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.
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.
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.
Ever wondered what a rave in the heart of Rapture would be like? Or what the radio would sound like if they had LSD in the big band era of the 1940's? Because that's pretty what this mix is created from; the backwards twisted step-child of classical dance music.
For their very first mix for this blog, the producing/DJing group Epic Starship (a sly tongue-in-cheek name for an electronic group, I'm assuming) have strung together an elaborate collage of miscellaneous slammers and rhythm structures that seem to sync together with the styles of producers like Giraffage, Gold Panda, and perhaps Chloe Martini if she was a little heavier and more oriented towards a two-step.
The infamous Haywood (along with his partners Jason Klein & David Bristol) has shown a side of psycadelic electronic music that's hard to pin down; it's very trip-hop leaning, while also showing small fluctuations of break-beat, while having this whole old-school vibe laid over the whole thing very smoothly. So fuck, I guess I don't know what the fuck to call this; either way it's a really trill mix, which I'm sure you will all enjoy :)
Tracklist (thx haywood!)
Perfect Plan - Ann Peebles
Dont Mess - Handbook
Nice To Be Around - Helen Reddy
Give You Everything - Le Nonsense
Jemmas
Reminisce - Mike T
Time To Give Them Something - OMG Productions
Pyramids - Phatcap!
Man...Let me tell you...
Dark fuckin' things have been rising out of the world of Young Lavi$h recently; his rhyming structure has become dank and melancholic as of late, and it shows in the type of productions he's been choosing to spit over, depressed ambient waves of eerie panning wafting over a sub-bass that provides that ever-so-crucial saunter that personally make or break his tracks for me.
All of this leads his listeners to find their story-teller as a young man lost in his own thoughts; subtly disenchanted with the finer things and aspiration that most rappers tend to focus on during their underground climb to notoriety.
All of this speaks to his attitude towards the grand scheme of music, to make tracks that people want to hear, as opposed to making tracks that A&R want to hear; it's a attitude of fierce DIY ethic (do it yourself... although I sincerely hope everyone knew that acronym already) that, while hasn't been lauded to the height this lyricist is putting it at in this scene, has quietly been the backbone of what we do and why we do it for a while now.
Because do I get get paid for writing this blog? No, of course not. Do my posts on other larger blogs get more attention? Sure, but do most of these artists getting paid to make music? nope, and while most people outside of the scene might think that we're all just waiting to "make it big" or w.e, Lavi$h seems to be striving to bring up a different point, maybe we make music for a reason beyond this...
What that reason is? lol fuck if I know; but this kid seems to be pretty close to his own personal answer through what his songs seem to be reaching for, so I would keep an ear to upcoming mixtape 'Peace' if I were you; those distance monologues wafting through the waves of darkness may have something deeper to them.
Now most bass-heads who have perused this blog probably know by now that I like me a lot of Trip-hop, and part of it is probably just because I smoke too much, but there's also something else there entirely; you can never really put your finger on it but whenever you hear those switched up timings and psychadelia drenched synthlines you can hear a little bit of the future behind it.
Truth be told I've had many stoned conversations with Ray (our other blog writer) about how someday mainstream hip-hop will morph into something similar, slowly influenced over time by the rumblings of the underground club scenes. For now we producers and DJs will have to sneak in the breakbeats and alternative where we can get away with it; cause let's face it the average club-goers of our area just aren't ready, sure when Mr. Bangladesh drops his "A Milli" beat it won Lil Wayne a grammy, and I can remember last year when Zeds Dead dropped a Salem beat the entire Nokia (I guess now it's called "best buy" but w.e) Theater shat itself; but a DJ who fills an entire set with these revelations is gonna get some weird looks, cause a set needs bangers right?
That's why I've been really digging Ahmi's recent slew of tracks this month, as the summer winds down this shaolin producer has taken the scenic road towards good beats and it's definitely starting to pay dividends for him. Showing that while a beat can be hard and shuffle-able, it can also bring emotion and insight. Idk lol probably getting ahead of myself, so why not just go listen to the track and show Ahmi some love. Cause it's artists like this that make me love where this scene is headed.
Welcome BITCHES to the world of Stuffy Booth and their eternal war on fat chicks; a new (hilarious) collaboration project from the outer boroughs. Now if you have an ear for slick club-style hip-hop then you're probably already familiar with Thick One and Sauce Man; they say on any given weekend night if you listen real quietly you can hear the two rowdy pranksters blowing up some retarded party on this island. Sauce Man's flow has always been tranquil yet nonchalant, with a layer of hilarity laid over all of his verses just to let the listener know that though his rhyming abilities may run deep, comedy comes before depth with this persona.
To the characters of Cheesy McGreasy and Looseleaf Wallace (whoever they are) it's obvious that nothing is ever held back when your on tracks such as these, as they immediately meld right in with witty wordplay yet retarded hilarity on par with the past songs of Sauce Man and the Thick One. To be honest I thoroughly enjoyed this shit; cause it's basically a NY-version of 2 Live Crew, and what the fuck is there to hate about that?!
So If you got ass you better start shaking it, and if you got cash you better start throwing it; cause the Stuffy Booth is here to stay XD
