Album Review IMED=2 by AP=Chem
The evolution of music is undeniable. Just look at this past Grammy’s and the fierce competition for Best Dance/Electronic Album. This can be attributed in a huge part to the Pandemic that kept us all inside, so it’s no wonder that now genres like Techno, Electronic, and House music have made a had a huge impact on pop culture. From Beyonce’s new album "Rennaissance" to Drake’s album “Honestly Nevermind”. This category of music is feeling the effects of a market being saturated due to a high demand. But the great thing about music is that the true fans can see through the bandwagoneers, and the real music, from the real artists, is usually the only thing that lasts. AP=Chem is one of the real bands that is looking to take their music all across the world and show why their true creators in this space and not just another band looking to ride the wave. Their looking to shock the world with new album Imed=2.
AP=Chem is a collective of two collaborating songwriters from Oklahoma City. Anthony Mahon, who also was in the band "The Gentle Art of Floating". And Eric Gorman, who also was a band member of "The Gentle Art of Floating" and also the band "Trap Queen". They describe their music as Inexplicable Modern Existential Dread. They have released multiple singles as well as the 2021 EP "Imed=1 Inexplicable Modern Existential Dread" and their now follow "EP Imed=2".
The first track off the album is called "Please Don’t Make A Dance Song (Out of My Plane Crash)", which is really ironic. This 70s infused high energy track just takes over. It’s like looking thru a TV cycling through 70s themed shows and commercials. Back when you could take drugs on a plane and be a part of the mile high club. The clashing of the sounds dance unapologetically in the listener's mind. How can you not dance to this? Throughout the you hear a voice that is seems to be a flight stewardess. Her fragmented voice layers on top of the beat. But near the end another voice comes, this time a male voice that seems to be an air traffic controller that guides the listener through the freeform nosedive of synthesizers and piano chords and crashes right into track 2.
Track 2 is called "Forensic Homicide". The track starts with an ominous bass guitar that blares through the speaker followed by the resting piano keys. But it’s the eclectic guitar that then pulling you as if cupid himself were playing. And it's the drums that let you know that your heart is still beating. It really gives off this forbidden love type of feel. Just listening to the track your mind elopes with the beat not caring of time nor space. This feeling grows as the infactuated crooner sings, “Disappear tonight, we’re never coming back here". The listener then rides the guitar cruising through the rest of the track. Forensic Homicide is a highpoint of the album.
By the time we get to track 3 "House Not Home" we are at the mid-point of the album. The track has this dark inviting feel to it. It plays out like the part right before the killer is about to make his move. The vocals tuck tightly behind the beat as support rather than the main ingredient. They go in and out leaving enough room and suspense that you have question will it return? This track highlights their songwriting abilities with a more lyric song structure. There’s a lot of ironic bars in this track for instance; “It’s a big house, off the interstate, a nice neighborhood, with an iron gate”. I just think there’s a lot of irony in having a big house that no one can see because it’s in this secluded area and neighborhoods are usually inviting but an iron gate suggests this one isn’t. But maybe that's also meant by House Not Home.
The 4th track on the album is "Tyrel Slide". The track brings the energy of the album back up. It’s pounding bass and synthesizers draw you in. The beat is beautifully layered which creates these special moments in the track. The elongated piano notes create these paths that the synthesizers can then go and roam, while the drums are like the barriers that keeps everything inbounds. The track takes you on a quest. I can imagine a montage of a hero training or the long journey the hero has to take before he gets to the boss at the end of the story. The track is short but that is also the beauty in it. Knowing it’s short means you appreciate it that much more.
The last track on the album is "Penny Dreadful". This is the finale, with that comes a combination of where we’ve come and also how far we still have to go. Maybe a Imed=3…? Penny Dreadful has this diabolical feeling to it. There’s a voice that layers on top of the instruments that sounds like an archeologist journaling his most recent discovery. Which would be this EP. Again a montage of a scientist doing calculations and writing down theories comes to mind. The hard-hitting drums keep the thoughts organized as the synthesizer's loop around the harmonized organs. This is how you want to end an album.
There you have it. AP=Chem's latest EP Imed=2. Here are some facts about the EP. There are 5 songs with a total playback time of 23 minutes and 49 seconds. The shortest song on the album Tyrel Slide comes in at 2 minutes and 42 seconds. My favorite track on the EP is Forensic Homicide, it’s just a vibe and kind of tugs at the heart strings, also Valentine’s Day is around the corner so this would be a good theme song. What I liked most about the EP is that it took you through highs and lows. That’s what a great album does. It’s able to be played through the highs and lows of life. All-in-all I think AP=Chem did what they set out to do create inexplicable music in these modern times of existential dread. And who knows. Hopefully there will be a Imed=3.
Make sure you stream the EP Imed=2 from AP=Chem and let us know what you think.
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Coming off the high of being a part of the historic album that was F.I.L.A. (Fire in Little Africa). What else would an artist have to prove? For Creo Cash it would be nothing. But at the same time that high can only last for so long before fans start to wonder what’s next. The gap between new music seems to get larger and larger especially when an artist is uninspired and also second-guessing his moves. Sometimes an artist has to just get out of their own heads. This is exactly what Creo Cash is doing with the release of his new EP called “More Than an Artist”.
We supposed to be rich. It’s more than just a dope line or lyric from track 1 “Born Rich”. It’s actually something Creo Cash spoke about at his EP release party, and the fact that this line was was more that just a hot line, it was true. That's because he is actually a descendant of business owners who had their businesses burned down by the 1921 Black Wall Street Massacre. He wasn’t just rapping on F.I.L.A. He was actually going for what was stolen from his family. But back to the track “Born Rich”. The first thing you hear is that flute. It sets the stage for Creo Cash to talk his shit. It’s a high energy track where Creo Cash showcases his talent with melodic flows and some dope bars like this one, “Bye, bye, bye, I’m N’Sync with the cheeses.” It’s one of the best tracks on the project.
Track 2 is called Havanna and features the one-two punch that was Blaxcdanna Mafia whose members were Creo Cash alongside Foolie Foolie. The two are still tight as ever and still frequently collab including on Havanna. The track starts out with a skit from Next Friday where Uncle Elroy brags about being able to roll blunts tighter than Havanna women. Anyone familiar with the duo’s music knows that stoner rap is an easy lane for the two rap in. It’s a fun track that feels like you chillin with the homie and ya’ll reminiscing about all the hoes and weed and drank, just shootin the shit. Foolie Foolie is a great talent that has some dope lines on here and has lots of versatility as shown when he switches flows multiple times. Here’s one example; “Medicinal smoke overlookin' the mountains, she drivin’ the boat, she gonna fuck around and drown it”. You can tell the two have collabed before and each are comfortable being on the track together they seem to almost balance each other out.
Track 3 is Sticky. Cause you know how sticky it get. Or in Creo Cash’s version “Sticky situation, yea bitch we gotta problem.”. Creo Cash is in his bag on this track. He jumps from sticky situation to sticky situation. whether that’s how to deal with your woman or a side piece, to how to deal with haters. You can get lost in the melodic flow without even realizing that the track is filled with so many quotables, “keep a 10 and 42 like Jackie Robinson”. In the words of the late Virgil Abloh “Like, we weren't supposed to come up with something this clean. Like something happened”. Sticky is so clean of a track that it seems too easy for Creo Cash to crank this one out. But then again looking closer there’s so many technical bars and the way that they are perfectly structured to set up the next bar is something you gotta appreciate. Cause again he’s good. And being good makes everything you do seem easy.
Wishy Washy is the next track on the album. The beat seems to pay homage to Lil Wayne’s the Block is Hot with some of the same notable sounds in the beat and that up-tempo New Orleans bounce. Creo Cash is adamant about people picking a side and standing on it. The track drills the point home that there is no room for people playing both sides. I gotta shout out this line that pays homage to 2Pac and at the same time Creo Cash puts his own spin on the line. "No killa but don’t push me cause ur dead homies gonna have company." It sounds like rapping in the trenches.
The 2nd to last track on the project is “No Jewelry”. The track features Fr3sh who uses auto-tune heavily throughout his verse. Fr3sh has some highlights on the track and shows his versatility as he switches up his flow numerous times. His influence on the track is so heavy that it almost feels like his. I feel like there are parts of the song that are a little too laid back. On Creo Cash’s verse it feels like he turns it on and turns it off. It’s like seeing an artist jogging down the court and not getting back on defense. There are times where his flow seems lackadaisical. Then there’s these dope bars that seem like a slam dunk. Like this bar. “Got it out the mud without a mugshot. Wat!!” I just wanted to see him turn it on and keep it on.
The last track on the EP is Time Goes By. The track is more of a slower reflective track where Creo Cash pulls from all his talents, singing, rapping, and songwriting. He effortlessly is able go into singing and then switch to rapping, multiple times throughout the track you hear him doing this balancing act without ever stumbling. Again, this track has so many quotable bars like this one, “To add to my pockets, I'm subtractin’ from yo digits.”. Time Goes By is a high point to end the project on.
So there you have it. The EP “More Than an Artist” by Creo Cash. It’s important to go thru some of the facts about the album. The album is 6 songs with a total playtime of 15 mins and 33 seconds, which is just long enough to listen to on any ride through Tulsa. All the tracks on the EP were produced by 2Peece who was able to blend different sounds that contributed to the cohesiveness of the project. There are 3 featured artists on the project Foolie Foolie, CoWhan, and Fr3sh. My favorite track on the album is “Born Rich”, it’s a high energy track with all the ingredients of a hit. My least favorite track is “No Jewelry”, not to say this can’t catch on and be a hit, it just wasn’t for me. But overall, I think “More Than an Artist” is a dope project with great songwriting and quotable bars. It’s great to hear Creo Cash back in the studio making music, and I look forward to hearing more.
Make sure you go stream Creo Cash's new project More Than an Artist now streaming everywhere!
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Gangsta Grillz, you bastards. If you’re a fan of DJ Drama’s Gangsta Grillz albums, then you’ve heard this line many of times. DJ Drama has created a classic mixtape series called Gangsta Grillz that some of the biggest artists in the industry have used to either launch their careers (such as Young Jeezy) or helped reinvent themselves (such as the mixtape Weezy aka Lil Wayne). But what about an artist from Oklahoma? Wait. That can’t happen. But one thing the Pandemic has taught me is that Hennything is possible (you read that right). And it did. With one of the most talented artists in Oklahoma Ayilla. And it was on December 16th that the world was introduced to Ayilla and her Gangsta Grillz “Kill Us Both”.
Before we get into the album's juicy details, let’s get into some facts. Because like Bernard M. Baruch once said, “Every man has a right to his opinion, but no man has a right to be wrong in his facts,” Fact 1 is that this is a legit Gangsta Grillz album with Ayilla and DJ Drama. Fact 2, the album has 10 tracks that come out to 22 mins and 4 seconds of playback time, with most tracks averaging a little over 2 mins. The song “Breathe For Me” is the longest track, coming in at 2 mins and 53 seconds, and the shortest track is “Whiskey”, coming in at 1 min and 37 seconds. There are no features on the album, and rightly so, this is Ayilla’s introduction to the world so it’s only right that she’s center stage. So, let’s get into the album “Kill Us Both”.
The album starts out with "Drama Spell". As soon as the track starts that’s when you realize that it’s really real, Ayilla has a Gangsta Grillz with the legendary DJ Drama, and he doesn’t waste any time going into his Drama talk. This excitement for hearing DJ Drama is immediately paused as soon as Ayilla’s powerful voice comes rushing in thru the speakers and at the same time it rocks the listener into a trance. This is Ayilla’s spell.
“I put a spell on you… cause you put a spell o n me too”
Track 2 is the album's title track “Kill Us Both”. And from the start of the track Ayilla's voice shines, you can hear her vocal range as she is able to float from note to note combined with the tracks infectious uptempo beat, it gives it this uplifting and inspirational feel. Even the way she sings the first bar gives you chills. “Head up… can’t keep me down,” But at the same time there as soon as the beat breaks down, comes this dark side to the track, because not too much later she also spits a bar “Save us all before I kill us both,”, that’s a hell of a statement. It definitely seems like the boiling point of a toxic relationship. This feels like the track Chrisean wanted to make but didn’t have the talent to. This could literally be the intro song to the Blueface and Chrisean Rock’s show “Crazy in Love”. But this is "Kill Us Both" and DJ Drama and Ayilla must've both been in some crazy relationships because they both talk about it being selfish for wanting to kill us both. “Maybe I’m selfish”, Ayilla sings. The song then fades into more instrumentation of electric guitar riffs and piano key melodies.
Track 3 “You Lie II”, at first glance seems like it would be a follow-up to “You Lie” which was track 2 on her project “The Witch Tape”. But it's when you take a listen to both you say "Hey!! What's going on here? Because both tracks are essentially one and the same. “I’m tryna be a better me, I met Adam tryna be a better me” Ayilla spits. These are only the first 2 bars and they're exactly the same in both songs. Really the only difference between these two songs is DJ Drama speaking and probably the mixing and mastering, the production for "You Lie II" feels fuller and more explosive. But that's why this is on a Gangsta Grillz. When diving into the lyrics of the song you see how it further perpetuates the toxicity theme of the album. It mentions lust over love, also it mentions going tic-for-tat, and the final ingredient, lying. That’s one hell of a mixture for a drug or some might say, love.
Track 4 "Come Inside" is like this sexy innuendo about the pain Ayilla feels and the only cure lust. You can hear in lines like; "My heart been broken, I’m hurting, can you come inside." This song is filled with lines like this. But also, the song is very short at only 2 minutes and 8 seconds, it feels like more like an interlude than a finished song. This is further supported by the fact that throughout the track there are these fragmented bars that seem like unfinished thoughts. These unfinished thoughts leave so many questions, but maybe that’s the reason for her repeatedly saying Come Inside. She literally wants to finish the conversation instead of running away from it. Either way it’s still a dope song.
When we get to the middle of the album track, we get a different feel with “Ain’t Easy”. This track feels like an old-school west coast vibe with remnants of this 90s R&B sound, hell they even throw in the old-school “dramatics” sound that people come to recognize in a DJ Drama Gangsta Grillz record. Ayilla gets back to having fun with this record. You can hear it in her vocal runs as well as in her ad-libs that make her words scat across the beat like a Jazz singer. I would say this track sounds heavily Jazz influenced even up to the strumming guitar and the way her words elongate and carry from bar to bar like a graceful aerial silk performer transitioning from one silk fabric to the next. You also get a glimpse of her ability to rap, though just 4 bars, you feel again this improv scat and Jazz influence. It ain't easy to not rewind this track back.
The next track is "Disbelief", and you’ll be in disbelief of some of the bars she sings on this track like, ”Pray got in the way. Pray came in first place.” Damn, if that ain’t a disbelief bar. I think the song is about all the crazy shit couples can say to each other and still look at one another like it wasn’t supposed to hurt the other person’s feelings. This is some real toxic shit. The song is like seeing the fine woman in a scary film. You just want to yell at her. Get Out The Fuck Out of there!
“He don’t believe in love but what the fuck is this.”
Track 7 is "Whiskey", it's a nice vibe and the shortest songs on the album. It’s like getting a pint of liquor when you wanted the liter. You can’t afford it, but at the same time you also can’t afford not to. Ayilla's voice is intoxicating, just like being drunk, you get lost in Ayilla’s voice. The chorus is like a repeating thought that you can’t get rid of. You know youd trippin’. But the liquor makes it numbs it all. Even the beat is so hypnotic and goes in and out. But black out on this track. It's something to really appreciate.
When we get to Track 8 "Breathe for me" you realize, damn, it’s almost over. But with that comes a really great track. It’s probably one of the most upbeat tracks of the album. Who taught Ayilla how to get on this track like this? If it was Yeezy, Yeezy taught you well. I like the fact that she raps a little on here. Maybe not a full fledge rap, but just enough to let you know she can do it at any time. This is one of the stand-out tracks on the album in my opinion
Track 9 "Worship the Sky" is one the tracks that also appeared on Ayilla’s project The Witch Tape, but there are some slight nuances in the track's production such as more sounds added, the beat is slightly different, but the lyrics are pretty much spot on with the original except for of course DJ Drama. I agree with this move though. I think it was a standout track from The Witch Tape and was a good marketing move, especially when performing the album. The listers will know the words. I also like the way she takes her time with this track. It seems to represent her realizing she don’t need to take this shit no more. It also has one of my favorite vocal performances when at the end she repeats “Magnify do you mind is, lift me on high, do or die, can we worship the sky tonight?” Even though this is not a new song, it still jams.
The last track on the album is "Stand Still". But I think when you listen to this song, you’re gonna want to do everything but stand still. The track has this Afro-Caribbean sound which is a great move for Ayilla and her career. It shows artistry in her ability to try new sounds and also, it’s one the most popular genres with artist like Wiz Kid and Burna breaking thru to a more mainstream audience. This song is more about getting lost in a person as the listener also gets lost in the track. And again, DJ Drama brings us back to reality, as he shouts a few people out. By the time the track is finished you realize time did stand still.
There you have it Kill Us Both the album by Ayilla and DJ Drama. Now back to the facts. Or as said Sherlock Holmes said, “There is nothing more deceptive than an obvious fact.” And the fact is that this is a concept album about a toxic relationship and the head space you get into when you’re in one. The from the alum cover to the tracks, there's no doubt this is Ayilla's most revealing albums. If I had to pick the standout tracks on this album my vote would be for “Breathe for me” and “Ain’t Easy”. But the album did leave you wondering. Will Ayilla stay in this toxic relationship? Who knows. Maybe there will be a “Kill Us Both 2”. But until then listen to this dope piece of art from the artist Ayilla and the legendary DJ Drama called "Kill Us Both".
Gangsta Grillz you bastards!
Let us know what you think of the album.
To find out more about Ayilla and her latest music follow her social media below:
Apple Music: Ayilla
album Review: Sincerely by K.O.
She is K.O. This isn’t only a social media handle. It’s also the perfect phrase that describes the artist from Enid Oklahoma who has been nothing short of a knockout. From her style to, to her music, to her street marketing. Since her first record, she’s truly kept the game on the ropes while she has dropped hit after hit. All the while parrying from the snakes and the fake drama that artists use nowadays for clout. And it's with her latest release Sincerely that K.O. is truly showing the world how being genuine is enough to take you to the top of the game. And do it without compromising yourself and most importantly, your art. Let’s check out Sincerely from K.O.!
“The only time that Ima clench is to embrace my gifts”
The album starts with “IDK Noting”. “The only time that Ima clench is to embrace my gifts”. Which clench is also a boxing term for embracing your defender so that they can’t throw any blows. But K.O.'s defence is also her offense. The track uses a sped-up sample from The Spinners 1973 hit “Could It Be I'm Falling In Love”. K.O. shows a lot of Intrapersonal intelligence, she has experienced a lot but is still smart enough to know that she’s still learning, which is a continual process. OR as the Socrates quote goes “The only true wisdom is in knowing that you know nothing.” There is a lot in this track, just in the first 2 minutes, so it is surprising that the beat actually switches to somewhat of a whole another song. A song within a song. It’s a lot slower than the first but K.O. still shines and shows just how talented she is as she sings. “I’ve been stressing for a long time.”
As we get into track 2 which is “Black Cinderella” we are instantly thrown into a vibe. It feels like that nighttime driving, swangin. But when K.O. comes in she lets it be known that she's here. She mashes on the gas as she spits bar-after-bar. Toward the end of the track there's no doubt of the Houston inspiration as the backing vocals take on this Screwed up persona. It takes us on a ride to then another beat, and a more elevated state as she sings “None of it matters when I’m this high”. It’s like she has Angels backing her. But don’t think you can’t get that heavenly flow from her either. She got Goddess bars. The track overall is about that feeling or maybe the feeling of being numb. Both beats convey two different drugs, lean and weed, but mixed together the feeling they create is a totally different high.
Jumping in to Track 3. Immediately as the chorus begins for “Like That” the back of your mind goes to Kodak Black’s “Like Dat”, which is one of the songs that helped propel him to stardom. K.O. put her own spin on the track. The heavy 808 kick, breaks up the listener's thoughts clearing a path for K.O. 's bars. She walks on the track. It reminds the game that not only does she have bars but also K.O. ain’t afraid to flex too. The track seems to follow this developing formula of; the first song, skit, then a completely different second song. In this case, the second track still has the noticeable 808 kick, but the track is a slower tempo and smooth feel. It’s almost like she realized she needed to slow it down for a little cause life has been going that crazy. It’s like she reminds you that it’s ok to take your time. We got a whole album. I like how she gives the beat time to breathe at the end and lets it fade out. There's also a video to go along with the song, check out the video to “Like That” below:
Track 4 “BirthRight” is such a braddagious track. It showcases her lyrical ability. From the flow, she uses, to her versatility in the way that she switches up her flow to something completely different. Just listen to cadence in her voice and how she hopscotches from bar-to-bar. She murders the beat like she’s coming to get everything that’s owed to her. By the time you get to the second part, it’s like asking forgiveness because she didn’t ask for permission on the first track. The first part was the funeral, and the second part is the wake.
“ This nigga insane. He want me to be Coretta, When I’m really Gucci Mane.“
If you really want to hear a song that is knocking. Then the beat on track 5, “Too Often” is one you gotta listen to. It’s a track where you can hear K.O stretching her words and having a more animated flow. It makes the lines hit that much harder. One of my favorite lines come from this track, “This nigga insane. He want me to be Coretta, When I’m really Gucci Mane.” I had to hit Pusha T "Yuugh" when I heard that line. The track is definitely a radio hit. The beat, to the bars, to the chorus. This is that one. When the 2nd half of the song plays it settles down as K.O. sings about her insecurities and everything that takes away from her confidence, but that all stops when she switches up and starts rapping. It’s like she reminds herself that she’s the Illest Bitch Alive. “Lost niggas that I loved, that’s alive. I read the eulogies.” Made me hit another Pusha T "Yuugh".
“Special” is the name of track 6 and it’s about talking to that special someone in your life and letting them know how special they are. Because oftentimes we do get caught up in our day-to-day and forget about this. The song just feels good. Plus, it’s backed by some clever bars, “And I been prayin’ throwin’ pennies in the wishin’ well, but if this is not where you wanna be then ima wish you well”. Jay-z voice "Wishin' Well, I wish you well.. Damn. K.O. Did! Then the track switches to a more somber feel of K.O rapping about a relationship that went bad and turned for the worst. Thinking of the times you put them as a priority. But she ain’t gonna cry about it. She lets the guitar do it for her. As ends the track talks about a few things she gonna do to get over them.
"Chillin Wit No Makeup On" is the title to track 7 and is also that one line everyone remembers from Drake’s debut single "Best I Ever Had". And just like the title, the song is about expressing how you feel. I would’ve actually expected this slower track to be on the backside of another track if we're using the formula we’ve been using throughout the project, but it’s actually a nice switch-up. It’s no wonder why this song has been released as a single with the only difference being that the single version is only the first part of the track. So, when listening to the album you notice the skit and the 2nd half of the track when the beat switches to that drunken text type of vibe. And you get some dope lines, one in particular was so dope, she even had repeat it twice. “Love ain’t for sale, but I just might let you rent it.” The song still continues that chill vibe of just quality time and laying up. Take a listen for yourself.
Track 8 “Low/Cabaret” is the only track on the album that gives you an indication in the title that there are 2 parts to this song. The first song on the track "Low" sounds very performance arts dancer-ish. Aka. This sounds like it’s for them scrippas. She chants repeatedly “Keep it from the low from me”, like to say protect my heart by not telling me what you doing out here in the streets. Ignorance is bliss. But also this is that sneaky link anthem. The song sounds like you in one of them Houston strip clubs and all your worries are behind you. It's just you, the dancers, and the liquor that keeps talking to you in a screwed-up tone. I love how she incorporates that Houston this sound into her music. It gives so much character to the track. By the time the first track ends you realize there is no voicemail. So when the second track kicks in the track speeds up as K.O. sings in an autotuned voice that creates this rounding repetitive chorus. You thought we was with the scrippas before. This is the VIP anthem. And just like some people's pockets the song ends shortly making it seem more or less an interlude to the 3rd song. You heard it right 3 songs in one track, and this one is a slower pace, it creates a balancing act as her voice tightrope’s each melody balancing with an accompanying accosted guitar. Her voice sweeps you away. It just leaves you thinking. Damn. What can’t K.O. do?
“Love songs about love”.
Take em to church. That’s your immediate thought when “Love Songs” comes on. The actual song sounds like she’s searching. Never finding love. But still searching. With each bar building on top of the last lost love and painting a picture of the deep heartbreak. It’s a hell of a journey. The second part of the song is K.O. seems to be about running toward the things that aren’t good for you while running away from the things that you know you have to do. You know the hard things. This song again shows her songwriting abilities she goes from singing into rapping so effortlessly. She speaking gospel on these tracks, “I just wanna wake up to like no stress, And like great sex with no latex.”
“I like niggas built like a gods, I like bitches by the twos”
“Slide”. Now this is something you can dance to. It has this bounce to it but is smooth enough that you can get on the dance floor and just feel the beat and get lost in K.O.’s voice. She even gives us a couple of bars. This one, in particular, caught my ear, “I like niggas built like gods, I like bitches by the twos”. The second part of the track plays a familiar r&b sample I can’t put my finger on it, but I found myself humming it. But back to the song. This song is K.O. calling out to God. It’s a really deeply personal song. Almost is if she's asking the question. Does God hear us when we pray? I believe so.
The last track on the album is "Calabasas". When you make it this far in the album you realize the journey you’ve been on. This happens to be the shortest song on the album. I think the title Calabasas suggests this luxurious place in the hills of California where the whole team is shining. But throughout the song I think it’s K.O. realizing that she’s still very much on the way to Calabasas but it might not be the picture she dreamed it would be. Meaning maybe not all the people you thought was gonna be there will be there. But it’s the journey of getting there that’s really what’s worth it. Because even if you fall short you still might end up in Beverly Hills.
So, there you have it. Sincerely. By K.O. The album is a beautiful piece of art. Just looking at some of the facts. It’s an album with 11 tracks, but this is a little deceptive seeing that the album could be a double disk where you could literally take a knife and cut each track in half and literally have a second album. This means that the album could’ve easily been 22 tracks. What’s most surprising about this is that there are no features. It’s K.O. featuring K.O. meaning that she uses her voice in so many ways on this album. From singing, to rapping, to switching up flows, to autotune. You get to see her artistry in this album. We also saw that It's an album that had this recurring formula of 1st part, a then skit, then second part a completely different beat. It just kept the listener always guessing what could happen next, a skit, a song, or the beat riding out. Like I said, this is art. And lastly, you would think that in the world of streaming, an album whose average song lasts over 4 mins could not happen, but then again there’s nothing about K.O. that’s average. So go listen to Sincerly by K.O. and let us know your thoughts.
Make sure to follow K.O. on her social media below:
Guerrilla Warfare. If your familiar with the term, then you know that it is all about non-military civilians who take up arms to fight against larger traditional military. OTS J Huncho named his first album Guerrilla Warfare, and it was all too fitting. The way he seemed to come out of nowhere and drop a tape that spread like wildfire. It was very much like a militia that he was creating, as his fanbase and supporters grew, so did his legend. The one who is determined to put The Hills on the map. And he’s looking to again use his Guerrilla Warfare tactics with the second installment called “Guerrilla Warfare 2”.
The lead single "Lions Den (Intro)" is the epitome of OTS J Huncho. When you hear an OTS J Huncho song what your gonna notice immediately is him. That’s because as soon as the beat drops OTS J Huncho starts rapping. He doesn’t play around with the beat. It’s go time as soon as that bass hits but often times even before the beat drops, he’s going in. Also, an OTS J Huncho song is gonna have bars, metaphors, and similes, all coming at you fast and direct. At times I found myself going back and relistening to a track and catching a metaphor that I might have missed. “I done called more plays than Tom Brady and Tyler Perry combined.” This track is OTS J Huncho. He gonna talk his shit and say it with his chest out. He even put out a video that you can checkout below.
I'm a Gorilla I'm a Dog,
One thing to note about the second track “Elihah Landrum” is that the title is the name of an actual person who is a basketball standout from Central high school that has committed to playing at SMU. The track starts out with a snippet from Floyd Mayweather’s HBO All Access for his fight against Pacquiao. And it’s easy to draw the comparison between the two. Both have a crazy work ethic. OTS J Huncho himself has put out track after track along side with an EP and now Guerilla Warefare 2. Both are also talking shit and backing it up. “One of these lame niggas wifein my head hunter, can’t lie I was mad as the fuck, she cut me off and shit for probably like a month, but she doubled bad cause ain’t shit like the Hunch”. That’s a hell of a statement to make. There’s also has a video that was filmed at the Skyline Mansion which used to be a leader of the KKK’s residence. If Tate Brady wasn’t rolling over in his grave before. He sure is now. Cause OTS J Huncho is posted with his crew all on the front porch. Take a look for yourself.
The next track is “85 South Show”. Which is also the name of a popular show that features comedians from Atlanta. OTS J Huncho even mentions the cast in the song. “Ima a young fly nigga like DC, playing with bitches like Los, and these niggas round here wanna be me, and my brother roll off a chico, that’s a bean if your ass didn’t know.” Not only is the flow crazy. The familiar sample of Drake’s Controlla can he heard playing in the background. This is a song you can cruise to, but at the same time you still get bars. OTS J Huncho is still rapping his ass off on the track. It’s like he never takes a track off.
If you're from Tulsa or just watch a lot of TV then you know that unfortunately Tulsa has a high murder rate. This is one of the reasons the TV show The First 48 chose Tulsa as a filming destination. And looking at the title of track 4 “Home of First 48” OTS J Huncho knows all too well the problems going on in the town. “If from the home of the first 48 where they play with extensions way more than beauticians.” It’s lines like these that tell of just how much gun violence is a part of Tulsa. Even with all the violence surrounding OTS J Huncho his talent is helping him grow into an artist that can help change the Tulsa narrative. “The only time a bitch played me was on the Aux”. The track ends with 4 bars from Big Tike’s culturally impactful single “Drank Up in My Cup”.
“They had them jokes and shit about The Hills,
You probably didn’t know OTS J Huncho was into classical music. Just listening to the beat the familiar samples Beethoven’s “Für Elise” hits your ear. OTS J Huncho must be a classical music historian. OK we’re joking. We’re not sure if OTS J Huncho is a classical music lover, but what isn’t a joke is how OTS J Huncho has repps for The Hills especially on the track "Shhh (G Hills Legend)". “They had them jokes and shit about The Hills but ain’t said shit since the Huncho done popped out. Niggas is bitches”. And it’s true. There hasn’t been a rapper that has represented from The Hills like him. Of course, there have been artists that have mentioned it and dappled with being from both The Hills and north Tulsa. But there hasn’t been an artist who took The Hills and put it on their back like OTS J Huncho is. The track shows his unapologetic bars and a flow that shows that he can back up every line. It’s like going up against a top athlete and they’re up. And to add insult to injury they talk shit too. Checkout out the video and see what I’m talking about.
The second half of the album starts with the track “Return of The Apes (Interlude)”, it feels like that intro part to a TV show where they recap the whole season in under a minute, but in this case it’s OTS J Huncho’s life that he is recapping from a first-person perspective. The song is noticeably shorter at only 1 minute and 37 seconds. But within this short one verse track, OTS J Huncho says a lot, and the track shares some similarities with the previous track which is that OTS J Huncho reps The Hills hard. “Make sure them niggas respect The Hills like they respect the north.” The song is truly a snapshot that dives into different situations he’s went through to get to this point, from talking about someone snitching on his father, to low times when he slept on artist/producer SolRay’s couch, to now being the man in the town. This track you get your bang for your buck he spits all these bars before the beat even drops. While the sample is looping your kept anticipating the drop which makes you listen to what he had to say that much more. This was genius.
"Calvins Story Pt. 2" is one of my favorite tracks on the album. It showcases OTS J Huncho’s pen and storytelling ability. The track is a sequel and continues where Calvins Story Pt. 1 left off. Like forreal the track picks up perfectly, I found myself going back and listen to both tracks back-to-back and seeing how the storyline is so well written, almost like an episodic TV show. He paints such a vivid picture that makes you actually feel like you’re apart of the story. Like you can see the robbery. You can see the cop getting shot. You’re fully invested in the story. I’m personally hoping and looking forward to hearing part 3 to the Calvins Story saga.
Track 8 is "Scoring Moore The Maya". From its title it seems to be a basketball reference to famous WNBA player Maya Moore. This may also be why he puts so many bars referencing sports athletes in the track, he midest well be scoring more than Maya Moore. ”I heard that you got up in front of that court, and turned into Paul Pierce and was telling the truth.” BARRRSSS!!! He could’ve stopped the track after that. Also, something to note about this track is that it’s the first track where another featured artist appears. Sabree Carter, is a rapper who also appears on Guerrilla Warfare 1 on track “Boosie in 09”. She is in pocket and her rhythmic voice chop up the beat nicely. "Really stepped on some niggas in Vans, couple niggas that treat me like Stan, put on that shit call me Miss Dapper Dan."
“Everytime I kick this coke shit,
The first thing you notice about “Ricky Tan” is one, the title being from the villain in Rush Hour 2. The second thing you notice is the Ne-Yo “So Sick” sample. Which seems out of place for a hip-hop track. But that’s until the beat drops and you go. “Good one. I see what you did there”. Here’s just one of the lines that caught my attention “Brodie Bro got 2k’s he ain’t even got no console.” The third thing you notice on here is that Phil Sosa is featured on the track. The West and The Hills they go hand and hand so this collab makes sense. Phil Sosa spits some dope bars, but if you know his music then you know that already. “Ima blow this bitch until I hurt my shoulder blade, Glock on me, catch a nigga slippin like a rollerblade”. This track was great move for both artists. Both artists get introduced to each other’s fanbase and in the end everyone wins. Who knows. There may even be a video for this one too.
What a ride. We are finally down to the last track on the album, which is called “Crenshaw and Slausen Freestyle (Outro).” From the title alone, you can’t half step on Nipsey Hussle’s turf. Also, it’s the last track! Usually, the last track wraps up the theme to an album and can be seen as the end of the story. I feel like this track goes a different direction. In that it makes sure there are doubts left. OTS J Huncho can rap. Simple and plain. But the track is far from simple. The track starts with another familiar sample being Childish Gambino’s song "Redbone". But it’s OTS J Huncho’s complex bars makes so that he even tells you what he means so that it doesn’t go over your head. “Smoke exotic, That shit boxed, they ain’t boxin, They gonna box him, That mean drop him”. The song tells the world who OTS J Huncho is so that they can’t tell the story. It Was Written…
Guerrilla Warfare 2! It’s one of the best albums to come out of Tulsa this year. It’s the sequel that is just as strong as the 1st installment. I did want him to put "SharkLotto Freestyle" on here, but I can’t complain because there are so many great songs on this album. The album uses familiar samples to draw in the audience. But at the same time, I think the thing about an OTS J Huncho song is that you look forward to hearing him rapping more than you look forward to hearing the beat. Which is a trait that breakout artists and mainstream artists have. Guerrilla Warfare 2 gives the fans what they want. Bars, delivery, bravado, and of course one reppin for The Hills. So give Guerrilla Warfare 2 a listen and let us know what you think.
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"I Had A Rocafella Dream, Letting Niggas Know That I’m Here, Then I Woke Up Grateful, On a Sunday Morning, The Next Day Was Memorial Day, It Had Me Feeling Down, So I Recorded Local Nigga, I Felt Better Manifesting a Vibe, No Amount of Money Can Dictate What We Create, We’re Both Artists Baby."
These sentences are taken directly from the tracklist of Chris “The God MC” Cain’s new project called “Arrived: Now That I’m Here”. A 10-track album that is the follow up to his album “Arrived” that dropped in 2020. And if you have ever listened to a Chris “The God MC” Cain album that you that everything that he does when it comes to making music is intentional. Even when looking at the tracklist the titles from each song when put together, they read more like an ode, more poetry-like than individual titles. The songs tracklist is intentional and its details like these that will come out in the coming months. Whether it be in an interview or on social media, I expect that Chris “The God MC Cain” will share more of the details of the creative process that went into making the album and share hidden gems that the casual listener might not catch. Until then, we get to let our curiosity guide us on the journey that is called “Arrived: Now That I’m Here”.
“If don’t vote like me then we can politic.
The first track "Lettin Niggas Know That I’m Here” is just what it means. At 6 minutes in 38 seconds, it’s similar to when Lil Wayne dropped 10,000 bars. Well not quite that long. Though similar in the fact that there is no chorus. Just bars. It’s Chris “The God MC Cain” flexing his lyrical skills. It’s a reminder. Like let’s get this out the way. Every rapper needs that one track where they need to remind the game that they still can rap. And this track proves Chris “The God MC Cain” can rap. Rap. The piano keys create this lullaby-like heavenly atmosphere as Chris “The God MC” Cain tells vivid raps about his fairytale life. There’s heroes and villains. There's tales of danger, triumph, and adventure. His illustrative verses take you to his neighborhood and the places that meant most to him and everyone who grew up on the Eastside of Oklahoma City. Even with this song being so jam-packed, this is still only the beginning of the story.
Then I Woke Up Grateful Chris “The God MC” Cain is saying his grace. For all the things that didn’t go his way he still is grateful for the things that he has. And even though the Jay Electronica show got cancelled. He has continued to take his craft to newer heights. One thing to note is that this is the first track to feature an artist, a female artist named Cortney Lachelle’. She shows her versatility as she is able to deliver soulful vocals displaying a beautiful intonation and in the same verse able to switch up her style to straight bars and deliver them with a presence and bravado that matches Chris “The God MC” Cain’s. “I got some goals to reach, got some thangs to teach, I’m talkin breakin curses from the ones that come before me”.
On a Sunday Morning the church piano is the first thing you notice when pressing play on this track. Followed by the Serious K5ive tag. It takes you back to those Sundays and seeing the piano player play each note as if they were the lead singer in the choir. Hearing the preacher speak that sermon that you were too young to appreciate. This was Church Sundays. The ones your momma and grandma made you go to because you was in they house, and anyone livin in they house goes to church on Sundays. The song also tells of how when you are young you walk a thin line between good and evil. Or Saturday and Sunday. This is a record about the duality of life. "You gettin money that’s regular, I know some Christian rappers sound secular”. This is a clever bar. But this song has so many quotable bars. He took us to church with this one.
Before I save lives, I gotta change mine,
The first noticeable thing about track 6 It Had Me Feeling Down is the Brent Faiyaz Make It Out sped up sample that plays in the background. I remember Chris “The God MC” Cain posting the original song over Kobe highlights. It was beautiful. When listening to It Had Me Feeling Down it’s hard to ignore his tone and the way he raps. It sounds as If someone walking in their truth. And sometimes the truth is selfish. He expresses internalized feelings about making sure he is good with bars like: “Health is wealth gotta check the scale”. And in the same breath he shares the mic with the 2nd featured artist on the album Try On 10, as they both say in unison. “It ain’t hard to tell.” Troy On 10 brings some clever bars to the track, at times I would rewind and catch hidden bars tucked inside his short verse. For example, “They tryna hold us down like Omarion hook,” referencing the Bow Wow and Omarion song “Let Me Hold You”. The two seem like teammates passing the ball back and forth again and again running up the score and eventually running out the clock as Troy On 10 finishes the verse by professing "Tired of being down".
So I Recorded Local Nigga seems like the Part 2 to his song “Hip Hop Genre Vs. Hip Hop Culture” where he spits “Oklahoma Rapper, he a local rapper, but in NY Jay a local rapper, in LA Snoop a local rapper, y’all local fans for these local rappers.”. No truer words have been rapped. There are similar bars on So I Recorded Local Nigga for example, “Ain’t no local nigga fuccin with me, It’s a local nigga in every city, Every rapper got a hometown, Every rapper local in his hometown.”. The song dives deeper into this hypothesis as Chris “The God MC” Cain focuses his bars directly on mainstream artists. Which are actually a jury of his peers, his summation being, that because I’m so close to my Oklahoma fans they don’t see why I'm not at that mainstream level. But there’s so much more to it that goes on behind the scenes that really isn’t explained to the everyday casual fan. In-between the radio play and worldwide tours there's a lot of hands being greased and a lot of artists not owning nothing. Not even their own likeness/name. And that's not the Chris "The God MC Cain" way. "But Chris MCain got hella radio play!"
I Felt Better Manifesting a Vibe and just like the title states it’s a vibe. Nia Monė sultry voice starts the track off giving that R&B vibe back when rappers had singers sing their hooks, she also collaborated with Chris "The God MC Cain" on The Omega Before the Alpha. Another interesting fact is that Nia Monė, Young BUD, and Troy on 10 are the only 3 featured artists to make both Arrived albums. Not an easy feat especially on this album which only has 4 credited featured artists. It’s amazing to see that the person that Chris “The God MC” Cain has dedicated so many bars is now a becoming a frequent artist he collabs with. Young BUD is home. And the two friends celebrate on I Felt Better Manifesting a Vibe. Young BUD speaks with a sense of knowledge and growth in life and also an appreciation for Chris “The God MC” keeping his name alive while he was gone. "You helped me get my shit straight, Put me on them mixtapes, When I was in that cage you was screamin' my release date". It’s these moments that seem so surreal for Chris “The God MC” Cain. But they were really manifested.
We’re Both Artists Baby this is that ghetto love letter. Naw scratch that, this is that Black Love letter. But deeper than that. These are vows. Because Black Love was plotted against as soon as we arrived here in America. And if it was one artists that could describe what Black Love is, then money is on Chis "The God MC" Cain. He is expressive in his feelings for his wife that is masculine and most importantly is unwavering and fully committed'. Like in that scene on Sprung when Montel told Clyde, "I love hard. And when I love a woman she knows she's being loved." And Chris "The God MC" Cain goes hard for his wife as heard with lines like, "When I’m selfish you get all of my attention and vice versa tho.” and "You the queen of the universe, get the ring around Saturn... And I'll Kill for you, You and the babies. I'll kill for y'all" If that ain't loving hard then I don't know what is. This is Black Love.
Arrived: Now That I’m Here was an album and a full journey from one of hip-hops best. A true M.C. The album had these moments of nostalgia that made you feel apart of the journey. The album also played on his strengths. Intentional bars. Mastery of rhyming schemes, vocal timing, and presence. And last but certainly not least. It was hip-hop! This is the album we waited so long for. The result of it all was a timeless piece of art. Chris “The God MC” Cain had already Arrived. But it’s now the world gets to see how great he is Now That He’s Here!
Make sure to checkout Chris "The God MC" Cain his social media below:
Apple Music: Chris The God MC Cain
Spotify: Chris The God MC Cain
YouTube: Chris The God MC Cain
Facebook: Chris "The God MC" Cain
The Hope. Also known as Gang51E June. If you’re really a day one fan then you really know it is pronounced GangTie June. But day one fan or not, what isn’t to be confused is his position as the hottest artist in the state. It’s undeniable that he has the crown. His popularity has only grown during the Pandemic as seen on his YouTube page that shows the millions of views that grow each day, which he was able to create with the help of fellow Tulsa native vidographer King Spencer. Believe me these numbers don’t lie. In an age of artists buying streams Gang51E June has true support and a following that truly shows up to shows as well as supports his albums on social. As soon as the mention of an album drop the social media exploded with reposts of the artist from 51.Now that Gang51E June has truly solidified himself as the hottest artist in the state he’s out to prove that it ain’t over yet. Gang51E June is back with his latest project “This 2 Shall Pass”.
This is the follow up project to his album “Preaching from the Projects” that was released in 2020. What’s interesting is that the new album has 19 tracks. A heavy dose in an age of streaming and EPs but then again it’s been two years since Gang51E June has dropped a project. He’s been busy linking with other artists and a nationwide tour with Kevin Gates. He’s reached that next level of fame that reaches far beyond Tulsa. This may leave many thinking has Gang51E June forgot about Tulsa. An answer that comes apparent very quickly.
“We on Gangsta Time”
The album starts out with “The Call”, a skit that replays the memory of Gang51E June losing his brother, the sounds of the thunder, foreshadow to a dark moment in his life and sets the stage for the rest of the album. This leads into the first song off the album “Souljaz Cry”, which is a reflective track about his life and the curse that comes from the lifestyle combined with this low tempo down beat feel he still reminds everyone that “We on Gangsta Time”. The next track up is “Static Rain” which has it’s first featured artist Birdy, accompanying also is a video that just like the song, takes the listeners on a journey. The track is an outlet to get off his feelings from all the things that have been going on in his life. Like he’s expressing the price fame especially in the line, “I would go and buy me a new 51 chain but I just bought my granny a new tombstone.”.
“Homicide Man” is the 4th track on the album and from the very beginning Gang51E June speaks to his relationship with his father. He seems to be asking if his father’s absence is the reason why he chose this life, or was he just destined for it. One of the best standout lines comes from this track. “These niggas act like they some coaches, they keep throwin’ subs”. The video shows a father son playing ball in the front driveway and eventually transitions to Gang51E June as the kid who witnesses his father in a shootout, Checkout the video below.
Next we have “Cold Shoulder” which is a song about blocking out the bullshit and all the rumors, and above all to not forget the mission. Before the track ends there is a skit about his family that he's giving the cold shoulder to, and is a lead into track 6 “Family Feud”. From Jay-Z we know that no one wins when the family feuds. In this track Gang51E June raps about the family differences that has divided him from his loved ones and the love that hasn’t been the same since his granny died. A standout line comes from the monologue where he says ”The most beautifulest flowers have the sharpest thorns”. Is Gang51E June really in Tulsa? The next skit answers this question as a pair of McClain students can’t wait to tell him just how much gossip and tabloid headlines surround an artist who is at the top.
“If Cutty miss when he slidin, I’m sweepin’ behind him like he was forgettin his ….. Chores.”
“Ain’t nobody comin to see no Otis”. Which happens to be the 7th track and possibly one of the best on the album. The production is this old-time blues inspired feel combined with a hard hitting 808 bass. Gang51E June talks that talk. It’s him reminding niggas that I’m the one on the throne and it’s my time now. “If Cutty miss when he slidin, I’m sweepin’ behind him like he was forgettin his ….. Chores.” There is even a line about David Ruffin. This is his rap track. The bars hit hard, the metaphors keep you on your toes, and the bravado and tone in his voice would make hip-hop heads bob their heads in the barbershops and say. “Now that’s how you supposed to rap.”
But that ain’t all. Gang51E June ain’t gonna leave the ladies out, which is what track 8, "Anita" come in. He takes a moment to serenade the ladies and if you know Gang51E June’s audience then you know the ladies love him. And they love the gangsta love he talks about in tracks like this.
The midpoint of the album features Gang51E June’s biggest artist feature to-date. The one and only Kevin Gates. The two cooked up a track on Kevin Gate’s Khaza Tour on a track called “4Reign Gangsta”. This is one of those standout tracks on the album and Gang51E June shines along with one of the biggest artists in the industry. The even two released the video to the single where The Hope again shined.
The 10th track is really the definition of his music. "Reality Advocate". That’s what Gang51E June is and what his music communicates. Reality. After all the news cameras left after the centennial of the Tulsa Race Massacre passed Gang51E June is still in the city shining light on the reality of the aftermath and current state of the north side, and It’s with a soulful sample that he describes as Ghetto Gospel.
A familiar Producer tag “Pipe that shit up TNT” the famous South Carolina producer TNTXD that helped shape Rod Wave’s sound contributed to track 11 “Cursed Generation”. The track is about showing empathy for his father because he realizes there are generations of absent love that had a dominoe effect and eventually lead him to the streets. Next up is the track “What N****z Do”. This is one of the go to tracks off the album. The jazz inspired production by producer BandPlay puts an up tempo saxophone front stage capturing the history of Tulsa music. Jazz music has deep roots in Tulsa and is still a part of the Tulsa music scene. Also on this track are clever bars like, “I feel like a hanger how I hold the T”. It’s a line that’s nestled so deep in the rhythmic pattern of the verse that you might miss it if you're not listening closely.
"Past Callin". Is pretty self-explanatory, but don’t dismiss the track. This is more of an easy listen and one of the shorter songs off the album. "No Auto Tune" is one of those tracks where Gang51E June takes the gloves off to let you know that without the auto tune he’s just as deadly on the track. The beat has this creepin bounce to it. And Gang51 June walks down on the track.
You know you making it big when you make an interlude. But more importantly you’re putting together a cohesive and intentional project that goes through different highs and lows. "Lilana’s Interlude" is the glue that holds the end of the album together and keeps the listener’s ear. Another easy listen and vibe for the ladies.
When it comes to being an artist it’s your job to inspire. Gang51E June does this for the city but also pays homage to the legends. “The Hate I Gave You” which is inspired by Tupac’s motto and T.H.U.G.L.I.F.E. is an example of just that. You can hear the familiar Tupac chorus “Shawty wanna be a thug” that is used to complement Gang51E June’s deep lyrics. It shows that the T.H.U.G.L.I.F.E. isn’t limited to a city or state. It’s something that occurs everyday and it’s real
Next is the title track “This 2 Shall Pass” which is a skit that Gang51E June speaks to a friend about his trials and tribulations that comes with the fame. And at this time when he thinks he can finally excel bullets ring out and the next track starts.
“DLow got 18 on the yard like he was Peyton Manning.”
"Wockin’ On A Wire”, a slower paced track where Gang51E June expresses the feeling of being on cough syrup and the escape it provides from the pain. “Dlow got 18 on the yard like he was Peyton Manning.” The track also features popular Alabama rapper NoCap. The last track on the album is “A Father’s Ballad”. Not gonna lie the hip-hop fan in me wanted one more rap track, but this is a concept album so I understand the direction he decided to go with this one. It’s a ghetto love ballad to his daughter and protecting that love with his life. This track is proper ending to an album that lived up to the hype and was worth the wait.
There you have it, our review on Gang51E June’s new album “This 2 Shall Pass”. There are some important things to point out. First Gang51E June is still the hottest in the state. Just look at social media, as well as the respect he gets from his peers, and most importantly the fanbase that he has created and cultivated. Secondly, the album is that next level of progression that you would expect from an artist that’s got the juice. The album has big name features as well as super producers that help shape the album and show that this isn’t an up-and-coming artist that is rapping in the closet. This album has a quality sound. The skits also reflect the next evolution of being an artist that is able to put together a cohesive project. Last but not least. Gang51E June delivers. He shines no matter what artist is featured and he shows off that he has bars while at the same time still being able to cater to the ladies. This is an album that is well rounded and something you gotta listen to. So Go listen to the album and let us know what you think!
Listen to the album here!
Thanks for reading!
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Hibachi!!!! Not the grill but the greeting used by Tulsa artist Shyheim Nwadiei. The self-proclaimed “Shy Guy From The Northside” burst onto the scene with the release of his first project “Shy Guy: The Midwest Masquerade”. But if you listened to any of his music than you know that when he raps, he’s anything but shy. He’s got bars. He’s got a crazy delivery. And a flow that is sure to have you tongue-tied when trying to recite his lyrics. There’s no doubting his gift. And it’s these same characteristics that helped him land a spot on of the The Fire In Little Africa project, the most influential albums to ever come out of Tulsa. A project that featured over 60 artists was a space where Shyheim was able to shine and show why he was picked for this once in a lifetime project. The Fire In Little Africa project isn’t the only thing that Shyheim accomplished this year because the whole time he was working on his own project. Something that would further push him to his calling. An album, “Calls of the North Wind”. An album we will deep dive into. But first let’s understand just what the word Hibachi means.
It’s not always the main dish that makes a meal slap. Especially if you got your favorite sides hot off the stove. Some side dishes are so good that even when they’ve been sitting for a while they still slap. That’s exactly what happened when listening to “Mac’N With Mess & Mike”. A tape that to no one’s surprise is good even when you let it marinate.
Album Review: Steph Simon Leaves A Reasonable Doubt With His Album "Diamonds From The Tisdale"
"It may be unfair to dismiss Nas’ success as merely a piggyback ride on the back of L Boogie and her Refugee Camp, but I can come to no other conclusion for this year’s most surprising success story, as almost overnight, Nas-the-Martyr has become Nas-the-Superstar. Meanwhile, Jay-Z is somewhere lounging on a leather couch sipping an ice-cold bottle of Moet. Since he still runs his own operation and puts put his own shit, Jay-Z, when all is said, done, and divvied up, will probably make more money."
This quote is from the legendary Elliott Wilson who recently re-released an article called “Elliott's 1996 'Reasonable Doubt'. In the article Elliott Wilson compared and contrasted two hip-hop legends who both dropped critically acclaimed albums within a week of each other. Nas’s 'It Was Written' and Jay-Z’s ‘Reasonable Doubt’.