#every single song in volume 2 is a banger but this one just hits different

[reegis]

shout out to Actaea and Lyssa for being the most literal TMA hunt-aligned song of All Time listening to it on repeat makes me want to run off and live in the woods & attack people from the treetops

[thebandcampdiaries]

Alisa Fox presents: “No Signal.”

A fresh, energetic and powerful Big Room banger!

Alisa Fox is back with a brand new single titled “No Signal.” This track is extremely diverse, as it explores Alisa’s broad-ranging sound and ability to set the bar higher in terms of blending different genres. 

“No Signal” is intensely energetic, but there is also a mesmerizing component to the mix. The song’s underlying Big Room vibe captures the essence of modern techno. However, Alisa’s vocal melodies are appealing and memorable right off the bat, as she adds a sultry vibe to the mix. When the main beat breaks out, the energy is absolutely on point. 

The track is built on a very intense, pulsing beat that seems to spark vibrations that reach deep within your chest. This isn’t music that is just meant to be heard. It is meant to be felt with every inch of your body. For this reason, “No Signal” offers a truly fantastic experience, especially to listeners who are able to crank the volume or listen to the track with good quality headphones. The drumbeat has a very steady pulse that defines the groove of the track. In addition, the bass is heavy and hits you in the chest with an aggressive, saturated tone that cuts through the mix. Alisa’s vocals are very soothing and melodic. This offers a cool contrast with the other hard-hitting elements of the instrumental, and it gives the song a very diverse twist, which sets it apart from many other big room and techno releases. Listening to “No Signal,” it is apparent that Alisa has a very eclectic background, and she is able to bring so much versatility to her work! The overall effect of combining such a huge variety of musical influences is indeed quite mesmerizing and almost hypnotic, without compromising in terms of energy and pathos.

The song, which was released on June 2nd, 2023, is a fantastic milestone for Alisa, as it showcases her constant focus on setting the bar higher.

“No Signal” clocks in at 3 minutes and 2 seconds, a great length to showcase what this talented artist is all about! The track begins with a swell-in effect, which feels like a massive wave of sound and melody hitting you right in the face! Soon after, the vocals come in, bringing a wall of harmonies and ambiance to the table. The intro serves as an amazing initial build-up. As we get familiar with the vocal hook, we can already hear the drums ramping up, adding to the intensity of the tune. At about 29 seconds in, the snare roll reaches its climax before coming to a sudden gap. The space between the build-up and the beginning of the main beat is always the most exciting moment, like taking a deep breath before jumping in the water from a high platform! At about 30 seconds in, the payoff is incredible as we dive deep into a pool of heavy rhythm, groove, and textures! This is when people go crazy and storm the dance floor! The higher-pitch synth stabs and melodic riffs are really present, giving the song a futuristic feel and a perfect clubbing vibe. At about one minute in, we encounter another change of pace, as the track gets a bit more relaxed and vibe, allowing the beat to take a step back and letting the synth soundscapes through in a more vibrant way. This half-time part is perfect for yet another build-up, which coincides with Alisa’s vocal hook repetition. There is also room for some breakbeat-type drums, which are totally unexpected in this arrangement, and add a unique flavor to this part! The second build-up unfolds again at about 1 minute and 59 seconds in, this time leading into what is probably the most powerful section in the song. This is when people can’t stop moving, and the energy is at peak level. The rhythm continues to cruise from 2.30 onwards, eventually leading to a truly stunning conclusion, which leaves the audience wanting more. What a wild ride!

In conclusion, This is the kind of track that’s meant to get people moving and it has a hyper-focused personality that adds to the flow of the mix. Ultimately, this song stands out as a powerful reminder of how, every now and then, we should really try to disconnect from the stress and anxiety of everyday life. Like a cellphone with no signal, being far from the reaches of obligations and commitment and escaping from the “usual” can be really freeing! The song's beat and its stark sound capture the feeing of wanting to break out and feel liberated. Alisa Fox's expert production skills make "No Signal" a standout track in the techno world, with its steady beat and thumping bass adding energy and vitality to the mix.

Whether you're a long-time techno fan or just looking for a way to escape from the daily grind, "No Signal" is the song for you. Find out more about Alisa Fox, and do not miss out on “No Signal,” which is now available on streaming platforms like Spotify!

In the words of Alisa herself, “Life is short, but the drops are long!”

https://open.spotify.com/artist/2FPPPQppMIHTR1j8aqxC1n

We also added the track to our Spotify playlist!

https://open.spotify.com/playlist/26IM6V7tYpfU4ZvkTd1MhD?si=3b2927a57df841bc

[shahidiwrites]

CONFETTI RANKING NO ONE ASKED FOR <3 But firstly can I just say their team literally said so what girl group era are yall taking inspo from? And little mix literally just said yes <3 UISDJOKOISADJ THE I N F L U E N C E S ON THIS ALBUM AHHHHHHHH i think it also sucks that c**** definitely took a toll on the album and i honestly think it was supposed to be released sooner BUT nevertheless it’s here now and i was sO PLEASED AND IM SO PROUD OF THESE GIRLS living their past life having all the fun with this album so let us go!!

1. Confetti. A powerful feel good song. Like this is THE Bad bitch anthem, like I can’t wait to be driving at night with my girlies blasting this. IT’S SO FUCKING GOOD. I love when the instrumental strips away on jade’s verse and it’s just the snaps BEAUTIFUL. Some of the melodies in here were definitely a shout out to girl groups like cherish and destiny’s child and holy fuck it WORKED. T H A T BRIDGE. LIKE. UGH. Vocally it’s a lot more stripped back than the rest of the album, and yet it’s still my favorite?? I think that speaks so much to Little Mix’s musicality. They don’t need insane vocals (even though they DEFINITELY HAVE THEM) to make a good song, like they know what works and they prove it every single time.

2. Sweet Melody. This song is so fucking clever. I know everyone has already talked about the way the instrumental literally follows the words, but IT’S SO CLEVER I’M MENTIONING IT AGAIN. Jade’s verse will forever be my favorite. She really set up the story with her verse. I love how the first part of the chorus is literally a sweet melody before it goes into the edgier chorus UGH SO GOOD. Not to mention this video gave us the first choreo heavy music video since fucking Salute ad that is a blessing in and of itself.

3. Happiness. “Remember I, I was mine. Before I was yours.” Honestly what else do you need? That line was so fucking iconic. The melody is so fucking beautiful, the nod to past girl groups was very strong in this one. It’s a different sound for them but at the same time extremely them??? I love the lyrical content SO MUCH. it’s such a feel good powerful song. The bridge of perrie belting and then the beautiful quick breakdown before they go back into the chorus ugh so fucking good. 

4. If You Want My Love. This song punched me in the face the second it started with Jade and didn’t stop until the fucking end. This was SUCH a spot on nod to past girl groups and they fucking nailed it. The chorus gives me CHILLS every time. It literally DEMANDS your attention in the same way the lyrical content is demanding to be treated right. The bridge had me meltING. PERRIES BUILD UP BELT?? Reminded me of About the boy which iconic we love growth. The melody is so fucking good AND THE ACAPELLA AT THE END??? ARE YOU FUCKING KIDDING??? so damn good. Everyone say thank you little mix.

5. Rendezvous. Honestly this top five is literally nothing but non-skippable B O P S. The fucking sway sample is ICONIC. It’s giving such motivate vibes and we all know how much of a banger that one is. Trying to imagine the choreo to this song is physically paining me and i’m so fucking pumped to see IT. I love how they have been consistently taking ownership of their bodies and flipping the gender expectations around. “i ain’t trying to fall in love with you” JUST ICONIC. Also reminds me of bloodline by ariana grande and also FUCKING ICONIC.

6. My Love Won’t Let You Down. This song needs to be longer. It’s so fucking beautiful. The lyrical content had me crying by the first line. It reminded me a lot of don’t worry by the 1975 but a lot more personal, it’s a very pointed song so it hits so differently than the 1975 one does for me. But holy shit it’s so beautiful, they have all grown vocally so much. “We can sit at the edge of your bed, tell me all of the fears in your head, and i’ll sing you your favorite song” This REALLY got to me bc idk it just felt like they were speaking to their fans i that moment and I know that alone can mean so much to so many people. It really did for me.

7. A Mess (Happy 4 U). I was not expecting them to start so deep, i literally felt like i was being let in on a secret it was so cute. And then the slip into that head voice, it was so airy and so pretty. And the drums in the background were very reminiscent of nothing feels like you which was a GREAT trip down memory lane for me. I also just love the message behind the song and the lyrical content is cute. AND THE FUCKING D R O P. U G H. THE FACT THAT THIS SONG ISNT HIGHER SHOULD SPEAK VOLUMES AS TO HOW GOOD I THINK THE OTHER SONGS ARE.

8. Holiday. WHY DOES THE FANDOM HATE THIS SONG SO MUCH??? IT’S SO GOOD. THE PRE-CHORUS ALONE !!!! EYE!!! It’s really upsetting to me and my homegirls why Holiday gets so much slander. The music video..... anyway the S O N G. It’s so good. So fun. A tune.

9. Nothing But My Feelings. Idk what this trend is of singing complete FILTH to the cutest little melodies but i’m here for it. This song took me by surprise tbh but i loved every second of it??? ESPECIALLY, the cute little adverbs in the background holy shit. They’re so much fun. And little mix + trap influenced is probably my new favorite thing so i need them to continue doing trap influence for my own sanity.

10. Not A Pop Song. I’m glad the girlies get to sing their truth at LAST. I also love the melody in this song and the “not a pop song” harmonies in the background near the end. I do think the verses are too short but i love leigh’s prechorus so much i’ll let the verses be shorter so i can get to her sooner. Also perrie kILLED that bridge are we surprised? no not at all.

11. Break Up Song. idc man this songs still slaps lmao. IT’S CUTE. But i’ve heard it enough it can’t compete with the new bbies on the album, but that intro gets me hype every time. And I still have fun dancing to it months later, but i’ve had it so long it’s been celebrated enough.

12. Breathe. I just feel like the verses were so much prettier than the chorus, like the lyrical content is so beautiful. Maybe it’s the instrumental??? But i think it would have been so much prettier had the chorus not been so intentionally choppy. The verses alone tho almost saved this song for me and made me put it higher but there’s just so many better songs on the album so it is here.

13. Gloves up.... is this controversial? There’s just a real disconnect between??? everything??? it sounds like three different songs tbh?? I love the lyrical content and the breakdown in the pre-chrous and jesy’s pause before perrie’s power vocals come in, but the instrumental is just kind of all over the place to me. idk maybe subconsciously i was comparing it to salute because that’s the writer they wrote it with but idk just not for meeee

[kuciradio]

As 2018 is coming to an end it’s time to reflect on this amazing year for new music and artistry. KUCI is a diverse group of DJs and we are proud to represent all genres of music. I have finally put together our Top 10 albums of 2018 along with some honorable mentions towards the end accompanied by some lovely words written by our fellow DJs. We can’t wait for what 2019 brings for us and continue tuning in on kuci.org or 88.9 FM if you’re in the Orange County area. Have a safe and happy new year!

1. Mitski - Be The Cowboy

“Mitski Miyawaki’s powerhouse voice resonates with a haunting clarity on her stunning masterpiece Be the Cowboy. She creates entire worlds and characters out of pieces of herself, from paranoid, awkward women who yearn for traditionalism and some idealist version of what life or love should be (hello “Lonesome Love”), to cowgirls who can do it all on their own. From sorrowful to triumphant, Mitski colors the spaces in between from soul-bearing ballad “Geyser” to unforgettable dancing-alone-in-your-bedroom anthem “Nobody.” (Sophie Prettyman-Beauchamp)

“This album was so personal and raw and I also liked how the songs flowed well on this album.” (Heidi Barragan)

2. The Internet - Hive Mind

“I can't talk about this album without mentioning how mad I am at myself for missing the tour. Syd, Pat, Steve, Matt, and Chris, The Internet, are prominent figures of musical evolution; this speaks volumes and not just because they got their start with Odd Future, a hub of avid freeform artists. If you’re inclined to believe what I believe, Ego Death is a heartbreak album and Hive Mind is loaded with recovery anthems and passionate songs to share with your new partner who is not a rebound. Across the timeline, the sounds change from R&B and Hip-Hop to Funk and Soul; but what captures my attention the most, from Ego Death to Hive Mind, is the way a facade is casted aside. Hive Mind is just so sincere and therefore, perfectly fitting for being a part of my top three.” (Thorson Munoz)

“[This album] is a very funky album with heavy tones of R&B. The Internet does not disappoint with their funky sounds, which can be heard on “La Di Da”. Overall the album has powerful baselines, thanks to the amazing Steve Lacy, and groovy beats backed by Syd’s smooth vocals. It is hard to listen to this album and not dance along to it.” (Melissa Palma)

3. Kali Uchis - Isolation

“Colombian singer Kali Uchis’ long-awaited debut album is a high-production value journey into her uniquely sultry, dreamy world of R&B. The songstress’s silky voice pushes boundaries of various genres, from bossa-inspired intro “Body Language” to the Amy Winehouse-esque “Killer,” each track better and more of a banger than the last. Isolation features artists like The Internet guitarist Steve Lacy, British soul success Jorja Smith, and reggaeton icon Reykon. Uchis also recruited her friends Tyler, the Creator and legendary bassist Bootsy Collins for the hit single “After the Storm,” a follow-up to her and Tyler’s song “See You Again” from his 2017 album Flower Boy (supported by a stunningly whimsical music video by director Nadia Lee Cohen). The producer credits are just as stacked, including the likes of Thundercat, BROCKHAMPTON’s Romil Hemnani, Tame Impala’s Kevin Parker, and Gorillaz frontman Damon Albarn. Uchis proves herself as the new sound of pop, never veering from her originality that made her a Soundcloud sweetheart.” (Sophie Prettyman-Beauchamp)

4. Janelle Monae - Dirty Computer

“She’s such an intelligent creative weirdo and I LOVE HER. Not to mention her oozing femme POWER.” (Naseem Eskandari)

“About the moxie I mentioned earlier, this emotional rollercoaster has an abudnace of it and I cannot get enough! Cover to cover this album packs a punch, and as the visual companion--which brought me to tears--would suggest, this entire album is a celebration of deviant bodies and identities. This album contains the perfect ratio of soft and tender tracks and upbeat exciting ones so its no wonder why NPR named Dirty Computer their number one of 2018.” (Thorson Munoz)

5. Anderson .paak - Oxnard

“Sometimes artists, after huge successes, feel that they need to make music that sounds just like their previous work to gain the same traction, but really the true artists are the ones that stay honest and true to their creative ability - their sound moves through life with them.” (Naseem Eskandari)

“Anderson .Paak, to me, is responsible for every playlist I've ever built that revolves around driving in Los Angeles with the windows down, no matter the time of day. However, I don't drive a convertible, so instead I honored Venice and Malibu using my radio program, Detours. Not only am I excited to honor Oxnard as well, but Oxnard was built for driving; this is evident after listening to "Tints", the first release, and "Headlow". This album, just like Malibu, is masterful; the only difference is that Dr. Dre stepped out of the shadows and was a feature. Oxnard is beyond incredible and worthy of it's legendary features, Snoop Dog, Q-Tip, and Kadhja Bonet, to name a few. I'm really excited for what will likely be Anderson .Paak's next Grammy nomination.” (Thorson Munoz)

6. Blood Orange - Negro Swan

“AMAZING production, amazing narrative!!!!!!!” (Angel Cortez)

“Dev Hynes never fails to make master pieces of albums that narrate the experience of marginalized people in an oppressive and toxic environment. Hynes brings together artists as big as ASAP Rocky to smaller artists of equal talent such as Steve Lacey creating a beautiful medley of indie hip hop to soul and funk.  Coupled with interviews, Hynes is able to make this album a personal experience for the listener. For me it always feels as though he is singing to me personally, something that not many artists are able to do.” (Kelsey Villacorte)

7. Kevin Krauter - Toss Up

“Toss Up has to be my personal #1 favorite album of 2018 by Kevin Krauter who began making music apart from lo-fi dream pop band Hoops in 2015. Toss Up was released this past summer and was the perfect album to listen to during warm summer nights and has carried through to the end of the year as a comforting reminder of those warm times during these cold nights. It has that dreamy, nostalgic feeling, something that you would listen to as you’re reflecting on the tender moments of your life. Krauter mixes vaporwave-esque sounds with sweet ballads with no one song sounding like the other.” (Kelsey Villacorte)

8. MGMT - Little Dark Age

“MGMT's come-back album is focused, synthy, and fresh. Without abandoning the dark undertones present in their older albums, this album reflects the band's personal growth and resonates with fans, old and new. Tracks like TSLAMP and Little dark Age are some of my favorites!” (Angelica Sheen)

“MGMT has maintained their status as an alternative staple and has since transformed their sound into something more experimental since their debut album Oracular Spectacular. MGMT did not disappoint and gave us an album that went from the weird wii-fit/dystopian vibes of She Works Out To Much to 80s dance of Me and Michael to another sweet ballad titled Hand It Over which is super reminiscent of the ending/title song of their second album Congratulations. MGMT never fails to write well thought out lyrics that all almost feel like their own story. All in all, they did not disappoint and this is exactly the kind of MGMT album I was hoping for after a 5 year hiatus.” (Kelsey Villacorte)

9. Ian Sweet - Crush Crusher

“Jilian Medford refines IAN SWEET’s sound and practices self-care on sophomore album Crush Crusher, her most intimate release yet. Medford rediscovers her identity as she considers how much of herself she has forgotten while preoccupying herself with being a guardian to others (she warbles “The sun built me to shade everybody” on “Holographic Jesus”). Ever poetic while satisfyingly straightforward, she notes that “It’s been too long since I let myself cry about something that wasn’t even sad” on the pummeling single “Spit.” She coos, squeaks, and screams in perfect, dissonant harmony over her guitar’s cathartically melancholic reverb. IAN SWEET remains a perfect contradiction that only grows sweeter.” (Sophie Prettyman-Beauchamp)

10. Parquet Courts - Wide Awake!

“This band's genius shows through with every new release. Wide Awake throws all of their influences together and expels energetic funk beats with poignant, dark, and brutal lyrics that are especially political. The juxtaposition of these themes with upbeat and optimistic instrumentals speaks to their compositional talent, making it a fan favorite. AND THEY USE COWBELLS.” (Angelica Sheen)

Honorable Mentions:

Glenn Crytzer Orchestra, "Ain't it Grand?"

This album couldn't have been better aimed at me if the band had come and asked me what I wanted to hear.  A modern swing-style orchestra performing both classic tunes from the 1930s and modern pieces written in the big band style.  The ensemble playing is tight, the solos just exactly right, and the production quality a lot sharper than any of the original Duke Ellington recordings.  Top notch stuff. (Michael Payne)

The Vaccines - Combat Sports

"The Vaccines brought back the spirit and energy of their debut album but with a new twist when they released their 4th album early in 2018. Get pumped up with the "I Can't Quit" and "Nightclub" or settle down with  "Maybe (The Luck of the Draw)" or "Young American". The Vaccines perfectly embody the sound and snark of the '70s and '80s artists of which their influenced while still creating a modern feel of the 2010's. My personal favorite off the album "Out on the Street" definitely a treat live! Over all Combat Sports is an excellent album and what we needed in 2018." (Stacey Brizuela)

Cobra Man - Toxic Planet

“Los Angeles local duo Cobra Man blows it out of the water with their sophomore album that carries the heart and groove of something you'd hear out of '84. It is indeed one of the best albums of the year because it utilizes one of the most underrated instruments in the game, the saxophone.” (Spartacus Avina)

Nu Guinea "Nu Guinea"

Heaven & Earth by Kamasi Washington is an album that’s loud and bold in both sound and vocals. A lot of the album often creates an ethereal effect with the heavy instrumentals ascending into a grand peak, most notably heard on “Street Fighter Mas”. The vocals on the album accompany the instrumentals in their same form, loud and climaxing. Listening to this album is like a rollercoaster with its thrilling jazz sounds. (Melissa Palma)

Drug Church - Cheer

Mac Miller - Swimming

“The tragic beauty of this album speaks for itself. Mac was such a raw and very real individual and it reflects in his music the way that many others cannot replicate. May he rest in peace - I hope the next life will be better for him.” (Naseem Eskandari)

Thank you to all the amazing DJs who submitted their Top 10 list of 2018! I am super glad to have been part of an amazing and diverse radio station for this past year and this is only a small piece of what our DJs music tastes are like here. I hope everyone has an incredible and safe New Years Eve and a happy 2019 :)

-Kelsey Villacorte (Music Director)

[thesinglesjukebox]

JESSIE WARE - OVERTIME

[7.73]

Yes, Jessie, we like it when you do house music, please keep doing that, yes, thank you.

Thomas Inskeep: Now, this is more like it: Ware gets back on the dancefloor with this heavy house track, co-produced by Bicep and Simian Mobile Disco's James Ford. This isn't of the early '90s house revival so hot in the UK now, though; this goes all the way back to the halcyon days of Frankie Knuckles at the Warehouse in Chicago. Ware lets you know what's gonna happen ("Baby, when we kiss, [it's] gonna tear the roof off"), and is perfectly in sync (in tone and lyrics as much as rhythmically) with the music. [8]

Alfred Soto: Whenever Jessie Ware takes her introspection for a turn on the dance floor, the beats open expressive possibilities (see "Imagine It Was Us," the extra track highlight of Devotion). On this banger it isn't just a lover she gets down with -- it's a shopworn title conceit. Why she didn't continue in the "Imagine It Was Us" or "Confess to Me" direction I'm not sure. Perhaps she thinks "adult" material is progress. [9]

Katherine St Asaph: The obvious comparison is "Imagine It Was Us," Jessie Ware's only great track, but the better comparison is Disclosure collab "Confess to Me" or MNEK's "Tongue": tense yearning, compared to tasteful. "Overtime" isn't as weird as the Disclosure track, but almost monomaniacally straightforward: heavily reverbed percussion, relentless synths, low spoken word, dramatic strings. The track isn't perfect -- "Rhythm is a Dancer" lurks a few steps from the melody, and the chorus ends a little flat -- but unlike 90% of Ware's recent music, this evokes genuine frisson, rather than something that's been air-dried, sprayed with matte paint and pinned to a department store display. [9]

Joshua Minsoo Kim: Really makes you wonder what Jessie Ware could've been had she committed to the dance music route instead of becoming fodder for the hipper post-Adeleian adult contemporary crowd. At this point, listeners have been subjected to her voice for so long that they're familiar with the full scope of its dullness. This is ostensibly why listening to "Overtime" is more tiresome than energizing. But in reality, this isn't too different from her typical work: there's a strong reliance on the instrumentation to transmit any and all emotion, and Ware is sort of just there to play her part. [5]

Julian Axelrod: I'm more sympathetic to Jessie Ware's Ed Sheeran phase than most, but it's a relief to hear her back in her wheelhouse: sweaty, unrelenting R&B-house with a decidedly British frigidity. The busy drums threaten to overpower Ware, but she emerges victorious with the same weapon she uses to wrestle ballads into submission -- her pained, passionate, perfect voice. [7]

Pedro João Santos: "This is no Glasshouse 2," the piercing combo of snares and cymbals announces, and the drilling synth bass accentuates. This is the rare occasion in which working overtime doesn't require union contract agreements (and the title might be more than metaphorical, as she's been touring and podcasting, etc., while the last LP has barely been out for a year). It's something to replenish the mind and ignite a new (artistic) fire. Or put it out, if we consider the aflame evocations of romance in Glasshouse: it produced some career peaks and a seamless listen, but one too many tracks parked at the MOR. From Jessie, who recalls Oh No-era Jessy Lanza on this track, you might expect something more adventurous; that's the accurate result of this superb, unremitting house-pop call-to-arms. [9]

William John: Last year, Jessie Ware began podcasting with her mother, inviting guests around to her house -- the likes of Clara Amfo, Sadiq Khan and Nigella Lawson have made appearances -- for a meal, and recording the ensuing conversation. Listening to the way Ware playfully teases her mother as they talk about desert island meals and culinary propriety has inspired me to throw my own dinner parties, which I find fulfilling and an antidote to the loneliness often involved in "going out." "Dinner party music" is a descriptor that's been attributed to Ware's oeuvre since the beginning of her career, and especially to her most recent record Glasshouse, perhaps her cosiest and most sentimental album, in spite of its severe title. It's a term that suggests something pleasant and non-irritating, but also bland, as if it's only worth hearing in bits, between mouthfuls. It's an unfair term I think, because dinner parties shouldn't be bland -- they should be filled with vibrant laughter, plates of warm vegetables slathered with butter and salt, simple pleasures, invigorating discussion. It sort of makes me think that those that use "dinner party music" as a pejorative just haven't been to any good dinner parties. Certainly they've not been to a dinner party where, once dessert is over, the chairs are shifted aside and the highlights of Overpowered are thrown on at a loud volume. I've no doubt that, on certain occasions, this is precisely what happens chez Ware when the Table Manners microphones are turned off, and "Overtime" and its hollered, dazzling disco chorus seems to confirm my theory. [8]

Ian Mathers: I do like this, a lot, but it's borrowing at least some of my affection for it from the fact that it keeps getting Hot Chip's "Night and Day" (similar burbling background, similar hardworking sentiments) looping through my head instead of "Overtime" itself. I actually had to go play that song again to refocus on this song properly, and sure enough there's more than enough room for both in my listening. [7]

Alex Clifton: I really like this, but I kept wondering what RuPaul would do with this backing track, which ended up being more of a distraction than I wanted it to be. Needless to say, I'd kill for this to be a Lip-Sync For Your Life on Drag Race. [7]

Danilo Bortoli: Jessie Ware is usually at her best when she finally embraces the house vocalist she is destined to be, but "Overtime" succeeds for other reasons. Here, she finally mingles her initial work's penchant for pensive, reflexive, soulful pop -- the musical equivalent to a beautiful yet harmless painting standing over at a museum -- and her most recent output, the cathartic pop whose emotional outpouring needs immediate release (Bicep produced this for a reason). It's the stylistic crossover that feels logical when given thought, yet pleasantly unexpected. For the first time in a while, her whispers are not only romantic suggestions. They come off as a command. [8]

Jacob Sujin Kuppermann: A lesson in the power of vibe and attention to detail -- there's not all that much going on here, and the pre-chorus doesn't hit quite as big as it clearly aspires to, but every little moment of "Overtime" feels perfectly calibrated to conjure up hazy memories of nights out, the best moments rising up like synth pulses and the most vivid sticking like the almost-whispered chorus. [8]

[Read, comment and vote on The Singles Jukebox]

[shemakesmusic-uk]

INTERVIEW: Elohim.

Los Angeles-based artist Elohim recently released her new EP Journey to the Center of Myself Vol.2.

Earlier this year, Elohim announced to the world her four-part Journey to the Center of Myself project, the first volume of which was revealed on June 25. The project came as a result of setting up a home studio during lockdown, which provided a creative period of inspiration reminiscent of her early years spent learning her craft; without rules, expectations, or schedules.

With multifarious production styles and a voice that lends itself as well to an EDM banger as it does a delicate piano ballad, the Elohim sound is hard to pin down. Journey to the Center of Myself Vol.1 was heralded by a variety of sounds, including Scandi-flavoured pop banger ‘Nice’, the chiming and ethereal melodies of ‘Creatures’ reminiscent of the likes of Purity Ring, and lead single ‘Strut ft. Big Freedia’ - a surefire cut for the catwalk.

Whilst Volume 1 is seen as the beginning of Elohim’s passage to self-discovery, Volume 2, shows Elohim searching for a state of optimum happiness; stepping into a self-made dream world to find the confidence to handle any situation.

We had a chat with Elohim all about the EP, the project as a whole, the struggles she has faced in the industry and more. Read the interview below.

Hi! How has this year been for you so far? You've been very busy!

“Hi!! It has been an interesting year for sure. Somewhat emerging out of isolation has been a lot more difficult mentally than I thought it would be. And it is ok to admit that. I felt a bit alone but the more I talked to people the more I realized I wasn't. I played my first show in a year and a half this year in Chicago. I headlined, I played Lollapalooza and I played Hard Summer. I've been creating and releasing music. I feel lucky every day for those opportunities but they don't always come easy.”

You've recently released your new EP Journey to the Center of Myself Vol.2 which is the second installment of a four part project. Tell us how more about how the project came about and what this volume is about in particular.

“Before Covid hit I was on my headline "Group Therapy" tour and I had planned to release my full length album around shows in summer 2020. Everything changed and I went back to the drawing board.. aka my bedroom.. and made a ton of new music. I already had the title for my album Journey to the Center of Myself, but once I decided to actually make four volumes the title took on a whole new meaning. I really feel like over the last year and a half I really got to the center of myself. It felt like my first years of creating and producing but with way more life experience, shows, and releases. It just felt free.. none of us knew what was going to happen or when isolation would end.”

Musically, how is the Journey to the Center of Myself project different (or similar) to your previous releases? Were there any musical influences or sounds that you were able to incorporate on this that you hadn’t previously?

“The process of making a lot of this music was some of the most freeing moments I've ever experienced. I had many instruments all set up and ready to record. I was able to jump from a drum kit to an acoustic piano to an analog synth seamlessly. I love creating like this. I love being able to jam and get as weird as I possibly feel I need to at that moment... or be able to sit down at the piano and write a ballad. No rules, just freedom.” 

What was the most challenging part of creating Journey to the Center of Myself?

“Honestly the most challenging part was narrowing down the music into four different EPs. I created SO much music over the last year and a half. They all become my babies and they all are my favorite songs when I make them. So that was really the only challenging part.. having too much cool music... haha but in all seriousness it's actually such a blessing.”

What do you hope fans will take away from the project?

“I hope that in some way it makes the listener feel less alone in their own personal daily struggles. I want them to feel loved and appreciated. I make this music to give a magical, meaningful experience and everyone wants and needs something different and that is the beautiful thing about music. It can mean different emotions to everyone.”

And what can we expect from volumes 3 and 4?

“I really went deep and went to the center of me more so than I had before on volumes three and four. Three has some very dark, raw and real moments. I've told stories I've never told before on volume three, a side of me I've not shown. And as for volume four I self produced, wrote, created and sang in my bedroom during a global pandemic. The fourth installment is probably the most "me" music I've ever made. There are a lot of instrumental tracks. It is my calm, my peace, my love.”

You have collaborated with so many amazing artists over the years. Which has been your favourite so far and why?

“It is hard to say my favorite, but one of the most meaningful songs that came from a collaboration is ‘Love is Alive’ with Louis The Child. That whole day was really wild because we were both such new artists and had never met. But when we got in the room the flow was flawless. We danced around and made the song in a few hours! The most magical thing about music is that you create it out of thin air and then share it through the airwaves. Trips me out! Music is medicine.”

What struggles, if any, have you faced as an artist in the music business and how have you overcome them?

“There are constant struggles in music. Being an artist is really hard on the body, soul, and mind. It's a constant challenge to keep myself healthy while managing a music career. We want so much as humans, especially as artists living in a dream world in our brains all the time, that sometimes it is hard to enjoy what is right in front of us in the moment. I have to take time and look back on all I have done and how far I have come to really enjoy the present.”  

If there was one thing you could change about the music world today, what would it be?

“More emphasis on art, less emphasis on plays, likes, and views.”

100% agree! Finally, what else is next for you? I expect you're excited to get back on stage? Any non-musical goals?

“Non musical is to keep discovering myself and transforming into the best version of me.. an ongoing goal and aspiration. I am really excited to start playing shows again, collaborating, and getting to hug humans. Really looking forward to sharing a side of me I've never shared before and cannot wait to put volumes three and four into the world.”

[micha-fm]

So, about my new obsession, I mean, the new Post Malone album.

Until now I hadn’t been the biggest fan of Post Malone. I knew his big hits like “Congratulations,” “White Iverson,” and “I Fall Apart”. I’ve always thought he was good, but I just had never paid as much attention. Until he released beerbongs & bentleys, and oh my god. It’s literally all I’ve listened to for the past 2 and a half weeks since it was released. I actually bought a physical copy, and no one does that anymore, so I’d have to say that speaks volumes.

To break it down, I think this album embodies everything that a hip hop album needs. It’s got great beats, catchy hooks, nice lyricism and flow, and a few features. After listening to this album, I went back and listened to Stoney, and I just think Post really nailed it on this one. I didn’t vibe with every track on Stoney, where as I vibe with every. single. track. on b&b, but for different reasons.

Post’s age probably plays a huge factor in his popularity because as a millennial he has a relatability factor that other hip hop artists don’t have as much right now. I mean, he has a song on b&b titled Zack and Codeine, playing on The Suite Life of Zack and Cody from the good days of Disney Channel. And he mentions the Jonas Brother in “Better Now!” Another huge thing is that he isn’t falling into the same traps that a lot of other rappers of the younger generation have in going with the trends of trap drums, ridiculous hooks, and isn’t calling out and blasting those who came before him. I’ve become a big fan of Post in the past few weeks, forsure.

To break down the top songs on this albums though, it’s all of them. Okay, I’m kidding, but they are all dope and I think Post made a really nice, cohesive body of work in beerbongs & bentleys. I think if I had to pick top 3 tracks I’d go with “Stay,””92 Explorer,” and “Sugar Wraith.” All super different tracks. “Stay” is a soft, acoustic sound that just has a kind of nostalgia to it. Before I dive into “92 Explorer,” I wanna touch on that “Jonestown (Interlude).” This. Is very 90′s grunge. And I love it. I mean, if you aren’t gunna nail an interlude, you probably shouldn’t do it, right? But Post absolutely nailed it, and it’s a great transitional moment for the album. So, “92 Explorer” is fuckin hype! It’s got the great beat, the flex, the Nirvana mention towards the beginning which I definitely appreciated, and the hook that you can’t get out of your head. This one is a banger, and I know I’m going to blasting it through my speakers all summer long. “Sugar Wraith” has a little bit of both a hype and chill feel to it. It’s got a good beat, but it’s a little softer. He’s singing about love, but also is flexin. It’s a great track to wrap the album because it’s that last bit of cohesion to really seal the album together.

His singles that he released before the album were of course amazing as well. “rockstar” with 21 Savage laid the groundwork for everyone to expect a killer album from Post. Followed by the release of “Psycho” with Ty Dolla $ign just confirmed it. (The other features of G-Eazy and YG on “Same Bitches” and Nicki Minaj on “Ball for Me” were fire too, but like, I can only go into depth about so much.) Overall, bravo Post. Bravo. You’ve impressed me, and I can’t wait to see what’s coming next.

-Micha

[1000wattwarlock-blog]

Tips To Mastering a Track

Ok - this is a long form post on a micro blog (square peg in a round hole - I know).

I've worked in professional studios before (but not as a professional musician, producer or engineer).  That said, I've amassed 25-30 years worth of futzing with electronic music and recording devices.  

Within that time I have a accumulated mental list of things I try to keep in mind when it comes to mastering.  I'm not getting younger, so I thought it would be good to put some of this down somewhere before dementia finally claims me (and maybe even share it).  Here it goes - keep reading for random beginners tips on mastering your recording:

Tip 1 - Bounce your audio dry (like how Elwood Blues orders toast):

Keep your audio channels as dry as you can afford.  I know you may have spent a mint on that killer Eventide reverb VST (or just spent a ton of time trying to pirate it) but unless the effect is a dire requisite for a given audio track (e.g. a delay or reverb that specifically and directly affects the timbre of the audio track), either turn off your sends, set everything to dry or just delete your effects from your DAW.  

This includes compressors, stereo imagers and, unless you are Flood or someone of that calibre, I recommend no EQing any individual track or audio channel as that lends itself to creating mixes that are muddy, complicated or otherwise difficult to manage.  

Just set your track levels and panning and be sparing with the effects like reverb, delay and overdrive.  

Tip 2 - Get the stems:

In order to better control your mix, once your levels and panning are set, bounce your audio tracks individually to your audio source of choice (.WAV, .AIFF, .OGG for you space wizards reading this).  If your track contains 24 stereo tracks of audio, you should start mastering with 24 stereo track of audio. 

Tip 3 - Track each drum like it is it’s own instrument:

If you want further control of your mix, you’ll have assigned each element within your drums to its own audio track (just the way recording engineers will mic individual drums in a drum kit).  One of many benefits this will give you is the ability to fine tune levels of each drum element through the progression of the track, as well as add some stereo breadth to the mix by letting you pan individual pieces of your overall drum track.

Tip 4 - Find a reference and listen to it

Whether you’re producing hip-hop, trance, house or Norwegian black metal, you and/or the artist you’re producing has an idea of what they want to sound like, based off of some previous recording they have in their mind’s ear.  

This is not to say, you’re biting someone’s style.  Regardless of genre, all popular music is influenced one way or another by other popular music.  There’s no shame in admitting this - its part of modern music.  

Whatever the influence is, try and find a recording (album, single, collection of songs) that you or the people you’re producing feel contains qualities of what you’d want your finished track to sound like.  

Now that you have your reference template, listen to it.  Try to pick out parts of the recording that you/your artist find appealing.  Make note of this and try to emulate some of these production nuances in your mix.

Tip 5 - Dealing with EQ

Here’s where the rubber begins meeting the road.  Depending on your budget and available equipment or software, you’re going to have access to at least one kind of (hopefully several kinds of) equalizers.  

How you will eventually use EQ with your mix largely is determined by what kind of music you’re producing.  That said, there are a few commonalities you’re probably going to hit - regardless of the kind of track you’re working on.  

I. Kill the low, low end

Run your mix through a shelving EQ  (or a parametric EQ if you’re feeling extra).  Set this EQ to a high pass filter and use it to cut everything from 20-30Hz range.  This is all low-end signal that, though you’re probably not going to hear is taking up space in your mix and needs to go.

II. Add “air” to your mix

Similar to the above step - place an additional shelving EQ into your mix, this time, instead of cutting, we’re going to boost the gain to the 7-12kHz range.  This will have the effect of opening up your mix.  However, be careful not to go overboard with the gain in this step as doing so will make your mix sound extremely harsh (unless your end goal is to produce the first ever banger in the new, burgeoning, dental-surgery wave EDM genre in which case, Bob’s your uncle).  

III. Apply surgical cuts and boosts

For the rest of the mix, apply a parametric EQ with cuts and boost to the rest of the signal to maximize or minimize aspects of the mix you need to accentuate or de-accentuate.  For this, having a handy cheat sheet to where different signals lie within the overall EQ range can be handy.  Fortunately, I have that covered in a post located here.  

Tip 6 - Dealing with Compression

Compression is not all about side chain gain pumping the crap out of your track (unless you’re only intending this track to ever be played in a crowded dance club or you’re building some new sonic weapon for the US DoD that induces mass vomiting through extreme low frequency modulation, in which case, sidechaining is the only thing).  

I. Single-band compression

One of the least complicated options to compress your track is to use a single band compressor across the whole mix.  It’s a method that adheres to the principle, “a little goes a long way”.

In this case, setting your compressor to a ratio of around 2:1 and a gain boost of +3-4 db will provide enough gain on the low end of the track without overdoing it.  

Increase the compressor’s attack and reduce its release settings if you need some breathing room to the mix.  

If you’re planning on adding something like a stereo maximizer to your track, now would be the perfect time to do so once your compressor settings are set.

II. Multi-band compression

Using a multi-band compressor is much more complicated but it gives you that much more control over the compression of your mix.  

Keep in mind that if you’re using a multi-band compressor, you don’t necessarily need to use every band.  Use as many or as few as you feel necessary.  

A simple practice is to apply a dedicated compression band to your low ends, mid levels and highs. Setting the low end ratio to 2.5:1 while keeping the mid and high level area of the mix at a ratio of 1.5:1 to 3:1 should keep you from over-complicating your mix.  As with a single-band compressor, keep your gain boost to +3-4 db at maximum (and tend to err toward a lower boost when using a multi-band compressor.  

Tip 7 - Add loudness with limiters

Back in the day, you used to have to worry how the track you’re producing would sound across a spectrum of mediums.  Your Phil Spector-esque wall of sound 60s pop track was going to have its dynamics affected one way by FM radio and another when pressed to vinyl.  Things were complicated then.

These days, if you’re producing music in your bedroom especially, you’re target media is the Internet - in which case we just need to adjust for loudness.  In which case, this is where limiters come into play.

Note - the limiter should be the very last thing you add to your mix’s signal chain before finally cutting the master.  Consider this the bookend to your track.

Regardless of the type of limiter, you’re essentially configuring it to act as a ceiling for the transient peaks of your mix.  This is achieved by modulating the limiter’s threshold and its gain boost/reduction settings.  A limiter should boost the volume of your mix no more than between 4-6 db (though in 2018, this probably sounds like a rather conservative range).  

If you’re working in a fully digital environment, clone your mix, mastering devices and all to a second stereo channel and disable the limiter.  Compare and contrast the mix with and without the limiter in place.  This can give you a better idea of how to fine tune your limiter settings to get that ceiling raised or lowered to where you need it.  

Finally, if you’re mixing an album’s worth of tracks together, note the final db level your mixes and be sure to try and keep loudness consistent across the entire work.

Tip 8 - Forget you ever read this post

Slightly serious, slightly joking here.  The thing about music, like any form of art - there’s no ‘right way’ to do anything.  This post is simply a collection of tips that might help a beginner unfold the complex process of mastering a studio recording.  Take away from this post only whatever makes sense to you.  The rest of experimentation, trial, error and success and that is where the artistry lives.  

[rapfornication]

Rapfornication & Friends Present, “Fifteen Albums We Liked Last Year”

 (in no particular order).

 1. Pivot Gang (Saba – Bucket List & Noname’s Telephone)  Words By Scottie Pimpin’

 I know I know, I had to only pick one out of the two but I just couldn’t. Both Noname and Saba delivered solid bodies of work this year and I feel like I should credit where it’s due to both of them. I’m going to start with Noname’s “Telefone”. I was really pleased with this album because for one, the style of production was very different to the common hard 808’s trap-esque music we hear a lot of lately. The soft synths and simple drum patterns just went well with Nonames’s soothing voice, shout out to Cam’Obi and Saba for that. Another thing, that one probably doesn’t need to point out when putting “rap” and “Noname” in one sentence is the complex rhyme schemes and introspective lyrics that Noname brings to the table. I really had no complaints about the album.

Now moving on to my boy Saba. Like Noname, I first heard Saba being featured on songs with fellow Chicago native, Chance The Rapper. And then, out of curiosity, I went on to download his first mixtape and though there was one or two songs I enjoyed, your boy Scottie wasn’t impressed. With a bit of doubt in my mind, I went on to download Saba’s “Bucket List” with hopes that at least I won’t feel disappointed. As you can tell, Saba sure did prove a brother wrong. Again, one could tell that Cam’Obi had a heavy helping hand in the production. Another thing that made me enjoy Saba’s project so much is the stories he tells and his ability to paint pictures with words. Now don’t get me wrong, a lot of rappers can do this, only difference is, Saba raps for the middle class kid growing up in a danger-filled neighborhood, trying to stay out of trouble despite all the negative influences around him. Something that I really relate to.

2. Kendrick Lamar - Untitled Unmastered  Words by Twigz

Firstly, the concept behind this offering was interesting. Kendrick Lamar was to release “cutaways” that didn’t make his album To Pimp a butterfly and release them as another project. They wouldn’t have titles, but dates that the song was recorded, and the songs would not be mastered.

The greatest thing you could take away from TPAB is that it was immaculately produced, with wonderful arrangements and live instruments. It is completely evident in this project. The audible jazz, funk and soul references are present throughout and create an almost cinematic experience. This is also helped by K. Dot’s amazing story telling.

Stand out features by Ceelo Green on untitled 06/ 06.30.2014, Jay Rock on untitled 05/09.21.2014 and SZA on untitled 04/ 08.14.2014 help create a thought provoking, charming, political and upbeat gem.

3. Like – Songs Made While High  Words by Scottie Pimpin’

Grammy award winning producer and one third of well-respected rap group Pac-Div, Like, dropped his debut solo effort “Songs Made While High” and I must say, I really enjoyed it. Despite being in the underground for most of his life, he managed to create an album that’s not too “underground rap-like” and one can tell that this project was simply created off vibes (And as one can already tell from the album’s title itself, psychedelics were his best friend during the making of this project.) 

The album has features from fresh talents like Anderson.paak and Kali Uchis who assist Like as he flexes lyricism. One thing that stuck out for me in this album is Like’s beat selection and the levels of cool in his mellow voice over a variety of beats ranging to low tempo jazzy beats like the one on “Gentleman’s Quartely” to more jumpy up tempo beats like the one on one of my personal favorites, “Kiwi, Strawberry & Mango”. Definitely a great listen. 

4. Stogie T  Words by Twigz

Tumi From The Volume aka Tumi From The V, aka Tumi now goes by…Stogie T. Why the name change? Tumi, sorry Stogie T, saw the name change as him stepping out of his lane and taking a challenging task by gunning for sales and awards. I know we’ve heard this before. Artists change their names often these days, but it doesn’t always work, however…Stogie T has dropped one of the best albums of 2016. 

T has always been one of South Africa’s best lyricists, and he maintains his grandiose bars and effortless flow. Only on the album they are on beats you wouldn’t expect, from Tumi. But this isn’t Tumi. Lyrics like “What happened to Riky? Is the same thing that happened to Reason, he got touched by a God I gave him a plate now we eating,” sets the tone for this album. Stogie T is solidifying his name in the game. He’s not on the come up, he has been here since the beginning and he can go toe-to-toe with the youngsters in the game, if he feels like it. He’s flexing, and rightfully so. He’s a God of the game and doesn’t need to prove himself. 

There are amazing songs like By Any Means, Freakend and Clean Stuff are testament to the new direction he’s taken and feature Yanga & Emtee, Da Les and Nasty C respectively. The AKA assisted Miss Joburg is also bound to resonate with club goers; however, lovers of the old Tumi can still find solace in exceptional songs like Son of a Soldier, Pray For Us and Sub City, which are vintage Tumi songs.Stogie T has released an amazing album that appeals to every facet of the market yet doesn’t chip away at his credibility. May Stogie T remain for as long as possible.

5.  Domo Genesis – Genesis  Words by Scottie Pimpin’ 

With a couple mixtapes under his belt, Domo Genesis takes a different approach to his conventional all bars focus with this album. With feel good songs like lead single “Dapper” featuring Anderson.Paak and “Coming Back” with a catchy hook from my favourite white boy, Mac Miller. To more introspective tracks like “One Below & “Awkward Groove” where he talks about his hardships throughout his journey as an artist. This album was a very pleasant listen because despite taking a different approach to all his mixtapes in terms of beat selection and song arrangement, Domo didn’t dumb it down when it came to lyricism. Making it one of my favourites for this year. It’s good to see Domo making a name for himself and not being clouded by the shadows of his Odd Future days. 

6.  Chance The rapper & Jeremih - Merry Christmas Lil Mama  Words By Twigz

Christmas albums have always been somewhat corny to me. Maybe it’s due to the fact that Christmas isn’t something I’m passionate about, who knows, but this mixtape has changed my perspective.Chance The rapper and Jeremih could not have created a better collaborative Christmas mixtape than Merry Christmas Lil Mama. Set in Chicago, where they both originate from, you can envisage the atmosphere through the descriptions in the tape. Not only is their chemistry astounding, but they feed off each other and you feel as though they truly enjoyed creating this project. 

Features are minimal, which allows for both artists too shine…together.With a running time of thirty two minutes, the mixtape is the epitome of short and sweet. Offering you audible bliss with songs like Joy, Snowed In and I’m Your Santa that are impossible to ignore this is a solid mixtape that could not stay off the top 5.

7. J. Cole – 4 Your Eyez Only  Words by Scottie Pimpin

 After going double platinum without any features on his last album, 2014 Forest Hills Drive, Cole recently dropped another project with no features (cocky ass nigga) and though there’s no bangers, it’s still a good listen. Despite it sounding like an extension to the “Truly Yours” series, I still managed to find personal favourites that I can’t go a day without blasting on my speakers like “Neighbours”, “Vile Mentality” & “Foldin Clothes”.  The whole project is beautiful and each track flows into the next, almost making it impossible to listen to one track without listening to the whole album all at once. 

8. Kaytranada – 99.9% by Scottie Pimpin’

 After having a huge presence on Soundcloud with remakes of popular songs from Teedra Moses, Jill Scott to Janet Jackson, Kaytranada finally dropped his debut album “99.9%” and man what a great listen it was. High tempo beats with discoesque basslines and Kaytra’s signature synths kept a brother smiling throughout the duration of the album, bringing a vibe different to most of the albums that dropped this year. Kaytranda’s 99.9% is definitely one of the best drops this year, no doubt about it.

9. Ari Lennox – Pho by Scottie Pimpin’

The Dreamville stable had a pretty solid run this year in terms of releases from Bas’ “Too High To Riot” to J. Cole’s “4 Your Eyez Only”. The standout project from the Dreamvillians for me, is Ari Lennox’s debut effort “Pho”. The first lady delivers smooth vocals over edgy beats with lyrics that are relatable to any young adult exploring their options in search of love or at least the comfort that comes with having a muse. A very soulful record with laid back beats that complement Ari Lennox’s uncrannied vocals. I enjoyed Ari’s debut so much because all the songs are just a vibe man. I’d defs light a blunt to this one. 

10. YG – Still Brazy  Words by Scottie Pimpin’

 Last but definitely not least, is YG’s sophomore album, “Still Brazy”. I really enjoyed this album because YG stayed true to the West Coast Gangsta rap feel, in an industry where trap is the dominant sound and still managed to make a bomb ass album. In general, I enjoy gangsta rap because of the feeling one gets when reciting the lyrics to gangsta rap. So liberating. YG brought that feeling with songs like “FDT”, “Still Brazy”, “Don’t Come to LA” and hit single “Why You Hating?” featuring our favorite culture vulture, Drake. Solid album, no complaints whatsoever.

11. Rihanna - ANTI  Words by Twigz

Rihanna’s 8th studio album has placed her on another plateau. Often maligned for overtly pop mainstream songs and her supposed inability to fully grasp vocal notes, she has exemplarily showed distractors exactly what she is capable of, on ANTI. Although containing different sounds, from Neo-Soul, to 90’s pop, Dancehall, to Country ANTI is a cohesive body of work that shows multiple facets of Ms Fenty. Once the album opens with Consideration’s hard hitting snares and SZA lending her beautiful voice to the short and impactful introduction you know you’re in for a ride. Songs like Desperado and Higher open us to her vulnerable side, but its songs where she’s her usual sexy, boisterous and unapologetic self where she shines through the most. Songs like Kiss It Better with its infectious guitar, Needed Me with its remarkable production and the ultra-sexy Sex With Me and Yeah I Said It take her already proven formula to new heights.This is the most mature project Rihanna has ever released.

  12. Schoolboy Q – Blank Face LP  Words by Scottie Pimpin’   

Despite me being a heavy Schoolboy Q fan, the “Blank Face LP” is a definite top 10 candidate when talking about releases for 2016, no doubt about it. Though it is completely different from his  previous album, Oxymoron. Quincy still remains in character with his witty bars, balancing between hard hitting beats like the one on “Tookie Knows II” and “Ride Out” to more mellow beats like the one on “Kno Ya Wrong” also not forgetting Q’s signature ad-libs that are all over the place. As usual, quincy catered for both the heavy hip hop listener and the more commercial listener on this album to create a beautiful body of work. 

13. NxWorries – Yes Lawd!  Words by Scottie Pimpin’

 I personally enjoyed this record because of how Knxwledge and Anderson.paak just complement each other. This is one record that one can listen to from start to finish repeatedly and only realise on the third rotation of the album that it’s the only thing that one has been listening. No album is perfect but it’s safe to say that “Yes Lawd” isn’t far from a certain level of flawlessness. definite top. 

14. Miles Davis & Robert Glasper – Everything’s Beautiful   Words by Scottie Pimpin’

Jazz prodigy Robert Glasper, reworks some of Miles Davis’ finest work and makes it his own to produce some even greater tracks. This album has features from Laura Mvula, Illa J (J Dilla’s little brother), Erykah Badu, Hiatus Kyote, Stevie Wonder and many more that make this body of work amazing. It’s a Jazz album with many influences ranging from hip hop to RnB/Soul. A very pleasant that I’ll definitely bump again years later in my car on my way from work. 

15. Kanye West - The Life of Pablo  Words by Twigz

There is so much that can be said about Kanye West and his much anticipated album, The Life of Pablo. From Album name changes, to last minute tinkering’s and even post-album alterations, what is evident however, in his immense perfectionism is that this is one solid album.The introduction Ultralight Beam is quite honestly one of the most beautiful songs I’ve ever heard, probably in the upper echelon of album introductions. From there onwards Ye takes us through various soundscapes from Highlights to Lowlights, through Wolves & Waves until Kid Cudi’s killer cameo on Father Stretch My Hands Part 1. There is something for everyone. For those who wanted more lyrical content from Ye, will probably least enjoy this album. There’s often times where he’s too casual in his lacklustre rhymes, however there are also songs where he makes up for it. The Life of Pablo is a solid album.

(fin).