There are few artists like ThunderWof. Naw, I take that back: there are truly no artists like ThunderWof. He's the very definition of multi-talented and unapologetically himself. He doesn’t get caught up in trends, and he doesn’t need a gimmick to market himself. Everything he does is inherently who he is. But that doesn't mean he's not a student of the game. Just one conversation with him and you’ll see, his musical knowledge runs deep and within his music you may hear shades of André 3000 or the unapologetic delivery of Kanye. ThunderWof. grew up on horses, and that’s one thing his last album “Boys Don't Cry But, Wofs Shed Tears”, taught us. Now he’s back, and this time he’s sharing his love for birds with the release of his latest project alongside dj nonmae., titled “The Birds and The Beats”. ThunderWof. is a Tulsa rapper and comedian. You may remember him (a.k.a. “Ronnie RedRanger”) from our interview in the “5 On It” interview (check it out here). Since then, he has combined these talents to operate under a single name: ThunderWof. The artist behind the track that invited "Beef" has now teamed up with legendary Tulsa producer dj noname.. They share more than the period at the end of their names, they truly share the love for music. Over the past year, the duo has built a rapport and an almost tag-team-like bond that proves neither is afraid to share the spotlight. dj noname.’s track record of creating timeless musical compositions makes ThunderWof.’s uncanny bars and delivery feel like a welcome challenge for a producer with over 90 releases under his belt. Let’s see just how many birds you can spot in their new project, “The Birds and The Beats”. The Birds and The Beats is a 10-track project that is true to the essence of a collaboration tape in the sense that it’s just them, no features. One producer and one rapper locked in on creating a project, no better yet, creating art. An interesting fact about this project is that it was recorded at Church Studio. Anyone who’s ever stepped foot in there knows not only the history of some of the greatest musicians; icons like Woody Nelson, to Stevie Wonder, even Uncle Charlie Wilson and The Gap Band have recorded there. They also have witnessed the grandiose of it, it’s truly the big leagues when you think about recording studios. The huge recording rooms are equipped with music boards, microphones, mixers, and equalizers. They also include instruments like guitars, pianos, drums, and any other instrument you might need. The equipment alone is worth its weight in gold. The fact that this tape was recorded there and used some of the historical equipment like David Bowie’s microphone, I might add, means that this isn’t just an ordinary tape. As ThunderWof put it, “..this is Ornithology”. "Momma I think I made it,
The project’s opening track, "Show Off," is a straight jab of bars. From the very first line, ThunderWof. comes out swinging. He's clearly on the offensive, wasting no time knocking the beat into a carefree, laid-back vibe. It’s here that we get our first lesson in the subtlety of his pen: teaching us lessons while we’re bobbing our heads. “I'm something like a Southern Screamer,” he raps. Some might hear that bar and just think it sounds cool, but a little research reveals that a Southern Screamer is a bulky water bird native to South America; this is just one of 18 bird references sprinkled throughout the tape. What’s also on display in this first track are subtle shout-outs to local legends like dj noname., DJ $ir Mike, and Evan Hughes. I’ve always felt that to get a shout-out on a track is to live forever.
Another element I really enjoy about dj noname.'s production is that every track feels like a murder mystery: the rapper kills the beat, while dj noname. leaves easter egg clues that are just enough of the original sample that the listener can then use to track down where it came from. It makes you feel like you’re right there digging through the crates with him. "Show Off" samples “Turn Around You Fool” by The Ponderosa Twins Plus One; it’s the kind of flip that pays homage to the original soul record while making the listener want to also listen to the actual original track. To know a dj noname. track is to know a true love for music. I have to admit, I wasn't ready for the next track on the album, "Freaky Feathers." The title alone should have given me a clue: the birds get dirty too, as ThunderWof. takes the concept of the "birds and the bees" to the next level. Speaking of levels, dj noname.'s production here reminds me of '90s Nintendo games when you reach the boss stage and that intense, high-stakes music kicks in. ThunderWof.'s repeated echoes of "Baby" ring in your ears like the minions you have to fight through while the boss watches from the shadows. The bars get seriously provocative, like when he drops, “Use my mouth as a baby carriage.” And he doesn't stop there; he seamlessly weaves the avian theme into the bedroom antics with lines like, “One leg up, ya just like flamingo,” and, “Baby, shake your feather like a cockatoo.” The song has playful, flirty undertones that set the stage for his experimental language (“choking,” “spitting”), leaving you wondering if ThunderWof. is operating on a whole different level of freaky. "I'm giving you birds over the beats this is orathology.”
I remember hearing “UPS Is Hiring” live and thinking the story he told about it’s origins alone was gold. ThunderWof. started off by recounting how his father would always tell him UPS was hiring, just in case rap or comedy didn’t work out. Fast forward to the present day, and ThunderWof. is giving that exact same advice to rappers who need to go grab a day job. The beat carries a slow, soothing vibe that sweeps you off your feet, with the help of dj noname., who samples René & Angela’s hit single "My First Love" (which you might also recognize from Avant and KeKe Wyatt’s iconic remake). ThunderWof.’s delivery is smooth as he slides across the track, lacing it with what can only be described as a full flock of bars. He poses a crucial question: “How many bird bars do you got?” And then answers it himself: “It’s more than a fowl amount.”
This track is practically flocking with bird references. Sometimes they’re subtle, like the "fowl" line, while other times they hit you right in the face: “If the boy keep on quacking, we’ll have him ducked off like he’s O.J. Simpson,” or, “Behind every bar is a bird, like an aviary.” (An aviary is a large cage for birds) Stop playing with ThunderWof.’s pen! The track has so many moments where the beat and the bars align perfectly; time after time, I found myself wanting to pull out a pen and quote a line. You really have to hear every bird bar for yourself. Not every track on an album can be a high point, and that’s where I land with “The Eulogy.” The beat carries an early ’90s Native Tongues vibe, reminiscent of A Tribe Called Quest or De La Soul. Where the song falls short, however, is in the vocal performance. It’s a track that demands a vocalist with a broader range to lay down richer melodic undertones. As it stands, it feels more like a reference track that could have found firmer footing with a stronger singer. That said, Michael Jackson oddly came to mind when listening to ThunderWof.’s serenading delivery—couple that with a direct nod to New Edition’s "Mr. Telephone Man," and it makes for an intriguing moment. ThunderWof. calls out to a lady named Antoinette, whom it sounds like he's lost touch with: “I'm crying to my flying friends.” But just when you think you have the track figured out, your ears perk up as the codeine haze sets in and a chopped & screwed version of ThunderWof. takes over: “August 10th, damn what a day , I woke up in love, fell asleep in heartbreak.” This is proof that birds really do fly south for the winter. Even deep within this slowed-down monologue, ThunderWof. continues to drop avian wordplay. One line that particularly stuck with me: “Every melody sounds like a memory.” Ultimately, even if “The Eulogy” experiences a turbulent takeoff, it lands beautifully through its use of imagery and culture. By the time we hit the halfway mark, you realize we’ve navigated a full spectrum of emotion, but more importantly, a relentless flock of bird bars. Track 5, “Backyard Concerts,” functions like an interlude, reading like a thank-you note to the birds themselves: “Thank God for the Blue Jays that erase my blue days.” In a sense, ThunderWof. needs the beats and the birds just as much as they need him. It’s a reminder that not every love letter needs to be an Odessey. At just 1 minute and 7 seconds, it’s the shortest song on the project, but it still delivers its point and lands beautifully: “They say the best concerts are usually free, My backyard, it sounds like a symphony.” The beat on “Birds on the Line” has a busyness to it that feels heavily influenced by Japanese mod bands. Combine that upbeat energy with ThunderWof.’s nonchalant delivery, and it makes for a surprisingly sonically pleasing track. The song really showcases his storytelling ability through songwriting as he takes us on an expressive flight: “I’ve got sparrows singing sad songs on my windowsill, reminding me life’s real.” It dives into deep topics like choosing a career over family, losing loved ones, and showing up for people both when they need you and when you need them most. The bars on this track hit with raw honesty. ThurnderWof. gets personal in a way I've never truly heard from him before. Powerful lines echo throughout the song, like, “You ever see your mother lose a universe?” and, “I pray my mother never gives me back to Mother Earth.” At times, the track plays like an exploration of survivor’s remorse as he reminisces on the losses and shifts in his life or, in his words, “Life’s a big migration.” On “Birds on the Line,” we get a deeper, far more vulnerable side of ThunderWof. “2 Minute Drill”, no, this isn’t the “7 Minute Drill” that was later deleted by J. Cole, but it carries all the tension that makes an artist wonder how the industry will react once it drops. The beat has a dark, "Shook Ones" feel that ThunderWof. jumps on, proceeding to rap in a way that taunts any challenger while declaring it's Turley/North Tulsa versus everybody, as if it were tatted on his chest. But not to be taken too seriously, he drops a hilarious line about being mistaken for country star Shaboozey. I love the different elements at play here, like the call-and-response conversation he has with himself addressing rumors and answering questions head-on. Then comes a dope transition into a "Turley" chant, backed by heavy-hitting bars and topped off with this unapologetic 4-bar declaration: “I’m a Northsider, 59er, early Turley resider, I won’t stop loving Turley till my heart retires.” It’s a beautifully executed song, especially given its ominous feel. It's also probably safe to say that ThunderWof. is the only rapper operating at the unique cross-section of sports bars and bird bars. Next, we get into the track "Patriots Stand Up" The track opens with a heavy saxophone line that carries the weight of ThunderWof.’s revolutionary bars. What’s interesting about this song is the social commentary of the bars, more specifically how he uses symbolism by showing how the very birds celebrated as national and state emblems, like the bald eagle and Oklahoma’s own scissor-tailed flycatcher—can also symbolize corruption and sinister acts against the people they claim to represent. I also love how he calls out the mass incarceration of women in Oklahoma and the lack of resources for women; these are critical issues that rarely get the spotlight. Alongside that is the clever political commentary mocking the nation's two longest-feuding "gangs": the Demicrips and Rebloodicans. There’s so much weight in each bar. But as the track closes, a high-pitched voice brilliantly recites a modern adaptation of Gil Scott-Heron’s iconic poem "Whitey On the Moon," tweaking the refrains to target Elon Musk's space ambition: "Whitey on Mars." The saxophone shines in this final movement, driving home the sobering reality that history might just repeat itself on a whole new planet. You’ve probably heard the old saying: If you can't run with the big dogs, stay on the porch. Well, ThunderWof. flips that on its head with "No Big Dawgs," making it clear that big dogs can't run with the Wolves up North. The track is an unapologetic statement of dominance where he flexes his lifestyle over the competition: "The bank account looking like a rock show, It’s just band, after band, after band." I also loved the triple entendre on the line "I'm just keeping it a bill"—playing on money (a hundred-dollar bill), keeping it factual (keeping it 100), and a duck's bill. The track serves as a sobering comparison between his reality and his haters' illusion, where he's living his best life while they're living their best lie. Also accompanying the song is a music video that stands out as a compelling piece of art, serving as part of a larger mini movie that connects the project's tracklist while featuring appearances from Tulsa legend Playya 1000 and local figure Evan Hughes. Head over to watch the video and hear for yourself what makes this cut hit so heavy. It’s been a wild ride, but we’ve reached the finale with "I’m An Uncle." There's something magical about the flute on this track; it's as if producer dj noname. tracked down André 3000 and told him to be as free as the bars on this track. With a generational shift of people opting out of parenthood due to high living costs, ThunderWof. enters a reflective headspace, contrasting his bachelor lifestyle with his friends who are stepping into fatherhood: "I raise a blunt, while he raise a child." Yet, despite enjoying the single life, he makes a point to express genuine pride in watching his homies' families grow. In the second verse, the focus shifts toward life lessons, like recalling his father’s passed-down wisdom that the ground will always catch you when you fall. But the true genius of the track lies in its abrupt final bar. ThunderWof. spits, "Thank God for the birds," follows it with "Thank God for the..." and suddenly cuts off, leaving only the beat to play out. It’s a brilliant, Sopranos-style fade-to-black moment, bringing an end to what was bird watching at its finest. To say I liked The Birds and The Beats would be an understatement. It's a remarkably cohesive concept album that hits every mark of a great record, driven by amazing composition from dj noname. and top-tier lyrical skill from ThunderWolf. The project actually had me Googling birds. More importantly, the bars were witty, he didn't just simply name birds, he seamlessly intertwined avian themes directly into the lyrics and imagery. Fun fact: There are supposedly 18 different birds referenced across the project, and I challenge you to find them all. One eye opening for me is that I might have even discovered a newfound passion for birdwatching. After listening to this tape, I'll probably find myself staring at the powerlines wondering what kind of bird is sitting up there or identifying the one waking me up on Saturday mornings. Either way, spin The Birds and The Beats for yourself and let me know what you think! The tape is exclusively available on BandCamp here. Also make sure you follow both dj noname. and ThunderWof. on Instagram: dj noname. Instagram: @nosamyrag ThunderWof. Instagram: @apache_thunderwof_18 Also watch all the videos for "Show Off.", "UPS is Hiring", "No Big Dawgs", and "2 Minute Drill" on ThunderWof.'s YouTube channel: @ThunderWof.
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Pass The Aux! It's one of the dopest events in Oklahoma, that brings together not only artists from across the state, but even some traveling from as far as Atlanta for the unique opportunity to play their music in front of industry tastemakers, multi-platinum producers, and, of course, their competition. What's the competition? "26 artists locked in, playing their music in a battle royale style competition hosted by The OAKA and presented by The Criterion, which brought out hip-hop and R&B artists all battling to take home the coveted "King of The Aux" title.
Jiondé is an Oklahoma City artist with multiple projects under his belt, including Pressing Forward and Bittersweet. Through his ability to craft musical time capsules, it's clear that music is a deep-rooted passion, one that runs in the family. He happens to be the cousin of fellow Oklahoma City artist 2ndChancesimpkins, whom listeners may remember from his hit single "Raunchy." Jiondé builds on that musical legacy with a distinct catalog that blends raw introspection with heavy-hitting club bangers. But you may be asking, how exactly did he pull off the win for "King of The Aux"? To answer that, let’s dive into his latest project, INTIMATE ENEMIES, and see why he earned the crown. The 9-track project proves that quality triumphs over quantity. Clocking in at just under 22 minutes, INTIMATE ENEMIES covers a wide spectrum of topics while showing off sharp craftsmanship and meticulous attention to detail. The album cover, of a bouquet of flowers in a vase set against a muted gray background, is a striking image. Perhaps it represents an artist ready to offer his growth to the world. Or maybe an artist that's blooming in a world that was meant to mute his colors. Either way, the music blooms in the listener's ear much like those very flowers. On the opening track, "WAKE N BAKE," Jiondé sets the tone by putting all his cards on the table, instantly flexing his versatility and songwriting chops. He seamlessly switches his flow multiple times, weaving syllable-packed bars into a serenading chorus. What makes the track so intriguing is his use of a clever metaphor: framing his lover as his essential morning smoke session. Another highlight is the chant-like four-bar refrain that locks in the groove: "She the truth, yeah, yeah, yeah."
The second track, "KEISHAS AND TAMICAS," grabs you with an intriguing title, because let's be real, we all know a few Keishas and Tamicas. Almost immediately, the hard-hitting bass catches your attention, evoking the nostalgia of a school lunch table where kids beatboxed and banged pens on desk surfaces. That percussion lays the foundation for Jiondé to drop some heavy, introspective lines: "And some people just like weather, only good for a season." His delivery carries shades of early Lupe Fiasco and at times conscious, at times deeply contemplative, but always distinctly his own. Jiondé pairs his unique perspective with the natural flair of a seasoned wordsmith. Another bar that demands a rewind is when he spits, "And I got the kind of flow that make an ex want a redo." I found myself pulling the track back multiple times to catch every word, and is a hallmark of great songwriting, best captured when he reflects, "Because love don't happen easily, it comes with a cost, You gambled your mind, and your soul's what you lost, Everybody got a debt to pay."
Just when you think you know Jiondé, and just when you try to box the project in as "another conscious album", he throws a complete curveball with "ASSXIETY." The track is a total 180 from "KEISHAS AND TAMICAS," shifting instantly from righteousness to ratchetness while showcasing the messy duality of the human experience. Jiondé kicks off the song by pointing out the root cause of his condition: Instagram. We all know the unprovoked ass that pops up on the feed, and Jiondé may have finally coined the definitive term for the phenomenon. The chorus carries a playful, animated energy that sets a fun, unserious tone for the track. Even the track's title, which is a witty play on the word "anxiety," lives up to its name as Jiondé drops vividly descriptive bars charting the symptoms of his self-diagnosis. Lines like "I see her ass, even in my dreams, I love a baddie from OKC,", "Her cake got me lost like a coked-up fiend," and "Her ass in charge, authority, It claps and sings like 'Do-Re-Mi'" lets you know that Jiondé is fully aware of his affliction and more than willing to face it head-on.
You know the sample the second you hear it. Listen closely to "PERFECT HARMONY," and you'll find yourself humming Alicia Keys' "You Don't Know My Name", which sets the perfect stage as Jiondé spits his best game to woo a woman he just met: "I got visions of our vibe in perfect harmony." The track features a powerful chorus where every syllable hits right in sync with the hard-striking 808s, leading into a catchy bridge that ties the whole song together. It even invites the listener into a moment of call-and-response: "Nigga don't you know, that you too broke to be chasing ass?" While the track hits, I would've loved to see Jiondé dive deeper into the pursuit by grounding his lines in richer metaphors and vivid imagery rather than leaning into a delivery that occasionally feels a bit too straightforward and nonchalant for someone trying to win over a dream girl. Still, those direct lines yield some wins, like when he drops: "Let your man know it's the small things, the small things. Not the gift, but what the card say." That’s exactly what someone being pursued wants to hear. But ultimately, since it is a shorter track, I just left wanting a few more of those stand-out, memorable lines.
When it comes to "CROSSFADED," this is another track that didn't quite land for me, though listeners should still give it a spin to judge for themselves. I could see the vision, but I caught myself wanting deeper lyricism and richer imagery. By the end of the first verse, the competing sounds felt a bit overstimulating. While the track has the foundation to be a smooth vibe, a few lines felt a forced, like when he raps, "Girl, you keep it classy, so yeah, I call you Sexy Blue." It’s not a dealbreaker, but it’s an area for growth when crafting tracks with this kind of sonic direction. It's also a cut where bringing in a female vocalist could have added a welcome layer of dynamic range. But give it a listen and let me know your thoughts.
There’s an immediate moment of redemption, and it arrives with "PRETTY EYES." The track had me feeling like Will Smith in Bad Boys: "Now that's how you're supposed to rap! From now on, you rap like that!" In just the first 40 seconds, Jiondé revives my enthusiasm for the project with a deliberate flow that commands your attention. His rhythmic bars hit like bold, internal declarations and percussive sound, imitate the hard-hitting snare, as he effortlessly navigates each bar. One line stuck out, is the tongue-twister, inception-like bar: "Hurt people hurt people, hurt people is me." You have to sit with that line for a second before it fully hits, it's a meticulously crafted bar that could easily get overlooked because of the smooth, hypnotic delivery. This also brings back the vivid imagery in lines like, "Girl, just get away, because the pain was so great, I got more than a scrape, I got cuts to the ground, now I'm laying with the snakes." This is the level of writing I knew Jiondé was capable of and missed on the prior two tracks. Because as we know in this game, there are no days off, and for an artist, there's certainly no tracks off.
I swear I can hear someone in the background yell "OK Drums!" as the drums come in on "IMMA DIE A MAN", which kicks off with a smooth Neo-Soul vibe. It's calm and intimate, yet Jiondé brings a commanding presence that makes his declarations about love feel set in stone. The chorus echoes these sentiments, exploring a side of romance rarely addressed in rap: love through forgiveness, love through restraint (like ignoring the urge to text a bad bitch), and love expressed every time he puts pen to paper. Words hold the power to spark wars and break hearts, and Jiondé proves the inverse is just as true, that words can be an act of love. The verses are equally packed with substance, featuring standout lines that anchor his thesis, such as "Real niggas are in high demand" and "I wanna spend quality time with every flaw and every blemish." A deeper listen to the second verse reveals even more vivid storytelling, with gems like, "Damn, I know your pain, my brother, Still no need for rage this summer." And just before that sits a clever line I caught on my second play-through: "I'm Shai Gil, I'm smooth with the mic", is subtle, flex bar to OKC Thunder superstar. As you can tell from the sheer volume of quotes I jotted down, that I really like this track. It's sonically rich with high replay value, capped off by a vulnerable moment at the end where his voice softens right alongside the fading beat.
When we get to "CALL LOG," the title alone hints that you're in for some history, and you'd be right. Jiondé takes us on a nostalgic journey, recounting memories of meeting a lady at a local staple, Braum's, before bringing us back to the present day to only a trail of past calls which is all that's left of someone who doesn't ring anymore. This is one of those moments where I would've loved to see Jiondé delegate rather than carry the full weight, by bringing in a featured vocalist who could have driven the emotional core home with a bit vocal range to communicate this heavy passion. In the second verse, I wanted more emphasis on bars and perhaps a few delivery changes. At times, he gets slightly boxed in by his own rhyme scheme and could've let the story guide the rhythm of the track more. "need me, squeaky, creeping, cheating, repeat, be me", this is where loosening the pattern or switching to a more traditional scheme might have let the storytelling dictate the rhythm. Still, the ending helps land the concept beautifully with a voicemail from a the woman in his call log, "This is my form of closure." Overall, it's a solid, high-concept track—with just a few tweaks needed to make it really hit with the way it intended to. I’d love to hear your take on this one. Drop a comment and let me know.
The project's closing track, "LIL LOVEBIRDS," could easily be retitled "I Love the '90s." The record transports you straight back to the golden era, where the heavy boom-bap bounce had everyone’s head bobbing, from the production style, down to Jiondé’s pocket and cadence. Jiondé’s drops what can best be described as feel-good raps: "This feels like mama's banana pudding with the Cool Whip." The track has some great lines, one that really proves that Jiondé is a true student of the game, is when he raps, "I be thinking about life after I'm dead sometimes." It's a slick nod to Biggie’s classic album Life After Death, which was a 90s classic album. If sounds had colors, this track would paint in the vibrant red, green, black, and yellow palettes that defined '90s hip-hop fashion and culture. The chorus sets the vibe with an easily repeatable "Straight up!" another troupe used to convey the sounds of the 90s era. LIL LOVEBIRDS is packed with vivid imagery, best highlighted when he spits: "When I get my moment, you can't pay me to choke, I'm the sickest, bitch, my pen is painted GOAT." I think this track stands as one of the absolute strongest tracks on the tape and has the potential to be a Jiondé's breakout radio hit. Drop your thoughts below!
So there you have it, INTIMATE ENEMIES, a sonically rich project powered by clear standouts like "KEISHAS AND TAMICAS," "ASSXIETY," "IMMA DIE A MAN," and "LIL LOVEBIRDS." While tracks like "CROSSFADED" and "PERFECT HARMONY" leave room for growth, they simply show the potential of an artist who still has so much more to give. Overall, the project comes together as a cohesive, compelling piece of art. One day, we might have to ask Jiondé about his intentional use of all-caps throughout the tracklist and album title. In typography, all-caps is often interpreted as shouting. While in certain linguistic contexts, it's cap or lying. Here, neither feels true, it reads like an emphasis. Whatever the reason, one thing is certain. We hear Jiondé loud and clear. This is why he's "King Of The Aux".
I think that the album is dope and I would encourage you listen to INTIMATE ENEMIES. for yourself. Plus it's streaming everywhere! Make sure you follow Jiondé on social media: Instagram: @jiondae_ YouTube: Jiondé Spotify: Jiondé Apple Music: Jiondé |
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