Drewsthatdude is a Multi Platinum Grammy Nominated producer out of Hempstead, NY and is currently signed to Huh What & Where Recordings along side my homie Elaquent. With production credits from Lil’ Wayne, Freddie Gibbs, Schoolboy Q and Havoc of Mobb Deep his range and dept of beats is amazing.
Drew’s latest EP has a soulful-trap sound with amazing chords, and right now the track Water is DOING IT!!
Check “Water” off the EP here:
Check the full EP stream below!
Like the title says….banger…can’t for this this guys new shit to drop!!
Kaytranada literally dropped this video hours ago and its a surefire banger! Kay’s signature bass synths matched with Anderson Paak’s gritty vocals it a murderous combo!! Check the video below!
Sauga City and the GTA is no stranger to that conscious hip hop sound, and Junia-T is no stranger to the above. Coming off the heels of “Eye See You” which dropped last year and made a massive impact in the community and beyond comes “My My My”. With a super raw beat and even nastier lyrics Junia kills it once again, and with Big Sproxx on the boards this is sure to be an anthem for Tdot, the six or whatever you call this great city….
See below, Snoop Dog speaks on Dilla production and music and how everything happened…
The Track:
Gangsta Boogie – Snoop x Dilla!!
Maaaan, I’ve been waiting for some new Ganz, and now I hear he worked with Flume on this joint….this shit is straight fire!
For a time, it was interesting to know that What So Not was a project that allowed Flume to step outside of his lane and really let loose. At the time, the Australian duo of Emoh Instead and Flume made a huge impact, with bits like“Jaguar” and “Tell Me” (alongside RL Grime) setting festivals ablaze. In early 2015, Flume announced that he was leaving the group to work on his solo bits, but that hasn’t stopped Emoh at all; his new single, “Lone,” is the first original What So Not release sans-Flume, but fear not: Emoh’s got this.
Linking with fellow Australian GANZ and the beautiful vox of JOY, “Lone” is an early spring anthem of the highest caliber. It blends a massive, crowd-pleasing drop with a more sultry, pop-y vocal that is downright inescapable. It makes perfect sense that Skrillex‘s OWSLA imprint would gravitate to this; the sound is tailor-made for the forward-thinking imprint.
You can grab “Lone” on April 8. Stream the track in full up above.
If time has proven anything at all, it’s that Mick Jenkins and Kaytranada make for one of hip-hop’s best current pairings. Perhaps you caught wind of this on either one of Mick’s stud EPs or more recently on the lustful heater “Your Love” or shot-firing loosie “HeadAss.” Well, today they step out once more with undeniable chemistry, samplingBADBADNOTGOOD on the slick new banger “The Artful Dodger.”
The track — featuring additional production from THEMPeoples — finds Jenkins on a tear, breezing through stuttering, glitched-out wonder, laced with teetering synth lines and a hard-as-hell knock. It comes as the very first taste of the south-sider’s soon-to-arrive debut album, The Healing Component, which is being readied for a 2016 release. You can hear Mick Jenkins and Kaytranada connect once more on “The Artful Dodger” below, just be sure to sit tight. There’s plenty more on the way from Jenkins andKay’s 99.9% LP is just weeks away from landing.
You can’t mention Black Milk‘s without harking back to the many moods, phases and faces of the Detroit maestro. His latest finds him further exploring the deceptive depths of his live band, Nat Turner, excavating new ground and paths of rhythm, culminating in the upcoming release of The Rebellion Sessions. And while we were treated to just what a live and direct BM suite might sound like with the release of the non-album cut, “The Rebel,” today we’re gifted “The Knock,” which caries with it a jazz-inflected backbone with flares of afrobeat and funk pulsing through. You can hear the latest from Black Milk & Nat Turner down below, just be sure you scroll down to see his full slate of tour dates. The Rebellion Sessions is due April 4th and can be pre-ordered via iTunes today.
Snakehips, a UK-based production outfit comprised Oliver Lee and James Carter, first landed on the scene with their massive hit “All My Friends,” featuring Chance The Rapper and Tinashe. But it seems their eye for collaborations knows no bound, as the follow-up single “Money On Me” arrives, strung together by the melodic rasp of, you guessed it, Anderson .Paak; the one-man tidal wave of 2016. It’s a ride-out-with-top-down type of joint, fit with dizzying trap drums and jabs of synthesizers, akin to what you might have heard on Paak’s debut, Venice, swaggering and effortlessly cool. It’s but our latest taste of what’s to come, as Snakehips readies their All My Friends EP, slated to arrive on April 15th via RCA. Tune in down below and hold tight for the next episode.
We tell many stories about James Yancey.
There’s the one about how in the mid 1990s, as Jay Dee, he perfected sampling and helped reinvent the sound of A Tribe Called Quest. Or the tale of Questlove taking inspiration from his drumming style for the grooves of D’Angelo’s Voodoo. Or the one about making the 2003 low-key underground classic Champion Sound with fellow maverick Madlib. But best known of all is the story of how he crafted the definitive beat tape statement,Donuts, while on his deathbed. It’s through these stories, and countless others, that we elevated Yancey after his death to the top of hip-hop’s production pantheon. Ignored in life, his oeuvre was lauded in death; a lifetime of innovations reduced to a catchy tag line on a T-shirt. In our rush to set him stone, we forgot that Yancey had spent his life advocating forward movement, not stagnation. The intent was lost and man became myth.
There is another story we tell about Yancey, about a lost solo album for major label MCA, part of a deal signed in the early 2000s at the peak of his brush with the mainstream. Yancey’s MCA album would vindicate his until-then shadowy presence and confirm him as the producer’s producer par excellence. But it wouldn’t do so in an obvious way, because for this album Yancey had opted to put pen to paper instead of finger to MPC pad. He’d rap, just like he had done with Detroit trio Slum Village in the 1990s. And the beats would be from producers he admired and respected. Beats, rhymes, and hype.
source:FACTMAG
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