Earlier in the week, Big K.R.I.T had the internet ablaze after posting some cryptic messages on Twitter, one each day from September 26th to the 28th. K.R.I.T. posted 3 pictures, in order from the bottom to the top, which you can see below. Then, almost 24 hours later (September 28th), K.R.I.T dropped a new song, titled "Confetti", which he made available via Apple Music. You can check out the artwork above (and the teasers below), as well as the new K.R.I.T banger, and even a new album teaser trailer (released on the 29th) at the very bottom. Who's excited for new Big K.R.I.T. music?! It's been too long!
(September 28th)
(September 27th)
September 26th
The Song
The Trailer (*I do not own these songs, videos, or the rights to them*)
Recently (September 26th), 50 Cent was interviewed on Hot 97's Ebro In The Morning with Ebro Darden and Peter Rosenberg, and he dropped some jewels about today's artists, as well as being an artist back in his prime, and before that. Another interesting example was used on keeping an aura about yourself as an artist, and being able to "add to your legacy" in the proper manner; that example was Lil Kim.
(*I do not own this video, or the rights to it*)
"Don't think they just go home and they're not doing it anymore. They're doing it and just not releasing it as much because they want to make sure it's an appropriate presentation to the public." - 50 Cent On Lil Kim's lack of new music
Bravo. Encore. No really... SAY IT FOR THE FOLKS IN THE BACK. 50's history as an artist on the top is well documented, and I mean VERY well documented (lawsuits, fights, jumping other artists, Twitter beef, etc.), but do you ever think that any move or public noise that 50 is making is not in lieu of some promotion for a new album/business venture? Okay yeah 50 definitely does just like to be the bully for fun a lot, but he makes very valid points on the aura surrounding certain artists and what the people expect from them.
50 also spoke on Jay Z's critically acclaimed 4:44 album, and why it may not have connected to today's core hip hop audience (22:44 mark); "I thought it was too smart. Look... it's (the album) in my car right now. I still like the records. (But) What Jay was doing on the records, there's more maturity in the actual music. He can take that out. Because it's youth culture; hip hop is youth driven. Traditionally, it would have been a quality piece of work, what it is right now for the audience, the kids that are now actively in the culture and decide what's hot and what's not; y'all see how that went quiet quick? It had the best marketing campaign."
50 Cent, as old as he may seem (42 years old)... knows what's hot and what's not in hip hop. He knows what's going to hit and what's going to miss the intended target in terms of fan interaction, streams, sales, etc. Jay's 4:44 has been argued as the legend's best album (with HIS catalog, that's a landmark achievement), but with the current climate and culture in "meme rap", "mumble rap" or whatever you choose to call it; 4:44 is not turning people up at the clubs or the parties, because it simply does not hit the hot audience at this time. That's not to takeaway from the significance and the quality of the record, but the people decide what works and what doesn't... and though the people decided 4:44 wasn't going to work, that doesn't mean that it didn't.
The gap between Magna Carta Holy Grail and 4:44 was a long one as well; 4 years. At least for today's standards, that's a very long time without releasing a project. 50 was discussing Lil Kim earlier; do you know when her last full length project came out? 2016, and though it was only last year, it's a far cry from releasing an album every month as some artists today do. 50 Cent's last album released over 3 years ago, 2014. All of these veterans in the game have many things in common in how they move and how they calculate each move, but the biggest thing they have in common? A plan. Which, regardless of what you may think from observing today's hot artists, takes time.
When Syd's debut album Fin hit the internetin February of 2017, I must admit I was pretty sleepy, by the internet's standards. It peaked at #75 on the U.S. Billboard 200 charts, including a peak position at #32 on the Billboard R&B/Hip Hop album charts. Still not having heard a single song off of Fin (give me a break, I'm just a man! *cue crying face emoji*), I went into her newly released, brief EP Always Never Home excited about the length of the project; 3 songs. Because who has time to sit and listen to whole albums anymore?! 15 seconds into the new EP, I was immediately regretting the long slumber that I had taken on the former Odd Future group member (who is also the sister of fellow Odd Future member Taco). Former Odd Future member? Wait... back it up... you're telling me that R&B vocal goddess Syd was a part of a group that birthed solo albums like I Don't Like Shit, I Don't Go Outside (the album title that sums up my life) and Scum Fuck Flower Boy? I suppose you can never judge a book by it's cover, but you damn sure can judge a singer by his or her vocals, and hearing Syd is like hearing Aaliyah for the first time... a voice that demands attention; a seductive queen that can kill you by rocking you to sleep with her rock-a-bye tones and melodies, yet have you not even know it until you start seeing the light; because you're so stuck on that sweet, sweet voice. Always Never Home offers a peaceful, yet knowingly unhealthy relationship with love, as if Syd is the drug, and you're trying to escape, yet she grips you and pulls you in ever so gently... and you have the chance to escape, but you can't for the life of you find a reason to leave. If Syd herself is heroine... then her newly released EP Always Never Home is the syringe.
Vocals That Make The Instrumental Sound Better, As Opposed To The Opposite
Often times in music, specifically hip hop and R&B, it's hard to picture a certain rapper or singer over a melody based on the music itself; a beat can end up sounding so good or so awful that the beat sounds better (or worse) without anybody on it than with the idea of someone turning it into a legitimate record themselves; but Syd flips that sentiment on it's ear. Syd's vocal range and ability to craft a song (as opposed to a hit record) in it's entirety are key elements of what makes Always Never Home so addicting. What Syd does with her voice in songs is what some wish they could do on full length ALBUMS, which gives her enough potential to work with artists of entirely different genres and sub-genres. She could transition from a club banging love joint with Drake and then turn around a week later and do a soulful ballad with Kendrick, all depending the mood she's in. Longevity in music prolongs years, even decades of time for an artist when fellow collaborators know that you have more than just one specific skill set musically. Syd is busting swagged-out love bars on the opener "Moving Mountains", a banger dedicated to what tired love sounds like; "I've been moving mountains for you, but what I got to show for it?" she almost angrily, yet subtly spits in the verse, polishing it off with high notes that give that same "tired love" sentiment hope. In "Bad Dream/No Looking Back", Syd effortlessly transitions into a much more sensual, intimate vibe that paints a picture of having your girl sitting on your lap, grinding away and staring close into each others eyes... damn! Sorry, I should probably chill. Sorry fellow HHU readers, Syd just provokes that feeling in you.
Sorry for the briefness of the article (or your welcome...? Depending your stance on reading), but a 3 song EP isn't quite enough to have multiple observations of... although I don't doubt Syd's incredible ability. In a mere 3 songs, she strangle holds your feelings from resentment/revengeful, to loving and intimate, finally to the "back to work" mode and feeling that "On The Road" instills in it's introduction... transitioning then into the "intimate club performance" feeling that could only be felt like a night at Def Poetry Jam, except with soulful, lusty singers that make you feel (somebody invite Jhene Aiko and SZA, while we're at it!). Syd's short and to the point name does not define her artistic, emotional expression heard in her music, which offers reflection and a "cold sweat" sort of warmth that can only be felt by waking up in the middle of the night and missing your baby girl. Always Never Home sets the precedent for what love stories should sound like in R&B, and how they should be told; with a soft and soothing voice that comforts the lonely, and a fire that burns bright enough to light the inspirational candle to fuel the newly single mindset.
Since I didn't include the best song on the EP and I cannot for the life of me stop playing it, enjoy Syd's "Bad Dream/No Looking Back" below.
(*I do not own these songs, or the rights to them*)
Tha Doggfather has returned! A mere 4 hours ago, Snoop posted to his SoundCloud account a new song, titled "What Is This?" featuring South Bend, Indiana singer, songwriter and producer October London, who is apparently signed to Snoop's Dogg Pound record label. The song is produced by the hit maker and multi-dimensional Nottz, and the production sounds like a vibe practically molded by Snoop himself. There are no rumors or confirmations that Snoop has been working on a new album (especially having dropped his latest album Neva Left earlier this year in July) but with such a catchy jingle just released, it wouldn't be far fetched to expect something new from Snoop soon. You can check out the new song below.
For rising Compton emcee Buddy, as it is most Compton artists, failure is not an option. With coming out of Compton, there also comes a few stereotypes; drive-by's on the daily, dealing drugs, guns, partying, and the every day struggle of simply trying to survive. Does this mindset give Compton citizens more of a will to live than those of a, oh I don't know, say... Dover, Delaware? I can't vouch for the hardships of Dover, Delaware because I don't live there, but if there's one thing that can commonly be said about Compton, it's that it's history is VERY well documented. And though it's documentation is almost a priority for the city's shining young artists, Buddy finds a way to make it all sound new and refreshing, like watching a re-make of a childhood favorite movie (we'll see if LeBron or whoever butchers the follow up to Space Jam if it's ACTUALLY being made, but that's beside the point). Buddy takes us on a short, yet fulfilling trip down Magnolia, and it's a bittersweet ride; not because the project does not live up, but because the trip is just too short. Here are some key observations from Compton artist (who has received co-signs from both Pharrell and Kendrick Lamar) Buddy's Magnolia.
Effortless Instrumental Riding
Buddy's take on approaching a beat is one used with care and ambition. He cares just as much about the melody as he does making the listener jump with excitement to the instrumental, and that's evident on the absolutely flaming and flamboyant jam 'Type Of Shit" featuring Pittsburgh rapper Wiz Khalifa. Buddy uses his vocal range as a tool in a singing jingle on the hook, as well as a confident boast when he raps his 2 verses before Wiz comes in and smokes the instrumental out. If there's any song that could launch Buddy to stardom, my pick would easily be "Type Of Shit". On the intro track "4 The Record" featuring fellow Compton artist Boogie (how about that for a duo? Boogie & Buddy? Buddy & Boogie?), Buddy enunciates his flow a little bit slower, in a much smoother tone that almost makes you feel out the song differently than you would if Buddy were to be rapping faster on the track. Magnolia is entirely produced by duo Mike & Keys, and Buddy is using his platform to promote the talented duo. Buddy said in an interview; "I really want the listeners to get familiar with Mike & Keys. We have over a hundred songs over the course of 3 years and we picked 5 to put out to the world. Their production is completely different from Kaytranada (with whom Buddy has previously worked with on a joint project called Oceans & Montana). I also want to further demonstrate my versatility as an artist." It sounds like Buddy is dedicated to his craft, and what's better to hear from an up and coming artist than one who cares about the music?
Despite The Short Track List, There's a Song For Everybody On Magnolia
(*I do not own these songs, or the rights to them*)
From colorful bangers, to slow jams for the ladies, all the way to sobering songs discussing living the Compton lifestyle, Magnolia is a ride that is too quick to process in it's mere 17 minute run time. In Buddy's ode to the ladies (or maybe, specifically, one lady) "Last Time" featuring Swainsboro, CA artist Kent Jamz (who sounds like an eerie mix of Andersen .Paak and Chris Brown), Buddy gives Kent the spotlight to display his uniquely high, yet chameleon-like vocals to mold and transform flows and voices over a smooth, slow jam with a boom bap kick and cracking open hi-hat. On another track, "That Much", Buddy uses the "successful artist who everybody wants to eat off of" approach to discuss why he doesn't do much besides kick back and lay down tracks; "niggas actin like they know somethin, niggas asking can they hold somethin', niggas acting like I owe somethin, niggas always want somethin'."
If Buddy's Magnolia is any indication of what else is to come from the Compton artist, then I will absolutely be eagerly awaiting his next move. Buddy's swift and sneaky fusion of relatable content and hit making potential is something we haven't seen in quite awhile; a pure musician who makes music from the heart just by telling his side of a story. With giants in the game already backing him (especially artists held to such a high regard such as Pharrell and Kendrick), Buddy is most definitely going to be making waves in the game soon enough. And in my humble opinion (and I'm sure I'm not the only one who thinks so), 5 tracks just isn't enough! Buddy clearly has an idea of a marketing strategy already planned out, and hopefully that strategy includes a full fledged LP on the horizon, and much sooner rather than later.
