#wondagurl

[nonolithic]

Wondagurl 📸 @lucidmonday

[ritoprada]

throwback

[nsidemobbin-2]

still obsessed

[thelensofyashunews]

Indian Rap Heroes DIVINE & Karan Aujla are Anime Action Stars in "HISAAB" Video

DIVINE and Karan Aujla are heroes in the fast-growing Indian hip-hop scene. The groundbreaking duo puts their power into action in "HISAAB," a new anime-influenced video from their new collaborative album Street Dreams. "HISAAB" mixes traditional Indian instrumentation with a hip-hop pulse, as DIVINE and Karan Aujla trade bars–DIVINE rapping in Hindi, Karan Aujla rapping and singing in Punjabi–to examine the price of fame and the responsibilities incurred. Directed by Debjyoti Saha for Goppo Animation, the video for "HISAAB" is a visually-striking, action-packed, Anime-influenced short film. DIVINE and Karan attempt to escape from a surreal asylum, full of autonomous soldiers and giant cobra snakes, in an effort to save their freedom and sanity in the harsh world. The video surpassed 1 million views in just 12 hours and is currently in the Top 10 of YouTube's Trending Chart.

Last week, DIVINE and Karan Aujla shared Street Dreams, a 7-track effort that demonstrates why they are among the most exciting artists in the Indian scene. Out now via Mass Appeal India, Street Dreams had an extremely successful debut, reaching #1 on Apple Music within 24 hours of release, and taking over the number one spot on Apple Music's Album Charts in 40 countries, including India, Canada, New Zealand, and Australia. All seven songs from Street Dreams charted on Spotify's Daily Top Songs in India, and are currently trending on Instagram. 

is a relentless effort, bringing bilingual bars that express sentiments that need no translation. The album features production from Western heavy-hitters like Boi-1da, WondaGurl, Harry Fraud, Leven Kali, and Trox, who deliver premium productions for Karan and DIVINE to annihilate, along with hip-hop producers from the Indian scene. "Hisaab" finds the two artists counting their myriad accomplishments in 6/8 time, taunting any comer who can't match their quick maths, while "Top Class / Overseas" lays playful strings atop sliding 808s as DIVINE and Karan proclaim their valedictory status. "Yaad," meanwhile displays a softer side of the duo, as they trade off vocals with Indian-Canadian singer Jonita Gandhi. 

Also among the highlights is "100 Million," the tape's lead single and music video, which made waves across the globe. Defined by nostalgic hip-hop production reminiscent of Y2K-era Dr. Dre, in this case produced by American producer Trox (50 Cent, Cordae), “100 Million” is an anthem for those with grand dreams, the two icons reflecting on the enduring habits that propelled them to greatness. The song arrived in mid-January, with a video filmed in Dubai and directed by Karan Aujla’s long-time collaborators Rupan Bal, Dilpreetvfx and Anmol Raina. The song and video immediately became a huge success–the song reached the #1 spot of the YouTube Trending Charts in India, and reached the Top 10 in countries including Canada (#2), New Zealand (#4), UK (#6), Australia (#8) and the UAE (#8). Overall, the song racked up over 21 million YouTube views to date, as well as over 6 million Spotify streams. 

Karan Aujla and DIVINE have individually topped several charts across India with their albums and songs such as Karan's “Softly”, “White Brown Black”, “Mexico,” and “Players,” and DIVINE's “Mirchi”, “359 AM”, “Baazigar” (80 million YouTube views), and “Kaam 25” (65 million YouTube views). Their upcoming collaborative project is the first of its kind in the Indian music space and is poised to be a landmark moment in Indian music history. 

With Street Dreams out now, the dynamic duo prepares to make their presence felt on American shores. Stay tuned for more videos and announcements from DIVINE and Karan Aujla in the near future.

[dafancyuhinspiration]

A. KILL MY MIND (PRODUCED BY SEAN LEON, WONDAGURL, MADEAT2AM, JACK ROCHON) - SoundCloud

Écouter A. KILL MY MIND (PRODUCED BY SEAN LEON, WONDAGURL, MADEAT2AM, JACK ROCHON) par seanleon sur #SoundCloud

[alisejoseph]

Alise is a music producer.

I can make any genre, and I can do it pretty well. I know what makes a beat… good. Right now I look up to Travis and Wondagurl. I see myself making some dopeeee tracks with them.

Hmm maybe I can get into sample making for Travis, bc I think maybe I can hit that unique dark vibe he has.

It’s upsetting that my laptop is down right now. At least for now I can manage Jay’s TikTok page and try to get his page popping. I’ll still try to use bandlab to make SOME sort of music…

I want my Alise Beats socials to blow up. I’m that girl (that makes hard beats). Local producers respect my grind. My beats become viral TikTok sounds, and I upload my tracks to streaming.

I’ll produce songs for big artists. My Beatstars account is thriving. I see all of this clearly right now.

Alise Beats will be a great source of passive income.

[kiannna]

amaarae i fucking love you.

[hiphopnewsonline]

Skiifall Releases 'Woiiyoie Vol. 2—Intense City,' Featuring Production by Wondagurl, DJ Dahi

Skiifall Releases 'Woiiyoie Vol. 2—Intense City,' Featuring Production by Wondagurl, DJ Dahi

[nonolithic]

📸 wondagurl @lucidmonday

[the-infinite-jukebox]

Kali Uchis - Red Moon in Venus (Quick Album Review)

Genres: Contemporary R&B, Neo-Soul, Psychedelic Soul

Ever since her excellent 2018 debut album Isolation, Kali Uchis has been one of the premier names in contemporary R&B. With as much hype as one could hope for behind her, Kali Uchis manages to deliver with Red Moon in Venus. As a vocalist, Uchis is as striking as ever. What she lacks in power and traditional range she absolutely makes up for in sheer vulnerability. Few songs on Red Moon in Venus would be even half as successful as they ultimately are with a less tender yet smooth vocalist behind them. Kali Uchis' calm and often sensual vocal style compliments the lyrical themes of her latest record nicely, as the topics of break-ups, moving on, emotionally struggling, and self-empowerment all play fitting roles on the record adjacent to the aforementioned vocal work of the woman backing it all up. Red Moon in Venus is not exclusively the work of Kali Uchis, however. A number of talented producers and behind-the-scenes individuals play roles nearly as essential in the success of the listening experience as Uchis herself. Producers like Darkchild, Sir Dylan, and WondaGurl are people who have worked with some of the most major artists in the music industry over the course of the last fifteen years. When you work with musicians ranging from Beyonce and Drake to Anderson .Paak and SZA, there is bound to be a degree of expertise that bleeds into anything you work on. This rings true for the aforementioned producers, writers, and plethora of other people that combine strong lyrical content with immaculate semi-psychedelic production. The entirety of Red Moon in Venus flows perfectly and has flaws that are so minor that they really aren't even worth pointing out beyond a couple of less sweep-you-off-your-feet level tracks like "Not Too Late." Kali Uchis had a lot to live up to from the start being one of the definitive examples of a mastermind R&B artist in the current day. Red Moon in Venus proves that she is more than capable of exceeding expectations even when all eyes are on her.

Final Rating: 4/5 (Great)

Essential Tracks: Blue, Endlessly, Fantasy, I Wish you Roses, Love Between..., Worth the Wait

[shioriybradshaw]

"ENJOY LIFE IN TOKYO" presented by YAGI & LUCID MONDAY 2023/1/28(sat)23:00-  @Studio Freedom DOOR:2000yen UNDER23/BEFORE12pm:1000yen

WondaGurl(Toronto) Late Years(LA) Kollin(Seoul) KM ShioriyBradshaw YAGIMADS(OKAMOTOREIJI/JUN INAGAWA/ecec)

オカモトレイジがキュレーションするカルチャームーブメント"YAGI"と USAプロデューサーレーベルLUCID MONDAYがプレゼンツする ENJOY LIFE IN TOKYOがStudio Freedomにて開催！

6年ぶりの来日を果たすカナダ出身のプロデューサーWondaGurlをはじめ、 ソウルからはKollin、LAからなになにとなになにのユニットLate Yearsが日本で初のプレイとなる。 日本からは、数多くの楽曲やリミックスワークを世に送り出している音楽プロデューサーKM、R&B とHip Hopをルーツに持ちながら、ワールドワイドなベースミュージック、インダストリア ル、エクスペリメンタルなど様々なジャンルをクロスオーバーさせるプShioriyBradshaw、そしてオカモトレイジ/JUN INAGAWA/ececによるYAGIMADが登場する。

●Instagram WondaGurl(Toronto) https://www.instagram.com/wondagurl/

Late Years(LA)  ※2人組 https://www.instagram.com/dilip/ https://www.instagram.com/otxhellomusic/

Kollin(Seoul) https://www.instagram.com/gayounggirl/?igshid=YmMyMTA2M2Y%3D

KM https://www.instagram.com/kmmusic_official/

ShioriyBradshaw https://www.instagram.com/shioriybradshaw/

YAGIMADS(OKAMOTOREIJI/JUN INAGAWA/ecec) オカモトレイジ   https://www.instagram.com/okamotoreiji/ JUN INAGAWA   https://www.instagram.com/madmagicorchestra/ ecec                  https://www.instagram.com/ecec_fc/

[adevotedappraisal]

Drake discography review

Take Care (2011)

****1/2

"They love me like Prince, the new kid with the crown," Drake dryly crows on "Cameras Good Ones Go," a lumbering, synth-washed epic that, while not impressive with his melodies or chorus, stay in the hazy pocket of the nocturnal synths. It also directs the sound of the rest of the decade. The echoed confessions over moody keys were pioneered by Kid Cudi, Kanye West, The Weeknd and now Drake and Noah '40' Shebib. Songs like "Crew Love," the sparse drama of "Marvin's Room," the erotic, prowling "Make Me Proud" and "Practice" all revelled in sex and drug-laden encounters, all awash in imprecise and carnal 'vibes.' In certain quarters the album is seen as a millenial classic but ultimately overstays its welcome, and his rap bangers are mostly unimpressive on his part other than the strutting and hot "HYFR" with Lil Wayne.

Key tracks: Marvin's Room; Practice; Crew Love

Nothing Was The Same (2013)

****

Drake's strongest draw is how he included the listener in his ascent, his details of designer brands and foriegn flights felt less like braggadocio, but more like sign posts to check for in a voyage to prosperity. His transformation from up-and-comer to a king of rap was complete by this album and the songs reflected this. "Worst Behavior" and the epic grandeur of "Marble Cake" were the soundtrack of the black excellence wished for in the Obama years. The single from this, "Just Hold On(I'm Coming Home)" is a crafted gem of a song, lightly personal ("you act so different around me") but generally universal, a portrait of a man in control of his loves and his life for the time being.

Key tracks: Just Hold On; Tuscan Leather; Worst Behavior

If You're Reading This It's Too Late (2015)

*****

While this project might be the start of his tossed-off, meme-able album cover trend, this is a serious and integral part to Drake's musical offerings. When old heads think the rapper is singing too much, or college kids think he should drop a real hit, those disparate opinions revolve around the gravity of this 2015 set, when the sound of rap revolved around him. These Boi-1da, 40 and Wondagurl beats he rides comfortably and with a controlled rapping style. "Energy," the catchy boast "10 Bands," the seductive, growling "Company" (with then new star Travis Scott), the cosmopolitan sway of "Preach" with Partynextdoor, were all evocative, boastful songs with ear candy choruses and they comprised the sound of youth culture in America at the time. The respectable and conscientious To Pimp a Butterfly was ultimately a selection of rap album of the year from the electoral college of black culture. If it was left up to the popular vote, this album would have been chosen. All the different trends up to that time, from trap to chill wave, had Drake's finger on their pulse, leading to labels of culture vulture and of ghostwriting, but, the somber truth is that the omelet is never judged by the number of eggs cracked in the process.

Key tracks: Know Yourself; 10 Bands; You & the 6

Views (2016)

***1/2

The frustratingly inconsistent and overlong album cements the rapper on the top of the streaming charts from the twenty tracks and tacked on hit "Hotline Bling." What Drake's lack of quality control obscures is a breathtaking midsection. Over six or so songs as many styles are displayed, from down south drive rattle like "Faithful" to trap drawl in "Still Here" to the melodic world dance pop of "One Dance" with Wizkid and Kyla. The themes are the same, a look into the life of a brooding prince falling in and out of love, but maybe it's too studied, like how the Rhianna song here, "Too Good," sounds just like a Drake and Rhianna song should sound like, without demanding more. This oddly makes Views a good entryway album into Drake.

Key tracks: One Dance; Controlla; Feel No Ways; Hotline Bling

More Life (2017)

****

Initially written off as a content dump like its predecessor Views, this album/playlist has aged handsomely, establishing itself as a recurring soundtrack to our summer escapades. "Passionfruit" is a bright lounge classic, paving the way for the explosion of afro pop and campo today. "Blem" is nocturnal and oversharing, while "Glow" with Kanye West, is sprawling and relaxing. Between Drake being Drake though, is an international zeal that adds texture and unpredictability to the set. "Madiba Riddim" is tender and swaying music while "Skepta Interlude" is dense and industrial. Drake maintained his hold on pop and rap, even if this eclecticism was more of an aesthetic than inspiring.

Key tracks: Madiba Riddim; Blem; Passionfruit

Scorpion (2018)

***

An album that showcases the polarities of Drake, due to the double album becoming inflamed and muscular due to a brutal beef with rapper Pusha T. His most hardcore and steel-toed songs are here ("8 out of 10", "Emotionless") couples with his most breeziest ("Summer Games", "Ratchet Happy Birthday"). While the set has one of his best singles in the rousing fem anthem "Nice For What," the most interesting part of Scorpion is the drama and context surrounding it.

Key tracks: 8 out of 10; Nice For What; In My Feelings

Honestly, Nevermind (2022)

****

The house beats are less flashy and glitchy than the ones on Beyonce's summer release Renaissance, mostly here the songs are grumbling basslines with synth figures echoed and repeated. It fits with the lonely ballads he usually makes with producer 40 Shebib, a dance with the forlorn heart of the party. Even in the middle of the heavy dance heat of "Massive," Drake sings "I don't want to go." He sounds cold and autotuned, tempered and unknowable.

A touristic visit to a historied subgenre much in the same vein as David Bowie's 1975 album Young Americans and Madonna's 1994 R&B romp Bedtime Stories. The attempt to dip into house and dance mostly pays off because it plays to his strengths of melody and letting the phrasing emerge from the feeling the track elicits. In "A Keeper" he turns a taunt to a lover into an ear candy chorus twisting around the house thump. "Currents" sounds like an overheard half drunk call, and the idyllic first half of "Calling My Name" is less song lyrics and more the stuff you muse about looking out of windows. The album feels immediate, as if recorded in a couple of days, as if nothing was written down, and that improves it, even if it means no lyrics with wordplay and insight. It's this wide-eyed gut reaction to everything: love, the future, fame, that pussy calling his name.

Key tracks: Calling My Name; Massive; Flights Booked; Jimmy Cooks

[thelensofyashunews]

Indian Rap Stars DIVINE and Karan Aujla Share Collaborative Album, 'Street Dreams'

Emerging from poverty off the strength of their formidable rhyming skills, DIVINE and Karan Aujla are on the verge of achieving their wildest fantasies. Today, the two Indian rap superstars connect for their first-ever collaborative album, Street Dreams, a 7-track effort that demonstrates why they are among the most exciting artists in one of the world's fastest-growing rap scenes. 

DIVINE and Karan Aujla hail from the same country, but their contrasting styles are what make the project special. DIVINE is a rapper's rapper, stacking flexes and throwing elbows in dense, syllable-rich verses, taking no prisoners with his gully, Hindi-language rhymes. Singing and rhyming in Punjabi, Karan Aujla, is a master of melody, mixing in the microtonal runs of traditional Indian music with R&B-flavored hooks and imperious verses. Together, the two artists make a historic combo, as they join forces to claim the Indian crown and put the rest of the world on notice.

Out now via Mass Appeal India, Street Dreams is a relentless effort, bringing bilingual bars that express sentiments that need no translation. The album features production from Western heavy-hitters like Boi-1da, WondaGurl, Harry Fraud, Leven Kali, and Trox, who deliver premium productions for Karan and DIVINE to annihilate, along with hip-hop producers from the Indian scene. "Hisaab" finds the two artists counting their myriad accomplishments in 6/8 time, taunting any comer who can't match their quick maths, while "Top Class / Overseas" lays playful strings atop sliding 808s as DIVINE and Karan proclaim their valedictory status. "Yaad," meanwhile displays a softer side of the duo, as they trade off vocals with Indian-Canadian singer Jonita Gandhi.

Stream Street Dreams on: Apple Music, Spotify, Tidal, Deezer & YouTube

Also among the highlights is "100 Million," the tape's lead single and music video, which made waves across the globe. Defined by nostalgic hip-hop production reminiscent of Y2K-era Dr. Dre, in this case produced by American producer Trox (50 Cent, Cordae), “100 Million” is an anthem for those with grand dreams, the two icons reflecting on the enduring habits that propelled them to greatness. The song arrived in mid-January, with a video filmed in Dubai and directed by Karan Aujla’s long-time collaborators Rupan Bal, Dilpreetvfx and Anmol Raina. The song and video immediately became a huge success–the song reached the #1 spot of the YouTube Trending Charts in India, and reached the Top 10 in countries including Canada (#2), New Zealand (#4), UK (#6), Australia (#8) and the UAE (#8). Overall, the song racked up over 20 million YouTube views to date, as well as over 3 million Spotify streams. 

Karan Aujla and DIVINE have individually topped several charts across India with their albums and songs such as Karan's “Softly”, “White Brown Black”, “Mexico,” and “Players,” and DIVINE's “Mirchi”, “359 AM”, “Baazigar” (80 million YouTube views), and “Kaam 25” (65 million YouTube views). Their upcoming collaborative project is the first of its kind in the Indian music space and is poised to be a landmark moment in Indian music history. 

With Street Dreams out now, the dynamic duo prepares to make their presence felt on American shores. Stay tuned for more videos and announcements from DIVINE and Karan Aujla in the near future.

[jottie]

WONDAGURL AND JUGGER, 2022

[dafancyuhinspiration]

Bad Guy (Prod. Wondagurl) - SoundCloud

Écouter Bad Guy (Prod. Wondagurl) par SURF sur #SoundCloud