signaturesoundsradio-blog

[signaturesoundsradio-blog]

2019’s Top Rap Albums, according to Capital K

10: Skyzoo & Pete Rock – Retropolitan

Very few dudes out there are rapping like Skyzoo is. He’s been dropping impeccable verses for years, running with legendary crews like Duck Down and Jamla records across his fifteen year career. Zoo has proven himself time and again as a dedicated wordsmith with his carefully crafted songs and projects, but for the first time in a long time we get a clear, concise album from him that is not bogged down by an extensive concept. Instead, Retropolitan is simply an homage to the streets of the Big Apple, told from two men who have watched the city and its culture lose some of their once seemingly indelible essence. Pete Rock brings the type of New York production that has been in season for almost three decades, and with Skyzoo it still feels fresh. Though the NY rap scene remains firmly in the ‘90s, what with old groups making repetitive returns and most new rappers unable to carve out any semblance of originality, the occasional retro album truly nails it, even in 2019. This is one of them.

9: Little Brother – May the Lord Watch

The return that very few people saw coming, May the Lord Watch is a short project (only 10 of the album’s 15 tracks contain beats and rhymes), but it easily silences any questions as to whether Rapper Big Pooh and Phonte might have lost a step since putting out two certified classics in the early 2000s. Picking up right where Phonte’s 2018 No News Is Good News left off, May the Lord Watch finds the two rappers comfortably claiming their place as kings in the ‘Grown Man Rap’ movement. They effortlessly trade bars as they craft narrative of nights in (“Sittin’ Alone”), the married life (“Goodmorning Sunshine”), and thankfulness for the blessings of God (“Work Through Me”). Without an ounce of bitterness, the men sketch their pleasures and pains across Little Brother’s tried-and-true canvas of radio skits and interludes (UBN – U Black N****s – network remains as funny as ever, situating everything the group does squarely in its context of blackness). Notably, the album features no production from original Little Brother member Ninth Wonder, but the rappers feel right at home over the lush, sample-heavy beats which maintain the aesthetic sensibilities of the group’s early classics.

8: Wiki – Oofie

Oofie finds New York rapper Wiki in a much more subdued place than his 2017 solo debut album No Mountains in Manhattan. It’s a definite change of pace from a man who went through plenty of transitions in the past two years, including the breakup of his super-group Secret Circle and a move to his own label Wikiset (under which Oofie was released). On this offering Wiki maintains his dedication to personal, biographic bars, though Oofie is much more focused on Wiki the man than on Wiki’s hometown New York City. The production is more modern but not trendy, making a concerted effort to leave space for Wiki’s bars to shine through. He rhymes with more confidence than ever, a little slower and more sure of himself than the more fun-loving Wiki of 2017. Slower paced but not monotonous, Oofie will not disappoint those looking for well-crafted lines that are at once playful and somewhat melancholy.

7: L’Orange & Jeremiah Jae – Complicate Your Life with Violence

L’Orange made a name for himself as one of Mello Music Group’s earliest virtuosos, crafting beautifully cinematic, dusty records to fit his guest emcees. The pairings solidified his place as one of the underground’s premiere sample-based producers and made for some dark, brilliant albums. This project is no different, with Jeremiah Jae along for the ride as a crook-turned-soldier in a dystopian world of violence and darkness. While the scenes are not particularly gruesome or gory, their psychological tension draws the listener along like a thriller movie, and Jae’s vivid rhymes and unaffected tone make the chilling subject matter all the more enticing. The two artists are at the top of their games here, building an album interspersed with vintage film samples and some spectacular features to create an engrossing, consistent mood in a way that very few other albums did this year. Complicate Your Life with Violence places itself in 2019’s catalog as a bleak assessment of the violent, at times seemingly unforgivable, world in which we live. It’s an album that is both a product of today and a warning of tomorrow.

6: Add-2 – Jim Crow The Musical

Probably the most unknown artist on this list, Chicago rapper Add-2 released his powerful Jim Crow the Musical in the twilight of 2019 and immediately slid himself right into the discussion for the year’s top rap albums. An album that is equal parts pride and sorrow, full of both fear and resolve, Jim Crow is an earnest look at the way in which America’s unabashed history of racism has manifested itself in the way it treats its black citizens in the present day. The versatile range of sounds and moods mesh together into a cohesive narrative of life lived in a skin that Add-2 sees as “both a gift and a curse” (“Hashtag”), linked through skits about blackness that give the album it’s ‘Musical’ feel. As a rapper, Add-2 falls somewhere in between Kendrick Lamar and Open Mike Eagle, as comfortable in a driving, breathless flow (“Git Your Hand Out of My Pocket”) as he is in a more reserved and conversational one (“The Secret Life of Blacks”), and that’s just in the album’s first two proper songs. The man can flat out rap, and on top of that, Add-2 does his own beats. Though he (like almost any underground artist) will likely tell you that he’s been grinding away, releasing quality content all along, this album feels like a coming-out party of sorts for the rapper, and it’s worth a listen from any fan of music in general.

5: Danny Brown – uknowhatimsayin¿

When word got out that the legendary Q-Tip would be executive producing Danny Brown’s newest album, expectations were naturally high. Following Danny’s critically acclaimed raw and ambitious Atrocity Exhibition in 2016, fans were eager to see how Tip would be able to elevate Brown’s game to new places. However, instead of trying to top Atrocity with another conceptual masterpiece, the two sent in a collection of straight up good to great songs from a newly refined Danny (complete with a new front tooth), who replaced the wildness of his previous work with a veteran’s swagger and confidence. Focused more on masterful bars than shock value, uknowhatimsayin¿ sees Danny primarily sticking to his ‘Old album Side A’ voice, while covering topics ranging from sex on a laundry machine (“Laundry”) to navigating life as a black man in the racist American system (“Shine”). The album is a flex from a man who has already made his masterpiece and now feels content to provide us with high quality, if not necessarily ambitious, reminders that he’s still a top lyricist and song-writer.

4: Brother Ali – Secrets & Escapes

If you felt that maybe Brother Ali had hit a period of creative coasting over the last decade, you’re in good company: so did he. And to remedy this, Ali made an album with the legendary Evidence that made it an explicit goal to throw out any songs that sounded like an Ali (or Evidence) joint. The result is a collection of songs that find Brother Ali at his hungriest, solemnest, and, in a way, most refreshed. Produced entirely by Evidence (and featuring verses from Evidence, Talib Kweli, and Pharoahe Monch), Secrets & Escapes treads familiar topics for Ali: spirituality, his own inner demons and struggles, and societal ills, but in this album he’s less preacher than teacher, an elder with a lot on his mind. Ali’s is a calming presence for today’s frenetic, confused society and he easily shows us that he’s still got the bars he once did. For his part, Evidence has crafted a sonically diverse, jazzy palette with some beautiful samples and dusty drums. If you forgot that he produced Kanye’s “Last Call,” consider this a reminder of Evidence’s status as a premiere double threat. Highlights include “Father Figures,” “Secrets & Escapes,” and “They Shot Ricky.”

3: billy woods & Kenny Segal – Hiding Places

For those that missed it, billy woods truly killed the year 2019. A new solo album, an updated re-release of a capstone essential, a grab bag megamix of new, unreleased, and well-known songs, and this absolutely relentless collaboration with LA producer Kenny Segal comprised woods’ voluminous 2019 output. Hiding Places finds woods rhyming over a more, for lack of a better word, listenable range of beats than many of his recent endeavors, and it works perfectly. Segal’s off-kilter but somehow entirely smooth production gives woods a canvas for some of his most personal and cathartic moments. There are very few rappers who make connections in the way billy woods does, and a vignette about how no one in the hood gets their mail forwarded when they move quickly turns from being a quirky anecdote to a grim depiction of reality as we realize it’s because many people are being chased by a never-ending stream of debt collectors and predatory lenders. The project’s dark humor puts a band-aid over some of its tragic, bleak content, making it an album that grows with each listen. If you’ve heard woods’s name thrown around a lot but never knew where to start, try this album on for size.

2: Freddie Gibbs & Madlib – Bandana

Following up a surprise classic is always a challenge. Fans and critics are easy to please the first time but once you’ve set a high bar for yourself there’s no turning back. Knowing this, and never ones to be rushed, Freddie “Gangster” Gibbs and super-producer Madlib made the world wait a whole five years before following up their essential 2014 release Piñata with this year’s Bandana. It was worth the wait. Where Piñata found Madlib inhabiting Gibbs’s realm in a Blaxploitation-inspired story of thuggin’ and dealing, their second album evens the playing field a bit, and Freddie is forced to rap over beats that at times sound like they came straight out of the Beat Konducta series. He proves himself more than capable, rapping on an entirely new level while he easily switches flows to match Madlib’s eclectic energy. Freddie’s content has changed, too, as the years since Piñata saw him spend time in an Austrian jail, lose his uncle and good friend, and split up with his fiance. Much of Bandana was written in that jail, and he’s more reflective, pacing between regret and pride of his dirty deeds and dark past. It’s a classic in its own right, with more depth than most of Freddie’s past work and a seamless marriage between one of the best producers ever to touch an iPad (Madlib’s tool of choice for Bandana) and a rapper eager to put his own name in the Hall of Fame conversation.

1: Maxo – LIL BIG MAN

Maxo raps with a depression born of hopelessness and uncertainty. He’s a man with more questions than answers, and a slow, straightforward flow that brings us into his world with toughness and ease. His are the problems of an entire generation of young men: How can you justify working for $10 an hour when you could make thousands by robbing one house? How can you bring your friends along when you make it, and will they still be your friends by the time you get there? And, most importantly, will you make it to see your next birthday? Maxo raps effortlessly over smooth, low fidelity beats that stand out from most of the lo-fi subgenre through their lushness and clean mixing. Though generally somber, the album does have its upbeat moments (“Kinfolk” and “Headphones”) to break up the darkness, and a beautiful feature from Lojji on “No Love” that adds some ethereal beauty. Maxo is open about his weaknesses and insecurities, yet positive reinforcement comes in the form of a phone call from his grandma reminding him that, as bad is gets, there’s always a place for him at her home. While other albums this year may have exhibited more ambition or technical reach, Maxo’s LIL BIG MAN stands out as one of 2019’s most listenable and emotional, a project with stunning production that bumps in the whip yet powerful lyrics that will hold your attention on the weakest of earbuds.

Honorable Mentions

Atmosphere – Whenever

Probably the best the group has sounded since 2010’s To All My Friends.

Blockhead – Free Sweatpants

Equal parts instrumental album and who’s who of Blockhead’s extensive circle of rap friends.

Damani Nkosi & iLL Camille – Harriett

A jazzy collaboration focused on black freedom and hope by two incredibly gifted emcees.

Medhane – Own Pace

A lo-fi album in the vein of Earl Sweatshirt’s Some Rap Songs but with more clarity and optimism.

People Under the Stairs – Sincerely, The P

The last album from the legendary west coast group, Sincerely, The P is nostalgic and celebratory.

Quelle Chris – Guns

An album that examines the way in which fear, race, and firearms are used to brutalize communities.

Rapsody – Eve

An epic tour de force, Eve is an homage to black women that have influenced the artist and the world.

Albums I didn’t get around to that sound like they might have made this list

Boogie – Everything’s For Sale

Grip – Snubnose

And that’s it. All in all, 2019 was not a bad year for rap. Stick around next year for more reviews and lists from the squad here at Signature Sounds. May 2020 bring you happiness and success. Love & Respect.

- Capital K

[signaturesoundsradio-blog]

Pistol McFly's world is primarily one of kush and psychadelics, a laid-back trip even though it’s situated withing the grim realities of his hometown South Central. His first true full release, Road Trip is McFly's attempt to bring us into this world and show us how he navigates it’s duality. It’s equal parts an ode to chilling, opportunity to stunt, and moment for reflection. “Sometimes I smoke and I become aware / Sometimes I smoke and I don’t even care,” McFly raps on one of the album’s early songs, ‘Jah Bless.’ It’s the refrain of a man who has seen and experienced pain but has still found that type of inner peace that only comes from truly doing you.

Throughout the album, Pistol McFly gives his verses and stories in a conversational, inviting tone. He brings the listener in with relatable stories that sometimes need a couple listens to really express the truths of his hometown and his inner conflicts. A man stuck between wanting to live life right (‘Yung N***a’) and flex on haters (‘Hol’ Up’), McFly finds himself on a trip whose final destination he still doesn’t know. Also hidden below the album’s chill surface is the fact that McFly genuinely has bars. ‘96’ Jigga’ is a quick reminder for the listener, with a nearly 2 minute verse reminiscent of “Jova in 96,” and complete with references to tie-dye, the Fresh Prince, and first lady Hillary Clinton.

The album's production – handled entirely by Power (a producer whose name makes it almost impossible to find anything about) – is also solid throughout. Laid-back, sometimes spacey keys comprise the core of many of the songs, coming through especially beautifully on 'Everything is Everything,' a track that sees McFly reminiscing over old days with the homies. Power is able to match McFly’s mood across the entire album and though it doesn’t vary too much it still has a solid range that keeps the album moving. The whole project is a very easy listen, even if it doesn’t particularly push either the rapper or the produce into new creative territory. Though the album is only 46 minutes, it does drag a bit towards the start of the back half, mostly because the woozy atmosphere and McFly’s flow have a tendency to lull the listener towards couch lock. However, the album ends on a definite high note, with a great feature from rapper Waju (on ‘Way of the World’), followed by ‘Keep Faif,’ producer Power’s only move away from the dusty stoner genre and towards a more upbeat production style that would have been at home on SABA mixtape.

A great album to soundtrack a smoke session out in the garage, this project also brings some depth by way of Pistol McFly's autobiographical stories. What separates it from most of the smoking music coming out nowadays is this story-telling element, which McFly has smoothly integrated into the album’s otherwise carefree nature. Though not wildly creative or new, Road Trip fits in the category of easy listening that slyly draws your focus, the type of stuff you won’t notice you’re nodding your head to until it’s too late.

- Capital K

[signaturesoundsradio-blog]

With a name like Complicate Your Life With Violence, there’s very little ambiguity about the type of emotion this album from rapper Jeremiah Jae and producer L’Orange is trying to evoke. Loosely scripted as the life of a criminal turned soldier in some dystopian war zone, the album gives Jae free reign to describe violence wherever he sees it, whether as a black man in America (‘Say It All’) or as a youth in “the past, present, [or] future” (‘Summer Camp’). It’s a cinematic venture into an H.G. Wells-type science fiction scene – sinister in its lack of gore but psychologically fearsome. With a grim, monotone delivery, Jae brings the listener through a wide range of haunting scenes backed by a constant barrage of samples from vintage war movies.

The album does sometimes allows its screenplay to get in the way of letting Jeremiah Jae spit straight bars, but when he gets let loose he absolutely kills it. The first verse on ‘Dead Battery,’ the album’s third proper track, showcases Jae’s ability to put together thirty-two bars of effortless, hard-hitting rhymes depicting titanic battles of gods and empires. The second verse makes it personal: “big brother watch / for the stock / if it drop, then you back to the block.”

Throughout the entire album the unnamed protagonist has no option but to keep himself on the delivering end of the world’s violence. “From black V8s to armored tanks … tap into the primal ways,” Jeremiah Jae raps on ‘My Everything is Bulletproof,’ describing the transition from a life of crime to that of a soldier, all with a driving flow matching these two vehicles of war. ‘After Alley Life’ finds him smoothly switching between three airtight rhyme schemes while portraying the daily psychosis of life in a war zone. He even carries a tune on tracks like ‘Behavior Report’ and ‘The Light,’ his disinterested singing voice further underscoring the hopelessness of his situation.

For his part, L’Orange sticks to many of his tried and true production tropes: dusty samples from old movies and television, low BPM, heavy drum kits, and haunting vocal and string samples. On this album, however, he takes these elements to an entirely different level. Embracing the menacing, quiet violence of Jeremiah’s battle-ready lyrics, L’Orange builds an ambiance fitting a dark, dusty war zone. In one sense the album is a vehicle for L’Orange to flex his production chops, and one of the hardest beats on the entire project is tucked in between old war movie samples on the skit ‘Part Two: Conscription Sentence.’ The beat is just begging to be rapped over, but L’Orange is content to use it on a cinematic interlude instead, confident that he’s got enough in the vault to keep the listeners satisfied.

The one slightly critical comment that can be made about the album’s production is that there is very little on here that doesn’t feel like your typical L’Orange album. This is no knock on his production or vision but the few songs that do deviate slightly from his formula,‘Borrowed Brass’ and ‘Clay Pigeons’ being two examples, are stand outs that hint at what could have been a more sonically varied album. These songs happen to feature distinct artists such as billy woods (who continues to absolutely tear up the year 2019) and Lojii, so maybe it’s the diversity of talent in the studio that brought L’Orange out of his lane a bit. Whatever it was, the songs brought a bit of freshness to the album and sounded fantastic.

While Jeremiah Jae and L’Orange certainly don’t take each other far out of their respective comfort zones, it continues to be a successful pairing. Listening to this album is hearing two masters of their crafts continue to carve out a lane in the rap game that completely ignores popular norms. As label Mello Music Group has noticed over and over again, the pairing of one producer with one emcee leads to some of the most cohesive, enjoyable projects and this is no exception. Highlights include ‘Clay Pigeons,’ ‘Devil’s Piano,’ ‘After Alley Life,’ and ‘Part Two: Conscription Sentence.’

- Capital K

[signaturesoundsradio-blog]

(via https://open.spotify.com/album/1D8ehmTGvkmyR8lqaUZeHa?si=MBWJ_sYDRAScVUBdQBFSkg)

Mac here, we got another lil write up on Devin The Dude and his new album “Still Rollin’ Up: Somethin’ To Ride With”

I have always vibed with Devin The Dudes style. His delivery is deliberate and really makes u think about what he is saying and feel his message. Listening to the first few songs, ‘Don’t Be Afraid’ already was one of my favorites.  It was a very nice melodic sound, Devin always has been good at great story telling and retrospect. Uplifting tracks like these are important with all this negativity in the world, fuck the haters and don’t be afraid of what people got to say!

Getting further into the tape, some more tracks that really stood out to me were ‘Plate Of Ramen Noodles’ and Sorry. As soon as i heard the instrumental to the song ‘Sorry’ I knew I’d love it. The flow of this song really caught my ear, its more of a sad story about a relationship ending but he is straight to the point and more excepting because he knew things weren’t going well. Next, I hear ‘Spinal’ and it’s quite the opposite than ‘Sorry’. He is saying that he still wants love and trying to reminisce on the good times and when the love was good. So kind of like baby come back, it was quite surprising to hear after a swift goodbye in ‘Sorry’.

Moving on we got our last couple tracks ‘Somethin’ To Ride With’ which was more of a whole instrumental. Being the name of the album it seems like the song is for smoking and riding, which if you have listened to Devin The Dude you’d know that’s what he is all about. The last track “The Doobie Drop” sounded more like a reggae flow and Devin again was expressing his love for smoking getting high, then getting high again. Overall I like this tape and will continue to listen to Devin because he’s still got it! I can’t wait to see whats next.

Thanks for Reading

MvcArthur

[signaturesoundsradio-blog]

Hello peoples, 

Tonight we are here to talk about Twin Cities recording artist and my homie, Pearl P, and his new project ‘'Don’t It To Em’ 

‘Don’t Do It To Em’ being Pearl’s signature adlib, is something I have grown accustomed to hearing over the years. After what seems like an eternity of yelling at Pearl, he finally dropped it! Lets all rejoice in that. It was worth the wait. 

The tape starts off hot with the track ‘Brix’. A short, extremely catchy, upbeat song where Pearl displays the style he has been gravitating towards throughout his career. Using more and more of his voice to project vivid vocals in comparison to sharp punchlines of old. A style that really started to come to life when he dropped the only preview to the project, and last song on the tape, “Lituation”. Singing more than rapping, something current hip hop has seemed to adopt at an ever increasingly rapid rate. A change maybe, in my opinion, the genre needed. Although it seems that Pearl has thrust himself into an ever expanding pool, he does a very good job carving out his own identity. A trait that is truly invaluable. 

Pearl P most definitely has a distinct sound, but that has not made him shy away from experimenting when it comes to genre. The track ‘Dope’ (my personal favorite on the tape) is very much leaning towards R&B. Which sounds more in his ballpark than I ever could have imagined. ‘Dope’ is directly followed by the track ‘Glitch’. The tape has a poppy undertone throughout but this track takes it even further to what I would call, a club song.

He receives features from KAS and Tru Blu. Artists with roots here in Minneapolis as well, and a solid report of their own. He also received a solid contribution from Catch Carter, who I am not very familiar with. 

Even as he is seemingly experimenting with different styles and approaches, this tape boasts a mature feel. Intentional, polished, and with his unique voice, he makes a very compelling argument to be one of the vocalists from Minnesota making waves going into 2020. 

I know you reading this, brother. Its only up from here! Proud of you g! 

Until next time,

Loud Zay

[signaturesoundsradio-blog]

Dizzy Fae, “No GMO Mixtape”

Self-Released / June 25th, 2019

The world is finally starting to open its dusty eyes to the wonderfully intricate universe of Dizzy Fae. With her diversive second mixtape in as many years, we get a fresh taste of the sonics that Dizzy continues to experiment with.

Opening with pitched down vocals and a bouncing beat, opening track ‘Huu R Uu’ sets the tone of the album well. While each song takes its own route genre-wise, there’s no denying the influence of Chicago and Detroit house music throughout. Songs like ‘Big Walls’, ‘Altar’ and ‘Company’ all pull from different sub-genres of house and give Fae a chance to really showcase her vocal versatility.

Regular collaborators Psymun and Su Na are present on the “No GMO Mixtape” alongside new friends Kim Tee, Sir Dylan, Yon and Falls. While everyone adds their own spice to the mix there is no denying the true star is Dizzy in all her blossoming greatness.

We get a closer look into Fae’s personal life with this mixtape. ‘Pink’ echoes the images of love and lust in a way that pulls on your heart strings with little effort. Dizzy as a lyricist is really shining in 2019 and there’s no question her live show is transforming with it. As a triple threat (singer, dancer & actor!) she appears nearly unstoppable. Fresh off an acting roll in Khalid’s new movie “Free Spirit”, we’re left wondering if more feature lengths are in store for her future.  

The last couple tracks ‘Solo’ and ‘Now N’ Later’ are an excellent peak into her future as an experimentalist. Both songs use heavily chopped vocals throughout and feature some of the most riveting production; almost evocative of Sophie or Arca at times. This is not to say that Su Na and Psymun don’t showcase their own unique production on these tracks though. Both artists continue to make and be apart of some of the best music coming out of the Twin Cities at this point in time. And there is no question that Dizzy Fae is one of them.

Dizzy Fae’s second mixtape “No GMO Mixtape” is streaming now at the link above and on all other major streaming services. 

Freight Train

[signaturesoundsradio-blog]

Hello good people of the multiverse,

I, Loud Zay, am here to cut the silence of the vaccum today with a review of fellow MN rapper, The Boy's ep 'a late night'.

The whole project is smooth and low key, with all production coming from the beat maker Origami. Reminiscent of the era of hip hop I grew though in my teenage years circa 2010. I was instantly drawn to the project.

A string of 6 short songs, with catchy choruses, slow tempos and double time flows. The pleasant sounds of base guitar sit nicely in the background as keys dance over bass heavy kicks.

The song 'Blackbenz' was the song I heard homie perform at a local show at the Cabooze, in South Minneapolis. His very solid performance grabbed my attention. Which is what eventually led to this review.

His minimalist approach and taste for laid back head nodding beats strikes a chord with me. Very few adlibs and tight flows being consistent throughout the tape. His low voice, having a mellow effect, with bars ringing out about hustling and foreign cars.

For a teenager this kid got promise.

I look forward to seeing what he has to offer us in the near future

Peace and Love,

Loud Zay

[signaturesoundsradio-blog]

Guilty Simpson is a veteran of the 90's and early 2000's Detroit scene, tight with producer J. Dilla and a longtime member of the Almighty Dreadnaughtz, a group usually known best for appearing on the underground classic 'Desperados' with Eminem & D12. Also a member of the trio Random Axe with Black Milk and Sean Price, Guilty Simpson has spent the last few years releasing underground joints on Mello Music Group and Stones Throw Records. He shares rhyming duties on Child of the Jungle with MED, an equally experienced emcee from Oxnard who first featured on the Lootpack's Soundpieces: Da Antidote in 1999. MED's most recent output has been alongside super-producer Madlib, whose production opens the project with 'MAD.'

From the very first drum break of 'MAD,' MED and Guilty Simpson bring the hard-hitting energy you would expect from this pairing of underground Detroit and SoCal. They throw down the gauntlet to all the wack rappers while riding the driving beat with confidence and venom. For anyone who forgot about Guilty and MED, 'MAD' is a forceful reintroduction. It's immediately followed by 'Visions,' a smooth track that features Georgia Anne Muldrow, the first of many guest singers on the album. The track's R&B feel is a beautiful counterpoint to the grimy opener, a balance that carries much of the album's first half, especially on 'The Hundreds' and 'Dedicated.'

Boasting production credits befitting the rappers' longevity and connections, the beats on this album come through in a major way. On first listen the MNDSGN produced "Pie" is a standout, bringing a distinctly west-coast bass and some gentle keys with a smooth swagger. Another highlight later in the project is 'Life's Good,' built around a wobbly bass line from producer Exile and a beautiful feature from singer J. Mitchell. Guilty and MED use the track to take a step back and rhyme about the small successes they enjoy in a generally heavy life. It's a celebratory track featuring rapper Blu, who sounds great, as always, over the Exile beat. The song is a nice pause before the string of tracks 'Time,' 'Face Down,' and 'Ice Service' that fill out the back half of the album on a more hardcore vibe, the last of which includes the albums thesis: "Street hip-hop & lyric-driven fundamentals do not go out of style." It's an admirable statement in a rap world so starkly different from the age in which Guilty and MED first came up.

Though the bars are consistent across the entire project, the album is at its best when the two men are trading lyrics about the struggles of the streets, as they do on 'Unpredictable,' the album's closer. It's a meditation on the constantly changing relationships and situations the men grew up in, as they worked to find a sense of security in their respective upbringings. These are the moments where we really see why the album's title, Child of the Jungle, rings so true. With much of the album focusing on the dirt done by Guilty and MED, the somber reflections about why they had to turn to this crime hint at the titular jungle's many shades of gray.

The album's only real misfires (if they could even be called that) come in some of the less introspective moments, especially 'Time,' a track about love and lust that drags on slightly due to the combination of feature, rhymes, and busy production. Similarly, the repetitive beat and chorus on 'Lock and Load' hold the track back, though it features MED's best verse on the album as he switches from a more laid back energy and comes with a blistering pace and intensity. Across the album, Guilty seems to command the most attention on the mic, partly due to his deeper voice and party due to his quotables. Tucked in between the rhymes about flipping dope and paranoia is a humor and knack for metaphors and double entendres (from both rappers) that make the album worthy of repeated listens.

The project comes at a good time for throwback underground and it delivers on its promises of street rap and lyrical content. Where some of the recent albums dropped by Guilty Simpson and MED's contemporaries have played the roll of 1990′s and 2000′s revivalism a little too literally, these two come with a style and ear for beats that seem more timeless than dated. The role of their producers in making this such an enjoyable listen cannot be overstated, and the album flows across a variety of moods and contents smoothly enough to keep it interesting. At the very least it's worth a listen for anyone looking for a reminder that hard-nosed, uncompromising content still exists in the rap game.

- Capital K

[signaturesoundsradio-blog]

Hello to whoever can hear me!

Hope yall are having a bountiful Saturday.

Today I am smoking dope giving my feedback on Lerado Khalil's most recent, and very unique project 'Mildly Happy'. The first track 'Back & Fourth', I was caught off guard a bit. A distorted voice comes in over slow, spacey production, with a sharp snare. The bpm picks up about a third of the way through the song. Its true form reveals a bouncy baseline and extremely catchy melody. Lerado hops on the track with his low vocals and uber laid back delivery that I've come to recognize him for.

Most of the production on the tape is abstract, combining I appreciate that breath of fresh air when it comes to rap music. At this point it's not even really about subgenres, its spread so far that it all gets muddled together at this point. But that's cool in my opinion. Music evolves everyday and I'd say Lerado is right there evolving with it, carving out his own lil section. Something that is cool to witness in real time.

I was actually at the album release party for Mildly Happy in downtown Minneapolis. I got to see Lerado as well as associated Chicago act Adot, who also has a solid buzz around his name right now. I have also had the pleasure of chopping it up with Lerado once at my crib when fellow twin cities artist MARQUESISDEAD hit me to kick it. A very soft spoken humble dude with a good head on his shoulders.

Taking that in to account I approached listening to his music differently. His music has a sonic charisma, but I dove deeper than the sound, listening intently to the sometimes hard to make out lyrics. Finding it more and more relatable the more I played. Each play you hear something you didnt hear the time previous. Much to the same effect as young thug, the sound is intentionally raw. Dubbed vocals lots of adlibs and loose flows.

Overall I really resonate with this project. It's not for everyone, but that's what makes art great.

Imma call it a night, folks.

I hope you all have had a great day/evening/night, all that shit.

Peace and love

Peace and live to all,

Loud Zay

[signaturesoundsradio-blog]

Here I am being the anti social socialite that I am. In uptown sitting at a table off to the side, at a dance party. Classic. Well anyway we here to talk about the tape 'So Emotional' by the myth, the man, the legend... Key!

Atlanta's very own remains consistent with another very solid project. Honestly I love everything that Key! drops but this one definitely hits different. Known for using his voice and flexing his versatility this tape does not disappoint sonically.

He really only "raps" in one song. Rather he floats over beats with his signature style, something that muddles the boundaries between singing and rapping. Hitting a multitude of notes, with high highs, low lows, animated adlibs and unique harmonies that leave you wondering how he did it. Truly an inspiring and influential talent.

I told Mac yesterday "This may be my fav Key! tape." You hear collision of ego heavy and vulnerable lyrics about being in love, that are simultaneously upbeat and human. He philosophizes over high bpm production. I find myself wanting to dance, and to and sing along loudly in public. Per usual... but still. It's extremely satisfying to blurt out Key! lyrics at the top of your lungs. Try it.

I haven't spoken much about the specific songs on the project, but just go listen. It's short and sweet, very sweet.

Well folks I'm out!

Peace and love,

Loud Zay

7/11/19

[signaturesoundsradio-blog]

Hello world,

We are back to day to talk about twin cities local Naél and his self titled ep. This tape is a real mood setter. Soft vocals and dreamy guitar heavy songs that make you feel like you are in a scene of a movie. Golden. I love it.

Songs of love instantaneously giving the nastolgia of being a teenager and all the freeform fun, mood swings and awful relationship choices we made. Melodies and simple guitar loops put you in a trance and send you deep into a realm of visual thought.

In the track 'She's Crazy' Naél lends and hand from vocalist Michu, who also appears on the track 'Buried'. Michu compliments Naél's unique voice well and comes through with some playful bars, as his personality shines through on both tracks.

Fellow local artist Bambi joins in the fun on the track 'Only U'. A slow catchy tune with pretty harmonies and ambient feel. Bambi's vocals draw you in like a siren song. There are limited lyrics over a looped beat but you would never notice. The whole song, mixed to perfection, hits the sweet spot of your ear throughout its entirety. I am more than content with the finished product.

I have played this tape a fuck ton, and it truly doesnt get old. I have played it 2 or 3 times in a row and it still hits on that 3rd play. Truly some of the best material out from my city right now.

Please get in tune with the homie Naél.

We on this side are truly excited to see what the future holds.

Peace and love,

Loud Zay

[signaturesoundsradio-blog]

  (via https://open.spotify.com/album/2hDeQ5pM8TUZowDsv6IDJv?si=kYy8FgfdRxKxnmkPIX1bPg)

Sup y’all?

Mvcarthur here, doing a quick little blog of a new album from one of my favorite reggae bands Steel Pulse. I fell in love with Steel Pulse the first song i listened to them they are truly one of the best bands out here still doing it. They had not dropped an album since 2005 so i was so hyped to listen to this ASAP. Some different projects of theirs i liked were ‘Earth Crisis’ and ‘True Democracy’.

I love how the first couple songs of this tape kind of ease into true Rasta spirit. ‘Thank The Rebels’ really stood out to me it was so uplifting and really captured the picture that reggae tries to paint, true soul rebel music and power to the people. As I was getting further into the album i started felling the same way i did when i first started listening to them great topics and the positive messages makes it hard not to feel good and reassured. ‘Human Trafficking’, ‘Don’t Shoot’ and ‘Mass Manipulation’, really caught my attention just from the titles before the listen and are all very relevant issues in our world today.

Nearing the end of the album, ‘Higher Love’ and ‘Nations Of The World’ were about togetherness and peace. The feeling really is contagious,come together people of the whole world every nation to defeat oppression and evildoers. Sounds nice something I would love to be apart of... “Remember the revolution will not be televised!”

One Love,

Mvcarthur

[signaturesoundsradio-blog]

I am extremely happy to announce that the Red Trap Dragon is back with his new ep M3. Short and sweet, 6 tracks of classic Makonnen.

For a while there I wasnt sure if we would ever get back the ilovemakonnen that was dropping tracks like, 'I Dont Sell Molly No More' & 'Trust me Danny'. But I am here to say rest assured, that there will be plenty more bangers headed our way.

Listening to the first track 'Liquid Supply Daily', my close friend says, "he sounds like a 80's popstar", as I chuckle and hit the joint. We continue to listen and when the second song 'Im Not Okay' comes on I go, "I love this one". At this point I'm hooked, sold, bought, all that shit. The sounds of old ring in my head as a huge smile I cant hold back, appears on my face. It was hard seeing homeboy down and out, and I'm happy he is feeling the music again.

The album is uptempo and poppy over synth heavy production. Very on brand and what we have come to expect from the Red Trap Dragon. Talking bout... well... drugs, drug dealing, money and love. As the kids say these days, "I'm here for it" lol.

In the song 'Shoot Shoot' I dont think I have ever heard a more fun song about shooting guns, you almost forget there is any violent connotation! I missed being able to turn him on and instantly feel all fuzzy inside like I was bursting at the seams with good energy. Maybe I just love Makonnen.

He closes out the ep with an unexpected Gucci Mane feat, the only feature on the ep, on track 'Spendin''. A great way to exit, makonnen proclaims he is "winnin' winnin' winnin'" so now he is "spendin' spendin' spendin'" again. Golden, a gem amongst rocks, The Red Trap Dragon returns to his true form, lighting up smiles of youth around the world.

Peace and love,

Loud Zay

[signaturesoundsradio-blog]

"Gucci Mane, Gucci Mane, Gucci Mane, Gucci!" Plays loudly in my headphones as I nod to the beat. Around a minute in the sharp voice of Meek Mill comes in, in classic fashion with quickfire, high energy bars. Me thinking to myself, "damn I really think Gucci leveled up with this shit."

Gucci is back with another very solid album 'Delusions of Grandeur', 18 tracks long, and man... I am wholeheartedly loving this new version of Gucci! How can you not be happy for him? He got outta jail, put the drugs down, got him a queen, got cut as hell, and seems super happy with life and it shows and shines through in his music. He actually specifically talks about his glow up, and how well he's doing. The whole tape is very upbeat and almost forces you to a grin at times.

The first five songs got some heavy hitting features. He put Meek on the 2nd track 'Backwords'. The third track 'Special', is the only official colab on the tape, with Puerto Rican native Anuel AA, which caught me off guard but the end product was very solid. The 4th track 'ICE', boasts features from Gunna and Lil Baby, which was bound to be a hit with the waves those YSL boys been making. Easily one of the more standout songs on the tape. Then in the 5th track Gucci enlists megastar Justin Beiber for the pop song 'Love Thru The Conputer', which... I'm not gonna flex... is a great song.

And it doesnt stop there, Gucci gets help from singers Jeremih and Navé Monjo. I could go on and on but this ain't a tracklist so you gon just have to listen!

All in all this one of the best drops of the year for sure. All the guest appearances are very good, and the solo songs are just as dope. The tape has a very polished sound and top to bottom, 18 songs, it's hard to find a track that you can say you "didnt like". He is remnant of a past mixtape/datpiff culture and he is gracefully evolving into a whole other monster in front of our eyes and I'm loving it yall. As the Mane himself says on the the first track, "I'm richer, more handsome, more healthy, healthy, more cocky, wrist more rocky, money longer, bread skronger, my bitch badder, I got more stamina"

And on that note, have a good day folks

Its ya boy, Loud Zay singing off

I'll be back very soon I gotta lotta work to do!

Stay up yall

[signaturesoundsradio-blog]

Yooooo

I'm back, the one the only Loud Zay.

I'm here to talk about this magnificent project 'Mr. Midnight' that just dropped by the man Larry June 🍊. Straight from the bay! If you ain't been in tune with homeboy, now is the perfect time.

I got familiar with Larry back he when he was dropping tracks like 'Joog One Time' and featured on tracks with fellow rappers Curren$y, and Boston's Cousin Stizz.

I was instantly attracted to his catchy adlibs and effortless, nonchalant flow. His new project Mr. Midnight, is entirely produced by Cardo, one of my favorite producers of all time! Match made in heaven in my opinion. I fell in love with Cardo's production back in the days of Kush & Oj era Wiz, along with the idea of lifestyle raps, which Larry embodies completely. What's cooler than a cool ass motherfucker? Ya feel me?

This tape got a super bouncy west coast vibe, and even hits us with some smooth melodic vocals on tracks 'Mr. Midnight' and 'Six Hustles' that really set the mood. Curren$y lends a hand on the track 'Oranges on a Jet'. Fitting dont you think? He also enlists fellow cali native Jay Worthy for maybe the catchiest track on the tape and the last song on the tape 'Strippers & Chances'. Hustle rap is still alive and well and thriving yall. Gotta peep game.

All in all yall this go crazy, dont sleep!

Peace and love,

Loud Zay

[signaturesoundsradio-blog]

The first entry to the “Under the Rap Radar” series, a collection of reviews I will be writing about recently released hip-hop and rap albums that may have passed by unnoticed. 

For anyone who listened to west coast underground in the early 2000s, the name People Under the Stairs – often known as 'The P' - instantly conjures up images of blunted, jazzy tracks heavy in samples and charisma. Rapper-producers Thes One and Double K made a career of laying slick, tight bars over their deeply dug loops, bringing a distinctly positive and relaxed spin to the palate of the California rap scene. Songs like 'San Francisco Knights,' 'The L.A. Song,' and 'Acid Raindrops' jump-started the group's career and became longtime cult classics – tracks that would bring entire festivals to spark an el and reminisce for over a decade and a half. The unflappable swagger and happy-go-party attitude of The P's early albums eventually gave way to some more serious content as the group bounced between record labels and refined their approach to production (often employing live instrumentation), but the two men always retained their commitment to well-crafted, musical hip-hop and smooth bars. In late 2018 they announced that their next album would be their last, and a couple months later they released Sincerely, The P, a heartfelt farewell and one last helping of musical dope for their dedicated fans.

From the very start, Sincerely, The P is a shot of nostalgia and a celebration – a final opus for a group that has paid its dues and held it down for over twenty years. The album's opener, 'Encore', begins with a raucous recording from a past live show and firmly lays out what this album is: a last bow from a group that has completed a long, successful career and has been convinced to come back with one last offering. The first few cuts of the album are a prime example of the aforementioned swagger and charisma – a few dope tracks to remind us what we'll be missing. After, 'Hard,' a stripped-back ode to the old school, the album takes a turn towards the chill, with 'The Effects of Climate Change on Densely Populated Areas' and 'The Red Onion Wrap.'

As Sincerely progresses, P.U.T.S. maintains the same level of infectious energy that has characterized their entire career. Flexing their chops on the turntable and the mics, Thes One and Double K present a comprehensive rehash of many of their past themes and moods. Spread throughout the album are short interludes that remind us this is their last album, but for the most part the first half of the album feels right in place with their earliest, most popular work.

With the back half of the album, the songs begin to take a distinctly reflective mood, starting with the rappers reminiscing over an angelic, spacey beat on 'Stars in the House'. Possibly the album's best song, 'Here, For a Good Time,' comes next, and serves as the album's – and the group's – thesis: "everybody have fun / Let go of your anxiety, you've already won." The song's refrain, "I'm here for a good time / but not for a long time," encapsulates the album's nostalgia and just about brings a tear to the eye. It's followed up by two of the group's most personal songs, a memo from Thes One to his son about growing up and becoming a man, and 'Family Ties,' a song about familial love and connections.

Listening to these songs it's not hard to understand why the two men are leaving the rap game. Sprinkled throughout the album are a number of 'grown-man' bars about the joys of their lives, whether it's watching HGTV, feeding the dog, or growing "heirloom kohlrabi," all delivered with the same conviction and earnestness that has made the group so popular from the start. For two men so confident and comfortable with their places in life, the occasional corniness is more than justified; they've earned it.

Overall, this album is a fitting capstone to a long career for People Under the Stairs. Comfortable in their own shoes, Thes One and Double K have ended their run with an album that is squarely placed in the group's established aesthetic while also displaying a maturity fitting a duo that have built lives for themselves outside of rap. The bars are as tight as ever, with Thes One probably taking the prize for most quotables, and the beats encapsulate the group's always smooth palate of loops and drums. For anyone that listened to P.U.T.S back in the day, this will be a welcome treat and for those in need of some chill, west coast rap, look no further.

- Capital K

[signaturesoundsradio-blog]

Wassup, 

We are back to review a new album, by alternative recording artist, Moise. This Twin Cities based artist has giving us a cool body of work, perfect for spring. If one thing is made clear it is that the brother likes women, or maybe it's one woman? Very nostalgic vibe throughout, with most of the tracks being short, and dedicated to the ups and downs of being in love. His voice and and guitar shine through, accompanied by what sounds like mostly live instruments. Resonating through the chest when listened to. 

I believe the first song, Wildflower of the album after the intro, is my favorite of the ten track project. The sound of which grabbed me right away and got me hype for the rest of the album. With an almost nonchalant delivery, Moise holds an interesting charisma. The vocals feel as if they are always in the sweet spot. All the way from the bottom of his chords to the high pitched falsettos. Layered over airy, reverby guitar and smooth baselines. Yes I said reverby. Yes my music lingo sucks, but bear with me. You get the idea. 

The album changes pace multiple times with summer night time drive feels, to tracks that remind you of something you’d play at the beach. Even to smoke one to. But all in all this project really reminiscent of warm weather, doing hood rat shit with your friends, and has great vibrational quality. Although some of the lyrics are not always the happiest you generally feel pretty good listening to it. Shit, I’m on the 6th or 7th play of the full ablum. Funny cause I’m listening to the song Full CIrcle. Not really that funny but whatever.  

I always feel as say to much, but not enough. So I’m logging off.

GO LISTEN TO THIS, its really good. To the future we look brother! 

Love,

Loud Zay