Some people may be asking who will win this year's NBA championship. What if I told you it's a team that's already putting numbers on the board and looking to dominate? You might be asking who. Let me send you the link right now to a champion-tier album called DSF by Thedarkskinrapper and ripfrancis. Just looking at the album cover, you can tell this is going to be a basketball-themed project. What immediately catches the eye are two cartoon characters sitting in a Detroit Pistons locker room rocking Pistons jerseys. Closer inspection reveals the artists' names etched onto the lockers, while the tracklist rests on a sign next to Thedarkskinrapper's character on the floor. Even "Hooper" the Pistons' iconic horse mascot stands in the background with his arms folded. Meanwhile, the lettering on the classic NBA logo is flipped to read "DSF," a slick nod to the project title (and I'm guessing, short for "Dark Skin Francis"). One notable detail missing, however, is the third Larry O'Brien trophy from Detroit’s championship run. But getting into the album stats, the album clocks in at 8 tracks spanning just over 16 minutes. With the shortest, "Paul George" being just 1 minute and 26 seconds. Also, there is only 1 feature on the album. Now that that's over, let’s dive straight into the music. The title of the opening track, "28-3" reads more like a score than a song title, which could also be a nod to former Patriots quarterback Tom Brady's legendary Super Bowl 51 comeback against the Atlanta Falcons. The track opens with familiar sports commentary that hype-checks the project, prepping us for the musical spectacle to come. When the somber beat drops, it sets up the iso play for Thedarkskinrapper to work. His laid-back, lulling delivery flows effortlessly from bar to bar, creating space for him to get to his spot and execute what can only be described as poetry in motion, a phrase I found myself coming back to continuously. Thedarkskinrapper is clearly just warming up on this record, but he still manages to sink a few quotable lines: "Check the score up on this shit, I ain’t going tit for tat." What makes the track even more compelling are the sports announcers running through the background, adding a textured layer of nostalgia that captures iconic moments, much like this tape aims to do for its listeners.
On the next track, "24TheNight" Thedarkskinrapper wastes no time attacking the beat like a driving shooting guard attacking the rim, eventually catching fire like a shooter in a rhythm. His delivery sharpens over a smooth R&B sample floating in the background. The slowed-down, crooning sample sets picks for him to continue his streak of syllable crossovers and no-look metaphors: "Get Aaliyah with shorty, she rockin’ the boat, Throw it in water and see if it float." This track could almost be compared to an after game press conference with Thedarkskinrapper telling everyone just how dominant his musical dominance has been. Which only being into track 2, I couldn't say he's wrong.
"If you need your numbers up, call me quick to hit your quota,
Rashad McCants, the former Minnesota Timberwolves shooting guard, isn't the usual athlete you expect to inspire a song title but then again, nothing about Thedarkskinrapper is usual. "Minnesota/McCants" kicks off with a classic feel, pairing a nostalgic boom-bap hip-hop bounce with a soulful vocal sample. Thedarkskinrapper continues to execute at an elite level. Some may remember that McCants had to bounce back from media scrutiny surrounding his relationship with Khloé Kardashian, questions about his dedication, and millions lost to financial fraud, I don't think anyone questions Thedarkskinrapper's commitment to his craft even on the track he stays resilient, navigating the beat like a star point guard breaking down a defense with his handles. He boasts: "If you need your numbers up, call me quick to hit your quota, Talkin' shit and ballin' hard like shooting guards in Minnesota." Halfway through, the track hits a beat switch where he puts his versatility on full display as he drops more braggadocious lines: "Could've really put prices on niggas, but I'm baggin', Just throw on my mic hat, get too good on the beats with the smooth, got a young nigga feelin' like Mike Jac." This is a track that shines as a standout because of his delivery and versatility. Let me know if you can hear the same words I'm hearding.
An intriguing sonic battle takes place on Track 4, "Paul George" where Thedarkskinrapper's hard-hitting, fast-paced bars clash against a smooth, slower-tempo soulful sample. Instead of taking turns, the two overlap, creating collisions where Thedarkskinrapper draws the blocking foul, and other times where the beat draws the charge. The title itself adds another layer: Paul George played two standout seasons with the OKC Thunder before leaving for the LA Clippers, serving as the undisputed star during his time in Oklahoma. Similarly, Thedarkskinrapper briefly took his talents elsewhere relocating to Chicago before returning to OKC where he, like George, aims to be the main event. He spits: "Get a little, these niggas is cap, Hate to say it, they playing the backdrop, Type of nigga I practice a bad shot, Number one, you niggas is have-nots." This line serves as a sharp, painful callback to Damian Lillard's legendary 37-foot series-clinching buzzer-beater over George to eliminate the Thunder in Game 5, a play George famously dismissed to post-game press as a "bad shot."
5'9 in the frame,
Track 5, "R1P1" returns to the classic boom-bap production established on "Minnesota/McCants". The title stands for "Round 1, Pick 1", referred to as the first pick in the NBA draft. Thedarkskinrapper brings that exact high-stakes energy, rapping about the pressure that comes with carrying first-round expectations. His delivery reads like a training montage of a franchise player in the gym putting in work. Yet, he also proves he's a team player, dropping the line: "Get the team all aligned, niggas never moved divided." That bar tags in the project's first featured artist, Neph, who takes a commanding stance on the track like a power forward asserting dominance in the paint. Neph reflects on the highs and lows of the artist's hustle while showcasing his ability to switch flows and navigate the beat with an aggressive offensive mindframe: "Now I know that I'm awkward, Yo, these pictures I portray for you are more starving artists." Also check out the video below:
"LEVERAGE" features production that sounds like it came straight out of 1980s Miami Vice soundtrack, with breezy, tropical-themed drums and warm brass creating a leisurely backdrop. Meanwhile, Thedarkskinrapper raps with the supreme confidence of the league's reigning MVP. Fittingly, he references the iconic number 23—a nod to LeBron James taking his talents to South Beach, as he asserts: "Any team that I’m on is the best fit." He continues this best in the league mentality throughout the verse, boasting, "Game on the line, my nigga, you see your boy eat in the 4th." His lone verse hits like a walk-off, no-look three-pointer, as if he knows he executed flawlessly as he leaves the track, and with nothing left to prove as an answering machine picks up to confirm he's already answered the call.
When people talk about a player being so fast, they blow right by you that’s the exact speed of "LIVE5". Thedarkskinrapper opens the track by locking in on defense, setting a firm line in the sand: "I’ll probably take a fine, I'll cross that line, I ain’t gone play wit ya." As every hoops fan knows, defense creates offense. Right after that bar, he catches a steal and sparks a one-man fast break, pouring in bar after bar. Before you even look up, he’s already 12-bars deep. The beat can only watch in awe as he breezes through, capping off the run with some heavy-hitting quotes: "Real nigga like me, know I’m asking a fee, If I’m being polite, I might ask for a G. Fuck it, max it out, I’m asking for 3" and "Actin’ like hoes, they’ll give you a scene." These bars pull spin moves around the laid-back piano and jazz horns, showcasing his court vision as he scores another standout track.
Time's just a thang,
It's only fitting that the album closes with "last dance" which may be a nod to the iconic sports documentary centering on Michael Jordan's final championship run with the 1997–98 Chicago Bulls. Thedarkskinrapper confirms this suspicion with his opening bar, "Committed to it all, like it's my last season," also in the bar, "Michael Jordan to the Hornets, never went and sold the team, champ level in this shit, I talk it and I show the ring." The track feels deeply reflective while simultaneously dropping hints about where his career is headed. Toward the end, he delivers a sobering realization: "Shit be up to you, you can only let yourself down." You have to wonder if that's the exact mantra he recites in the gym every night as he works toward greatness. Also, with Russell Westbrook recently announcing his retirement, if this is truly Russ's last dance, this track deserves a spot on his playlist.
Hip-hop and basketball are two worlds that have always bled into one another—from NBA star Damian Lillard dropping rap songs to Master P playing in the NBA. DSF is a pure representation of that crossover, where beats and buckets combine to create art that both cultures can be proud of. The sports-centric concept is reinforced across the entire album through commentary snippets, pre-game interview clips, and Thedarkskinrapper’s relentless barrage of sports bars, not to mention the visual easter eggs packed into the cover art and tracklist. Each track feels like a clutch regular-season moment building toward a championship run. My only real critique comes during a few brief moments where Thedarkskinrapper's voice dips into a faint volume where you know a bar is there, but can't quite catch every word. It's like calling a travel on a speedy NBA guard who's he moving so fast you can't tell if it's a travel or just a slick gather step. Either way, when you sit down with DSF, you're getting a cohesive project with high replay value, combined with an all-star lyricist bringing top-tier metaphors and a Mamba Mentality. DSF is the kind of project that leaves you asking: "Where were you when DSF dropped?"
Checkout Thedarkskinrapper and ripfrancis new album DSF below and let us know what you think! - DSF on Spotify here. - DSF on Apple Music here. - DSF on YouTube here. - DSF on SoundCloud here. Also make sure you follow them both on Instagram: The darkskinrapper's Instagram: @thedarkskinrapper ripfrancis Instagram: @ripfrancis_
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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 
We dropped a new mixtape. The Purple Tape Volume 3: Thunder in 5. I would like to thank all the artists who continue to trust us with their music, this series has become a labor of love and one we continue to do. Our goal with this tape was to celebrate the amazing artists from Oklahoma as well as to celebrate the Oklahoma City Thunder's championship win. We also wanted to destroy the argument from anyone who still says that Oklahoma artists all sound the same, because if you listen to this tape there is so much range that if you still say it after listening to this tape, then you're just hating. This tape truly is a collection of talented Oklahoma artists who are showing why Oklahoma has such an amazing music scene. But don't take my word for it. Listen to the album exclusively on BandCamp! 
We also have 5 limited-edition MP3 players that include: - 1 MP3 Player - 1 wired white earbuds - 32 GB Micro SD Card - The Purple Tape Volume 3: Thunder in 5 (preloaded on MP3 player Hit us up if you want a copy! Go jam the album and let us know what you think! Also, here's the track list. Again, thank you to all the amazing artist who contributed to the album: The Purple Tape 3 - Thunder in 5 (Tracklist)
Hurricanes, Floods, Genocides, and Fires. It’s safe to say that if this is just January, then we’re in for a hell of a ride. People are just now getting over everything that happened in 2024. Then the TikTok ban. What else can happen in 2025 that already hasn’t? It's a world of uncertainty with bad news after bad news. The world needs something to look forward to. Something to dance to, something to get their minds off this godforsaken planet. AP=Chem is doing just that with the release of their EP Imed=3. 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 their two EPs "Imed=1 and "Imed=2". Get to know the band that's changing the way we experience music. Right out the gate, track one, The Golden Path takes you on this journey. It's the beat that grabs hold of you with its infectious high-energy. This eclectic guitar that just takes control of the beat, and the hard-hitting drum and high hats, the crash cymbals that give it that rock band feel. This is my Guitar Hero. A monotonic voice plays in the background sounding as if he’s doing some lecture that is luckily being drowned out by the music. The only thing that can save us from the politics and the classes. And although the voice tries to break through, its the music that grows louder and takes control. Because the music is the people! Slick Black Pools, that’s a hell of a title, and it's a hell of a track. Its electric guitar is bold and in your face. It takes me back to those early ‘80s Retro movies like "Weird Science" or "Nerds”, especially the talent show scene. Classic! I caught myself multiple times just bopping my head and just moving to the beat. That sensational retro 80s club music where everybody was doing coke. The synth machine is the star of the show as it gets its spotlight moment and produces these edgy experimental sounds combined with the drum pad machine, this sounds like some expensive equipment. Another noticable part of the song is the airy voice singing, but rather than singing a verse or chorus the voice wades in the background like an instrument that blends into the beat. This song is arranged beautifully. Track 3’s title breaks the rules of traditional spelling, Lumme which is a phonetic way of spelling the words ‘love me ', it feels like this hip-hop boom bap beat mixed with a melodic voice that repeats, “She don't love me.” This is more like a traditional vocal song complete with verses and a chorus. The track keeps you engaged with the different vocal effects such as the vocal filter that makes the voice sound like he’s yelling through a phone. Love will make you do that. Other times the voice sounds like it’s in a slow drug induced state that’s reminiscing about a relationship. Love will make you do that too. The EP takes a hardcore shift when it gets to the 4th track called, One Week in Japan. which is on par since Japan has a huge punk rock scene. Tokyo's iconic punk venues like Antiknock in Shinjuku, Earthdom in Shin-Okubo, or even Osaka with its own set of legendary punk venues, such as Fandango and King Cobra. This track fits perfectly in the Japanese punk rock scene. That guitar gives the track this dark eerie feeling, walking on the beat like Micheal Myers walking with a knife or maybe a samurai sword. This track is perfect for an anime intro. There’s this sheer gritty-rawness and one of my favorite parts is where they just rock out, and how it then transitions to this hard-hitting kick drum. This is one of those trips only the best of chemists could create. The last track on the EP is “We Loved a Lifetime’s Worth”. It feels like this ultimate crescendo of sounds as this piano and staticky bass hold its elongated notes, mix that with a crying guitar and you've got yourself a soundtrack. The synthesizer comes in like an 8-bit Zelda mission and creates this hero effect. Or maybe it’s this album that is the Hero. Each bar is taking you through the hero's journey that ultimately ends with nothing short of triumph. Let the end credits roll. Because this is the way you end an album. It’s only January. The world has seen so much. But what’s gonna get us through this year is being free, and that’s what AP=Chem is showing us with their new EP Imed=3. It’s a freedom to not be bound by anyone’s expectations. You can do rock, you can do rap. You can take everything you love and create a something that’s for the people, because Imed=3 is for the people. The feeling that you get from this album can not be faked or made with AI, it's a music that can only be created through feeling and experiencing. That's what this album is. So, dance, laugh, and love for a lifetime. Because this is what the world needs now more than ever. Make sure you stream the EP Imed=3 from AP=Chem and let us know what you think. Make sure you follow AP=Chem on their social media: Instagram: @apchemband Facebook: AP=Chem Spotify: AP=Chem YouTube: AP=Chem BandCamp: AP=Chem SoundCloud: AP=Chem 
When it comes to making music there are a million artists on this planet to choose from. But maybe that's where the problem lies, we’re only looking for artists that are on this planet. It’s a big universe. So why limit yourself to just the Top 40. Go see the galaxy. That’s exactly what NASA BO’s latest album Mr. Universe is doing. It’s doing things on an intergalactic level. And passing up all the haters in the process. Let’s take a look at the latest project from NASA BO.
NASA Bo is an artist from Oklahoma City who has become known for his hardcore in your face delivery and his hard-hitting bars, and can you believe this is his first full-feature project of which comes in at 20 tracks. An album with this many tracks comes in handy if you’re planning to go across the universe. You’re gonna need a lot of music, and that’s just what this project provides. THE INTRO
Every album needs that first track to make an impression. That’s just what the "Intro" is. The intro makes an impression right out the gate and sets the tone for the album. That tone being slapping beats and NASA BO rapping, rapping. NASA BO ain’t just making words rhyme. He’s going in. I’m talking about bars. And this is just the intro. When you get to track 2 “Tesla”, you know that track 1 wasn’t a fluke. NASA BO can really rap and he knows his value. “If these rappers wanna feature, ima charge em like a Tesla.” It’s witty bars like this that aren’t sprinkled throughout the album, Naw forget that these witty bars are heavily poured like your grandma’s kool aid. But the intro ain’t over, NASA BO let’s you know just how to say his name on the next track ”Nasa not Nasha”. “If you speaking on my name then pronounce it right.”
THE SAMPLES
It’s clear to hear in the first few seconds of some of the tracks that NASA BO wasn’t afraid to dig deep in the crates and rap on some of the most iconic tracks. Track 4 for instance is this soulful sample of Deniece Williams song “Free”, which also happens to be the name of the track. It’s like the producer just gave NASA BO free range to murder the beat. Another classic sample is Tupac and Jon B’s “Are You Still Down”. Also is Bill Withers classic “Just The Two Of Us”. This track is more of a slower tempo with bars that reference what it means to really stay down. Most of the album goes deep in the sample crates which is a vision that was brought to life with the help of producer SAUCEMEUPGQ. Which we’ll talk about next.
SAUCEMEUPGQ
We had to take a second to give respect to the producer SAUCEMEUPGQ and Track 5 shows your why, because by the time that you get to this track you realize that SAUCEMEUPGQ has been mentioned numerous times already. And not only do you hear his iconic beat tag all over the album, he also executive producer over the project, so it’s only right that he gets a track inspired by the producer on the track called "SauceMeUpBO". “Fuccin with GQ got me sauced up.” The beat is on go and so is NASA BO. You really see the magic of this track at the 1-minute mark where the bass is stripped out and NASA BO switches up his flow as if he’s sprinting on the track. This track is definitely sauced up and is a high point of the album. SAUCEMEUPGQ even gets to shine as a featured artist on the track “Triple Double”. NASA BO goes in himself from the very beginning and then throws the assist to SAUCEMEUPGQ, who shines with some clever lines of his own. “Me and NASA on the beat, Houston we have a problem”. Another surprise about this track is that it's actually produced by his NASA BO's son Jamango.
IRONIC BARS
Throughtout the tape there’s these ironic bars that stick out, some of them are really witty and some of them are bluntly rhetorical. For example, on Track 9, “Keke Palmer” he says the line, “How you real but you wear fake clothes?“. It’s a really bluntly rhetorical bar that makes you just think. On another track he spits the line, “How your baby momma love me, but mine don’t.”, that’s some irony for your ass. But this also shows NASA BO’s ability to make even the most sensical bars into a perfectly painted picture. You gotta give him his just do.
THE FEATURES
When it comes to the featured artists this album only has 3. That’s something you wouldn’t expect from a project with 20 tracks, and surprisingly it’s well balanced. This is NASA BO’s project, so you gonna get NASA BO. But as far as the featured artist, we’ve already talked about SAUCEMEUPGQ who lends his production skills and bars to the project. Also, there’s Uno who lends his vocal talents on the last song of the project. He brings a softer side to the album which if you want to sale records you gonna have to have a few for the ladies to vibe to. And the track “No Lettin’ Up” does that with its infectious chorus. But our favorite feature of the project has to be on “Heart Breaker”, which samples Mint Conditions track “Breakin' My Heart”. NASA BO comes in so smooth with a pimp vernacular, then he switches up his flow up while calling out famous tv female co-stars from 90s tv that he had a crush on. The featured artist Tony D. just shines, his unique delivery and undeniable confidence makes him stand out. Listen to this bar, “Hittin licks with Jordans, blocks on blocks, DeAndre, Blueprint like Jay-Z, Irreplaceable Beyonce”. He’s in his pocket on this verse.
THE METHAPHORS
As you go through the album it’s clear that you’ll hear some crazy metaphors. NASA BO really be out here rapping. There’s so many lines we’ve already quoted but that’s just the tip of the iceberg. The album is bar, after bar, after bar. For instance, on “Stuck N Love” where he spits the line, “She was black but now she Russian how she getting her cream on.” and not only that bar because throughout that track are so many more like, “Ain’t nobody got my back like this VLONE”, bars. Also on "Gilbert Arenas" he has this crazy wordplay where he says, “I be with my daughter teaching her ABCs, I got racks but they didn’t come from no EDD or no PPP, it was all on me, now we eatin like EBT.”, NASA BO is flexing on the beat. He has an undeniable talent. And it shows all throughout the album.
TULSA LINES FAVORITE TRACKS
When it comes to our favorite tracks, “Get Down” definitely is extra sauced up with the sample of Earth, Wind & Fire’s track “Reasons”. In this track NASA BO gives all the reasons why niggas can get down. And them 808’s by ADHD makes each bar hit harder. This a hit. "SAUCEMEUPBO" is another one of them ones that just goes. "Heart Breaker" for the reasons starred earlier. Another one is “Stuck N Love” because it has so many bars. Lastly, “Doe Party”, this is a straight to radio hit. This is a track that you’re gonna hear in the club. IT'S IS A STRIP CLUB ANTHEM! Like he said, "That nigga snappin'," So as you can see it’s hard to pick just one track. There’s just so many hits on this album which says a lot for a 20-track project. NASA BO did his job.
So, there you have it. The album Mr. Universe by NASA BO, and executive produced by SAUCEMEUPGQ. This isn’t an Oklahoma City album. This is an album that can penetrate any market. New York, L.A., Atlanta, Detroit. It doesn’t matter. NASA BO has what it takes to get to that next level. The album is literally out of here. And next year we wouldn’t be surprised if NASA BO is out of here with it.
THE VERDICT
JAM IT!
Also make sure you follow NASA BO on social media: Instagram: @nasa_bo405 YouTube: NASA BO Spotify: NASA BO Also listen to Mr. Universe by NASA BO below: 
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. Make sure you follow AP=Chem on their social media: Instagram: @apchemband Facebook: AP=Chem Spotify: AP=Chem YouTube: AP=Chem BandCamp: AP=Chem SoundCloud: AP=Chem 
Hustle Sold Separately two Oklahoma artists deciding to team up and drop a joint project. Which is not easy and is rarely executed well. Overall it has to fit musically. So when artists K.O. and Trip G dropped a joint project it was a surprise. Knowing that this would be a difficult thing to pull off I was skeptical. That was until I heard the first track which has to be the title track off the album called “Hustle Sold Separately”.
The track starts off with a maniacal beat produced by ADHD, who has been a long time collaborator with Trip G. The beat represents his signature tag line “ADHD Got This Bouncin Yea” with its hard-hitting bass and synthesized piano keys that seem to creep around the bass
Rapped by real name,
I never fronted.
By the first bar, it's not even a question. It’s Chris “The God MC” Cain. A name that carries so much weight and has been pivotal in the growth of Oklahoma Hip Hop. I say Hip Hop because he’s apart of the culture and is quick to remind you of the distinction between Hip Hop the “culture” and Rap the “genre”. Which he’s always been an advocate for the culture and is etched in his rhymes. Words that depict his life and most importantly the name that he stands behind. A bold statement, but for anyone that knows his music knows that bold is the only way he knows.
1) What's one album that you believe has the best production? I can’t just pick one, and I think that speaks to the sounds that you hear on (IN)VISIBLE MAN, but here are a few: Kanye’s My Beautiful Dark Twisted Fantasy, The Dream’s LoveHate, Big KRIT’s Return of 4Eva, Rick Ross’ Teflon Don and Roy Ayers’ Vibrations.
2) Many people don't know that you really have your P.H.D. can you speak about your educational background and why you wanted to get a P.H.D.? Yeah, I have a PhD in Higher Education Administration. I’m a first generation college graduate that worked at the university level for almost 7 years. It was important to finish because there is a very low percentage of Black people that have terminal degrees. But I knew I had to complete the degree on my own terms, which my dissertation was in the form of a hip hop album. Fast forward, the education still remains in my music. You’re gonna get dope production, classic bars and some soul that will edify you. That’s the formula. 3) What do you want people to get from (IN)VISIBLE MAN? I want people to understand that I see them. I understand their struggle of trying to make it in a world where they feel invisible, or no one really tries to grasp their stories or motivations for living. I want people to recognize that art imitates life and (IN)VISIBLE MAN is a direct correlation to the shit we endure everyday. This is the soundtrack of the times. It’s something for everyone. Lastly, I want everyone to know that the album consisted only Oklahoma artists and was a homage to Ralph Ellison, who wrote the iconic book, Invisible Man. I’m letting the world know that Oklahoma has been and will continue to be dope. 4) What's one song on the album you suggest everybody listen to? All of them. It’s not an album, it’s an experience. Each song is connected to the next. I want people to just press play, close their eyes for 45 minutes and go to a place. And allow the music to speak to them. I promise it will. 5) What's next for Dr. View in 2020? I’m one of the executive producers for Fire in Little Africa, which is a compilation album in commemoration of Black Wall Street. That project drops in February 2021, but I have a project with St. Domonick coming soon called 25 Lighters, a project with Thomas Who? coming soon called Dr. Who?, and my hip hop collective, The Space Program, is currently developing a project. Lastly, the Chopstars out in Houston (OG Ron C & DJ Candlestick) chopped and screwed (IN)VISIBLE MAN, and it sounds crazy. The doc knows best. There's a reason why when doctors talk that people listen. Whether it's for health, wealth, or wisdom, having a doctor around puts everyone at ease. From Dr. Vivien Thomas to Dr. Dre, the greats have always left their marks on history. So when Tulsa and Oklahoma City was in need of a project to help solidly the Oklahoma hip-hop scene and showcase the two cities ability to work together and create a cohesive hip-hop project, the universe yelled, "Is there a doctor in the house?". Dr. View was the doctor to answer this call with his project called "(IN)VISIBLE MAN", which can only be described as so Tulsa, so Oklahoma City, so Oklahoma, but most importantly so Hip-Hop! Let's sit sit down and get to know the doc they call Dr. View. 
Flava Man. Flava Man. Do you want to dance? Hell Naw. Hell Naw. I can't give you a chance. Can you finish this line. Probably not. Not even Shazam got this right. And this sums up just how badly promoted this song was. It was Evergreen content that had the chance to be big. But some would say could you really blame it for being underwhelming promoted? This song was buried deep down in a long tracklist of songs that were hits themselves that included some unforgettable verses. Not to mention how this soundtrack bridged two cities. Tulsa and Oklahoma City. These two cites are always in competition, well at least that's always been the narrative. But anyone who is really in the scene knows this couldn't be further from the truth, as artists like Steph Simon and Chris "The God" MC Cain collabed on a track called "Love Affair". Who could also forget the "Chosen Few" project from Dialtone and Grand National that proved that both cities not only work together but equally want to see each other win. Because a win in either city would mean a win for the state. But this was 2020! |
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