Hip-Hop

Best Hip-Hop and Rap Songs | 2021

Stingray Curators — Wed, 01 Dec 2021 05:47:28 +0000

Best Hip-Hop and Rap Songs | 2021 Stingray Curators Wed, 12/01/2021

2021 has been one of the most impressive years musically. We have seen some of the heavy-hitters in the game drop bangers after bangers. There are plenty of hip-hop and rap songs from the legends to the freshmen class to celebrate this year. Check out the best hip-hop and rap songs of 2021!

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“8 Ball” - Pop Smoke ft. Kid Cudi

"8 Ball" has to be one of the tracks that most people were eager to hear in the second posthumous album of the late rapper Pop Smoke. “8 Ball” comes with a more relaxed approach from both Cudi and Smoke. It mainly features instrumentation with less emphasis on the track being a hit.

“Corso” - Tyler, The Creator

“Corso” is Tyler's love letter to his past. We can see a younger Tyler looking into the future for a glimpse of his success. This track has a lot of meaning to Tyler, but besides that, it's an excellent banger that people have loved to listen to in 2021.

“Dolla Sign Slime” - Lil Nas X ft. Megan Thee Stallion

"Dolla Sign Slime" might not be one of those soul-baring tracks on Lil Nas X' album. But with Megan Thee Stallion's feature, this track aims at everyone who has predicted doom for the 22-year-old rapper. Lil Nas X brags about his success and expensive habits.

“FYE FYE” - Tobe Nwigwe

“Fye Fye” is probably one of the livest songs Tobe Nwigwe ever done. The Houston rapper and his wife are absolutely brilliant on this track. There're so many highlights that it's almost impossible to choose a favorite. Despite the ferocity of their flow, the fascinating thing about this video and song is the joy they emanate.

“Iconic” (from the Femme It Forward Comp) - Rapsody

Rapsody doesn't play any games on “Iconic.” The North Carolina rapper goes off in this track over beats that sound groggy as hell. She hurls out of bars about her stature in the game and the willingness she has invested into blocking our haters. She delivers some godly punchlines in this track, and we love to see it.

"Nobody” - Nas ft. Lauryn Hill

When people realized that Lauryn Hill had been featured in “Nobody” with Nas, social media went into a frenzy. Nas exhibits the same dexterous flow he did in his younger years, but what seals the show is the explosive verse by Ms. Hill.

“Raindrops” - GoldLink Ft. Flo Milli

T“Raindrops” comes with such a smooth beat but with lots of basses attached to it. What's more, it has a very catchy hook by Flo Milli and the slightly delicious, pimpish, and romantic lyrics from GoldLink. The song has some fantastic vibes that you will love to hear.

“Shine” - Robert Glasper ft. D Smoke & Tiffany Gouche

Glasper, in this track, lays down one of the warmest tracks that almost feel like sinking into a bubble bath. D Smoke, on the other hand, unspools verses that are heavy on visualization. Gouche gives us a nice hook that tells us about all the inner conversations that help us shine.

“Str8 Up” - Naya Ali

“Str8 Up” by Naya is a soul-driven banger that everyone couldn't wait to hear. The song comes with three layers. We have the fast raps that assert their rhythmic gymnastics, as well as a vulnerable and honest pre-hook that paints us a picture of her current reality and the demons she's trying to deal with. The most admirable thing is her authenticity in talking about her challenges.

“What It Feels Like” - Nipsey Hussle & Jay-Z

This track oozes all sorts of greatness. It's the kind of banger that makes the hustlers want to hustle harder, make the kings feel holier, and make Black History Month feel even grander. Jay-Z raps with a lot of hostility in this track, and Nip talk about how he needs to move more carefully in these streets.

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Best of 2020 | RnB & Hip-Hop

Brian — Wed, 16 Dec 2020 20:43:44 +0000

Best of 2020 | RnB & Hip-Hop Brian Wed, 12/16/2020

As 2020 comes to an end, we’ve asked our music programmers to pick their favourite songs of the year. Discover Brian's Top R'n'B and Hip-Hop tracks!

Well 2020 went off-road pretty quick. Here I was moving into a new place, living my best life and building on the momentum of projects at the end of 2019. I’m not the type to say “This gon be my year,” but when I see something nice happening, I lean into the good, try to keep a level head, and “not talk bidness til bidness is done.” All that to say, in the words of indie pop group Avenue Beat “Fuck 2020.” But before we light it on fire and watch it burn to the ground, here are the songs that got me through some near breaking points.

Best R'n'B songs of 2020

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“Sensitive” by Serena Isioma

“Sensitive” by Serena Isioma produced by C Medina dropped early in the year, and it hit the perfect vibe of fuck everyone, and I’m taking the world by storm. Like I mentioned earlier, I was in a pretty good place at the top of the year, so going back to this energy when I needed a boost helped.

“Moment” by Victoria Monét

“Moment” by Victoria Monét, produced by Tim Suby & D’Mile, off her album Jaguar was a similar message from another side if that makes sense. This one felt like getting that approval you needed when shit was just not poppin’ off. Imagine being with your partner and just having them tell you, you got this and we are going to enjoy this moment. It was a song you might have had on your Valentine’s Day playlist that started having more meaning when you needed to hear “this your motherfuckin' moment.”

“Gone” by Alex Isley ft. Jack Dine

“Gone” by Alex Isley ft. Jack Dine is my second favorite song of the year. It was the number one until someone came along in October, but I’ll get to that. How do I explain my love affair with this song? Alex’s voice soothes the soul in a way I can’t describe, and I feel like I’m floating in the ethereal waters of a dreamscape when I hear it. Think I’m making it up, go listen to the track for yourself in a dark room and enjoy the stress reduction. Essentially this song should be made into a pill for anxiety.

“Make the Most” by Lonr. ft. H.E.R.

“Make the Most” by Lonr. ft. H.E.R., produced by DJ Camper, is simple, fun, light, and makes me think of sitting in a park with someone. Which was the kind of perfect visualization I needed once I was working from home. Funny thing about this song, the music video just does not fit the vibe. I understood the point the video was trying to make and applaud them for telling the story because tackling the murder of a black man by police in a love song seems IMPOSSIBLE, and they managed to do it tastefully. I guess it was just that I pictured the song one way, and the video definitely challenged that.

“Freeze Tag” by Terrace Martin, Robert Glasper, 9th Wonder & Kamasi Washington ft. Phoelix

“Freeze Tag” by Terrace Martin, Robert Glasper, 9th Wonder & Kamasi Washington ft. Phoelix almost didn’t make the list. The song felt like a cheat code… you can’t put four of the best producers and musicians in one group and just let them make music together. The fact that ego plays no part in the union of these insanely talented creators is beyond me. I can’t even imagine being a fly on the wall of a song planning session. Robert: “Ok I have a melody in my head.” *plays melody; 9th: “I got you,” * adds a beat; *Kamasi picks up sax and starts improvising; *Terrace hits record and starts humming and adding lyrics to the song. THAT… THAT IS HOW THEY PROBABLY MAKE MUSIC. Just think about it for a second… and you want me to list them against people working solo. In the end, I can’t not list them, though, cause their album was exceptional. Oh, and you know what they did after releasing the original version? They got their favorite rappers to put verses in the tracks and re-released it as a part two... #CheatCode

“Make It Home” by Tobe Nwigwe ft. David Michael Wyatt

“Make It Home” by Tobe Nwigwe ft. David Michael Wyatt and “Try Jesus,” both produced by LaNell Grant are just solid songs. The Pandemic Project album was a nice little five-track and ends with a podcast of sorts and it’s messy and funny. If you need good music and a baby announcement that goes off the rails, jump in. The laughs were needed and welcomed.

“Colors” by TeaMarrr ft. Wale

“Colors” by TeaMarrr ft. Wale produced by Brandon Brown is that weird track that would work in a rage room and chillin’ with friends. That dichotomy is built into the song, and I like it. I have to admit, at first I wasn’t loving the song, but the more I listened to it in conjunction with other songs, it always stuck out, and I would often skip back to hear it play again. Subconsciously it was a vibe I needed.

“Movin’ On” by India Shawn ft. Anderson.Paak

“Movin’ On” by India Shawn ft. Anderson.Paak produced by D’Mile is a pretty perfect duet. This is the second time D’Mile has produced a track on the list, and the style on each song is distinct but has a signature. India throws it back with some beautiful runs, and being outside to this one was good. I heard it while cycling along a waterfront just before it started raining. I kid you not, I was about to get mad, and the song came on and stopped me in my tracks, ‘cause the drums just melt your anger away.

“Damage” by H.E.R.

“Damage” by H.E.R. produced by Cardiak… I don’t know what to say. The song has elements from old school R&B, H.E.R. challenges Alex Isley for the best voice, and if “Gone” put me in a dreamscape, “Damage” is the music to the love scene inside the dreamscape. Real talk, I can’t say anything other than listen to the song. If you are an R&B fan, just know that H.E.R. is the heir apparent to whoever has the crown now. Which for all I know is H.E.R. and she’s just humble about being the current Queen of R&B.

TOP 5 Hip-Hop songs of 2020

5) Hello - E.Jones ft. Pharoahe Monch

4) Ooh la la - Run The Jewels ft. Greg Nice and DJ Premier

3) Scottie Beam – Freddie Gibbs

2) Shine - Joey Bada$$

1) Bout Shit – The LOX ft. DMX

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Entrevue avec Marie-Gold

Sasha — Fri, 03 Apr 2020 18:18:10 +0000

Entrevue avec Marie-Gold Sasha Fri, 04/03/2020

Le 25 mars est paru le tout premier album solo de la jeune rapper Montréalaise Marie-Gold. L’album intitulé La règle d’or a été composé avec différents producteurs et collaborateurs de son choix. On retrouve ici enfin la première offre complète de l’artiste émergente.

Pour souligner l’occasion je me suis entretenu avec elle pour en apprendre un peu plus. (Tout en respectant la distanciation sociale, là, on gère).

Marie-Gold | Crédit Photo : John Londono

So, Marie, parle-moi un peu de ton album. Outre les collabos et les évènements qui l’entourent, il représente quoi cet album pour toi profondément ?

C’est un premier album, un premier jet d’un ensemble cohérent. Ce qui était important, c’est que les textes soient travaillés, soutenus par une production musicale riche et surprenante, et que les thèmes soient variés. « Règle d’or » fait référence à la citation du philosophe George Bernard Shaw : « La seule règle d’or est qu’il n’y a pas de règle d’or ». Dans la personnalité de l’album et celle de mon personage Marie-Gold, c’est de mettre de l’avant ce côté frondeur, qui souhaite revisiter les codes et les traditions, les questionner.

Quel a été ton plus grand obstacle durant la création de ton œuvre? Et comment t’en es-tu sortie?

La conciliation école-musique, qui est encore une dualité à ce jour. J’ai appris à garder mon sang-froid en gérant les deux, et à continuer à aller de l’avant. Aujourd’hui, je trouve davantage une balance, car les deux milieux, bien que distincts (le rap et la physique), se nourrissent l’un l’autre.
J’ai aussi appris à travailler avec une toute nouvelle équipe (Les collaborateurs sur l’album, la COOP Faux-Monnayeurs et Audrey Canuel en gérance). Un temps d’adaptation a été nécessaire pour trouver la balance au niveau du pouvoir décisionnel, et à savoir quand je devais accorder plus d’importance à l’oeil et l’oreille extérieure, sans nuire à mon intuition, mais plutôt en aidant au résultat final.

Aucun album de hip-hop n’est complet sans son lot de featurings. Pour ton single « Goélands » tu as fait appel à Lydia Képinski et Kirouac. Dis-moi en plus sur la genèse de cette collaboration.

Je devais initialement aller avec Kirouac en studio, pour une session X. Je souhaitais déjà faire un feat sur « Goélands », et j’ai rapidement tenu à avoir un triangle d’acteurs et d’actrices de la scène émergente. J’ai vraiment boqué là-dessus. Je trouvais que les énergies de Kirouac et Lydia “fittaient” parfaitement avec la track, ensemble. J’ai hyper appris en voyant la méthode de travail et d’enregistrement de Kirouac ; Aussi, bien qu’elle soit issue du milieu davantage rock/électro, Lydia a cette personnalité un peu “grunge” et sans limite, dont l’énergie peut bien s’associer à celle d’une chanson trap.

Qui d’autres as-tu sur ta wishlist de futurs collaborateurs ?

Je suis vraiment open. Je n’ai pas de nom en tête en particulier ; ça y va selon la track, ou avec qui je me retrouve en studio de façon organique. J’essaie de ne pas me jinxer non plus.

Parlant de mettre un spin positif sur les évènements qui nous habitent ces jours-ci. Tu en as profité pour être (aux fins de cette entrevue, du moins) la première artiste québécoise à sortir une chanson sur le sujet avec « L’amour au temps du corona ». En tout, ça t'a pris combien de temps pour pondre cette pièce ? Ça a dû faire réagir ?

Ça m’a pris douze heures : j’ai écouté le beat que Liam venait juste de m’envoyer ; J’ai écrit les lyrics ; Je les ai retravaillées, apprises par cœur ; Je me suis enregistrée, j’ai fait un mix minimaliste ; J’ai enregistré la vidéo et fait un montage très DIY sur iMovie. C’était hyper libérateur car je me retenais de faire une chanson sur les événements et le COVID, car je trouvais déjà les réseaux sociaux et les médias saturés en ce sens. Aussi, je ne voulais pas banaliser l’événement ou sembler le ridiculiser. Finalement, c’est une réalité que l’on partage tellement tous en ce moment, que c’est inévitable de l’aborder, tant elle génère des émotions particulières.

Découvrez les œuvres de Marie-Gold sur notre app mobile Stingray Musique sur les chaines Québec émergent et hip-hop québécois d'aujourd'hui.

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Haviah Mighty | 2019 Polaris Music Prize

Ariane — Thu, 19 Sep 2019 17:03:09 +0000

Haviah Mighty | 2019 Polaris Music Prize Ariane Thu, 09/19/2019

Held at the historic Carlu in downtown Toronto, the evening featured performances by nine of the 10 Polaris nominees. These included Marie Davidson, Elisapie, FET.NAT, Dominique Fils-Aimé, Les Louanges, Haviah Mighty, PUP, Shad, and Snotty Nose Rez Kids. Jessie Reyez was also in attendance. CBC Music’s Raina Douris was the host for the gala. Re-watch the Polaris Music Prize gala performances and winner announcement HERE.

A longstanding Stingray partner, Polaris Music Prize is a not-for-profit organization that annually honours and rewards artists who produce Canadian music albums of distinction. A select panel of music critics judges and awards the Prize to the best Canadian album of the year based on artistic merit without regard to genre, sales history or label affiliation.

This year’s shortlisted albums were:

Dominique Fils-Aimé Stay Tuned!
Elisapie The Ballad of the Runaway Girl
FET.NAT Le Mal
Haviah Mighty 13th Floor
Jessie Reyez Being Human In Public
Les Louanges La nuit est une panthère
Marie Davidson Working Class Woman
PUP Morbid Stuff
Shad A Short Story About A War
Snotty Nose Rez Kids Trapline

From eccentric punk to a minimalistic DJ set, from rap to sensual intimate grooves, each performer brought their own unique musical and visual universe, showcasing how diverse Canadian music is, with indigenous representation still going strong. But this year, solo women artists stole the spotlight. During the gala breaks, the 400 guests watched a Rising Stars program video in anticipation of the announcement of the long-awaited winner.

It was last year’s winner, Jeremy Dutcher, who had the honour of announcing his Polaris Music Prize winning successor. Haviah Mighty was selected by a jury of 11 music media professionals drawn from the greater Polaris jury pool of 199 writers, editors, broadcasters, DJs and personalities from across the country, as the Canadian album of the year. The Brampton MC is the first Black woman and first hip-hop artist to win the Canadian music prize for her album 13^th Floor, and who’s victory came with a $50,000 monetary reward. Her performance was an energetic medley of songs that showed off her musical versatility.

Haviah Mighty and Jeremy Dutcher - by Dustin Rabin

Past winners include Jeremy Dutcher (2018), Lido Pimienta (2017), Kaytranada (2016), Buffy Sainte-Marie (2015), Tanya Tagaq (2014), Godspeed You! Black Emperor (2013), Feist (2012), Arcade Fire (2011), Karkwa (2010), Fucked Up (2009), Caribou (2008), Patrick Watson (2007) and Final Fantasy / Owen Pallett (2006).

About the winner:

Haviah Mighty didn’t need to change her birth name when she decided to dedicate her career to music. In fact, Mighty couldn’t be more accurate a word to describe the 26-year-old artist, named one of XXL’s 15 Toronto Rappers You Should Know in 2019. Raised in a musical household in Brampton, Ontario, Mighty started singing at the age of four, rapping at 11, and producing at 15.

Haviah Mighty broke out as the youngest member of the Toronto-based hip-hop ensemble and former Stingray Rising Stars winners The Sorority in 2016.

Haviah has been releasing music independently since 2009, but it was her project, Flower City (2017), that propelled her solo career into further success. In 2018, Mighty’s track “Vámonos” appeared on HBO’s hit series, Insecure. That same year, Mighty was declared winner of the prestigious 2018/2019 Allan Slaight JUNO Master Class.

Haviah’s explosive live show, filled with in-your-face intensity and her fast, technical flows, has also quickly developed her reputation as one to keep an eye on, earning her opening slots for acclaimed artists like Sheck Wes, Nelly, Desiigner, Kranium, A Tribe Called Red, and Snoop Dogg.

To date, Mighty recently released 13^th Floor, her most fully-realized project to date. Garnering overwhelming praise from the likes of Pitchfork, Hot New Hip Hop, and Lyrical Lemonade to name a few, Haviah continues to carve out spaces that boldly defy gendered expectations for women in hip-hop.

Haviah Mighty - by Dustin Rabin

You can hear Haviah Mighty’s music on Stingray Music’s following channels:

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Haviah Mighty performing at the Polaris Music Prize 2019 ceremony - by Dustin Rabin

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6 Months of Rap, R&B and Hip-Hop

Brian — Wed, 05 Jun 2019 13:47:50 +0000

6 Months of Rap, R&B and Hip-Hop Brian Wed, 06/05/2019

The first six months of the year went by exceptionally fast for me. From walking in cold snow-covered streets to hanging out at C2 Montreal, it all felt like it happened in a blink. For those who are reading my work for the first time, I’ll keep it short, my name is Brian Holidae. I started in radio at 17, was a hip-hop music director for ten, and I’ve repped Canada on an international level as a delegate at the annual International Radio Festival. Wild thing is, as much as all of that was, the biggest part of the first six months of 2019 came down to my interview with Spike Lee for C2 Montreal on behalf of FranklinArmstong.com.

What does this all have to do with music? A lot, actually. Music affects your frame of mind, can make you happy, anxious, and bring about any other emotion. So as the year started and opportunities presented themselves, some tracks helped my frame of mind get clearer. In January, while getting over the holiday season hype, we got “Shine,” from Tobe Nwigwe. Known for some deep inspirational R&B mixed with rap, Tobe dropped the track Shine just in time to fight seasonal post-holiday depression that comes with Blue Monday. This track is more R&B than anything, with smooth lyrics that delivered a somewhat solemn message but delivered in such a beautiful way, you don’t even realize it’s uplifting you. This was the first year that I got hit with the seasonal blues, not that it showed. I tend to play it off and a track like Shine def helped during those pensive “what’s next” moments. Also helped to have Lizzo’s “Juice” spinning to add that much needed energy.

February is always difficult for music, I find, as it isn’t the easiest month to release anything. Short month, cold as cold can get if you’re along the US/Canada border on the East Coast. We all commiserate together by often staying indoors. Which is exactly what I did while listening to the Sean Price & Small Professor project “86 Witness.” For Sean Price, the album is a posthumous release, coming almost four years after he passed. I was a huge fan of Sean Price, and I consider him one of the most underrated rappers ever. What made this album so much fun to listen to was although Sean P passed in 2015, his raps are timeless. No shade aimed at Lil Wayne, but his recent album had verses that sounded like they were recorded a few years ago. On the other hand, Sean P drops lines like “Slugs Move Everything Around Me/S.C.R.E.A.M. what that mean?” and it is such a Sean line that it’s an ageless line. His lyric delivery was both classic and ahead of its time.

Do we really need to discuss why March was a good month for music? Solange dropped “When I Get Home” with the track “Dream,” Tierra Whack dropped “Wasteland” and that’s just from TWO of the amazing artists who dropped tracks that month. Anyone who said 2019 started slow didn’t actually pay attention to music. 2 Chainz dropped the track “Rule the World” with Ariana Grande and I don’t even like either artists all that much. Are they talented? Yes. Was using the “Why Don’t We Fall in Love” sample from Amerie a cheatcode move? 100%. But no one else was using the sample, so if you want to put two current pop artists (yes, I consider 2 Chainz pop) on the track, do it.

Tayla Parx, Connie Diiamond, Lizzo, Tee Grizzley… and those are dropped in the span of two weeks. In TWO weeks we got the lines “If a n***a wrote your s**t you a f***n catfish” off “Put Ya Hands Up by Connie Diiamond and “Money make your whole team vanish / That's a paper trick, Origami” off “God’s Warrior,” by Tee Grizzley. Both those lines give me hope that there is more to rap than what is in the mainstream or main timeline these days. Artist like Lizzo have been working on their craft and are now getting the level of recognition they deserved from jump. Tayla has been writing your favorite artists’ song lyrics for them. The talent that came out in April was amazing and helped the days pass quickly. Snow melting, great vibes, and the end of the Infinity Saga from Marvel Studios, it was a heavy month for a blerd like myself, but every track made making moves around the city more fun.

Which brings us to my birth month, May. I like to think that Megan Thee Stallion & Ari Lennox spoke at some point and decided to both drop their albums in the same month just for me. Yes, when it’s my birth month I legit turn into a narcissistic kid who thinks every good thing that happens in the world is a gift that was aimed for him. You should all feel that when it’s your respective birth month. “Up Late” by Ari is so damn smooth and just gives you those good frisson (aka aesthetic chills) like a good track does. Meanwhile, the Anime-loving blerd Megan Thee Stallion put out an album of dope tracks leaving her name on the lips of every hip-hop fan. We also have to give huge props to Tyler, The Creator ‘cause “Igor” is a monster of an album. The best part is I don’t know if Tyler can just pop an album out or if he works like a beast. Either way, the final product is such a great album and I’ve had "Gone, Gone / Thank You" on repeat since the album drop. Add on the Flying Lotus album I need more time with and the new BJ The Chicago Kid & Offset track “Worryin’ ‘Bout Me” and you end May in possibly a perfect way.

All this to say the bar has been set by every artist I mentioned. 2019 started off strong, although I hear rumbling and naysayers who were looking for a new Rihanna (word is before year’s end), but I’m happy with the music that's been put out in the early ‘19. Honourable mentions to Tech N9ne, Lil Nas X and DJ Khaled, who don’t need the mentions but I liked their tracks or projects. From cold days to sunny May, go listen to every track or album mentioned in this post, you will not regret it. If you do, hit me in my mentions @BrianHolidae, I’m down to discuss.

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We Need To Talk

Brian — Wed, 17 Apr 2019 17:55:02 +0000

We Need To Talk Brian Wed, 04/17/2019

You all know my usual deal, I like to listen to music while doing something else and depending on how good an album is, I either find myself finishing the task with ease or in the case of We Need to Talk, sitting on my couch with my eyes closed listening to every lyric and getting lost in the story. At only 36 minutes long, the album is definitely a product of the streaming era since the songs are catchy and say a lot in a short time, but end too quickly for my liking. That isn’t on Tayla, the average song length has dropped almost 30 secs since hip-hop was born, so it makes sense that most artist now make shorter songs. Plus, they want you to repeat the track since they’re getting paid for every stream. My listening of that album alone may put Tayla and any future Tayla Jr. through college.

Opening with “I Want You” and “Homiesexual”, the fun tracks set the tone. I think it’s the fact that both are produced with that fun bass bop from Wynne Bennett that makes them stick out. Bennett also co-produced “PYNK” by Janelle Monae, and you can hear that same energy. “Homiesexual” specifically stood out with that syncopated ‘80s type of beat, which I haven’t heard anyone else do as well recently.

“Slow Dancing” is cool, not too heavy on message, just a nod to the things that Tayla enjoys as well as the struggle of enjoying them. Sometimes I don’t get what the artist was aiming for, and I’m ok with that. Is the song fun? Yes. Does Tayla have a dope voice and do dope songs? Yes. Moving on then, because “Me vs. Us” had me all kinds of happy. The layered production is full. It has weight to it, unlike some of the R&B pop that has come out in recent years. Tayla might be producing shorter tracks on par with the trends but her production level is above most, and “Me vs. Us” manages not to be minimal, but full, and that isn’t easy to pull off.

The interlude “What Can I Say” confuses the eff out of me. It was produced by Mike Sabath, who at 19 worked on some really good tracks (look up “it’s not u it’s me” by Bea Miller & 6lack). It sounds like a song: Tayla channels some Janelle Monae, then goes into full-on diva vocals for maybe five seconds and then the songs ends, leaving you wanting WAY MORE. I ended up running it back three times and was annoyed it kept ending knowing damn well the ending was coming when Tayla kicked it into gear. I guess if anything, the interlude was to bridge from an ok song like “Slow Dancing” to the emotional vocals on “Afraid to Fall.” Sampling the notification sound initially bugged me, but I can’t hate on it being well-used.

The “Happy Birthday” interlude is fun, but it was an odd choice to sandwich “Afraid to Fall” between two interludes, especially since it would have worked so well before the title track “We Need to Talk,” which sounded a bit like an Ariana track… and y’all this is where my world started to make sense. Up until this track, I was listening to this album blind. I was online and saw a tweet about Tayla Parx, so I clicked it, next thing I knew it was the album I wanted to review. So here I am listening to this album, and I get to “We Need to Talk” and I immediately said “Hmm this sounds like an Ariana track.” I do a quick web search to see if Ariana helped write the song, ‘cause at this point, I am full-on in blissful ignorance on who wrote for who. Well wasn’t I smacked in the face with the facts: Tayla is an actress, songwriter and an artist in her own right. I moved on to “Disconnected” and enjoyed 77 seconds of pure bliss and again had another new fave track on the album. “We Need to Talk” has all the markings of a pop/R&B hit and I am extremely happy Tayla kept it for herself. “Disconnected” is weird, but the type of weird I like and appreciate. You have to have some real confidence in your voice to put that type of filter on it and knowing it will shine through. Auto-tune “helps” a voice but that filter on a less talented vocalist could have hurt the track, and trust me, it did not.

Now y’all know DUCKWRTH got skills, so when he and Tayla got on the “Read Your Mind” track together, I had some very high expectations. The track isn’t what I wanted, but it was what the album needed. Sometimes you get stuck on the idea of an artist and in the short time I’ve known about Tayla, I was mistakenly putting her into a box when I should have just let the tracks be what they are. This track put me in my place. Soothing and relaxing but with a hint of authority juxtaposed with yearning in the delivery. Just listen to the track, I can’t possibly do it justice. It isn’t my favorite track but it’s the type of track I wish was, if that helps.

“Rebound” sounds like it took the base elements of 2000s hip hop & R&B collabos and updated them for 2019. I could hear this in a remake of Love & Basketball (NEVER REMAKE Love & Basketball, just saying it would fit if someone were dumb enough to try). The most interesting part of “Rebound” is how crazy the energy changes when it goes into the interlude “What Do You Know.” All aggressive and boastful but full of nerd references like Pinky & the Brain and DragonBall. I was lost and found all in one track.

Now we come to the end, with “Dirt,” “Tomboys Have Feelings Too” interlude and the closing out track, “Easy.” I want readers to listen to “Dirt” for themselves, only because I don’t know how I feel about the track. It’s light and maybe too pop for me, but that doesn’t take away from the song, it just felt like a Christian pop song (yes I know it has explicit lyrics). The production was almost too happy for me; I think that was what got to me. Meanwhile “Tomboys Have Feelings Too” interlude stayed on that same thread but then 40 secs in switches it up and gets a lil trap-y but only to fall back into the almost country-esque melody. Possible #YeehawAgenda sleeper track? We may never find out, but it’s fun to theorize.

Lastly we have “Easy,” and the lyrics are really nice. The whole sentiment of caring more than the other person in the relationship is not unknown to any of us. I dare say if you’ve never felt what the song is about, you may have never really been in love. All that to say, we can hear in “Easy” why Tayla is such a successful songwriter. When I look at who she has written for, it reads like the guest list to a private LA party and everyone has the vocal range to shatter glass or hearts. “Easy” is about that emotionless partner, feeling like no matter you do or say they don’t react. She makes you feel those feelings and ending an album with something like this pulled me back in after the last two really happy tracks. It is only as I write this that I realize why those two are so upbeat, ‘cause when you get to “Easy,” you feel it more.

Tayla Parx is an amazing singer-songwriter. Listen to her music now.

Mackenta | Artist Mentorship Day | Stingray Rising Stars

Ariane — Wed, 21 Nov 2018 15:34:14 +0000

Mackenta | Artist Mentorship Day | Stingray Rising Stars Ariane Wed, 11/21/2018

As part of our partnership with Women in Music Canada, we had the pleasure of welcoming a talented young artist from Toronto, Mackenta, for a full day of mentorship and knowledge sharing.

Context

Mackenta was one of our 3 finalists during our Stingray Rising Stars showcase in September 2018. Our winner, The Sorority was awarded with a $2,000 cash prize to create their next music video. Our runner-up Mackenta delivered an exceptional fusion of atmospheric hip-hop, moving vocals, and polished song writing.

Stingray Music had the pleasure of offering Mackenta the opportunity to visit Stingray’s Montreal headquarters for a day of mentorship. She let us know what topics interest her and we made it happen. Mackenta met members of our legal, marketing, social media, video, and music programming teams who were delighted to contribute to the advancement of her career.

Mentorship Day

Mackenta arrived in snowy Montreal on November 15th, courtesy of our partners VIA Rail. Bright and early the next morning, she met with Ariane Charbonneau, Sponsorships and Partnerships Manager.

Mackenta’s first meeting took place over breakfast and coffee with Eric Ayotte, Manager, Music Partnerships, North America, to learn about the art of working with a publicist and/or a PR company. Eric’s past experience as a publicist was more than welcomed by the artist.

Mackenta was then treated to a one-hour deep-dive into social and digital branding for artists with our Social Media Strategist Gabrielle Bélanger and Community Manager Lucille Kerysaouen. The ladies talked about best practices and went over the artists’ platforms to help her optimize her online presence.

The day had just started!

After a quick break, our karaoke queen, Teresa Lang, Product Manager, Stingray Karaoke met with Mackenta to brief her on the world of karaoke as well as Stingray’s vast array of karaoke products. Maybe we’ll get to sing along to one of her songs soon!

Content Manager and Host & Producer of Stingray PausePlay, Zac Monson, talked about programming at Stingray Music and Stingray PausePlay. Mackenta and Zac talked about how programming works at Stingray, music production, interviewing best practices, and their shared passion for making music.

All this learning opened everyone’s appetite! Lunch took place in Stingray’s cafeteria where Eric Boyko, President, Co-founder, and CEO and Mathieu Péloquin, Senior Vice-President, Marketing Communications had a quick meet and greet with the artist.

Eric Beaulé, Production Manager & Programmer for Stingray Karaoke. kicked off the afternoon with Mackenta by talking about publishing and royalties. Together they looked at opportunities for independent artists to support themselves, covered streaming revenues, traditional radio, publishing deals, sync licenses for TV and film. Eric was impressed by Mackenta's talent, her eye for business, and her background (she almost had a career in law).

Sophie Beaulieu, Programmer, Music Videos, and Mathieu Beauregard, Programming Manager Linear channels, discussed the process of music video programming at Stingray and related analytics. They also discussed why music videos are as important now as they’ve ever been, and how they play a significant part of today’s consumption of music.

Mackenta got to know a little bit more about successful branding strategies and marketing campaigns thanks to Frédérick Ranger, Vice-President, Product Marketing, over a jam session in the Stingray Café.

Product Marketing Specialist Philippe Papineau was the last one to share his knowledge with Mackenta over a well-deserved glass of red wine! Philippe concluded this full day of learning with an overview of the company and what we do. This enabled the artist to put all the pieces together and get a better perspective on what she had learned during the day.

Mackenta is a talented and serious artist that understands that the music business is the intersection between a commercial art and entrepreneurship.

Mackenta’s impressions

“My visit to Stingray was both fun and insightful. I was able to learn directly from music industry experts and experience the unique and exciting Stingray work culture. It was helpful to be mentored on things specifically catered to my career needs; from music programming, to marketing to royalties. After my visit I feel refreshed and re-inspired in my career and creative direction. Any emerging artist could benefit from this opportunity. Thank you to everyone at Stingray for making me feel welcome, and especially to Ariane Charbonneau for setting this up!”

About Mackenta

Mackenta serenades her listeners with intricate lyrics, unconventional thoughts, and ambient sounds. She first gained popularity with her single "Issues", which has been featured by OVO Sound Radio, The Source, and HotNewHipHop. Her debut EP, Over The Influence (2016), features production from JUNO award- winning Gavin Bradley (JackSoul, Serena Ryder.) Mackenta’s most recent single, “No Finesse”, premiered on Noisey and was featured on Spotify Official Playlists like, “Just Vibin”. She comments, “I’m just writing about the human experience, through my experiences. I’m writing about the things that don’t make me perfect.”

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East Atlanta Love Letter by 6lack

Brian — Fri, 28 Sep 2018 13:38:47 +0000

East Atlanta Love Letter by 6lack Brian Fri, 09/28/2018

A few months ago, when 6lack dropped the single “Switch”, I went from fan to Stan.

I’d heard a few tracks before and the vibe was good, but I wasn’t on the edge of my seat for his next release. Now don’t take to mean that this was his first good song, if anything it was more a matter of finding a track that connected me with the artist. With Rihanna that track was “Consideration”, with Gnarls Barkley it was “Going On”, and now with 6lack, it’s “Switch”.

These tracks make me want to listen to the artist’s fill catalog for songs that I may have missed. With so much music coming out, it is easy to miss a track here or there, and the next thing you know, you haven’t heard your new favorite song.

“Unfair”: Remember when Auto-Tune was being overused and everyone hated it? It had more to do with how people were using it and not the feature itself, at least in my opinion. Hearing 6lack use it on the chorus, to give us a dreamscape effect shows how someone can use Auto-Tune to add levels to a song and not just to “correct” vocals (or in the case of T-Pain, hide their actual good voice).

“Loaded Gun”: Bizness Boi produced a solid track here, and 6lack knew how to use it. In the first verse, he changes his flow to match the beat change at the line “Got this pretty brown-brown, watch her go wild” then jumps into his rapper flow after a few bars. This is what I was explaining regarding how you can stick out in the modern R&B and hip-hop climate.

Since a lot of the music sounds out there the same (either because the producers are hot and people want to work with them or the copycats are out in numbers and no one really cares that Kid X sounds like Producer Y) your skill is what bring you to the top. 6lack can rap, he has the skills and the voice, he understands and can make a song with multiple flows work, and along with “Loaded Gun” he does it again on “Pretty Little Fears” with J.Cole.

“East Atlanta Love Letter”: I like this song, and as much as the downtempo can play with your head (depending on where you are personally) no matter what, this is a good joint. The energy on this one is low. If “Unfair” brought me to the dreamscape, then “East Atlanta Love Letter” is riding the wave into a numb place. Sometimes, you need a track like this. You might need it to just level out or help you think. It’s the type of track that you can play on a loop in the background and meditate along to (well I can, I don’t know about y’all). Melodic 6lack & Future (who I never really loved but I can’t pretend isn’t talented) combo chorus delivery… it was bound to be a good track.

“Let Her Go”: Next time you are in a relationship and you aren’t sure if the person is right for you, if this is the life you want or need… DO NOT listen to this song. This song brought me back to being 21, dating someone I loved but being terrified of a lifelong commitment. Songs like this are great for reminiscing on younger days and the wild anxiety of love, but I def can’t imagine hearing it while actually trying to make the decision. 6lack might be too connected to his emotion on this one for our own good.

“Sorry”: The following song continues the tale of love and uncertainty. The whole album discusses the theme of love, and being in love, and being young and in love, and never being sure of being in love… and this song is the apology. 6lack got into our collective minds and pulled out all the emotions that came from being scared and making questionable decisions and put them to music. Making this song a beautiful yet painful one to hear. I’ve been on both ends of this, saying sorry for not knowing myself and hurting someone and being the one someone crushed because they didn’t know what they wanted.

“Pretty Little Fears”: I can’t express how much I like this song. I’m not sure how to put it down on “paper”. T-Minus (Canadian for those who don’t know) produced “Swimming Pools” by Kendrick, “HYFR” by Drake and those are just 2 hits from his long list of credits. He is a talented producer with the skill to produce sans signature. I am as impressed with producers who have tracks that don’t sound the same as I am with producers who have a unique sound that is never repetitive. T-Minus is one of the best in his lane. When I initially heard the track, I respected the sounds and then to top it off it features J.Cole… I mean, I will say it again, I don’t know how to tell you it’s good. At the end of the day, you have to decide if a good producer working with great vocalist and rapper is the right music for you.

“Disconnect”: The production of this track is so on-the-nose with the signal sounds at the beginning, that I was originally annoyed with it (as if I couldn’t get what they were going for), but then the song starts, and you get it. Piano, bass, with signal sounds blended over it. I’ve heard of stripping down the sound for vocals to stick out, but this track took it further. 6lack is really making sure you are hearing the lyrics.

“Switch”: The downtempo, minimal production R&B sound that has become the norm just sounds better in the hands of 6lack and his team. The key to the genre is lyrics and solid vocals, something 6lack found when he made “Switch”. Minimalism isn’t a word I commonly associate with hip-hop or R&B, but I think I’ve been convinced that it can work. I love that 6lack then adds “Thugger’s Interlude” to directly address the downtempo vibe on the album. Pretty much ragging on himself for loving the heavier music but producing the downtempo tracks. ‘Cause what is an album about love without addressing choice and decisions?

“Balenciaga Challenge”: We did finally get a song I didn’t love. I get the interlude before this was setting me up for a heavier, more rap inspired track, but I didn’t want one. I liked the slow, type R&B he was making. This track felt like he wanted to remind people he can keep up with the rap game when no one is questioning his skills. Offset from Migos is on it and does a solid job. The two of them have a good flow. I mean, some may love it more but in the context of a concept album discussing relationships, I didn’t need it and he didn’t need to prove anything.

“Scripture”: I was listening to a podcast recently that brought up that 6lack used to rap and that he manages to take advantage of lyricist skills with a vocalist delivery. I think this is the best example of it. If “Balenciaga Challenge” was the rap track I didn’t need on the album, “Scripture” is the rap track I want on the album.

“Nonchalant”: After “Switch” dropped, I worried how they were going to follow up. The first single is not the best track on the album, but it should be one of the catchiest. You want the fans to crave more. The second single should reflect the style of the album more than anything, it’s the second song people are being introduced to from an upcoming full-length project. I’m not sure if 6lack or someone else picked “Nonchalant” but they did this one right. Where “Switch” gets you hype and vibing, “Nonchalant” really captures the laid-back vibe of the whole piece. The hardest for singles is not also using the features to promote the album. You want those to be surprises…

“Seasons”: …Which made hearing Khalid on “Seasons” a nice surprise. Dave Bayley from Glass Animals on production, 6lack and Khalid on the track. Two gifted singers blessing the penultimate track, setting us up for a home run of a finale.

“Stan”: At first, I wasn’t sure why you would want to evoke the idea of a Stan. Stans are obsessive fans who stand for their favorite artist no matter what they do. A Stan will hear that their favorite artist committed the most heinous act and still say, “but the music is above all this”. The type of blind love that comes with the term would scare me, but I think that it makes 6lack’s point really well. From Unfair” to “Stan”, there is some turmoil, but in the end the love that comes from finding yourself and connecting with the right person can be obsessive, in a positive way.

Love is unfair. When we’re young, we shoot it around like a loaded gun, we hurt those we “love” and apologize. We see ourselves and our fears in our partners and disconnect, sometimes try and empathize, but when we start to reveal ourselves and open up, our defenses come up in braggadocious way. It takes time, but when the ego comes in, we eventually remember what grounds us and attempt to stay humble. We relax, we calm down, and only then can we give ourselves to someone without losing everything. If that all made sense, understand that I got it from listening to the album carefully. If it didn’t, trust me when I say 6lack took 14 tracks and managed to express the complexity of love in a way that everyone and anyone could appreciate.

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The Backstays | Harvest Jazz & Blues Festival 2018 | Stingray Rising Stars

Ariane — Fri, 21 Sep 2018 14:34:20 +0000

The Backstays | Harvest Jazz & Blues Festival 2018 | Stingray Rising Stars Ariane Fri, 09/21/2018

Harvest Jazz & Blues Festival takes place each year in Fredericton's beautiful and historic downtown. This year Stingray Music was honoured to sponsor again the Stingray Rising Stars competition.

The festival which ran this year from September 11th to the 16th is one of Atlantic Canada’s largest annual jazz and blues festivals. HJBF seeks out to promote, preserve and encourage interest in the cultural appreciation and performance of jazz and blues by presenting the best in established and up-and-coming talents. Fredericton comes alive for six days each September as hundreds of world class performers appear on dozens of stages, all conveniently located in Fredericton's beautiful and historic downtown.

An online voting page was set up to have the public vote for their favourite artist. This year’s finalists were:

The Stingray Rising Stars Competition took place in the Atlantic Lottery Barracks Tent, the festival's all ages venue, on Friday September 14 from 1 PM to 4 PM. The Backstays, a five-piece, fog-steeped, roots-infused indie band from Saint John (NB), were chosen through a two-tiered process of peer assessment and online voting. Stingray Music awarded the winning band with a $1,500 bursary to advance their career and each contestant received a promotional video for their own use of their Stingray Rising Stars performance. Close to 5,000 people voted online this year and the winner was announced, Friday, September 14 at 4PM. Thank you to all who cast their votes online and who came to watch the finalists showcase performances at the Atlantic Lottery Barracks Tent!

“The Backstays displayed their growing maturity as a group by showing up fully prepared and putting on an exceptional performance. We hope this “win” gives them a boost of confidence and some additional notoriety that helps accelerate their opportunities in the music business and the pursuit of their musical dreams!” said Brent Staeben, Harvest’s music director.

Congrats again to The Backstays and all finalists!

About the winners:

We sat down with Pete Johnston here from The Backstays (vocals, guitar) to tell us more about their win:

What is your earliest musical memory?

“My earliest musical memory is ‘Up On Cripple Creek’ by The Band. My parents are big fan of those guys and so am I. I remember that being my favourite song as a tiny little kid. Either that or some version of ‘Tell Me Ma’ that my mum sang around the house. Hard to say.”

Where/When did you start playing professionally?

“We started rehearsing in January 2018 in our rehearsal space on Union Street in Saint John (New-Brunswick). We didn’t do a show until June, so it’s only been a few months doing shows together. But most of the band has been playing music on a semi-professional level for years in other projects.”

Who are your main influences?

“Our influences vary but there’s some consistent musicians that we all love like Joel Plaskett, Alvvays, the Smiths, Bruce Springsteen, and the War on Drugs.”

How did you come to play at the Harvest Jazz & Blues Festival?

“We came to Harvest Jazz and Blues Festival’s Stingray Rising Stars by applying after we had a string of shows and an EP released. We really didn’t expect it but we’re some happy.”

What do you plan to do with the Stingray Rising Stars bursary?

“We are going to use it to get some gear we’ve needed for a long time and use anything left to put towards our Maritimes tour in the next couple of months. It’s really a huge help.”

If you’re in the Atlantic region this Autumn, make sure to follow them and check out one of their shows!

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2018 Polaris Music Prize Gala | Stingray Rising Stars

Ariane — Wed, 19 Sep 2018 16:17:55 +0000

2018 Polaris Music Prize Gala | Stingray Rising Stars Ariane Wed, 09/19/2018

Less than a week later, we came back to sunny Toronto to attend the 2018 Polaris Music Prize gala at The Carlu on September 17, 2018.

A longstanding Stingray Music partner, Polaris Music Prize is a not-for-profit organization that annually honours and rewards artists who produce Canadian music albums of distinction. A select panel of music critics judge and award the Prize without regard to musical genre or commercial popularity.

This year’s Short List nominees were:

Alvvays – Antisocialites

Jean-Michel Blais – Dans ma main

Daniel Caesar – Freudian

Jeremy Dutcher – Wolastoqiyik Lintuwakonawa

Pierre Kwenders – MAKANDA at the End of Space, the Beginning of Time

Hubert Lenoir – Darlène

Partner – In Search Of Lost Time

Snotty Nose Rez Kids – The Average Savage

U.S. Girls – In A Poem Unlimited

Weaves – Wide Open

A full house at the historic Carlu welcomed jaw dropping performances by eight of the 10 Polaris nominees. These included Jean-Michel Blais, Jeremy Dutcher, Hubert Lenoir, Pierre Kwenders, Partner, Snotty Nose Rez Kids, U.S. Girls and Weaves. Daniel Caesar was also apparently in attendance and Alvvays were represented by Deep Vvaters, a band from Toronto’s Girl’s Rock Camp.

From table crashing to acapella performances, the crowd also witnessed several testimonials on behalf of various nominees, including some from past Polaris winners. Arcade Fire’s Win Butler spoke on behalf of Kwenders, Karkwa’s Louis-Jean Cormier supported Lenoir and Tanya Tagaq advocated for Weaves. Babyface, George Stroumboulopoulos, Safia Nolin and Gang Gang Dance’s Lizzi Bougatsos were some of the evening’s other testifiers.

The 400 guests also had the chance to hear Stingray Music’s Collaboration Session with Jennifer Castle and The Weather Station, featuring an interview with our very own Zac Monson and a performance of “I Tried to Wear the World”. Make sure to watch the interview & performance made possible by our Stingray Rising Stars program!

But as the evening was coming to an end, it was time to announce the long-awaited winner. It was last year’s winner, Lido Pimienta, who had the honour of announcing her Polaris Music Prize winning successor. Jeremy Dutcher was selected by an 11-member Grand jury as the Canadian album of the year and was be awarded $50,000. He gave a heartfelt and wise speech, using his moment in the spotlight to remind people why he made the album, a mix of his own interpretations of traditional songs sung in the Wolastoq language. He also spoke of an Indigenous renaissance and we couldn’t agree more!

Each of the nine other Short-Listed artists received $3,000 courtesy of Slaight Music.

Past winners are Lido Pimienta (2017), Kaytranada (2016), Buffy Sainte-Marie (2015), Tanya Tagaq (2014), Godspeed You! Black Emperor (2013), Feist (2012), Arcade Fire (2011), Karkwa (2010), Fucked Up (2009), Caribou (2008), Patrick Watson (2007) and Final Fantasy / Owen Pallett (2006).

About the winner:

A Wolastoqiyik (Maliseet) member of the Tobique First Nation in New Brunswick, Jeremy Dutcher studied music and anthropology at Dalhousie University. The classically trained tenor and composer recorded “Wolastoqiyik Lintuwakonawa” following a five-year research project on old archival recordings of traditional Maliseet songs at the Canadian Museum of Civilization, many of which are no longer being passed down to contemporary Maliseet youth. The artist studied these 110-year-old wax cylinder phonograph recordings of his ancestors for weeks inside the museum, meticulously transcribing the recordings once collected by William H. Mechling. The anthropologist lived among Dutcher's ancestors for seven years in the early 1900s, capturing the songs and voices of the community. Many of the album's songs also sample the original recordings as part of the backing tracks.