Rap

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!

Listen to the best of hip-hop and rap music on Stingray Music!

“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.

Rap

Hip-Hop

Show in Listen

Off

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.

Restez à l'affût des dernières nouvelles musicales. Suivez-nous sur Facebook, Instagram et Twitter.

Show in Listen

Off

Alaclair Ensemble | ADISQ 2019 | Prix Étoiles Stingray

Ariane — Thu, 24 Oct 2019 13:39:06 +0000

Alaclair Ensemble | ADISQ 2019 | Prix Étoiles Stingray Ariane Thu, 10/24/2019

C’est dans la salle comble du MTelus (anciennement le Métropolis) qu’a eu lieu le 15e Premier Gala de l’ADISQ. Pour l’occasion, Pierre Lapointe anima avec brio pour la première fois cette soirée si attendue.

C’était la deuxième année qu’avait lieu ce nouveau concept d'animation qui se veut une tradition où des artisans de la chanson pourront faire valoir leurs talents d'animateurs. Cet événement de remise de trophées Félix artistiques souligne la diversité de notre musique dans tous ses styles.

Prix Étoiles Stingray

Stingray était fier de s’associer encore cette année à l’ADISQ pour le 41e Gala de l’ADISQ dans le cadre de son programme Prix Étoiles Stingray pour la catégorie « Vidéo de l’année » et « Album de l’année Country ».

Présentée au tout début de la soirée, c’est le groupe Alaclair Ensemble qui a remporté le trophée et le Prix Étoiles Stingray d’une valeur de 5000$ pour leur incroyable vidéo « La famille », tirée de l'album Le sens des paroles paru en 2018. Réalisé par Georges-Edouard Duquette alias GED (qui avait également réalisé Ça que c’tait qui leur avait d’ailleurs valu un premier Prix Étoiles Stingray en 2017), fidèle collaborateur de longue date, ce vidéoclip met en vedette les membres du groupe (composé d'Accrophone (Eman et Claude Bégin), Ogden (a.k.a. Robert Nelson), Maybe Watson, KnLo, Mash et Vlooper) dans différentes mises en scènes où on comprend les liens serrés qui lient le groupe, amis depuis longtemps et pour qui « Tout ce qui compte, c'est la famille ». Nous les félicitons d’ailleurs aussi pour leur Félix pour « Album de l’année rap »!

Nous levons par le fait même nos chapeaux aux vidéoclips extraordinaires des autres nommés, Koriass, Les Louanges, Les Sœurs Boulay, Ariane Moffatt et Seba et Horg. À voir!

Au courant de la soirée, Pierre Lapointe (avec les légendaires Voivod et Éric Lapointe pour le numéro d’ouverture), Alaclair Ensemble, Lou-Adriane Cassidy, Dominique Fils-Aimé, Jérôme 50, Safia Nolin et Florent Vollant ont également tous offert des prestations uniques et endiablées.

Toujours plus !

Alaclair Ensemble sera également en spectacle prochainement au MTelus et ailleurs au Québec. À ne pas manquer! Pour plus d’infos sur le groupe : alaclairensemble.com.

Découvrez notre couverture avec certains des gagnants et gagnantes du Premier Gala et du Gala de l’ADISQ 2019.

Restez à l'affût des dernières nouvelles musicales. Suivez-nous sur Facebook, Instagram et Twitter.

Stingray Rising Stars

Prix Étoiles Stingray

Rap

ADISQ

PalmaresADISQ par Stingray

Stingray Rising Stars

Worldwide

French

Alaclair Ensemble (Prix Étoiles Stingray) et Ariane Charbonneau (Stingray) - Crédit Photo: Annie Diotte

Show in Listen

Off

Katori Walker | Interview | Stingray Rising Stars

Stingray — Wed, 31 Jul 2019 14:07:48 +0000

Katori Walker | Interview | Stingray Rising Stars Stingray Wed, 07/31/2019

Stingray is proud to promote emerging artists through our monthly Rising Stars program. We are thrilled to introduce you to Katori Walker, our latest Rising Star for August!

Singer, songwriter, and rapper Katori Walker chooses to express his life every day through his music. In 2017, Walker released his independent five-song Ignorance EP, dedicated to his brother Ormoni who passed away due to gun violence. The video Ormoni generated 4.2 million views in addition to being featured in Eminem’s Untouchable lyric video. Describing himself as “an artist with something to say,” we think that Katori Walker is a great addition to Stingray's Rising Star program. Check out what Katori has to say in the interview below.

What is your earliest musical memory?

My earliest memory of me being introduced to music is me as a young kid, and my mom is playing music on her record player, a lot of oldies. And my earliest memory of me making music is when I was about eight or nine years old and recording in a professional music studio.

What do hip-hop and rap convey like no other genres?

The struggle. People who came from the gutter and are now on top. The rags to riches story - it’s a very common theme in rap.

What is your best memory on stage?

Back in March in Toronto, I had just released my song Run, and some guy was rapping it back to me. The song had only been released for two days; it was mind-blowing!

What is your funniest moment on stage?

I forgot my lyrics once, and people started clapping and cheering me on. I look back at it now and laugh!

What song do you love performing the most on stage? Why?

I have one called Bulletproof – it has so much energy in it.

If you didn’t become a musician, what would you be doing right now?

I would probably be building computers; I’d be a tech guy at a Fortune 500 company, or I would be a barber – because it’s a beautiful art. I would also help the youth, my community, the disadvantaged kids.

Which musician(s) would you like to collaborate with?

Adele because she has never had a rapper on a record – yet ;)

Who is your favorite musician or band?

I have several! Kendrick Lamar, J. Cole, Drake, Big K.R.I.T., and Elijah James.

What is one thing that your fans don’t know about you (a fun fact)?

I cut my hair all the time. And I build computers. I’m also very tall (6’4”), but I never played basketball.

What’s your motto/advice you live by?

You can’t be afraid to live and afraid to die. Choose one.

In life, what is your greatest inspiration?

Life itself. The fact that we are able to speak, see, move, communicate.

What’s coming up for you for the rest of the year?

I am currently in the studio working on my next album. I am also performing at a Festival in Vegas called Day N Vegas 2019.

You can listen to Katori Walker on Stingray Music’s channels:

Rising Stars

Urban Beats (explicit)

Today's Hot Tracks: Hip-Hop

R&B (Rebellious&Beautiful)

Trending 100: Hip-Hop and R&B

#TURNUP

Stay on the pulse of the most recent news in music. Follow us on Facebook, Instagram, and Twitter.

Interview

Rap

RnB

Stingray Rising Stars US

Show in Listen

Off

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.

Stay on the pulse of the most recent news in music. Follow us on Facebook, Instagram, and Twitter.

Show in Listen

Off

Power Women: The Rise of Female Rappers

Rebecca O. — Tue, 05 Mar 2019 19:26:18 +0000

Power Women: The Rise of Female Rappers Rebecca O. Tue, 03/05/2019

With her painfully public feuds, love for explicit language, and controversial past, Afro-Latina rapper Belcalis Marlenis Almánzar, better known as Cardi B, may not be considered as an ideal role model for young women by the general public. Nevertheless, the 26-year old New Yorker just made history; at the 61st annual Grammy Awards earlier this year, Cardi B won the category “Best Rap Album” for her 2018 release “Invasion of Privacy,” making her the first female solo artist to ever achieve this. Role model or not, Cardi B’s win marks an important milestone in the history and continuous rise of female rap.

Female rap first got proper recognition by both the music industry and the public in the late ‘80s, when New York City born MC Lyte released “Lyte As A Rock,” the first ever full-length female rap album. With her song “Ruffneck,” MC Lyte was also the first female rapper to be nominated for a Grammy Award for Best Rap Single in 1993. Over the past three decades, the contribution of powerful women like Queen Latifah, rap duo Salt-N-Pepa, Foxy Brown, The Fugee’s Lauryn Hill, Lil’ Kim, and Missy Elliot has made female rap a crucial element of the hip-hop genre.

Women’s perspectives have been shaping hip-hop culture for over thirty years – so why did it take so long for a female solo rapper to not just be nominated for a Grammy, but win it? While receiving some recognition and praise for the quality of their work, female rappers of the past did not receive equal treatment within the music industry. For the most part, women have remained an under-represented group among hip-hop labels. However, public cases that drew issues within the entertainment industry, such as #MeToo, the Time’s Up-movement and Kesha’s struggles against producer Dr. Luke have drawn attention to gender disparity. The music industry was forced to change and improve the treatment of women and also dish out long-deserved recognition.

While the most successful female rappers of today, think Cardi B and Nicki Minaj, might not directly address relevant political issues or feminism in their lyrics constantly, their confidence and unapologetic lyrics set the tone for the way female rappers and all women in the music industry demand to be treated: equally. They stand for a whole generation of women who say and do what they want and command proper recognition for their work. On her Grammy-winning record, “Invasion of Privacy,” Cardi B unapologetically raps about dedication, making money, proving people wrong and setting record-record sales. "If you want it, and the more you keep hearing you can’t have it, you just go and get it," she said in a recent interview. Maybe she is not such a bad role model after all.

Give it up for the boss ladies! This month, we are putting a spotlight on the trailblazing women of the music industry. Find your favorite female rappers and singers on Stingray Music, Stingray iConcerts, Stingray Karaoke and Stingray Qello.

Stay on the pulse of the most recent news in music. Follow us on Facebook, Instagram, and Twitter.

Show in Listen

Off

Some Rap Songs by Earl Sweatshirt

Brian — Thu, 06 Dec 2018 22:06:40 +0000

Some Rap Songs by Earl Sweatshirt Brian Thu, 12/06/2018

I always have a hard time picking an album to review and this month was no different. I sat with Oxnard by Anderson .Paak for a week, then got hooked up with a copy of Meek’s Championships a day before it was released, only to land on writing about Earl’s new joint. All 3 albums probably reflect different aspects of my taste in music.

Anderson has the groove and soul aspect, Meek connects with my “OG” hip-hop appreciation and then Earl was the oddball; and I have always been an oddball.

I remember listening to Earl on the different OF mixtapes and compilations, and although he wasn’t my favorite at the time, I understood him. The kid who hung out with “questionable” characters, as his mother would say. Weird thoughts and a taste in music that made him that minimalist in the crew. The best part about Earl in 2013 on Doris and Earl now is that he continues to be the minimalist. Sure, some of the tracks on Doris aren’t completely stripped down but his overall style is that of a West Coast kid who understood Dilla. Plus, the tracks that often had more elements to them didn’t sound as much like Earl tracks. “Sunday” with Frank Ocean sounds like an Earl & Frank collabo, while “Whoa” (although a great track), sounds like a Tyler track that Earl was asked to do so they could have something more “commercial”.

We really got to hear Earl’s production style on “I Don't Like Shit, I Don't Go Outside: An Album by Earl Sweatshirt”. Here, we had the ultimate “being in your feels” music. At 31, here I was listening to someone 11 years my junior, with deeper self-awareness than I had. Spitting lyrics like he was trying to sweat out toxins and cleanse his soul. Which left me patiently waiting for more new music from him.

I think the main reason I was really looking forward to a new project was how much the hip-hop landscape has changed in 3 years. While listening to tracks like “Shattered Dreams”, “Red Water”, and “Cold Summers”, I got the sense that Earl knew people wanted short and to the point. Specifically, in “Red Water” where the same verse delivered 4 times without being annoying. The track “Nowhere2go” is a solid presentation of Earl’s aesthetic, as well as a nod to his idea that he is a “kid” in comparison to other people around him when it comes to this music thing. He speaks about friendships and loneliness, depression, suicide and loss. He manages to address all that in under 2 minutes, and does it with ease. The crazy part is how difficult this track must have been to work on, yet he delivers the message easily.

“Nowhere2go” is probably the best track to use as single, since production wise it really does give you a glimpse into the album. The album’s production is noisy and unpolished, the flow is classic but also wild, and the vibe is laidback. “The Mint” is the second track to be released, and I remember thinking “this is refreshingly weird”. I liked how simple it was, and the beat, again, was stripped down and simple af. Like the type of track I want to listen to while floating on a lake while trying to forget my worries. Then, “The Bends” has a sweat Linda Clifford sample throughout, and after the quick, almost interlude-esque style of “Loosie” we get another f—ing insane sample in “Azucar” (a sample I searched the internet for 2 days straight before I gave up. @me if you know what it is, I will buy you a drink). When I mentioned Dilla earlier, “Azucar” was the exact track I meant. It is the continuation of everything Dilla stood for: simple, chopped up perfection.

After listening to “Azucar” on loop for another 20 minutes, I eventually moved on to “Eclipse”, but moving on was almost scary, like I might never get to hear it again. Being a ‘90s kid, it was like listening to the song on college radio and knowing you might not hear it for another couple days. OK sorry, back to “Eclipse” and “Veins”, 2 equally good tracks. The sample on “Veins” felt like another Dilla nod, while some of the lyrics had a little bit of the old Earl, the beat didn’t, which was an interesting juxtaposition.

Moving onto the end of the album, we got “Playing Possum”, which is a short track featuring Earl’s parents. I ain’t gonna lie y’all, this one hit hard.

Hearing his mother thank everyone and then his father’s lines cut into place, like a conversation in a dream, where the sentence makes sense even if the words don’t in the order they’re said. It was weird, trippy, emotional and creative. “Peanut” is an interesting follow up to “Playing Possum”. At first, it felt like it didn’t fit and after some research I found out it was one of 2 tracks recorded after Earl’s father passed in January. So I got it after that. I got the whole broken feeling and I respect it. The track is less musical and more mindscape exploration.

Lastly, we get to “Riot!” and throughout the album I did my best to not compare Earl to another artist I felt he was tapping into, but when he ended his album with an instrumental, I couldn’t help but think of Mos Def aka Yasiin Bey. Very different artist, but both are twigs from the same branch of hip-hop. “Riot!” is the other track that was produced after the passing of Keorapetse (Bra Willie) Kgositsile, Earl’s father and a renowned poet. The song starts with little hits and builds up, still maintaining his minimalist approach, then the horns kick in and at some point the track starts to break down and sounds sad. It’s the type of song you might play at the end of a show to let everyone know it’s time to go home, while everyone is smiling and hugging and crying, because it’s all come to an end.

I have to say, for my last review of 2018, this was a pleasure to write. The album is easily going to make my Top 10 list and Earl is one of my favorites. He has been from crazy lines like “Dirty like a bum's unwiped ass now / I'm transitioning from class clown to cash cow” to “There is not a black woman I can’t thank” on his latest album. Earl Sweatshirt has not only grown but has evolved, himself, his music and his fans.

Notable tracks: Azucar, Playing Possum, Riot!, The Bends.

Stay on the pulse of the most recent news in music. Follow us on Facebook, Instagram, and Twitter.

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.

Stay on the pulse of the most recent news in music. Follow us on Facebook, Instagram, and Twitter.

Loud | Stingray PausePlay

Charles — Mon, 10 Sep 2018 15:09:37 +0000

Loud | Stingray PausePlay Charles Mon, 09/10/2018

Le rappeur de l’heure, Loud, un poids lourd du mouvement hip-hop québécois est venu nous rendre une sympathique visite à nos bureaux du Vieux-Port de Montréal. Généreux et décontracté, il s’est entretenu avec nous le temps de quelques questions.

Confortablement assis sur le célèbre divan gris de Stingray PausePlay, Loud parle avec reconnaissance des artistes qui ont eu une influence majeure dans son cheminement musical. C’est aussi avec curiosité que l’on découvre comment est née sa collaboration avec Cœur de Pirate. Quelle belle complicité on leur attribue dans le vidéoclip « Dans la nuit ». Allez voir le clip si ce n’est pas toujours fait!

C’est avec étonnement que l’on réalise la certaine témérité qu’il faut avoir pour accepter de se transformer en véritable torche humaine dans son clip « Devenir immortel (et puis mourir) ». Dangereux certes, mais totalement assumé par Loud.

De plus, il se prête généreusement à nos questions en rafale (sous forme de jeu) à propos de chansons non issues du genre rap! Spontanées et franches, ces réponses nous en apprennent un peu plus sur cet artiste qui a été rapidement adopté par la France.

Bon visionnement!

Loud et sa chaîne vedette

Une partie du mois de septembre appartient à Loud! Avec son album, Une année record paru à l’automne dernier et son entrée dans le club des millionnaires avec ses millions de vues sur YouTube, Stingray est heureux de lui offrir une chaîne vedette.

Laissez-vous imprégner par les chansons de son répertoire et par la sélection de ses coups de cœur musicaux du moment. Une magnifique sélection musicale à saveur rap portée par ses artistes préférés vous attend.

Bienvenue sur sa chaîne vedette!

Restez à l'affût des dernières nouvelles musicales. Suivez-nous sur Facebook, Instagram et Twitter.

Best Hip-Hop Songs of 2018 (So Far) | Top 10

Brian — Wed, 04 Jul 2018 19:10:17 +0000

Best Hip-Hop Songs of 2018 (So Far) | Top 10 Brian Wed, 07/04/2018

Much like a certain Canadian rapper, let’s split this into a hip-hop side and an R&B side.

“Cocaine” by Royce Da 5’9”

Hip-hop is so often about bragging and status, that we can forget that some of the best tracks are about the real life pain and failures a rapper may have dealt with.

In “Cocaine”, Royce discusses his father’s drug addiction and how it affected him over one of the possibly best DJ Khalil beats ever produced. In the “era of the user”, this track reflects on how drug use may one day affect those around you if it gets out of hand, or even better, what it will mean to your family when you get clean.

“Seasons” by Mozzy, Sjava & Reason

Seasons’ sample, flow, and mix of African diaspora storytelling make this possibly the strongest track on the Black Panther soundtrack. The first time I heard the track, I could see 3 rappers sitting around a table sharing their different experiences, though all were similar. Point being, no matter where you are, we all face similar struggles. Encompassing the point Killmonger was trying to make the entire movie…in 4 minutes.

Anything from Stream of Thought Vol. 1 by Black Thought

When The Roots became the house band for Jimmy Fallon, I remember a lot of folks saying that it was the end, that they would get complacent, and that Black Thought wouldn’t be a sharp as he once was. Sitting on a stool every day, playing off Jimmy, what could he have to say anymore…Well here, this, this EP, yes this one, is everything you thought Black Thought was sleeping on. We were all wrong and after killer freestyles, he still had this inside of him. Take note, this is what longevity looks like, late night straight man by day and lyrical mastermind by night.

“Pull Up” by Powers Pleasant, Joey Bada$$ & A$ap Ferg

I just like this track. I get that some could argue this is not a Top 5 2018 track, but play this track LOUD, surround yourself with your people, and watch the space just get hype. Power Pleasant made a deceptively chill beat that has heat and that I respect. Joey Bada$$ and A$Ap Ferg never hold back, from the beginning, the track takes off, they take off with it, and no one looked back.

“You Should Know” by Rapsody

I didn’t credit Busta ‘cause I mean only Rapsody rap part of the track. Don’t take it the wrong way, Busta is Busta, no one can take away from him… but he takes away from the track. Rapsody is the Arya Stark of hip-hop, she doesn’t want the crown, but could take it literally ANY TIME SHE WANTS. I don’t mean literally like folks use it, I mean that pound for pound she is easily one of the strongest lyricist and does not get the shine she deserves. Listen back to her catalog, all the way back to the Kooley High days, and tell me that she couldn’t take everyone on. “You Should Know” isn’t just the title, she is letting you know…

“Your Believer (Say Goodbye)” by The Slakadeliqs

Blending psychedelic sounds with dreamy R&B vocals makes “Your Believer (Say Goodbye)” a unique track that holds your attention. Think Brian Wilson vocals with the fun of a ‘60 Ringo drum beat, all produced by someone who grew up listening to Motown.

“Overload” by Georgia Anne Muldrow

There are artists who can always produce quality music. Georgia Anne Muldrow has the type of voice that can’t be replicated and a technique that is only hers. Having a signature sounds is something a lot of artist say they have, but not many actually have it… She actually has it though. “Overload” is just the latest in a line of tracks you may not have heard yet, but you should never overlook.

“Come Over” by The Internet

I feel like I should be able to say, “it has Syd on vocals,” and we all just nod at each other. Syd transitioned from producer to one of the best voices in R&B in the blink of an eye. Like an Odd Future magic trick, misdirect us with Frank Ocean, while they have Syd over on the other side slaying tracks about love and emotion, blending guitars riffs with a voice that makes other R&B vocalist jealous. As they should be...

“Summer in November” by SiR

A girlfriend once played a song for me in Mandarin, and although I couldn’t understand the lyrics, I remember getting pretty choked up. She told me afterwards that the song was about loss and wanted to show me that sometimes tone transcends language. I felt the same goosebumps listening to this track the first time as I did when hearing that song in Mandarin. Even while understanding every lyric, SiR’s emotion on “Summer in November” comes across more from how he sings it than what he is singing.

“Switch” by 6lack

This one you have to listen to yourself. It’s kind of hard to explain why Switch is so damn good. ‘Cause I could say the production is great, Ty Dolla $ign’s contribution is subtle but present, and 6lack’s delivery is passionately pained. But those are just my thoughts, you kind of need to feel it for yourself. I will suggest, if you can, that you listen to it on a huge sound system and really get immersed in the song, it adds to the experience. Not saying you need it, but when he drops “Now Switch”, you’ll thank me.

Stay on the pulse of the most recent news in music. Follow us on Facebook, Instagram, and Twitter.