now on all platforms HERE.
Notty Taylor: I was most directly inspired to do music by Terence “t.ANT” Pitchford. We from the same neighborhood, and he was the first person that I knew that had his own clothing line, and rapped on his own beats. The first person popping his shit for real, and who embodied what an artist is. He taught me everything I know. Being inspired by OutKast, Lil Wayne, and T.I early on in my youth pushed me to become more of a fan and student of music. Then when Kanye West and Drake broke through, it gave me a different type of inspiration. I actually saw myself a major label artist for the first time and wanted to create music that felt like theirs.
Dami: With all these inspirations, how would you now describe your sound?
Notty Taylor: Ideally, the journey I’m on right now has a destination of making sounds that feel like late nights in a city near you.
Dami: Is there anything else that inspires you when making music apart from the intention of making soothing, mellow tracks?
Notty Taylor: My environments inspire me every day. Whatever it is I’m currently experiencing or have past experiences with, I try to draw from creatively.
Dami: How are you able to handle growth as an artist while sticking to your sound?
Notty Taylor: Keeping the Purple Room Creative family as close as possible. Having a support system is important, and I work with extremely talented creatives and visionaries.
Dami: Can you tell us more about the Purple Room Creative?
Notty Taylor: Purple Room Creative is best described as an idea(s) company that was founded by me and t.ANT. Everything from creative design, culture curation, fashion, food, live performances, music, production and videography. Literally everything.
Dami: On your previous projects like Cutlass, Getmethru, and Nottyhrs, you’ve kept your sound while adding elements of other sounds too. Should we expect more from future projects?
Notty Taylor: Every project is an extension of me and t.ANT and what we’ve built. Overall, I stay the same but how I’m feeling at any given time is subjective. The music has to embody that. I’ve never heard the same exact sound from CD to CD or even song to song from Ye. He’s always finding new ways to express himself, so a lot of his most ambitious ideas drive us to do the same things: create with boundaries.
Dami: Can you tell us more about NOTTOBER?
Notty Taylor: THANK ME Thursdays are back. It’s like a bonus season to the series.
Dami: Tell us more about THANK ME Thursdays?
Notty Taylor: I’ve been doing these runs since 2018, where we drop something new from Notty Taylor every week for 2-3 months straight. New concepts, flows, and styles- new everything. Vault therapy.
Dami: You’re starting it with a single titled “Driveway”. What should we expect from it?
Notty Taylor: It sounds like a late night in a city near you. Styles and flows. Fun and to the point.
Dami: What has been the most challenging part of being an artist?
ROUNDHOUSE MUSIC 