Listen To Two New Singles From J. Cole’s Forthcoming Dreamville Compilation Album

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J. Cole’s Dreamville collective are gearing up to release their third compilation album, Revenge Of The Dreamers III, featuring contributions from Dreamville artists J. Cole, Bas, Cozz, Omen, Lute, Ari Lennox, EARTHGANG, and J.I.D. Today, they share the first two singles from the forthcoming LP. “Down Bad” counts verses from Cole, J.I.D, Bas, EARTHGANG, and … More »

Let Pi’erre Bourne Produce All The Rap Music

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Most big-name producers have a tag — a quick soundburst that lets you know who you’re listening to and, ideally, makes the song a tiny bit more exciting. You know them when you hear them: “Just Blaaaaze!,” “If young Metro don’t trust you I’ma shoot you,” “Murda on the beats, so it’s not nice.” Usually, … More »

Stream Young Nudy & Pi’erre Bourne’s New Album Sli’merre

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Young Nudy is a rapper who also happens to be cousins with 21 Savage. (He was the target of the investigation that would end up getting 21 Savage detained earlier this year.) Shortly after being released on bond earlier this year, the Atlanta rapper released a mixtape, Faded In The Booth, … More »

Young Nudy – “Mister” (Feat. 21 Savage)

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Young Nudy - "Mister" (Feat. 21 Savage)Back in February, Young Nudy and his cousin 21 Savage were both arrested during a traffic stop. 21 Savage was then detained by ICE after it was found that he had overstayed a visa from the UK. After being released on bond, Nudy dropped a mixtape earlier this month called Faded In TheMore »

Young Nudy To Be Released From Jail On $100,000 Bond

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Young Nudy is set to be released from DeKalb County jail on $100,000 bond, according to The Atlanta-Journal Constitution (Feb. 19) and later confirmed by Nudy’s lawyer to Billboard. “He is in the book out process. We expect his release late tonight,” W. Scott Smith tells Billboard. More »

21 Savage Reportedly Detained In An Operation Targeting His Cousin Young Nudy

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21 Savage was arrested by ICE after the Atlanta Police Department targeted his cousin, Atlanta rapper Young Nudy (born Quantavious Thomas), CBS News reports. Young Nudy has since been arrested on charges of aggravated assault and criminal gang activity. Both 21 Savage and Young Nudy, along with two other men, were taken into … More »

Column: Favorite Rap Mixtapes of August 2018

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With a cascade of releases spewing from the likes of DatPiff, LiveMixtapes, Bandcamp, and SoundCloud, it can be difficult to keep up with the overbearing yet increasingly vital mixtape game. In this column, we aim to immerse ourselves in this hyper-prolific world and share our favorite releases each month. The focus will primarily be on rap mixtapes — loosely defined here as free (or sometimes free-to-stream) digital releases — but we’ll keep things loose enough to branch out if/when we feel it necessary. (Check out last month’s installment here.)

It’s hot, not no-air-conditioning hot, but that Parker Solar Probe hot. Not that Nicki Minaj Queens talk hot, but that “Moooo!” meme behind-the-scenes spot hot. That Travis Scott chart-top hot? That man’s not-hot hot. It’s that Paraffin hot, that “Hades” hot, that PTP-curated fundraiser for BAJI hot, Ka pop-up shop hot, skrra pop pop ka-ka-ka hot. It’s gunmetal hot, shirtless everyday hot, that Atlanta, USA hot, the type of heat to make you right now drop hot.


Aminé – ONEPOINTFIVE

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In a video tweeted in promotion of ONEPOINTFIVE, Aminé quips that “mixtapes are albums and albums are mixtapes.” Throughout the run of this column, TMT has had to reckon with that fact, as an aesthetic and economic divide that once seemed crucial to the evaluation of rap music has closed. But, particularly in responding to an album like ONEPOINTFIVE, we should maybe ask ourselves a new question: why hold on to the word “mixtape” anyway? Is it not just a way of being diminutive about rap made outside of the hegemonic framework of the industry, and which people can often hear for free? I don’t have an answer to that question, but Aminé is positioning himself front and center of a generation of artists that doesn’t give a shit. The intended audience of ONEPOINTFIVE isn’t a critic bent on classification, but granted, it is a lone individual open to analysis; on the first track, Aminé refers to that individual as his “Dr. Whoever,” a receptacle for his secrets, insecurities, boasts, musings, and flights of fancy. Still, despite his open framing of the album as a therapeutic exercise, ONEPOINTFIVE is far from tortured. It’s not going to teach you much about the creator’s psyche. It’s relatively carefree, with beats that, bridging trap with noise rap, satisfyingly defer tension; quips like “she Björk cute/ So she really fine, just sorta weird;” and a verse from the inimitable drill innovator G Herbo. Aminé probably isn’t the “new CNN,” as he suggests on standout “REEL IT IN,” but his music is a lot more fun than watching the news.


Young Nudy – Slimeball 3

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The hero-worship of Future/Metro Boomin/Gucci/Migos/ATL (and the sound associated therewith) is now the status quo, and how could it not be? Any discussion of hip-hop heavy hitters — 2010 and onward, if not earlier — has to include Atlanta, directly or indirectly (chances are that if you’re even mildly interested in a mixtape feature, you know this already). But that status quo is reaching an inevitable zenith, if it hasn’t already, which means that an ATL rapper like Young Nudy can make a timely tape chock-full of *bangers* using the long-championed ATL formula (140bpm trap beats in the vein of say, Metro Boomin, Southside, et al.; braggadocio hooks; earworm ad-libs) and effortlessly churn out tracks that will resonate by virtue of authority. Thus, we have Slimeball 3, a no-features tape that Young Nudy says is “for the fans,” which, at best, is a nod toward its mass marketability and, at worst, points toward a false dichotomy between art-for-critics versus art-for-the-common-people. Still, my hunch is that Young Nudy was instead referencing the aforementioned dominance of his city’s sound, to which this tape is loyal. It’s an accessible of-the-moment mixtape that holds its own alongside current projects from bigger ATL rappers. How long the Atlanta rap canon will dominate remains to be seen, but for now, Slimeball 3 fits neatly into its lexicon.


Q Da Fool – 100 Keys

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Following the runaway success of last year’s DC rap summit “Crew” and the meteoric ascendance of his Largo, Maryland citymate Rico Nasty, Q Da Fool looks to be next in line for a chance to put the DMV on. Since getting out of prison a little over a year ago, he’s been relentless, releasing a string of regional hits and earning himself a feature from Gucci and a deal with Roc Nation in quick succession. 100 Keys is the first fruit born of the latter, linking Q with the ever-relevant Zaytoven for a collaboration that is equal parts coronation and rite of passage. Despite a mixed bag of beats (as is often the case with Zaytoven, a few productions here feel like his hundredth iteration upon a single idea), Q rises to the challenge, lacing each track with a presence that leaves no room for guest verses and no question about who’s on the mic.


Slauson Malone – (1) The Diffusion of Terror (2) Spaceways and Fugitivity (3) Resistance of Objecthood

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With four subsections, including a preface titled “In the Absence of Origin,” Slauson Malone’s latest mix succeeds in elevating the mixtape format beyond our current understanding of it and the possibilities therein. Lately, we have defined it as either an artist’s album-by-any-other-name or a compilation of songs by multiple artists, typically but not necessarily sequenced with some sense of track-by-track cohesion or overarching theme. Here, however, it’s that sense that not only makes, but, for all intents and purposes, is the tape. Though over 50 other musicians are featured, the voice and ideas of artist-curator Slauson Malone remain most prominent, even when quoting Fred Moten’s Black and Blur or blending Funk Master Flex drops with Sun Ra organ lines. Objecthood be damned, that’s a hell of a thing.


Jeremiah Jae – DAFFI

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I’m not one to drum up the importance of the splashy extramusical objects attached to a release, but when an artist willingly swerves around the elusive mechanics of modern stardom, their skid marks, thin on the pavement as they are, tend to speak louder. In the case of Jeremiah Jae’s DAFFI, the latest studio album from the reticent Chicago/L.A.-based producer, rapper, and visual artist, the nonmusical choice that struck me most was the use of motorcycle visuals. I started thinking of affinities between biker and hip-hop culture — their shared opposition to law enforcement, the public flattening of their diverse participants for the acts of an unruly few, and even the idea that those who ride motorcycles and lowriders are noise polluters — only to find that biking hardly figures into the work itself. It’s the highest form of praise to say that I’m happy about this; as I spend more time with DAFFI, I appreciate that Jae is allergic to convenient generalizations. Call him a precocious critic and he’ll admit he doesn’t have the pieces to the puzzle on “Rise.” Call him a “young face on an old god” and he’ll ice up an autotune dirge on “In the Cold.” Call his beats abstract or ambient and he’ll carbonize your subwoofer on “Da Low End.” The point, you ask? It’s still all him.


YNW Melly – I AM YOU

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As is now tradition, I AM YOU is not so much a debut mixtape as it is a vehicle for YNW Melly’s two biggest SoundCloud hits to date, fleshed out by a combination of second-tier singles and new tracks that largely rehash ideas contained within the prior (cf. the re-use of the beat from the standout “Murder On My Mind” for the very next song, “Mind On My Murder”). However, YNW Melly operates on a broader spectrum of styles than the average SoundCloud rapper — he remains very much Young Thug-derived at his core, but rises head and shoulders above his contemporaries when it comes to actual singing ability. Melodically, he’s more akin to Fetty Wap, displaying a preternatural gift for hooky songcraft and a willingness to embrace “overwrought” as a virtue rather than a critique. It’s easy to think ahead to what YNW Melly’s label-funded future might hold (naturally, he’s signed to 300), but don’t let that distract you from the fact that he already has a solid 18 months of work that’s well worth your time.


N3ll – Raider Klan Resurrection

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The last 30 days have seen new projects from Denzel Curry, Xavier Wulf, Grandmilly, Bones, Rell, and N3ll, all former/current members/affiliates of the Raider Klan (both those lines have always been blurry). That might seem like a lot of releases from the same crew (active or disbanded) inside one month’s time, but consider that, at its height, Raider Klan purportedly consisted of hundreds — literally hundreds — of individuals. For all we know, there could easily be as many as a dozen Raider-related projects out this or any given month, yet only one bears the declarative name RVIDXR KLVN RXSSXRXTIXN. (Believe I thought about doing this whole post in Raider-glyphs but decided against it — you’re welcome.) Matured but unconcerned with outsider notions of what “artistic growth” means in hip-hop, N3ll’s latest is, like the earliest and most seminal Raider Klan releases, best described in a word — phonk.


ZMoney – Chiraq Mogul

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It’s hard not to think of ZMoney as a cautionary tale: a too-common example of the close-but-not-quite stardom that awaits the vast majority of “weird,” idiosyncratic rappers who will fail to catch the gulf stream of tastemaker cool that propelled Valee to a G.O.O.D. Music deal and Twitter timeline omnipresence. On the other hand, his work may very well be better off in the long run for its organic nature. Until then, he’ll continue to build a following, maintaining his Chicago roots (G Herbo and, yes, Valee feature on the tape; Rio Mac and St. Louis’s ChaseTheMoney produce seemingly every other track) while releasing a steady stream of projects through Gucci Mane’s 1017 Eskimo label. For a man whose rapping is perhaps best described as a sleep-talking Gucci, there are certainly worse fates.


Psychedelic Ensemble – Live at the Clinic

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To my understanding, psych rap is, by definition and necessity, about achieving and conveying mind expansion via deeply introspective and/or intricate rhymes, i.e. blacking out. Further, in any psychedelic music, things like song structure and instrumentation matter much less than the end result. Perhaps that’s why psychedelia and hip-hop can complement one another so well when done right, like this. The commonality between Live at the Clinic guest MCs Denmark Vessey and Young Morpheus; Jeremiah Jae and Tha God Fahim; or Blu and Mr. Mothafuckin’ eXquire hasn’t so much to do with their respective styles as their penchant for blacking the fuck out on tracks. Psychedelic Ensemble brings the backing music to facilitate and channel that rite, not so simply, the conduit. And the combined effect of experiencing this 21 times in a row is nothing short of expansive.

Nicki Minaj, A Titan Stuck On Autopilot

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Nicki-MinajBack in 2007, around the time she joined Lil Wayne on Young Money Records, Nicki Minaj released the mixtape track “Dreams (2007).” The concept was pretty simple. She was freestyling over the beat from the Notorious BIG’s “Dreams,” the one where he graphically fantasized about having sex with different R&B singers. Over that same beat, … More »

♫ Listen: Young Nudy – Slimeball 3

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Yo, y’all ever listen to an album/mixtape/EP for the first time and you’re like:

Shiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiit… This… slaps

It’s a good feeling, you can’t force it, it’s kinda romantic, no? Beautiful in a most delicate way…

True story: I thought that when I first heard this here Slimeball 3 tape from Young Nudy. Felt it deep down. It’s a good feeling, you can’t force it, it’s kinda romantic, no? Beautiful in a most delicate way…

So since I’ve been fucking with this tape for a few days, I figured I’d throw it out into the world to give it all the shine it deserves.

Expect the following producers at their best: Wheezy, Metro Boomin, Pierre Bourne, Cardiak, BL$$D, et al.

Expect the following rapper at his best: Young Nudy.

Column: Favorite Rap Mixtapes of September 2017

This post was originally published on this site

With a cascade of releases spewing from the likes of DatPiff, LiveMixtapes, Bandcamp, and SoundCloud, it can be difficult to keep up with the overbearing yet increasingly vital mixtape game. In this column, we aim to immerse ourselves in this hyper-prolific world and share our favorite releases each month. The focus will primarily be on rap mixtapes — loosely defined here as free (or sometimes free-to-stream) digital releases — but we’ll keep things loose enough to branch out if/when we feel it necessary. (Check out last month’s installment here.)



Kodie Shane – Back From the Future

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Though Back From the Future’s artwork might imply the vast, dystopian cityscapes of Blade Runner or Neo Tokyo, Kodie Shane’s newest tape administers the same amount of concise introspection as past standout offerings like “Hands Up” and “Losing Service.” The most visible member of Lil Yachty’s Sailing Team clique dabbles in her own Soundcloud-influenced riff on the New Jack Swing sound of the mid-80s, spitting hypnotic hooks atop jazzy guitar chords on opener “Get Right” and later belting out a vaguely gothic synth-pop banger in the form of “Normal.” Shane also returns from the future with a few tracks that feel ahead of their time: “Runway” milly-rocks its way through a hyper-melodic revamp of Playboi Carti’s current brand of sauce while “Level Up” trims Popcaan-esque rhythms with garlands of twee-pop keyboard. Though a quick seven-track listen, Back From the Future shines brilliantly in its ability to channel the zeitgeist while looking a few steps beyond. Whatever forthcoming time Kodie Shane’s returned from, it looks bright for her.


Young Nudy – Nudy Land

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Young Nudy’s capable enough, but there’s some major right-place-right-time going on here. In addition to being 21 Savage’s cousin, he’s a friend, or at least frequent patron, of producer Pi’erre Bourne, a one-two punch of guaranteed rap success in 2017. At times, it feels as though this would be better (or at least as good) without Young Nudy — he hasn’t yet ascended to Carti-level mastery of riding Bourne’s year-defining beats. Yet there’s something to be said for curation – in fact, for mixtapes, it’s the very genesis of the form. Without Young Nudy, there’s no Nudy Land — without Nudy Land, there’s no next step to take. There’s enough here to keep you checking for the next one.


Standing On the Corner – Red Burns

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Red Burns, most likely a reference to the way white people get cancer and die from the sun, is an audio book in the Prince Paul tradition, which is to say it’s sardonically funny and delineated by turn-the-page tones. It’s probably more definitively free than it is rap or a mixtape, and though they say it’s about not being able to breathe, it moves with ease. You might remember the name Standing On the Corner from our September 2016 mixtape column. This is the same group, but with a whole new vitality. And between this and Poor Boy, my man Slauson Malone’s making a strong bid for beats of the year. Last weekend, it was 90 degrees in New York City and 40 degrees in Reno, Nevada. Something’s cooking.


Fredo Santana – Fredo Kruger 2

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The best 300 (and family) mixtapes always drop in the fall, when that weird glow comes over the city as evening falls: Keef’s Back From the Dead 2, Durk’s Signed to the Streets, Reese’s Supa Savage, and of course, Fredo Santana’s It’s a Scary Sight. Fredo Kruger 2, Santana’s second mixtape of 2017, is both a reprise and a refinement in the oeuvre of the 300/OTF/SSR family’s wildest member. (Mostly) gone are both the one-take autotune rambles of mid-period Fredo and the maximal grind of Scary Sight. Instead, we find ourselves in eerie, echo-filled horrorscapes, where Fredo finds plenty of headroom to talk his shit, count his money, and mourn his losses. All the old collaborators found here have undergone stylistic changes since 2013 (when the first Fredo Kruger dropped), but the most refreshing thing about FK2 is that the whole crew is still doing their thing in unexpected ways, sometimes all on the same track: on mid-album banger “Go Live,” Sosa, Fredo, Ballout, Tadoe, and even the late Capo’s younger brother DooWop trade verses over a twisted Southside beat. Just in time for Halloween.


Chief Keef – The W

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A chief beneficiary of the Chicago drill fascination of a few years back, Keith Cozart hasn’t gotten quite enough love since rap fans moved on briefly to “bop” and then into the de-territorialized fog of SoundCloud rap. After all, he was pumping out hooks whose melodies could have been ripped from pop punk songs and half-snarling verses in breathy staccato long before these became commonplace on the radio. Fresh off the largely self-produced career highlights Thot Breaker and Two Zero One Seven, he’s reconvened with mixtape authorities like Zaytoven and 808 Mafia and returned to the basic palette that launched his career. Less adventurous and downright weird than his self-produced releases, The W is also more concise and aggressive. Where recent mixtapes derived a loose, homespun character from sparse instrumentals and inconsistent mastering, the focus here is solely on Keef’s wordplay, in something closer to the fashion of the Bang series. Here, he’s best captured running playfully through insults on “Germs” and trading bars with Lil Bibby and Ballout on “Musty,” though the more essential image might be the one on the cover of him hotboxing the glossy plastic interior of an action figure box — The W continues Cozart’s creative practicing of capturing himself, and all of his adaptability and cartoonish humor, in miniature.


UnoTheActivist – Sorry For The Wait (Brooke’s Interlude)

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Acting as a de facto prologue to his recently-released LiveShyneDie mixtape, Sorry For The Wait isn’t the pregnant pause its title suggests. It’s more of an inhale that precedes a more polished sigh, finding Uno slurping up buzz-worthy Soundcloud motifs like a traphouse Kirby, minus the bulbous pink exterior. In 4 short bursts, the Atlanta-based trapstar spends the duration of the tape regurgitating a sometimes-sickly amalgam of Trippie Redd’s pop-punk brattiness, Young Thug’s penchant for breathless triplet flows, and those purring synth textures that stand in for power chords on Playboi Carti’s “wokeuplikethis”. What’s left spattered across the floor is a eyeliner-tear-stained tribute to the sweeping hooks of mid-00s pop rock, sneaking shades of Paramore or Avril Lavigne into dreamy production that combines driving beats and wailing melodies like an old Rites of Spring CD. “You’re Back” is the cream of the crop here, hustling at a sprinter’s pace to the screech of a Pokemon Red & Blue sample. I sip with tension, Uno sputters, clammy hands shaking neurotically as they’re wrapped around a double cup. “I write like a pencil.”


Peewee Longway – The Blue M&M 3

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Peewee Longway had a very good summer. Despite a bizarre, ongoing cycle of retirement and return, his career is in great health — the videos for Blue M&M 3 singles “Rerocc” and “Stepped On” both have view counts in the millions, and his appearance on NBA YoungBoy’s “Wat Chu Gone Do” made the track a highlight of the AI YoungBoy tape. Combine that with by far the best nickname in the game (marrying his Crip affiliation and impossibly rotund figure), and it’s a bit of a mystery as to why Longway hasn’t blown up. No matter; fame or not, Longway’s output has been consistently outstanding since his breakout in the heady Lobby Runners days of early 2014. The Blue M&M 3 is no exception.