#modern boom bap

[idiotcoward]

Conway the Machine - God Don’t Make Mistakes

Conway the Machine dropped another great album, but part of me wonders if this constant album release process, dropping 2-3 a year, has kinda stretched out some of the more intense energy and limited us getting classics. Like this album is pretty good! Solid production and flow. Pretty decent lyrics. But it feels so similar to their other work, of which there is so so many, especially if you include the entirety of Griselda’s releases.

Again, I do really enjoy this album. But what if Conway just took a year break to really make a lot of great music and pick the best of the best. Or what if he put out an album that told an overarching story or had an overarching thesis. It feels that a lot of these songs could be on other projects. I dunno just thinking out loud. Would love to hear what other folks thing!

[da-ill-spot]

New Music: M.D.S. x Shalom Little - Victims of Virtue EP + “Do You Luh Luv” Music Video

Earlier this year, Atlanta MCs M.D.S. (Modern Day Stoner) and Shalom Little came out to Los Angeles to take part in Patchez Circus LA and rocked a dope set.

Tap in with their just released project, Victims of Virtue. The 8 track EP is primarily produced by 5AM.ATL, with the exception of two by Drogy Drog, and one by Marq Walt.

The standout track for me is “Black Therapy.” Press play above as well as peep the music video for the music video to the first track, “Do You Luh Luv,” shot while out here in Cali.

[indepthjaybeats]

Grit & Groove: The Art of Edgy Boom Bap Beats (Dark Boom Bap)

📥 Download Link: https://air.bi/QaK2q 

 🔥 Welcome to the ultimate journey into the heart of Hip-Hop with "Grit & Groove: The Art of Edgy Boom Bap Beats"! 🔥 

 🎧 Dive into the essence of raw, unfiltered beats that resonate with the streets and echo the spirit of the underground. In this immersive experience, we explore the craftsmanship behind crafting those edgy Boom Bap sounds that defined an era and continue to shape the landscape of modern hip-hop. 

 🥁 Uncover the secrets of the rhythmic core as we break down the art of laying down those gritty drum patterns that hit hard and cut deep. From crafting the perfect kick to the intricacies of snare placement, we leave no stone unturned in our quest for that unmistakable Boom Bap feel.

 🎹 Join us as we delve into the sonic landscape, exploring the unique samples, loops, and melodies that give these beats their distinct character. Discover the art of chopping and flipping samples, and how producers infuse their own creativity to make each beat a masterpiece. 🔊 Immerse yourself in the world of vintage samplers, classic drum machines, and the unmistakable vinyl crackle that adds warmth and authenticity to these timeless creations. Learn about the gear and techniques that producers use to capture that old-school vibe while pushing the boundaries of contemporary production. 

 🎥 In this series, we bring you behind the scenes with interviews from seasoned producers who have mastered the art of crafting edgy Boom Bap beats. Gain insights into their creative process, learn about their favorite tools, and understand the philosophy that drives their unique sound. 

 🌐 Whether you're a seasoned producer, an aspiring beatmaker, or just a fan of that gritty hip-hop sound, "Grit & Groove" is your ticket to understanding the heartbeat of Boom Bap. Subscribe now to embark on a journey through the beats that shaped a culture and continue to inspire the next generation of hip-hop enthusiasts. 

 👊 Don't just listen to the music, feel the Grit & Groove! Hit that subscribe button and join us on this sonic adventure.Transcript

[evilthotiana]

I hate Abstract Hip Hop African Music Afrobeats Alt-Country Alté Alternative Dance Alternative R&B Alternative Rock Alt-Pop Ambient Ambient Dub Ambient Pop Ambient Techno Americana Art Pop Art Punk Art Rock Avant-Garde Jazz Ballroom Baltimore Club Bedroom Pop Blues Boom Bap Brazilian Music Breakbeat Breakbeat Hardcore Bubblegum Bass Caribbean Music Central African Music Chamber Folk Chamber Pop Chicago Drill Chillout Chillwave Classical Music Cloud Rap Conscious Hip Hop Contemporary Folk Contemporary R&B Country Country Soul Dance Dancehall Dance-Pop Deconstructed Club Deep House Detroit Techno Disco Downtempo Dream Pop Drill Drill and Bass Drone Drum and Bass Drumless Dubstep Dub Techno East Coast Club East Coast Hip Hop Electro Electroacoustic Electronic Electronic Dance Music Electropop Emo Emo Rap Experimental Experimental Hip Hop Experimental Rock Film Soundtrack Folk Folk Rock Footwork French Hip Hop Funk Funk brasileiro Funk Rock Future Garage Gangsta Rap Garage Punk Garage Rock Ghetto House Ghettotech Glitch Glitch Hop Glitch Pop Grime Hard Bop Hardcore [EDM] Hardcore Hip Hop Hardcore [Punk] Hardcore Punk Hip Hop Hip Hop Soul Hip House Hispanic American Music Hispanic Music Horrorcore House Hyperpop Hypnagogic Pop IDM Indie Folk Indie Pop Indie Rock Indietronica Industrial Industrial & Noise Industrial Hip Hop Industrial Techno Instrumental Hip Hop Jamaican Music Jangle Pop Jazz Jazz-Funk Jazz Fusion Jazz Rap Juke Jungle Krautrock Math Pop Math Rock Memphis Rap Microhouse Midwest Emo Minimal Synth Minimal Techno Minimal Wave Modern Classical MPB Neo-Psychedelia Neo-Soul New Wave Noise Pop Noise Rock Northern American Music Nu Jazz Outsider House Plugg PluggnB Plunderphonics Political Hip Hop Pop Pop Rap Pop Rock Pop Soul Post-Bop Post-Hardcore Post-Industrial Post-Punk Post-Punk Revival Post-Rock Power Pop Progressive Breaks Progressive Electronic Progressive Pop Psychedelia Psychedelic Folk Psychedelic Pop Psychedelic Rock Psychedelic Soul Punk Punk Rock R&B Reggae Regional Music Rock Shoegaze Singer-Songwriter Slacker Rock Slowcore Smooth Soul Sophisti-Pop Soul Soul Jazz Sound Collage Soundtrack South American Music Southern African Music Southern Hip Hop Southern Soul Spiritual Jazz Spoken Word Synth Funk Synthpop Tech House Techno Traditional Folk Music Trap Trap Soul Trip Hop UK Bass UK Funky UK Garage UK Hip Hop West African Music West Coast Hip Hop Western Classical Music Wonky

[snackugaki-jestsjapesjokes]

blep blah, here have some old ass backrooms doodle content when the topic of "the beach episode" concept came up bluhp blooh brain nyooming but art hand isn't arting

i think what is super cute in modern fandom expression that I've seen is that in terms of making OCs or AUs is that sound seems to have a bigger role now than from what I remember when I was young. which I'm thinking has a lot to do with being able to clip audio easily or being able to make multi-track playlists whenever. y'all out here with reels of your art with voice claims and some of the most thoughtfully and artfully crafted soundtracks-- not even playlists, some of that shit is a straight up soundtrack level be real

89% tempted to try one of those shady "free" video/audio editing programs to make a LoFi chill beats study girl visualizer playlist with my iteration's boys ...

anyway gonna contemplate music headcanons for my iteration under the cut

From Turtle Tracks fan letter section, Archie run, #24

so real quick, my iteration is literally just them chilling, hanging out, being together in their mid 30s- early 40s, and then sometimes flashing back to their child/teen years in the 90s because tl;dr i have miiiiiinor beef my childhood turtles weren't quite as "90s" as they "could have been" (nvm I'm cackling at the milennial pop culture refs in Mutant Mayhem drop kicking me back into my adolescence)

but mehehehehe, keeping that they listened to Public Enemy and The Jungle Brothers

and aside from Top 40 musicians of the time... I feel like being outsiders themselves, having to sneak around to explore and learn about people and what's above the sewers had them eavesdropping into a lot of nighttime venues and getting into the underground and various niche subculture scenes that daytime Top 40 didn't play.

cannot tell me the lights, thumping and noise from bands playing hardcore or house or hosting cyphers or raves didn't attract these curious and funky little green dudes like moths to a flame

... Leo definitely fell in deep with the gregorian chant phase, soothing sounds of nature fads , a big fan of Orbital and he fell into that electronic, house, trance, eurodance rabbit hole right after. he also got into Celtic folk music but when his brothers caught his ass studying Michael Flatley to incorporate Riverdance footwork into his ninjutsu he got teased so mercilessly that he took great care to hide listening to it... which just made his stealth better so joke's on them heehoo

Not to mention they're from New York City, the underground music scene is always bangin' no matter the decade; feel like rap and punk got a lot of tracks on their mix tapes back in the day

Raph getting into the metal scene in his own exploring the city trips, and then progressed to music with that boom bap sound (cuz baby boy needs a way to come down off those high intensity moods idk ijs)

Donnie... just the amalgamation of his brothers, he needs that background noise while he's chewing on schematics and protoype development, he would definitely have been the mixtape maker/recording bootlegger (along with Mikey)

Mikey absolutely tagged along with his brothers sometimes whenever they went to their spots for music, though he himself backflipped into ska 'cuz Mikey is always for the people

my tmnt  iteration (where everyone made it past their 20s, splinter’s alive just old, venus is here, and they deserve some goddamn respite and shenanigans)

tmnt  iteration part 1 | part 2 | part 3 | part 4 | part 5 | part 6 | part 7 | part 8 | part 9 | part 10 | part 11

tmnt  iteration omake 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11

lny visit 1 | 2

Keep reading

[thesinglesjukebox]

MARSHMELLO FT. KANE BROWN - "MILES ON IT"

They did another thing wrong...

[2.53]

Tim de Reuse: A terrifying peek behind the bro-country event horizon; the whole genre scrunched up like a loaf of Wonder Bread in a hydraulic press. The "guitar" is an alien, glassy thing, kept around out of habit and inertia like a vestigial organ. Marshmello's instrumental is coherent only if you don't actually try to pick out a single instrument from the haze. Commodity fetishism finally stripped of pretense, un-sublimated, all metaphor drifting away like diesel fumes, leaving only the genuine desire to achieve orgasm with your dick in a $60,000 luxury pickup. [1]

Jacob Sujin Kuppermann: That sounds mad uncomfortable, dude. [2]

TA Inskeep: I hate this ode to fucking in the back of a pickup for the following reasons: 1) grown men need to stop calling women "girl"; 2) a trad EDM-adjacent boom-bap shouldn't be all over mainstream country radio; 3) "we could break it in, if you know what I mean" is an utterly icky turn of phrase.  [0]

Iain Mew: The instrumental is cookin’ on about half a burner, but the bigger problem is an acute case of metaphor backwash. By the time you’re singing “you and me in a truck bed wide like a California King” you’re not using creative ambiguity, you’re just singing about having sex on the back of a truck. From there the "it" easily glides into being about the woman he's with; read that back into the already weird “these wheels are innocent”, plus “no history and you just can't fake that” and “let’s put some miles on it” and there’s some gross implications. Basically the song is too easy to read as Kane Brown waggling his eyebrows and saying “hey babe, let’s get together and depreciate your market value”. [2]

Wayne Weizhen Zhang: At least it’s a significant improvement from the last rodeo.  [3]

Julian Axelrod: Now this is a song that could use a big Phil Collins drum fill. [5]

Ian Mathers: This actually feels less ersatz than Brown's own "I Can Feel It," but he's still pretty generic; the real surprise is that Marshmello keeps the boshing relatively restrained, which is a pity. It's not bad, wouldn't be mad if I heard it in the wild. But I am also going to take this blurb space to talk about a superior modern country song (and track I missed blurbing when I was inconveniently sick last month), Shaboozey's superior "A Bar Song (Tipsy)", which is an easy [10] and makes this feel even more milquetoast than it does in isolation. [5]

Harlan Talib Ockey: Are there any good EDM/country crossovers? This is just emotionally flaccid grocery-store-core. [1]

Taylor Alatorre: Justice for Icona Pop. [3]

Jonathan Bradley: It should be exactly the wrong point in the nostalgia cycle for anyone to be resurrecting the festival EDM meets festival folk of Avicii's biggest hits... and it is! [2]

Hannah Jocelyn: One quarter of a single Mississippi and three quarters of "Wake Me Up" -- much less leaden than "I Can Feel It," and so it's more likable! [6]

Aaron Bergstrom: I have to assume the new truck is a replacement for the horse they've already beaten to death. [1]

Joshua Minsoo Kim: Could not believe when this ended that it did not break the three-minute mark. [4]

Katherine St. Asaph: This is an awful single that stops trying to be a real song somewhere around the four-"miles on it"-mark. But if you replace everything but the backing track with the hook from "Timber," it becomes catchy, so sorry, I can't score it any lower.   [3]

Nortey Dowuona: "Fuck this movie." - Sean Burns [0]

[Read, comment and vote on The Singles Jukebox]

[newleasemusic]

OUT TODAY: Tony Bones The Producer and Jackson B unite with lyricist AKS to channel nostalgia on single ‘Whatever It Is’

OUT TODAY: Tony Bones The Producer and Jackson B unite with lyricist AKS to channel nostalgia on single ‘Whatever It Is’

As they continue to tease towards their joint project, frequent collaborators Tony Bones The Producer and Jackson B join forces with rising British/Nigerian wordsmith, AKS, to release the nostalgia infused joint single ‘Whatever It Is’ – a track that blends the soulful essence of 90s hip-hop with a modern-day edge. Leading with its infectious boom-bap rhythms, live saxophone elements, and…

[thejoyofviolentmovement]

Raised in the East Village, acclaimed and highly sought-after trumpeter Dave Guy was surrounded by hip-hop and the hustle that seemed to define the city in the 90s. During those formative days, he and his playing style were influenced by the likes of Donald Byrd and Hugh Masekela, but also by A Tribe Called Quest and De La Soul.  His time at LaGuardia Performing Arts High School furthered this path. Guy remembers sharing playing time with  Big Crown Records co-founder Leon Michels and highly sought-after drummer Homer Steinweiss. “Being in the All-City Jazz Big Band, I would see them rehearsing all the time,” the New York-born and-based musician recalls. “They were already doing things with The Dap-Kings back then—which was crazy.” His voice as a player began to take shape and continued to be refined through his studies at The Manhattan School of Music and The New School — and then playing withSharon Jones & The Dap Kings, Charles Bradley and Menahan Street Band, The Sugarman 3 and more. He has played on albums from the likes of Amy Winehouse, Mark Ronson, Pharrell Williams, Lee Fields, the legendary Al Green — er, correction, the Rev. Al Green — and a lengthy list of others. And adding to a growing profile, Guy currently plays with The Roots live and on The Tonight Show Starring Jimmy Fallon. Guy finally steps out into the much-deserved spotlight with his full-length debut, Ruby. Slated for a September 20, 2024 release through Big Crown Records, the 12-song album sees the highly sought-after NYC scene mainstay exploring New York jazz and pushing the boundaries of the style by incorporating elements of hip-hop and soul in a way that’s both unique and modern.  As fate would have it, a classic case of “when one door shuts, another opens” was really what got the ball rolling on the album. “I never wanted to force my own project,” Guy explains. “There was always a lot going on between things—the timing was never right.” But when The Tonight Show went on hiatus during last year’s Writers’ Strike, there was an unexpected free moment.  Within days, Guy started recording sessions with Steinweiss and Nick Movshon (bass). What initially started out as a just an opportunity to create music, quickly took shape and direction when they ended up laying down something that felt wildly special and authentic. The result is an album that captures different moods and serves as an invitation to the world as Dave Guys sees it and feels it.  Last month, the acclaimed and highly sought-after musician shared the album’s first single “7th Heaven,” a composition anchored around a bed of twinkling and dancing keys, a strutting Movshown bass line, swaggering boom bap drums from Steinweiss and ethereal backing coos from Clairo/Claire Cottrill serving as a funky and anthemic bed for Guy’s regal and soulful horn melody. The result is a composition that’s swaggering yet cinematic, while capturing the energy and vibe of a day — or night — in and around New York.  “It has a groove and is more in line with what the guys and I are known for with Menahan Street Band, but it is also in-your-face and catchy,” Guy says. “It’s a bit of an ode to Tijuana Brass too, a Herb Alpert-esque track with a tight horn line and has that energy that pops.” Ruby‘s latest single “I’ll Follow You” is a gorgeously serene bit of counterbalance anchored around a driving rhythm section and juxtaposed by Guy’s soulful and meditative horn melody with a subtle call and response. Sonically, “I’ll Follow You” — to my ears, at least — is a bit of a synthesis of Kind of Blue-era modal compositions with J. Dilla and Stones Throw Records-like beat tapes. It feels thoughtful and warmly familiar yet new — and much like its predecessors evokes the energy and feel of Guy’s hometown.

[thelensofyashunews]

TONY SHHNOW SHARES NEW SINGLE "WATCH"

Tony Shhnow, the prolific Atlanta rapper, has just shared his new single "Watch", along with the announcement that his forthcoming album Out the Woods will be out on March 7th. After playing a key role in introducing Atlanta’s “plugg” sound to the Hip-Hop mainstream with his breakout hit “Vet” (13M+ Streams) in 2020, Tony Shhnow has consistently dropped music at a breakneck pace. Earning critical acclaim from the upper echelon of media from Rolling Stone to Pitchfork, The FADER, Stereogum and more, Tony Shhnow has solidified himself as an innovator in re-imagining the plugg sound while consistently displaying his dizzying raps and irreplaceable charisma. After sharing three projects in 2022 alone: Kill Streak 2 (Deluxe), Plug Motivation, and Reflexions, Tony Shhnow kept the momentum going last year with the release of Love Streak, on which he rapped with a sharp East Coast flair over new-age boom-bap production. The subsequent release of I Can't Feel My Face Too with Robb Bank$ reflected the multi-faceted artistry of Tony Shhnow – showcasing the unique combination of mesmerizing bar work and intimate reflections over atmospheric production.

Following the lead of "Tryna See", Tony Shhnow's new single "Watch" serves as another introduction to his forthcoming album Out the Woods. Following last year's emotionally-vulnerable Love Streak, and his collab tape with Florida's Robb Bank$, I Can't Feel My Face Too, the forthcoming Out the Woods will reflect a return to form for Tony Shhnow. Embracing his come-up from the streets of Atlanta and his recent ascension into the upper echelon of pioneer artists paving the way for ATL's sound, Tony Shhnow's Out the Woods – out on March 7th, finds him further cementing his spot as a prolific artist by continuing to expand upon the very sound that he's helped to pioneer. Since emerging as a leader in pushing the boundaries of modern-day Hip-Hop, Tony Shhnow is effectively keeping his streak alive with each release – showcasing the artistic depth that has made him a household name throughout the 2020's. With features from 3AG Pilot, 1TakeJay and PNDRN, Out the Woods will also precede the beginning of his forthcoming tour.

[thisaintascenereviews]

Joey Valance & Brae - Punk Tactics

Until Doja Cat’s “Paint The Town Red” hit number one a few weeks ago, at the time of writing this, 2023 was the first year in a long time that a hip-hop song hadn’t hit the number one spot on the Billboard 100. The reason I bring this up is because hip-hop has changed quite a bit over the last few years, but so has my music taste. I was never the biggest hip-hop fan, although I do enjoy a lot of artists, such as Big KRIT, J. Cole, JID, A Tribe Called Quest, and a lot more, but these days, I haven’t found a lot to enjoy. I said the same thing in a somewhat different way with my review of the new Cannibal Corpse album, because I hadn’t been so excited by an extreme metal album until Chaos Horrific came out within the last couple of weeks. The same thing just happened with hip-hop, and that excitement has come in the form of Punk Tactics, or the debut album from Joey Valance & Brae. Do you like late 80s and early 90s hip-hop, East Coast boom-bap, or the Beastie Boys? Well, do I have some good news for you.

Let’s address the elephant in the room — these guys sound like the Beastie Boys, and Joey Valance sounds like the late MCA, even down to his nasally cadence and the way he phrases things. Braedan Lugue, the other rapper and mastermind behind the duo, sounds opposite to Valance, sounding more like Ad-Rock or Mike D, but the sound and dynamic is very similar and I can see many folks writing them off for being a clone or rip-off of Beastie Boys. I’d argue the opposite, though, and it’s not that they’re unique, but they bring that sound to the modern day by infusing their brand of 80s and 90s hip-hop (and there’s even a funny hardcore punk track towards the end) with Gen Z pop culture references and slang. It sounds modern with an old school sensibility, and I love it for that.

Their aesthetic is one thing, and they can sound like a certain thing, but how is the execution? Well, it’s great. This album is surprisingly diverse, and the beat choices are unique and different throughout the record, but the lyrics and references are often creative, fun, and off the wall. Their flows aren’t unique or anything outright special, but their charisma is through the roof and their chemistry is fantastic. They work very well off each other, and you can’t help but get on board with it. The fun is infectious, and I always have a blast when I listen to this album. It’s also really short, only a half hour long, so it doesn’t take too much time to play at all. This is the first hip-hop album I’ve loved all year, partially because I don’t listen to a lot of this stuff anymore, but also because I haven’t found anything else that I’ve resonated with this year.

[yegormirnov]

Travis Scott’s “UTOPIA” or How You Can Justify the 5 Years for an Album

On the 28th of July, the long-awaited album “UTOPIA” by Houston rapper Travis Scott was released to a global audience. After the commercial success of his 3rd album, “ASTROWORLD,” the bar was set extraordinarily high. This album's hype permeated globally, featuring mysterious briefcases, an Egypt performance (unfortunately canceled), and mastering from Mike Dean. It seemed as if the album was Travis’s version of "Graduation" or "MBDTF," so the question is:

Did the protege manage to succeed?

“UTOPIA” is weird, absurd, creepy, and fantastic. Those four words were the first that came to my mind after listening to the whole thing. In comparison, “ASTROWORLD” was akin to a rollercoaster or entertainment park, offering an experience of entertainment and amusement, which clearly played it much safer than “UTOPIA”.

“ASTRO” was colorful, but not as motley and vibrant as “UTOPIA”. It had risks, but wasn’t as edgy or even half as bold as the latter. Travis’s goal with “UTOPIA” is to engage you in his album atmosphere once more, achieved here by the effect of shock and amazement.

Explosive instrumentals and angelic outros are fundamental in every Travis Scott album, but the variety of soundscapes represented flawlessly in this LP is tremendous. The album is replete with hip-hop beats in disguise, allowing Travis to flow wherever and however he wills. Most of his rap performance is rough and raw, reminiscent of his older “Owl Pharaoh”/ “Days before Rodeo” style evident in “Hyaena”, “God’s Country”, “Skitzo”.

On his 4th LP, Travis ventures into unknown directions. An instance is “K-Pop,” dancehall-inspired music with elements of Latin involvement. “Modern Jam” is another example indicating his new direction. The boom-bap “Beyonce’s Renaissance” house music dominates this project, illustrating the multifunctionality of Travis’s style. The album showcases peak Travis psychedelic beats and performances, entrancing listeners in this natural, spatial feeling of oddness.

Features:

One issue I had with “ASTROWORLD” was that the feature list mostly outshined Travis, leaving little space for him on the song. However, here Travis immerses you by himself, making it the standout of this project for me.

On “UTOPIA,” invited artists deliver some of their best verses with amazing execution. Each artist sounds seraphic and vibrant, finding their niche and contributing to the complete experience. For example, in “FE!N,” Playboi Carti reveals a more mature, rough, and revolutionary style, an incredible opportunity to showcase his new era on such a long-awaited release.

Additionally, Travis introduces newcomers and upcoming talents. “UTOPIA” introduces Teezo Touchdown on “Modern Jam” and KayCyy on “Thank God”. Both were phenomenal; Teezo’s voice, initially found annoying and disturbing, showcased its subtleties and proper implementation on “Modern Jam.”

Even minor elements, such as Sampha’s feature on ‘My Eyes,’ Young Thug’s verse on ‘Skitzo,’ and immersive vocals from SZA and The Weeknd, display the well-mastered nature of this project.

Artistically, “UTOPIA” represents Travis finally merging both alter egos (Scott and $cott) and utilizing them marvelously throughout the album.

Let’s explore his $cott side. He reverts to the rawness, hunger, and desire seen in older projects, illustrating this rage and hunger on “UTOPIA.” He flawlessly portrays his trap image, ready to stay.

Regarding his Scott ego, it delves into the transparency of emotions, offering immersive and complex structures. Here, Travis reaches new heights, potentially patenting this sound and his psycho/bizarre influence in the future.

Now, for the cons of the album, which though minor, are present.

The inconsistency and duration of the album are significant concerns. While most tracks feature amazing progressions impossible to imitate or repeat, their length with complex constructions can cause boredom and distraction for the regular listener.

Favorite Tracks:I Know?, Modern Jam, Hyaena

Least Favorite Track:K-Pop

In conclusion,

“UTOPIA” is many things - Travis Scott’s version of Yeezus, reminiscent of the past, or simply a unique, dark, immersive experience. For me, “UTOPIA” is a loose concept, seen from individual perspectives. It's not just a place or an album. It's emotions that emerge, creating the feeling of UTOPIA within you.

[teck-zilla]

President Zik & Teck-Zilla : “ Prezzy Bomaye”

“ Prezzy Bomaye” is the lead single from rapper President Zik aka Young Prezzy and producer/DJ Teck-Zilla’s forthcoming collaborative project entitled Mike & Muhammad. 

Bolstered by Teck-Zilla’s lush synth-driven trap soundscape, President Zik steps into the proverbial ring with verbal punches and a smooth demeanour to match. The anthemic single serves as an opening salvo with lines like     

“Show up to the fight dressed in mink like nigga what you think straight styling/

trill right off the bat, homies out here selling cap, how’d I get to where I’m at, straight grinding”  which set the tone for the lyrical match. Young Prezzy flows seamlessly like a young but seasoned verbal pugilist taking his opponent to the cleaners with the statement “read a book nigga maybe we could conversate

you can feel the aura when I’m stepping out the gate/ 10 seasons straight are you not entertained going down with the greats on that Prezzy Bomaye” where he reminds listeners of his decade grind in the music game. The fun doesn’t end there and Prezzy shows us his songwriting dexterity with a melody-tinged hook where he paints a vivid picture of him stepping into the ring, making headlines while the fans chant “Prezzy Bomaye”.

“ Prezzy Bomaye” is taken from President Zik and Teck-Zilla’s forthcoming project Mike & Muhammad, a 12-track body of work that bridges the old and the new. On the production side, Teck-Zilla crafts a blend of modern-day trap and boom-bap soundscapes for President Zik who proceeds to wreak havoc with his distinct laidback flow and off-kilter rap schemes. The rapper and producer combo is akin to a young Mike Tyson and elderstates man Muhammad Ali who have teamed up to give fans the raw, unfiltered showcase that would linger in the minds of listeners.

 #PrezzyBomaye

Smart Link: https://linktr.ee/teckzilla108?lt_utm_source=lt_share_link#336700886

[dustedmagazine]

Listed: Equipment Pointed Ankh

Photo: Jennifer Kelly

Equipment Pointed Ankh hammers out intricate rhythmic fever dreams that feel hand-made but actually arise from a complicated deck of digital and electric instruments. The sextet from Louisville, KY has been at it for over a decade and three full-lengths and recently played a mesmerizing set at the Thing in the Spring Festival in Keene, New Hampshire (see photo). Jennifer Kelly reviewed their latest, From Inside the House, earlier this year, noting that, “These tracks bounce and jitter like they want to dance, but then tip sideways into lush string synth lyricism, inscrutable spoken word, and, in one cases, the sound of soda sucked through a straw.” Here are some of the things that inspire them.

Jim Marlowe

Tara Clerkin Trio — Self Titled

Casually excellent clarinet, piano and drum grooves — some live stuff and some studio looping/chopping to great effect. What a great sound. An engaging combo whatever it is. Went nuts after hearing ’em and attempted to find everything else they’ve done. I chose this one but In Spring is another great, very different slice and Live at Bliss Archive is a tough wiggling of jazz tunes through CDJ beer goggles. Calmly unique and cool. One of my most jammed.

Pierre Barouh — Le Pollen

1981 heavy hitting YMO/Mariah and adjacent crews lift up real people chanson singer Pierre Barouh with freshly unboxed synths and a wide-ranging attitude towards song arrangement. The title track is a real highlight for me. Feels like it could have existed as a B-side off Scary Monsters if it was recorded at a restaurant with friends you don't get to see too often. I love it. Trying to think of another superstar group who worked with someone out of their immediate world to such great effect — The Eagles and Joe Walsh? Just kidding.

Ryan Davis

Vacuum Rebuilders — Anything Else Is A Compromise

Not technically a CD, so I'm already breaking the rules here, but I was in Victoria, BC earlier this week and walked into a record store with about 90 seconds to spare before leaving town. This was the first thing that caught my eye, and it was 2 dollars, so I purchased it with the loose change in my pocket and left. My life is better now from having gained this glorious spool of sicko-rock on Calgary’s prestigious Pee Blood label. From the simultaneously brilliant and seemingly microwaved minds that brought you bands like Hairnet, Singing Lawn Chair et al, Arielle McCuaig and Kayla MacNeill are, in this lone Ankhman’s opinion, responsible for some of the most refreshing and exciting rock music to have surfaced from the modern North American underground so far this decade. This specific material is perhaps more sonically aligned with the outsider punk of their Janitor Scum LP on Lumpy than the most recent experimental theater/art-pop/noise-folk shenanigans of their Puppet Wipes project (Looks Real, Siltbreeze), but it's all a part of the same strange and electrifying puzzle as far as my own dumb midwestern ears can conclude.

Gang Starr — Moment of Truth

I’ve listened to rap and hip-hop music throughout nearly every phase of my life since early grade school, but my focus and enthusiasm tend to fluctuate between subgenres therein. And no matter how long I go without listening to it (sometimes years), I always inevitably circle back to what I fell perhaps most in love with growing up, which was early-to-mid 1990s east coast street-wise boom bap shit. Gang Starr’s Moment of Truth, while considered to be of an arguably “post-classic” era by certain purists, is the record of theirs with which I always felt most connected. As of late, it's exactly what I want to hear. Released four years after its predecessor into the freshly treacherous waters of the shiny-suit/jiggy era, the beats, rhymes and ever coolheaded delivery on M.o.T. are as strong or stronger than they were in 1992. If they weren’t already solidified as one of the best emcee/deejay combos to ever do it, they were now. Come for the Inspectah Deck track (shout out Shorty’s “Fulfill the Dream” video from the same year), stay for the truly timeless Guru/Primo magic.

Shutaro Noguchi

José Antonio Méndez — Siempre Estrellas (BMG U.S. Latin)

I sigh every time I listen to this. One of the sexiest male vocals that ever existed on the earth on Si Me Comprendieras. But this CD might possibly be too much of sexy for homosocial ankh van, so I almost went for Perlas Cubanas of his or William Basinski and Janek Schaefer’s …on reflection.

Various Artists — Women of Africa (CSA Records)

Pretty simple but rhythmic melodies and harmonies and just incredible sound choices, phonological elements and beautiful vocals. I almost went for Julia Sarr or Shona’s Mbira CD on Nonsuch. But the first track just made me happy this time around.

Christopher Bush

Daisuke Tobari — Till The End of the Dream

This album is a masterpiece. An idiosyncratic blend of the psychedelic “songbook” (various pages) and the more ritualistic side of far Eastern classical music over seventeen tracks. An intuitive, imaginative and personal set of recordings. At one point, Mr. Tobari sings the words “Happy Birthday.” It is almost too much to get your head around.

Eyes and Arms of Smoke — In Three Houses

Lexington, KY band, active in the mid 2000s. Immaculate sequencing of two tracks, only really do-able in physical format on a CD. First track is a three-minute bongo fever dream with haunted vocals that showcases the song-based home studio sound that they developed on their sole full length, A Religion of Broken Bones. (See Dusted’s 3/9/2006 review). Second track is a twenty-five-minute free-improv mystery that showcases some of the modes unleashed in earlier live sets and tapes. Homespun, disorienting, and other. I cherish this band.

Dan Davis

The KLF — The White Room

This is my shit right now. I can’t really even explain why. It just scratches and itch. Like this is the music made by two dudes who like burned a million pounds or some shit? It’s awesome.

Avalanches — Since I Left You

I’ve been really interested in so called “Plunderphonics” and this record has an insane amount of vinyl samples on it. So, it’s just a fun listen when thinking about the work of making it. Dweeb shit that you can bop to.

[indepthjaybeats]

Step into the world of classic hip hop with this soulful boom bap beat that’s sure to inspire your best bars. With its rich, soulful melodies and hard-hitting drums, this instrumental captures the essence of old-school hip hop while bringing in a modern twist. 

Whether you're a rapper, freestyler, or just love that golden-era sound, this beat is crafted to elevate your flow and bring out your authentic voice. Perfect for storytelling, vibe sessions, and creative projects. Drop your verses and make it yours!

[mywifeleftme]

53: Camp Lo // Uptown Saturday Night

Uptown Saturday Night Camp Lo 1997, Profile

There’s an old Donald Glover bit about how people who rave about ‘80s hip-hop need to go back and actually listen to it, because it’s mostly just guys saying shit like, (in a Melle Mel candence) “Well I went to the hat store todayyyy / and I got myself a hat / ha HA!” I think of ‘80s rap as equivalent to ‘50s rock: it’s raw and exciting stuff, but for the modern listener it’s bound to feel a little primitive because you’re hearing a genre before its techniques and technology have fully matured. And that makes the ‘90s hip-hop’s equivalent of rock’s ‘60s, the first decade when artists had a fixed foundation to build upon, and the genre exploded into a psychedelic variety of styles that has continued to expand to this day.

Camp Lo had as idiosyncratic and unprecedented a sound on their debut Uptown Saturday Night as Wu-Tang Clan, OutKast, Digable Planets, or the Beastie Boys did. Released in a year when Juicy Couture velour defined urban style, Camp Lo’s emcees were duded up like Blaxploitation-era pimps, spitting a thieves’ argot studded with references spanning 70 years of New York culture. Their beats, largely provided by DJ Ski, were sparkling boom bap that pulled as much from Roy Ayers as James Brown. According to Ski, Geechi Suede and Sonny Cheeba talked to each other in the same impenetrable slang they rapped in, bringing to mind the phenomenon of twin language:

Check the queen bee, Lady Ree digging Grace Check the place 3 o’clock. Shot? No, we ain’t Fret and cock, bring it in the paint? No such thing Flash the dynamite, sing my superfly to the Cleopatra in the casino with gold sugar Dig my harlequin and drench you in my Donald Goines (from “Coolie High”)

Short of discovering some remote enclave in the Bronx where people talk like this, it’s safe to assume Suede and Cheeba had developed a mutually-reinforcing linguistic bond, where (to pull a quote from that twin language story) “words are invented and abbreviated or restricted codes are used because full explanations are redundant.” Though there were a few emcees with more variable flows, nobody in the game sounded slicker than Camp Lo.

As fly as the rhymes are, Uptown Saturday Night is a producer’s showcase. Though he doesn’t get touted as frequently as Pete Rock, DJ Premier, or Large Professor, DJ Ski is as great a producer as New York has ever produced. Dusty literary journal The Kenyon Review, of all places, published a great (and uncredited?) piece on Ski’s beats for Camp Lo a few years back that’s worth reading. Here’s the writer on Uptown closer “Sparkle (Mr. Midnight Mix)”:

“Appearing at a time when boom bap beats were at their peak, the song has no drums, but somehow still has a very high nod factor. Extremely low in the mix are what sound like the original drums, so low that they might only be audible because of headphone bleed in the vocal track. But it is really the flow of Geechi Suede and Sonny Cheeba that retains the rhythm of the original, heavily swung drums. The vocals thus carry a ghost rhythm propelling the track forward, even as the vibes and fluid, filtered bass and piano lines lazily rise and fall, cresting here, submerged there.”

Great shit. Uptown covers a lot of stylistic ground, though high-rolling party tunes are the order of the day, like “Luchini (This is It)” with an irresistible trumpet loop launching itself off a thwacking snare hit. Nearly every beat on the record is indelible, from the kaiju-sized horns of “Krystal Karrington” to the cooing, vibe-chilled “Coolie High” (a preview of Ski’s 2010s work on Curren$y’s classic Pilot Talk trilogy). And, on the warped Twilight Zone-sampling “Negro League,” Ski even seems to have an ear on the off-kilter underground sound El-P was creating with Company Flow.

Various forms of fuckery on the part of Camp Lo’s label conspired to prevent the band from following up on Uptown Saturday Night till 2002, and by then it was too late to recapture their former momentum. They’ve had sparks of inspiration in the decades since, but we’ll never know whether the magic of their debut would’ve been reproducible under better circumstances. Regardless, Uptown Saturday Night has a place among the greatest records of rap’s first golden decade.

53/365

[delivermytuneo6]

What is Beat in Music? Insights from a Rap Beat Creator’s Perspective

Music is a universal language, transcending boundaries with its power to evoke emotions, tell stories, and connect people. At the heart of this universal language lies the "beat." But what is beat in music, and why does it matter? This question forms the foundation of understanding rhythm and musical composition, especially in genres like rap, where beats drive the entire experience.

In its simplest definition, a beat is the basic unit of time in a piece of music, providing the steady pulse that listeners instinctively feel. It’s the part of music you tap your foot to or nod your head along with. Beats structure music, dividing it into measurable and repeatable patterns, creating the framework that allows melodies, harmonies, and lyrics to come together cohesively. For example, in a 4/4 time signature, there are four beats per measure, forming the rhythmic backbone of most popular songs.

The Importance of Beat in Rap Music

In rap music, the beat takes on a heightened role. Unlike other genres where melodies might dominate, rap relies heavily on the beat to carry the energy and set the stage for the lyrical flow. The rhythm and tempo of the beat dictate how a rapper delivers their words, aligning their cadence and pauses with the music. A well-crafted beat can amplify the emotional resonance of lyrics, making listeners feel every word.

Rap beats typically consist of several layered elements: drum patterns, basslines, melodic loops, and atmospheric effects. Together, these components create the groove that defines the track's vibe—be it hard-hitting and aggressive, smooth and laid-back, or something entirely unique. Understanding what is beat in music becomes essential for anyone who wants to produce or appreciate rap on a deeper level.

Enter the Rap Beat Creator: A Tool for Modern Musicians

For producers and musicians, creating beats used to be a labor-intensive process requiring deep technical knowledge and access to expensive equipment. However, the advent of the rap beat creator has revolutionized how beats are made. These tools, often available as software or mobile apps, provide a user-friendly interface that simplifies beat production without sacrificing creativity.

A rap beat creator typically includes features like preloaded drum kits, synthesizers, sample packs, and customizable templates. Whether you're a beginner experimenting with rhythm or a seasoned producer crafting your next hit, these tools cater to all skill levels. Let’s break down how a rap beat creator works and why it’s an indispensable resource for modern music production.

How Rap Beat Creators Work

Drum Patterns: Most rap beat creators include built-in drum machines that let users create intricate drum patterns. From the classic boom-bap of old-school rap to the rapid hi-hats of trap, the options are endless.

Melody and Harmony: Many tools allow users to add melodic layers using virtual instruments or imported samples. You can experiment with pianos, strings, synths, and more to create the perfect mood.

Customization: Tempo, pitch, and effects are fully adjustable in most rap beat creators. This allows producers to fine-tune their beats to match their vision.

Loops and Samples: Preloaded loops and samples can serve as building blocks, making it easy to start a project even without extensive musical training.

Export and Integration: Once the beat is complete, it can be exported in various formats or integrated into a digital audio workstation (DAW) for further refinement.

The Creative Freedom of a Rap Beat Creator

One of the biggest advantages of using a rap beat creator is the creative freedom it offers. Producers can experiment with different sounds, tempos, and rhythms without the pressure of perfection. This flexibility is especially beneficial for beginners who want to explore beat-making without feeling overwhelmed.

Moreover, rap beat creators are often equipped with features that encourage collaboration. For instance, cloud-based tools allow multiple users to work on a beat in real time, fostering teamwork among artists, producers, and sound engineers.

Why Understanding the Beat Matters

Knowing what is beat in music and how to manipulate it with tools like a rap beat creator is crucial for anyone looking to make an impact in the music industry. A strong beat can be the difference between a forgettable track and one that resonates with audiences worldwide. For rappers, understanding the beat helps them align their lyrics with the rhythm, ensuring their flow complements the music rather than clashing with it.

Beyond rap, the concept of the beat is fundamental to all music genres. Whether it's the syncopated rhythms of jazz, the driving four-on-the-floor beat of electronic dance music, or the intricate polyrhythms of Afrobeat, every style relies on the beat to give it structure and character.

Tips for Crafting Better Beats

If you're new to beat-making, here are some tips to get started:

Start Simple: Focus on creating a basic drum pattern before adding layers.

Experiment with Tempo: Adjust the tempo to see how it changes the mood of your beat.

Use Loops: Don’t hesitate to use pre-made loops as inspiration; you can always modify them to make them your own.

Listen to the Pros: Analyze beats from your favorite rap songs to understand their structure and elements.

Practice: Like any skill, beat-making improves with practice. Spend time experimenting with your rap beat creator to discover what works best for you.

Conclusion

The beat is the heartbeat of music, and understanding what is beat in music unlocks a world of creative possibilities. In rap, the beat serves as both the foundation and the driving force behind every track. With the help of a rap beat creator, anyone can harness the power of rhythm and produce beats that elevate their music to new heights. Whether you're an aspiring producer or a curious music lover, diving into the world of beats can be both exciting and rewarding.