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Matt Draco – “Get Off” – a cautionary tone that’s burned into every word!

Raised in Inglewood, California, Matt Draco’s prowess blends his aggressive West Coast personality with his nimble New York inspired rhyme schemes. As a child he studied the lyricism of creatives such as Notorious B.I.G, J. Cole, and Jay-Z, and by the time he was 14, Matt also taught himself how to compose orchestral music, enhancing his musical understanding and vision. By the age of 18, Matt Draco had the honor of conducting University Preparatory School’s orchestra twice, with two different pieces composed by himself. He then returned to his native Hip-hop roots releasing a series of freestyles and singles on

Kiing Dee! – “Black Kings (ft. King Los) flows with such a captivating style!

Kiing Dee! has been boxing since the age of 6. He grew up in the Pawtucket/Providence area where he fights out of Big Six Boxing academy. He has won many regional tournaments as well as fighting in the 2016 Olympic Trials Qualifiers and previously being ranked #2 in the country. Kiing Dee! went professional in 2018 but an Achilles injury changed his life. It forced him to do the only thing he could do while recovering on his couch and that was make music. Once he realized that people actually liked his music, he decided to take it seriously. Constantly

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Ramirez Coiva – “I’m Walking Away” shines in the way the guitar and string arrangements are so well put together

Ramirez Coiva regards himself as a Citizen of the World, who has been writing and making music since 2000. His single “I’m Walking Away” was written and recorded in Istanbul (Turkey), a couple of years ago. The song is a hybrid between the alternative rock guitar sound of the past and a look toward a more modern, sleeker pop sound. One thing is clear on this track, there are very few people that can match Ramirez Coiva’s all-embracing songwriting talent. Regardless of style, whether it’s heavy guitars or strings, keyboards and drums, a great song is a great song, and

“Time” – The new single and video release by APKLYPZ

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Cips, pronounced (Sip’s) is an international independent entertainer who has done various showcases and has toured multiple times across Canada and United States. Cips has currently accomplished three Canadian tours and two American tours so far. Performing in various major cities across Canada and United States such as Vancouver, Toronto, New York, Miami, Houston, Detroit, Chicago, Pittsburgh, Philadelphia, etc. Cips has also worked alongside various artists in the music Industry such as Sayzee, Big Trill, Merkules, Stitches, and many more. His latest project titled ‘Codeine Cowboyz’ was completely created, mixed and mastered in Miami, FL, produced by Supply & Demand,

THE BRKN releases “The Motions” from their upcoming debut EP titled “No. 3”

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Moonie Music Releases “Good Vibes” From The Album “Carolina Kid”

An unequivocal depiction of truly operating in the assurance and faith of purpose. We say it’s the spirit that comes from the Most High, others may call it a good vibe! Moonie Music, who previously starred in the “Man Up” movie as Brian co-starring alongside Lecrae. He also worked alongside KB, Trip Lee and Reach records while on the Man Up tour. He has music featuring Sho Baraka in the Christian arena and music featuring Da Baby and Renni Rucci in the secular arena. His new album “Carolina Kid” is a ministry album and was released 11/18/2019. He has re-dedicated

Razakel: “Pariah” – deconstructs and reconstructs an alternative vision

Horrorcore rap was initially thought of as a turn-of-the-millennium misstep by hip hop heads. As hip-hop entered its golden age throughout the early and mid-’90s, horrorcore got better and more specific. Yet horrorcore rap continued to be thought of as a turn-of-the-millennium misstep by many hip hop heads. But rap and horror kept merging and reassembling throughout the years in a way that illuminated both. No doubt, the subgenre is worth taking seriously in the context of hip-hop, in the same way as horror films are taken in the context of film-making in general. The feeling is that the latest craze of SoundCloud and mumble rap will inevitably die, while the long-lasting specter of horrorcore will lurk around long afterward. Now when you look up horrorcore rap in general, you’ll always come up with the legendary Insane Clown Posse or its ex-members. If you do that same search for female horrorcore rappers, one name keeps coming up there too – it’s Razakel.

Hailing from San Antonio, Texas, Razakel has been delivering her own original take on the horrorcore cult since 2006. Although men still constitute and control the vast majority of the industry, women rappers are emerging as a force, and in the front-line, we’ll find Razakel.

It’s been an uphill battle, directly challenging a male dominated genre, in an even harder core sub-genre. But she is not giving up the fight, and recently dropped the video single “Pariah”, which comes straight off her album “Gores Truly: Extendo”.

Razakel shows that she is determined to move out of the shadows of male dominance, and secondly that she is redefining the female perspective by chiseling away at the condescending stereotypes the genre (and society) has created for female artists. And that’s not all.

If you look at the song title “Pariah”, which generally alludes to a person being rejected or avoided by their community for some specific reason. You understand that Razakel’s battle is also on a higher, social and cultural level. She’s really much more than the sum of her artistic parts let on.

“You wanna label me a Pariah. Is that what I’m supposed to be? I’m not a role model, no messiah. So please don’t follow me,” is how Razakel launches her verbal strike on “Pariah”. Her tone is confident, nuanced, and questioning in the verses, while the choruses are tenacious and melodic, showing that the lady can sing too.

And sing she does, because she tinges her music with fair amount of pop elements. In fact she calls it Horror-Pop. The beat rumbles and bangs while the overall atmosphere is dark and ominous, fitting the indignant and recriminating narrative perfectly.

Razakel’s uses her performance as a platform to refute, deconstruct, and reconstruct an alternative vision of her identity. “Pariah” then, in such, becomes a way to unpack self-empowerment and also empower others who may feel marginalized, at the same time.

The power of these lyrics serve as a boost to one’s self esteem against all the odds society inevitably stacks against anyone who dares to be different, or is in a discriminated or minority group. Listening to “Pariah”, you get the feeling that Razakel is not just a great artist, but a great human being as well. The whole experience, is incredibly satisfying and should hold us down until Razakel gets around to releasing her next project.

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