Gold'n Haze - Bounce

So what if street kids had class? Beyond that, what if the street kids had somewhere to exemplify said class? Imagine a club built under a rusted out bridge, where the slum-dogs and corner delinquents gathered to express there mutual interest in things that make their heads sway back and forth. So now there they are, making a classy ruckus, the air choked with thick smoke, the dirt floor littered with discarded cigarettes and forgotten 40's. But just as the instinctual angst begins to provoke boredom, someone runs over and screams "Yo; Haze just showed up"

What follows is a low-key event of professional lyricism and lackadaisical swag; the perennial Gold'n Haze (formerly known as our own Young Lavi$h) has risen from the grave to bring back the crunkness, and we here at FTS couldn't be hype(r?) about this. His new persona doesn't seem to be much of a far-reaching departure (much to the relief of his old fans, I would assume) but he does seem to bring a little more creative flow-structure and a certain 1-2 step formatting to his verses. All in all, I'd say your in for quite a treat; so I hope you've armed yourself with something to smoke, because the Haze has indeed arrived.

JTTG - Solar Beam

So a quick update for all the Temple fans out there; JTTG and Co. are still grinding, still dropping beats, one has to wonder what direction they're headed in after the release of Volume II. One can only assume some live shows may be in the works down the line.

This recent track by JTTG seems to announce itself with a bit of devil-may-care flambouyance; waves of monotone synth lines washing over a simple beat that tends to stroll through it's pattern on the crispier side of his style. Lone howls and echos ring around the wetness dripping from this beat, which to me adds a certain nonchalance to the whole thing. So all in all a very nice track. This producer also seems often fond of breaking his tracks up in the middle with a slow descent, before rising again for a crescendo in the second half; which seems to be saying "ok, so that was chill... But what about this?!" Which is a cool format when messing around with smoothly tempo'd orchestrations.

Ahmi - Praises

Next up we have this exquisite work from Ahmi, it's called "Praises" and to be completely honest this track deserves nothing less then the utmost of what it's title refers to.

Now I know what your probably saying to your computer/phone screen right now; "but, come on, FTS hype an Ahmi track like every other week, don't they?" Uhh... While that may be technically true it can't be argued that it hasn't been for good reason. This kid's library of beats is worth having in my opinion for any music lover who considers themselves infatuated with the weirder sides of hip-hop, showing expansive range when it comes to style, this producer cranks out varied work on a daily basis.

This beat in particular speaks to an old-school, almost Nujabes kind-of vibe, the raw snares hits and stacked bass drums pounding away in elegant timing under a swirl of delicately balanced sound that almost forces the loop button to be used (if only to relieve one's self on constantly going back to here it just one more time.) But if you don't believe just give it a listen and see for yourself. Because as with most this kid's tracks, after you've heard it once you almost always need to hear it again.

Le Marq - March Mix

So while we've been off on other projects; some pretty awesome work has been going down for the island lately, and we'd like to take the time to share some of it with you.

First off is the new mix by Le Marq (formerly Staten Island's own "Amplify") this producer/DJ has been putting out consistent work in this scene for a while now and this mix is no exception, in fact he has seemed to take his crisp knowledge of modern trap music to a new level of taste when it comes to dirty synth lines and rebounding 808's.

I've always been jealous as hell of DJ's who know how to tread that delicate balance between club-style hip-hop and rave-themed trap madness, it's a talent which many artists fail to master and end up having their work pigeon-holed into one category or the other. But rather then walk a fine line, this mix seems to unabashedly sway from one style to the next with almost an almost lackadaisical attitude towards genre specific pieces of work.

All in all this mix bumps something fierce when it comes to personality, and we here at F.T.S couldn't be more pleased with the newly reascended Le Marq sprinting from the gate in the race to the forefront of the island's burgeoning trap scene. If you had any doubts as to what destination we're heading towards, one listen to this mix is all you'll need to rest assured the scene is headed in a positive direction.

LE MARQ VOL. I by Amplifynyc on Mixcloud

The Shaolin Temple - Volume II

For a long time during my childhood I was addicted to video games; and one in particular I was always ravenous in my consumption with was Final Fantasy. I played those games to death, man. But slowly yet surely as I grew older I began to stop buying them as they came out (I think, maybe IX was the first I actually didn't buy) which of course I told myself just had to do with me getting older, and perhaps just naturally falling out of love with those kind of games...

In a similar vein to this new release by T.S.T.. the already infamous Volume 2... I used to listen to everything related to alternative hip-hop; from the slightly funk-oriented acts of years past like De La Soul and Digital Underground, to acts more around my generation such as Gorillaz and Aesop Rock.. Something about the cultural instinct to pull back and the overarching tide of the popularity of mainstream "gangsta-rap" appealed to me on a very deep level. Imagine, why would any group make music that doesn't sound like whatever else is on the radio? It's a thought that drew me towards it from a very young age.. But yet again, slowly but surely as time past, I began to fade away of the simple pleasures of of crisp beats surrounded by lush atmosphere, and ended being drawn towards more heavier genres as I grew older..

Now, I know what you must be thinking; why is this kid giving me his fucking biography?
I CAME HERE TO HEAR ABOUT VOLUME 2 DAMN IT

Well, it's all tied together my friend ^__^ because when I sat down to listen to this beat-tape in full; reintroducing myself to the world of the experimental soundwaves that Shrnk, JTTG and M2 delve into so richly, I also happened to start a playthrough of Square Enix's (the makers of Final Fantasy) brand new game out in the states, Bravely Default.

So while playing through this throwback classic role-playing adventure game and listening to all of my recent favorites from the Temple kids (you can read my reviews for two of my favorites Insanity and Someone Like You) I realized something: Most of the things that we loved as children, we loved because they touched a very instinctual part of who we are as cultural beings. It's not always necessarily because "we simply got older" that we fell out love for them, many times it's other much more obscure little reasons that drift us away, andbelieve it or not it is possible to come back to these past pleasures.

So while you really shouldn't need any convincing to give this tape a listen, let me make a small suggestion (it may sound kinda hipster-y, so you don't have to.... but you should) before you go on this journey through the spatial textures of the shaolin ;) do yourself a favor and listen to it doing something you love, perhaps even something you've loved in years past. Because I feel in essence that's what this album reciprocates to the listener; love from time since past.

Ahmi - Overstand / Overstand VIP

Holy shit; alright so before I start rambling, just hit play, like, just hit play... Ok, so anyway (you hit play right?) this beat starts out like most of Ahmi's beats tend to; some next-dimensional sample from the bowels of the slow-riding groove center known as trip-hop, which usually makes most of us just cock our eyebrow and mutter something along the lines of "where the fuck does this kid find this shit..." But then the beat comes in and let me be the first to tell you, the coordination between the sample splicing and rolling hi-hats is absolutely ridiculous (this kid has has a way with his high pitched low-reverb hat-lines that make it sound like he stole wind chimes out from some ancient chinese god's tomb...man, like... I'm telling you) and overall this "simple beat" seems to strive to be anything but. Overall the only thing I feel we could say against it is basically the same personal vendetta we have against all of Ahmi's recent work; why so short? One has to imagine a kid as insane as this could expand so much further down the line with these creations; what happens when an Ahmi beat hits the four minute mark? What does Ahmi making a bridge to an instrumental sound like? These are questions that Ray and I would probably kill people to obtain the answers to...



And just because we love you, behold; the super secret redux...

DJ KayLo - January Mix

So the ride from my house to my job is about 10-15min (unless my car decides to be an asshole, then it takes much, much longer T_T) and this is time I'm usually browsing around on the internet for things to listen to; and it was during this daily EDM fueled commute that I stumbled across this mini-mix by DJ KayLo.
Now I find a lot of us use the commute as a preparation towards upcoming events when it comes to our playlist, if we're going out for the night expecially, we tend to pump ourselves up with a mix filled with hype to get us pumped, because FUCK IT right? We're going the fuck out, fuck school, fuck work, fuck it.
So this weekend when your headed to some rave or party or even just out with your friends to get some drinks, do yourself a favor and listen to this mix; it's a colloquial blend of traditional house, with some sprinkling of electro-step and other power-play genres here and there; a good litmus test for the make-up of the standard club scene currently I feel. Also, while we here at F.T.S. can't wait to see the young KayLo expands into next conceptually; this mini-mix does seem to be a good starting point, showing all the potential fans that she's good at what she does, for the kind of parties that she plays.

Ahmi - Needs

We all have needs right? I mean sometimes you just need start dancing like a retard when no one's looking and you've been stuck at work for seven fuckin' hours, right? Or sometimes we have a need to find the dirtiest grimy gangsta rap track and attempt to blow out our speakers on our way somewhere where we know we'll have to act like a respectable citizen.

So I present to you this trill track from Ahmi, entitled just as such "Needs". It's a track that fills my personal needs for alternative beats; for you see I need at least one track a week to listen to that doesn't sound like every other hip-hop track or else my eqars will glue shut and my eye-balls will boil inside themselves. So much thanks to Ahmi for providing me with my weekly sustenance and much love to all you guys ^__^

Happy New Year, almost....

The Shaolin Temple - Insanity

With a lot of tracks I end up hearing, I tend to fall into the trap of categorizing the song into parts I like and parts I didn't. I think a lot of us do that most of the time when we're listening to music; we'll say things like "the bass on that is dope" or "I like the second drop better" and so on.

But the interesting thing about a lot of TST tracks lately is that it's very hard to separate them into different fields of positive and negative; you just kind of end up listening to the song through and then make-up your mind as a whole at the end. I'm not sure whether it's because of the collaborative nature or the ambient feel that most of their recent stuff has held; but their songs flow in a way that's quite hard to put your finger on.

On this track "Insanity" this is especially the case; sweeping pads and lush vocals fill up your headphones with sonic audio-porn until you're sort of left speechless and just sit back to take it all in. When I've shown this track to friends in the car or on my ipod they've had basically the same reaction; a glazed look over their eyes, and when it's over they try a few times to describe what the track sounded like to them before simply giving up and saying something in the vein of "it's trill man..." or "that was pretty dope dude..."

Skifcha - Dazey EP

So Skifcha has dropped an EP ^__^ and I'm sure all of the head-bangers out there are probably pretty hype (time for a Docta Philth Retwerk perhaps?). Mostly this is due to the simple fact that like most Skifcha work, this shit hits fuckin' hard as shit; pounding bass drums that test the limits of your headphones; twisted and contorted synth lines that make you question your sanity, all the things that you would probably expect from a Skifcha package of late.

But when we take in this release as whole we begin to get the idea that this isn't some "run-of-the-mill" dubstep album; it's the display of evolution for a producer whose trying to throw off the shackles of his previous work. This kid seems hell-bent on not trying to pigeon-hole himself into any one genre, everything from tackling mid-tempo beats to straight-up polling his facebook page as to what type of production he should tackle next (which, if I recall correctly, ended up with some very odd skifcha-esque dutch house). So, "experimental" is probably what I'd say most about these tracks, for yes, they still have the same build-up/drop outline but within this framework this kid is really trying to fight and struggle against the limits of what his mind can think up.

Luzcid - BANGN' (Docta Philth Retwerk)

You have to kind of wonder where this kid gets these samples... Like where the fuck do you find this crazy shit? As I sit down and fire up Mr. Philth's latest retwerk of Luzcid's "Bangn" I'm left to sit mouth agape at the mental ward worthy array of off-beat sounds this producer has collected into a single track.

Now when we look at the overall encompassing umbrella of "real trap shit" one does have to wonder what differentiates this track the multitude of others that I'm sure are out there with similar beat structures and 808-heavy drops and breakdowns; is it the slight flare in build-up he showcases before the second drop? Or is it simply the tenacity to lead off a track with such a weird synth array? 

To be honest I'm not quite sure, but I find myself of the general opinion the Doctor was putting as lot of effort into the heavy attributes of this track, rather then the original twists he could have brought to this banger. But all in all the track accomplishes what it sets out to do, although I would love to see if this producer can get more creative in some of his upcoming original tracksd

Bwi-Bwi - Southern Grinda (Shaolin Squad Bootleg)

Let's talk for a bit a bout the concept of a "release" because these days it's an often muddled concept which some friends of mine would go as far as to say is nothing but a relic from ancient times. For the majority of the lifespan of underground music songs get released on their own; whether they're released as "Singles" to then lead into a full album release, or simply on their own to generate as much hype as possible. This has been the format for a looooooooooooooooong time, if people like one song from an artist, then they release another; if people like that song then maybe release an EP to showcase their talents with a broader brush-stroke as it were. For that is where that term comes from, "Extended Play" as in we heard a little and we like it so give us more.

But this has also led to a lot of disappointment, I feel especially in electronic music as of late; because the emphasis has fallen so greatly towards the individual track hype and fallen so vastly away from making a cohesive album as a total. Examples are abound but lets focus in on one I'm sure we're all familiar with; RL Grimes recently released debut "High Beams" EP, when this came out everyone was fucking hype as shit (as they should be) because RL Grime (aka Clockwork) was probably one of the most celebrated trap artists to come out of  LA last year; he had the prior experience in other genres, the Diplo/Mad Decent pedigree, all the youtube love  and blogroll in the world, so when he finally drops his debut release it should change the fucking world right?

But it didn't... Because the moment anyone heard the EP they realized that all of the tracks had been leaked all year long, and anyone who had any interest in this producer probably already had all of these tracks...

So that's why I got so hype for my label-mate Bwi-Bwi's new release; firstly, because although this producer has had a lot of hype around him from his work with M&C's "Japanese Folies" release he had resisted the temptation to leak any of these songs before they released, so the whole thing felt fresh. Secondly, with a well thought out intro and outro of well placed house-y vibes with a clear intention to round out the entire listening experience one felt they didn't have to just skip through to the good parts, but could sit down and take in the entire thing as whole, hearkening back to as someone put it "...the days when Bloody Beetroots were kings..."

Ahmi - LOH

Well folks, it's been over a month since our last post, so you know it had to be a special track to be able to drag us away from our crazy schedules. There's a word in french; "Doux" it means like gentle, warm or sweet (fyi I failed french so don't take my word on that) and once in a while I come across a track which likens to such explanation where all I can use to describe it is said word; and Ahmi's new track LOH fits this scenario perfectly.

You can try to pick apart the song, try to dig down deep to find the particular substance that causes this emotion in the listener, but it's quite the challenge I must warn you. For with some styles it's simple; one can easily point to the modulated basslines in generic dubstep, or the heavy 808's in 'real trap shit' (-__-) and say "there, that's the defining sound you have to go for." But as with a lot of Ahmi's work this is difficult; can one honestly put there finger of the diffinative part of this track?

The synth lines are mellow and warm, over a simple bass line, all gliding along chill trip-hop patterns that clock in at around a standard 120bpm; yet one still gets the feel that only Ahmi could have produced this track, and that if any other were to make the same track it would end up sounding different; the slight tribal feel to the percussion, the slight stuttering to the bass before the beat kicks in. These little things just scream under-rated, and it seems to be here where Ahmi tends to leave his most personal mark on his tracks, for only those chill enough to pick up on them.

Ahmi, Me and Chopstix - Release Interview

So for anyone planning a hang-out session this week, do I have the fucking gift-of-all-time for you today :)

The one and only Nenjah Nycist, lead vocalist for the shaolin hip-hop group Rising Sun All-Stars, has teamed up with the reclusive trip-hop warrior Ahmi and brought us a fierce exploration of a record; it's called Ahmi, Me and Chopstix and as a collaborative work this EP brings quite a satchel of diversity along with it's switched up beats and solid lyricism; you can download the record below the interview for free (or be really cool and throw them some bread for it...) To be honest we were sort of blown away as this record seemed to have come out of nowhere, so we went off into the wild to find Ahmi and have him explain some of the background as to how this record came about:

Sup Ahmi! So how long have you guys been making music together?

Hey what's up, I met Nenjah around last February during an intermission at one of the Rising Sun performances at Rhythm and Brews. My cousin Rah Zah Ade (dope lyrical emcee) and I had been drinking so we came up with the idea to meet the band, some more drinks, some conversations on music, calling my cousin on stage to spit and a beat-listening session later we decided we'd try to work together.

So, what's up with Chopstix? Is it a pseudonym or a tag, or what?

The name and theme of the EP came about while Nenjah and I were actually hanging out and eating sushi one night. We had some tracks laying around that we recorded over some of my older and very new beats and started thinking well we might have something here. Some re-recording and editing later Chopstix was born.

You ever spin a set together?

Nenjah and I have yet to spin a set but that's definitely in the plans. Still have other stuff no one's heard yet.

A lot of these tracks seem to be pulling influences from vastly different directions; which artists did you guys find yourselves listening to the most when you were making this record?

I can't speak for Nenjah but I remember were both diggin the new Big Kritt that had just dropped over the summer during, and I was listening to a lot of xxyyxx, Joey Badass, Giraffage, and Kendrick Lamar.

If you had to pick a track that "sounded like stuff you guys used to make" the most and a track that sounds completely new for you guys, which would those two be?

A track that sounds like our older stuff would definitely be No Country...I was way more of a traditional hip hop beat maker back then when I made that beat and the theme of the song is familiar...REVOLUTION!!! From all the absurd norms of current society, greed, robotic group-think, and the other abuses we're gifted with from society. A song that I'd say was very new for both of us was Mona Lisa...I actually hadn't been making trip-hop beats before the summer, but once I started it felt right and luckily I had recently ran into a rapper that was down to rap over stuff like that.

Alright, time for the dirt, what's an annoying habit one of you guys would have during recording?

It's funny he's called Nenjah but I know I would disappear a lot during the making of this...it's a classic bad habit of an introvert and I know I can be a huge bit of a recluse at times, but shout to him for putting up with it.

So say it's a lazy afternoon and you guys are gonna go chill; Northshore? or South?

Definitely Northshore...that goes without saying, we just need to decide on what spot.

So, real talk...
Say the earth would enter some sort of nuclear apocalypse, and between the symbolic Chopstix, Nenjah and yourself one of you would be absolutely in the wrong place at the wrong time and get obliterated, one of you would mutate into a ferocious pile of slime and radiation, and one of you would escape on the last shuttle with the remnants of humanity... So, whose which?

I have shit for luck so I can definitely see myself being in the absolute wrong place at all the wrong times. I'm assuming Nenjah would then try to escape the city in Gaiden fashion but the irradiated fog I imagine would be a bit much for anyone so he'd probably go out the mutated way, and I'd pray to the Universe that Chopstix made it; I think other worldly and dimensionally beings have been waiting on such a thing for a while...they told me that one time over a 5th of Haitian Barbancourt rum...I think...

JTTG - Jazz

When it comes to atmosphere in this scene, one rarely has to look past JTTG and his fellow producers from the Temple; the clear attention to detail and mood setting put into almost all of his beats are enough to explain the widespread respect he has garnered from his peers as of late. For whether your tastes stray from the straight ambient Cashmere Cat devotees or over to the more crunk-oriented hip-hop side of the outer boroughs these days, you'd be hard pressed not to find at least a single beat from this kid on any given bass-head's ipod.

Personally, I might consider killing people in order to get access to his and The SHRNK's wide array of formulated pads and sample library. This beat in particular doesn't announce it's arrival in any bombastic way; it glides into existence of waves of metallic vocal cuts and rolling hi-hats and then fades as quickly as it came. Another trill puzzle piece to the ever growing cacophony of sound that is JTTG's lonely journey through the misty hills and lonely mountains of the ancient land known to the few as shaolin.

Think I'm getting way too poetic, huh? Well, how about this; give this track a listen and see if you still think so. Because honestly, when reviewing this kid's work, I'm starting to think you really can't get poetic enough. 

Morrison - Something For The Day

A unique voice is a clever trademark in rap music; I'm not an expert or anything, but with the recent drop of Danny Brown's album "Old" this has become clearly apparent to me. Because over the last week or so I've been dragged into a lot of conversations (which more often then not soon turned into arguments) over whether originality was a favorable characteristic in it's own right, whether be apart from the general pack of rap artists was a sign that you were ahead of said general pack; if an artist's work clearly differentiates itself from the standard of the day does this immediately that's it's better then the standard? My personal opinion is somewhat skeptic, because it's easy to take any track and say "OMG that's soooo different; it must be the fucking future." But this can't be 100% true can it?

What's more likely is that being unique in one's style allows his product to be heard above the rest; whether or not it is genuinely above the rest is completely up tot eh listener, but it does allow the opportunity for their music to be heard in a vacuum, without critics debating who produces that style better, because there are few if any to compare it to. Case in point is this freestyle from Morrison: this kid has a style to his flow (and consequentially a vocal structure) that's pretty unlike many others I've heard from this scene recently, he lackadaisical attitude about his skills and lifestyle tend not to focus too heavily on any one area, which is the sign of an artist who can gravitate fans to his story without overselling it. Top all of this off with a weird funky, tribal sort of beat and we get a pretty dope refreshing tune that should be getting people excited to hear more from this kid.

Ahmi - Find

When a lot of people are stuck somewhere without their music (your job, school, internship, w.e) we tend to start developing playlists in our head for when we're finally left alone with our ipod; all the songs we feel we just haven't gotten enough of lately begin to burn onto our brain until we're able to listen to them in peace.

For me lately, one of Ahmi's new beats has been consistently on that list; for the past few days on my way home from work I've been bumping this track at least a few times on the commute, and I'll be honest, it seemed kind of weird to me that I've been having loop-mode jam sessions to this quick two-minute arrangement of soul sampling and skipping snare patterns.

But if we delve into it a bit it's quick to see that this is what most of Ahmi's work has comprised of so far; smooth, if not slightly simplistic beats that jump in and out of existence without any dramatic openings or endings, and while for me this has been partially part of the charm of this artist's beat-tapes, it would be exciting to see him delve into some more creative song structure.

But for now he seems content to keep rolling these little gems of trip-hop oriented, old-school tinged trillness; and I'm perfectly okay with this; as long as no one bothers me on the way home :)

KidsWithSoul x AdoTheGod - Woman In Black ft. S.I.T.H.

I like this shit. Why? Because it's trill. How's it trill? It's heavy as fuck, it flows, and it gets me hype as a purveyor of music that other artists in this scene might lean in this direction due to tracks like this. It makes me proud to say that young artists like this are a part of the same scene of my exploration into bass music.

Adding to the ever expanding soundtrack of this island at night is KidsWithSoul, a smooth crooner of wavey rhythm and blues that seems to slink around lonely places when the moon comes out, softly singing about lost love or materialistic slogans with bitter melancholy accentuation. 

One thing is art least astoundingly clear from the get-go; this kid doesn't seem to fear not sounding like everyone else, and A.) it shows. and B.) it works. His uniqueness makes his tracks seem to stand out in line-up of similar artists in similar scenes; and whether it's his odd phrasing or the crisp production the final product is usually a steady and groove-driven track worth of dropping in any good DJ's set based around the slower regions of hip-hop.

As for this kid S.I.T.H....holy shit, like....idk, the kid's nasty as fuck, but I guess that's a good thing if you have a stage name like that; and while the sexual rhyming nature in this song isn't exactly the most creative thing I've ever heard, he is unrelenting and fearless enough in his perverse vocabulary to exchange something for it with the listener. While all of this wrapped up by a sweet production effort behind the whole track, suffice to say AdoTheGod should be collaborating more with these kids; for a style like this could easily be spun out into a worthy mixtape imo.

TroyBoi - Amadeus (Haywood Retwerk)

From the wavey depths of counter-culture Haywood has recently come bopping forth with another sick spin, this time on the rising trap artist, TroyBoi. This remix draws a fine line between the club-banging bass music of acts such as Smookie Illson and early-Tincup with what I guess one might call the more "real trap shit" of producers like UZ and Brillz. While one might wonder what might surge into existence should this love for trapstep be put towards original production, this is a definitive banger to add to one's collection for the time being, which is always something to be hype for!

See once this beat drops it seems almost hilarious in it's flow; the resounding 808's pound and vibrate as club samples and other sonic candy seem to jump out at you from the dark. But when the music slows down, we can also see a appreciation for the smoother side of hip-hop based electronic, even if it might only be to justify such a hard drop immediately following it. 

Almost as if hip-hop's charlatans were spitting over an equally fun-loving beat; this track while hitting hard doesn't take it too seriously. Rather then trying to "break new ground" most of Haywood's retwerks are just that, a powerful new spin to that which seen it's days past before it, bringing that sort of classic electronic feel back into this new world of heavy trap music; the crispest snare hits rolling right along side the rolling hi-hats and eternally pounding 808's, all with Haywood leading the charge.

Marcus G x Lyrics - Type Of Way (Freestyle)

Don't have much time today, but I did want to jump online to post this nice two-part freestyle by Marcus G & Lyrics that I've been jamming to on my stream all morning; you really have to hand it to The 90's Collection when it comes to quality selection, because this group of vocalists seems to just refuse to put out mediocre tracks. It seems like sometimes they must run around with a backpack stuffed with verses to be able to put out this kind of relaxed flow through lyrics that actually have weight to them.

And let me just remind everyone that this is a freestyle; a quick slammin' track these two bring their A-game to without even really sounding like they're trying too hard. On top of this whoever made this and produced the track deserves a tip of the hat as well; again it's just quality over quantity with these guys, and with flows like these I feel like their fans are chill with it.