From www.therepublic.com. After winning the best R&B album Grammy this year for “Black Radio,”...
Aww, the Weeknd and Drake really are friends again. Following Abel Tesfaye’s surprise appearance at OVO Fest earlier this month, he’s released...
I had the opportunity to meet The Drama King himself. DJ Drama.
Over the past few years the chorus calling for a return to “real”...
Born in Galveston, TX raised in Jacksonville, NC J.R. and now resides in Virginia Beach, VA, J.R. became infatuated with music around 15 yrs old. With influences from The Notorious B.I.G., The Wu-Tang Clan, Nas, Rakim, UGK and the LOX he took to writing at an early age. Now after 9 Years of being in the U.S. Navy he has decided to chase the dream he has never gotten away from…..MUSIC!
With the single “Club Love” eloquently describes how he falls “in love” with a woman knowing that the club isn’t the place to find a wifey. On a harder note, J.R. teams up with local Virginia Beach Emcee Ponchtanamo Bay A.K.A. “Ponch” on the track St. Anger deliver bar after bar of complete heat showing that J.R. can destroy any Emcee that crosses his path.
Like his page here on Facebook.
Catch me at Shaka’s in Virginia Beach, VA for his album release party for the album entitled “Sweater Season”. Take a listen to this Rare Emcee from tracks on his Sound Cloud Below….
A$AP Rocky is already a star, A$AP Ferg is already a cult hero, and next year, we’ll hear from the rest of the A$AP Mob. The crew’s as-yet-untitled compilation album will be out in a few months, and first single “Trillmatic” is almost entirely a solo showcase for crew member A$AP Nast. But the ’90s-style boom-bap track also has a verse from Method Man, and Meth sounds nasty on this thing. The video sticks with the Timberlands-era aesthetic, going hard on the dudes-rapping-in-project-hallways style that used to dominate the Box and Rap City. Watch it below.
(via Miss Info)
After winning the best R&B album Grammy this year for “Black Radio,” the Robert Glasper Experiment returns with a new release that could easily put them in the running for another.
The Experiment — which consists of pianist and producer Robert Glasper, bassist Derrick Hodge, drummer Mark Colenburg and saxophonist Casey Benjamin — continues their revival of jazz and neo soul on “Black Radio 2,” which takes the band’s rebellion against genre integration one step further.
The album kicks off with “Baby Tonight (Black Radio 2 Theme)/Mic Check 2,” a soothing piano intro with short snippets of his featured guests prepping you for what’s to come. Here, Glasper is a beast on the keys. That’s followed by the motivational “I Stand Alone” with Common and Fall Out Boy’s Patrick Stump. The genre mashup is a perfect example of the jazz band’s resistance not to be categorized.
Glasper’s array of famous friends on the album include Brandy on the laidback, yet addictive “What Are We Doing,” and Jill Scott, sounding like butter, on the smooth lead single, “Calls.” Other standout tracks include the Norah Jones-assisted “Let It Ride,” a groovy and upbeat track, and “Somebody Else,” which gets a boost thanks to the elegant vocals of Scottish R&B singer Emeli Sande.
“Black Radio 2″ works because Glasper has comfortably picked the right artists to collaborate with. There’s nothing to dislike here.
Check out http://www.robertglasper.com to find out more info about the music.
Listen to Calls feat. Jill Scott. Below
Log on to www.defenstration.net to read the full Artist of the week interview with Harrison Bounds!
Artist of the Week
Artist/Band name: DJ Ready
What are your musical influences?
DJ Kid Capri, Jazzy Jeff
What are your aspirations?
To play with a band, which I am now doing with The Special Guests.
How would you describe your music to somebody who has never heard you before?
Diverse, you won’t know what song will be played next- which keeps people on the dance floor. Diversity shows that you have range and aren’t afraid to try something new.
What’s the hardest part about being a musician? What’s the easiest part?
Interview continued on www.defenstration.net
A series of successful, calculated musical risks push The Foreign Exchange to new heights on “Love In Flying Colors.”
by ANDREW GRETCHKO of www.hiphopdx.com
Ever since a series of e-mail exchanges betweenNorth Carolina-based emcee Phonte of Little Brother and the eclectic, Dutch producer Nicolayintroduced the world to The Foreign Exchange, fans have grown accustomed to a brand of Hip Hop where lyrical prowess meets digital masterpiece. But as any Hip Hop head will tell you, the genre is in a constant state of evolution.
The Foreign Exchange’s success is largely built on this principle, taking underground Hip Hop and blending it with the soothing sounds of piano chords and keyboard solos that drift in and out in-between the familiar snare hits and high hat clicks. The duo’s latest project, Love In Flying Colors, uses this formula as its base, but pushes the boundaries at every given opportunity, welcoming an increased computerized presence and a much heavier reliance on R&B-infused vocals from Phonte.
Ultimately, it is these risks that not only push The Foreign Exchange to new heights, but test the limits of an often constrictive music industry as well, and Nicolay and Phonte seem anything but remorseful for their actions.
It’s easy to picture the Nicolay’s fingers floating across his keyboard, producing the types of sonically soothing electronic beats that have been known to make-or-break an artist’s career. Tracks like “Call It Home,” which was offered up to fans a few weeks before the album’s September 24 release date, provide a wide range of digital melodies, mixed in with airy piano chords, a tepid snare drum and a breakneck paced high hat. Phonte’s addition to the track is just as peaceful, as the rapper adds smooth, heartfelt vocals—rather than rhymes—to the mix.
“I’m so lost when I’m away / Tried so long to find a place / So I say, let’s just call it home,” sings Phonte on the chorus of “Call It Home,” his voice melding perfectly with Nicolay’s beat. The Foreign Exchange’s barrier-breaking sound may not be at home in a music industry that seems to encourage repetitive conformity, but nearly a decade after forming, Love In Flying Colors is the culmination of the group’s signature niche.
By the time Phonte and Nicolay were nominated for a Grammy in 2009 for Best Urban/Alternative Performance, their characteristic crossover sound had already begun to change, capitalizing on a style somewhere between the laid back beats of Nujabes and the introspective lyrics of Blu. Fast forward four years and they have grown even more progressive, slowly turning into a mix of experimental Jazz and R&B with a splash of Hip Hop, such as the eight-bar B-Boy homage that comes towards the end of“Right After Midnight.” While this has left some fans behind, it has also attracted new listeners.
As artists like Kanye West have continued to prove, breaking down the longstanding walls separating genres is ultimately good for the industry. But what many don’t realize is that this risk also potentially creates a rift between the fans of the artist’s former work and those devoted to the artist’s new musical direction.
Love In Flying Colors is no different, forcing fans to either go all in or pass up on the duo’s latest work. Only time will tell whether their latest 10-track project—which features songs like “If I Knew Then,” that opt to replace Phonte’s raps with guitar riffs and jazz flute solos that would make Ron Burgundy proud—will be able to hold onto those who came for Phonte and fell in love with The Foreign Exchange’s eclectic sound.
While it may not be apparent at first, the same core values that Nicolay and Phonte brought to The Foreign Exchange haven’t disappeared; rather, they’ve grown and evolved. Phonte is no longer a twenty-something filled with angst experiencing the same struggles that inspire most of today’s Hip Hop. Instead he has a new set of challenges, and has shown maturity as he continues to adapt to Nicolay’s love for elegant, sometimes sci-fi-sounding keyboard riffs with a turn towards R&B, a shift that suits him surprisingly well.
Yes, it’s true that most of today’s commercially successful rappers have grown accustomed to singing parts of their hooks, but even they would admit they aren’t all blessed with the most pitch-perfect voices. Phonte has had no such problem, sounding natural as he draws out his lyrics on tracks like“Listen To The Rain,” singing a message of carefree serenity fitting of his impressive vocals. This isn’t to say that the group can’t revisit their past; a close examination of Love in Flying Colors—tracks like“Better,” which has an unmistakably Hip Hop beat—reveals that neither artist has completely lost touch with their roots. Instead, we are witnessing a continued wave of artists willing to break the mold and follow their true passion: music.
The Foreign Exchange have transformed themselves from a bastion of jazzy Hip Hop into a crossover group more akin to R&B’s soulful beginnings than the underground sound that was synonymous with Little Brother. Ultimately, listeners are the beneficiaries.
Devaye and Emerald Payne
perform a cover of the band 30 Seconds To Mars – The Kill.
This was performed at Poetic Expressions at Queens Way Soul Cafe in Hampton, Virginia.
To hear more music from Devaye check out his SoundCloud
By Carrie Battan
Drake has finally shared the full tracklist for his new album, Nothing Was the Same. It’s got some surprises– for one, there’s no Lil Wayne, as initially suggested. And the only featured rappers are Jay Z, as reported, and Detail. Songs like “The Motion” and “5 AM in Toronto” are absent, but “Started From the Bottom” and “Hold On, We’re Going Home” appear. “Heat of the Moment”, the song on which his father was slated to appear, is not on the final tracklist.
There are also two bonus tracks on the deluxe edition: “All Me”, his collaboration with Big Sean and 2 Chainz, and “Come Thru”. The record is out in full on September 24.
Nothing Was the Same:
01 Tuscan Leather
02 Furthest Thing
03 Started From the Bottom
04 Wu-Tang Forever
05 Own It
06 Worst Behavior
07 From Time
08 Hold On, We’re Going Home
10 The Language
11 305 to My City [ft. Detail]
12 Too Much
13 Pound Cake [ft. Jay-Z]/Paris Morton Music 2