King Menny releases a 3 track ep. consisting of his journal entries recorded throughout his first semester of college in New York. Includes tracks produced by some of his favourite producers on Soundcloud.
Shot & Edited by Northern Hussle.
Sep connects with Brotha J for the latest single off his “Almost NevR” full length, available now at www.SepTo.ca
Directed by UA.
First introduction to Charlene Nash via visuals for “Worst Part Of Me” off her “Give It Back” EP.
Raz Fresco delivers a high-energy performance in his new experimental music video for “Insomnia,” off ‘The Screwface Tape.’ Download ‘The Screwface Tape’ for free at http://bit.ly/1tBueHG.
Pablo Frescobar coming soon.
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Erskyne Le Verb brings a collection of tracks hidden in his library. Each track was produced, mixed, and mastered by verb, and were the early productions he created. The story behind the name of the playlist connects to him bumping his first beats in his 98′ Camry. https://soundcloud.com/erskyneleverb/sets/camry-collectives Camry Collectives is a taste of the next tape soon to come by Erskyne.
BadBad + The Hundreds.
In the 1840s, Europe was set ablaze – not just by simultaneous liberal revolutions across the continent by a populace living through the ultra conservative, post-Napoleonic era, but by a social phenomenon known as Lisztomania. Lisztomania is described as the hysterical, almost comical reactions by fans of famed concert pianist Franz Liszt at his sold out performances throughout Europe at the time. Music had never garnered such fevered emotional reception by the youth before. It proved to be a standing point in history, foretelling the constant connection of sound with the adolescent.
This past month, I landed at JFK for the first time and headed down to Manhattan, New York City. In a little longstanding ballroom on the Lower East Side, I played eyewitness to the lisztomania that swept through the gathered audience at The Bowery. Over 600 people stomped, staged dived, pulled their hair, and moshed to a band with no vocalist. The headliners were BADBADNOTGOOD – a Canadian jazz trio. Exhibiting their versatility and hip-hop knowledge, BADBADNOTGOOD built a cult following for themselves by covering acts such as A Tribe Called Quest, Waka Flocka Flame, and Gucci Mane. They’ve since collaborated with and successfully channeled the rambunctiousness of LA outfit Odd Future, incorporating the instrumental structures they learned while attending Humber College in Toronto, and have achieved massive popularity on Soundcloud and social media.
We got to sit down with the three young men of BADBADNOTGOOD fresh off of tour, supporting their 3rd album, promptly titled III, while concurrently wrapping up their collaborative group effort with the Shaolin legend, Ghostface Killah. Backstage, we talked to Alex Sowinski (drums), Chester Hansen (bass), and Matt Tavares (keys) about the importance of their musical background, improvisation, this increasingly visible intersection of jazz and hip-hop, DJ Mustard, and the Sour Soul recordings.
SENAY KENFE: So we’re sitting here backstage of a grand night at the Bowery with BADBADNOTGOOD. How’s it going, guys?
Simultaneous: It’s going great.
It was a packed crowd, how was the tour for you guys?
Alex: It’s been good, it’s gone by in a whirlwind the past few days. We played two shows in Boston, then NYU here, and then Washington and then tonight.
What made you guys go the route of playing these covers? Particularly hip-hop covers and uploading them?
Alex: Just goofing around, meeting each other in school, and yeah, just hanging out and talking about music. You’re practicing your instrument all the time and learning all these jazz songs… So we were like, “Let’s just try playing some other shit,” and we were just goofing around and started playing these random beats and things.
I think it’s pretty epic to see a jazz trio having hundreds of people mosh in a ballroom.
Simultaneous: Yeah, it’s crazy. People were going ham tonight.
Get to know one of BKR$CLB’s finest.
Brampton’s own BriskInTheHouse is one of Canada’s premiere lyrical talents, known for combining conscious flows with saturated breakbeats and piano trills. Growing up in Vaughan and Oakwood, the rapper/producer started refining his craft at the age of 7, at the behest of a very musical family. Brisk likens his upbringing to a sort of “rap bootcamp,” with two DJs in the house, and cousins who would pummel him if he didn’t showcase a few bars for their friends. Two decades later, BriskInTheHouse has conceived a sound that straddles influences like Stones Throw and Jay Electronica, but remains unwaveringly true to himself.
We linked up with the BKR$CLB affiliate to talk about music, faith, and future plans.
When people talk about your music, the term “conscious hip-hop” gets thrown around. Is that a label you embrace?
When it comes to the label or term “conscious,” I’ll embrace it. I know where people are coming from when they say it. Life is all about balance. On a good day, you can find me hanging out with my boys, getting drunk and cracking jokes. But I also take the time out to study, so I don’t get caught up in the traps this world has to offer. I try to be in the world, but not of it. My main goal in life is nation building, and that’s why I write books, read books, and share information with anyone willing to listen.
Your latest record, Tickets To The Roxy, has a throughline of classic, jazzy boom-bap, sidestepping massive trap beats that dominate mainstream hip-hop. Who do you cite as influences for the sound you’ve created?
The title Tickets To The Roxy was inspired when I was watching the movie Beat Street one night. Back in the day, the Roxy was the place to be, and I wanted to bring back that real hip-hop sound everyone seems to be ignoring these days. The music itself was probably recorded two and a half years prior to me putting it out, because I was recording so much at the time. My main influence when it comes to making music is Jay Electronica. I can relate to him because we’re both followers of the Honourable Elijah Muhammad, and we come from the same school of thought. He is probably the only mainstream rapper I can relate to at the moment. Most of my favourite artist are signed to Stones Throw Records. I stopped being a fan of rap a long time ago, and started getting heavy into jazz, and music from Brazil. I think that’s where the influence for most my records comes from. I try and channel that Brazilian jazz swing in the beat, and in the way I flow.
Introduction to another new under-20 in the city, Dom Alli. The super fast flow’s a little shaky off the top but the tape definitely starts to find itself after that and showcases the youngin’s potential. On first listen, tightest joint is probably “Gone”.
Debut mixtape from rapper/producer Dom Alli.