Jona Da King – “Roots Of Love” EP – balancing rhymes, and soulful crooning|

Jona Da King is a hip-hop artist from Toronto, Ontario, based in Edmonton, Alberta. Jona is set to release his EP “Roots Of Love” which is scheduled to drop September 30th 2020. The artist has an eclectic musical palette which is colored by Hip-hop, R&B, Pop, as well as Jazz and Rock tones. We checked out his prime tracks in anticipation of the EP, and if the goal of this release is to make a breakout statement that Jona Da King is getting seriously started, he’s succeeded, delivering some of the smoothest, most mellifluous urban sounds we’ve heard in music

Berani – “Cut And Taste” strikes an incredible balance of disparate elements

Berani is an electronic beat maker with a diverse sound spectrum and a tendency to produce bouncing rhythms or spacious and relaxing aural experiences. In a short time span, this emerging artist out of Byron Bay in Australia, has discerning music fans and casual listeners paying attention. The sound design throughout his latest single “Cut And Taste” is what we’ve come to expect from this creative top tier producer: popping percussion, basslines that melt like butter and a healthy dose of twisted horns to make everything bump in a soul-like fashion. Sprinkled around the track are sonic effects that keep

EsZ – “Liquor & Emotions” – introspective and emotional

Hip-hop has been cranking out bangers and high energy anthems for decades, but the average genre historian is well aware that dark or emotional thoughts on a chill backdrop is not a foreign concept for the game. After all, profound moodiness feels rather natural for a culture that grew out of urban plight and the trauma of purposely disenfranchised people. It makes sense that at least some mellow tunes in the genre, reflect deep-thinking speculation, in what artist EsZ, describes as thoughts on “life, growth and fake friends” in his track “Liquor & Emotions”. The song is a drunk text

Quad – “Love” embellishes each track with his personal revelations

Based in the south of Chicago, Quad started making music when he was around 14 years old and started taking it artistically seriously two years later. He produces, records, mixes and masters, using only a Blue Yeti microphone and FL Studios. So far Quad has written over 300 songs and released 1 EP, 1 Album and 8 singles. Currently training as an audio engineer at SAE University in Chicago, Quad explained that his latest album “Love” describes his personal understanding of the sentiment. The album “Love” was written and recorded over the course of 2 months after Quad was electrocuted

Acemattz & Bipha shine on “Tshanana”

Watching Acemattz & Bipha perform in any of their videos is like watching friends realize they’re onto something big time. They are accomplished rappers individually, on their own terms, and as collaborators, as a unit, their styles gel perfectly. They’re not just comfortable performing together—they are feeding off of each other, refusing to be one-upped, beaming and grinning and head-bobbing as they take turns impressing one another. By the end of each of their performances, their formation into a real show-stopping combination seems inevitable. In the new wave rap scene, there is plenty of talent to go around, Acemattz &

FuzzKill – “The Get Better” reaches all the expected heights!

FuzzKill is a four-piece rock band that started in Boston, MA. Introduced to one another through musical theatre, the band’s sound is firmly rooted in early 2000’s pop-punk influences. They released their debut studio album, “Happen”, in early 2019, and their sophomore album, “The Get Better”, just dropped on September 19th 2020. We have all heard the biggest punk bands of the 90’s and early 00’s. Their music mainly consisted of driving drums, distorted pop-punk guitar work and a set of memorable lyrics to go with the angst-filled high energy vocals. Today punk bands are a rarity, and any good

Dan Friese – ‘Jane Songs’ is something to be treasured!

Dan Friese is an Oregon-based songwriter, performer and multi-instrumentalist. In April of 2020, he released his debut EP, ‘Happiness’, a collection of self-reflective psychedelic indie-folk tracks. His first full-length effort, ‘Jane Songs’, was released on September 18th, and is available on all major platforms, along with the singles “Streetlight” and “I Can’t Say”. There’s a lot to appreciate on the new album, and Dan’s voice is arguably the most attractive aspect. Moreover, his vocals are often enhanced by inspiring songwriting and raw emotion, not to mention a wealth of down to earth acoustic guitar strumming. Dan Friese has an organic,

INTERVIEW: C.E.N. – the voice of the people

Born in Oklahoma City, Oklahoma, and currently a resident of Dallas, Texas, C.E.N’s natural proficiency over poetry allowed him to produce meaningful and profound lyrics. Although he initially took the initiative to become a music artist for fame and fortune, he later realized that all he desires as a musician is to be respected and valued for the art he brings to the table. His music is deep lyrically and spiritually. Can you tell us a bit about where you come from and how you got started? C.E.N.: I was born in Oklahoma City, OK, and was raised in a

Hitrocker – “Project One” – breathtaking sound design!

Hitrocker is a German based producer who creates mainly within the EDM subgenres of House, Electro and Deep House. His first album, entitled “Project One” was released at the end of July, while “Project Two” is also out now. When I clicked on the playlist of “Project One”, I was met with song titles that were merely numbers – such as “Project 1.1” or “Project One.Four”. This falsely led me to expect generically themed instrumentals, simply meant to rock the dancefloor. Wrong. Well not totally. They do rock the dancefloor. But they also do a whole lot more. These are

Rashod Holmes Announces New Single ‘The One’

The soul singer relives how he met his wife and started his family on a tender new song. Rashod Holmes is known for bringing romance to life with his evocative voice, but he has never told as personal a story as the one he tells with his latest single. ‘The One’ is a true life love story that acknowledges the struggles and triumphs that go into building a long-lasting relationship. “I found the one for me” Rashod sings. “She is the girl of my dreams.” While Rashod is convinced that he has found the perfect partner, there is much more

AP$ – “FRAMEWORK” showcases the multiple perspectives of his evolving craft

Austin Stevens, artistically known as AP$, is a highly streamed young rapper from Knoxville, Tennessee, who has a successful first release “Kahoot Rap”, and his debut album “FRAMEWORK” out now. In the process of building his brand, the ambitious young artist has put together a balanced album of introspective and party songs to showcase the multiple perspectives of his evolving craft. AP$ has definitely improved as a technician, making his raps more mobile and structurally sound, and his rhymes don’t pass by as if on a conveyor belt. Most times he has his own laid-back, hazy style which is uncontaminated and deadpan, almost as if he is in private conversation with the listener. Then suddenly he will explode and really goes for it. He does triplet flows. He splits punches. He packs cadences and stacks phonetic sounds, and flexes his harsh screaming voice.

AP$’ raps boasts imaginative, sometimes unpredictable, often surprising constructions in their presentation. Many songs show that AP$ is also capable of flourishing in more melodic spaces. His best rapping gets packed into “FRAMEWORK”, a free-flowing outlier that’s as natural and fun as the more whimsical songs in his catalog.

On this album AP$ spreads himself wide, with success – rapping as if he could win over naysayers, singing in the key of crossover pop, and touching various styles in search of diversity throughout the 12 songs. On the opening title track, “Framework”, AP$ delivers soft chords, hand-claps and warm strings, as he smoothly bounces his voice over the backdrop.

“Lifeee” is loaded with a booming bass and skittering hi-hats, while AP$ flexes the nuances in his flow. “Self Destruct” carries a bluesy funk production and some edgy rhyming from AP$. The hook is groovy and powerful.

“Magic” is built on busy hi-hits and a growling bassline for an extra minimal beat which is just enough to support the bars on top. “Ahi Tuna!” is a thick voiced tidal wave of energy that sounds unlike any other song on the album.

AP$ sounds like he’s enjoying himself on this one. On “Gimme da Cheez” AP$ raps with a mellow energy and a tongue-in-cheek mindset, over a playful beat. “Impulsive” sees another switch in direction and style. AP$ uses his deadpan, monotone voice over a dramatic and dynamic beat, and the contrasting juxtaposition makes for a strangely interesting track, horns and all!

In the second half of the album, AP$ tries to get more in tune with his lyrical side, and this much is quickly evident on the urgent “Villager” and banging “Marker”, on which AP$ puts more weight into his rapping voice, with excellent results.

The bass slow-drips sticky juice on “Ligma” as AP$ easily roller-blades his way across the beat before finally switching on his harsh voice again. The energy is menacing on “Insane”, as the more aggressive AP$ persona eclipses the softer side. The album closes with a cowbell-like induced rhythm and a downward-spiraling bassline on “OK”. It’s another minimalist beat that works perfectly with AP$’ rhyming.

Overall, AP$ leans into a wide palette of sounds and styles, as “FRAMEWORK” embraces modern trap aesthetics as its underlying primary colors. AP$’ sonic temperament, incorporates a variety of voicings paired with a deadpan swagger. This is the pivot of a young artist not just trying to run with the crowd, but dreaming of getting ahead.


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