Cole Basta, known as Col3trane is a London native already starting to make a name for himself in the English hip hop scene at age 18. He released his first single “New Chain” on May 19 of this year. The vibe of this song set the stage for his entire debut album. It is slower than most rap songs we hear in the states, and has more of an R&B vibe to it. The beats, while very rhythmic, are relaxed and subtle, leaving room for his lyrics to come through.
Over the recent years, Atlanta has become a cultural hearth for hip hop. The movement really began in the mid 90’s with the rise of Outkast, whose smooth rhythms and melodic hooks captured the attention of the masses and put Atlanta on the map. From this point on, there was no stopping the area from booming into what is, in my opinion, music’s most exciting city. https://open.spotify.com/album/0MV1yCXcNNQBfwApqAVkH0
From the late 2000’s to present day, a new genre of hip hop has emerged from the underground of Atlanta to grow into a world phenomenon, trap. Some of the world’s biggest artists (Gucci Mane, Future, Migos, 21 Savage, Travis Scott and many others) fall into this genre.
Kyra Skye is a student in Ithaca College, bassist for the band Izzy True and, now, a solo artist. Her EP, Summer Nights, represents memories, dedication and affection. Skye worked on Summer Nights for a month, recording, producing and mastering all five songs on her own. Skye plays and sings everything on the EP, excluding the drums on the tracks “Room 217” and “Suffocate.” Not only is her music touching and personal, but the music is well-arranged and coherent. The first track, “Room 217,” introduces the theme of the EP.
If you’re not a huge hip hop oldhead, it’s easy to overlook a lot of new releases from 90s rap groups these days. Most think that their music usually sounds pretty dated, and that many once ferocious MC’s have understandably lost a little bit of steam on the mic. However, people skeptical about the reemergence of 90s hip hop have really been proved wrong over the last year or so, after the impressive 2016 releases of A Tribe Called Quest’s Thank u 4 Your Service and De La Soul’s And the Anonymous Nobody. While Tribe and De La Soul (two New York rap groups who are members of the hip hop collective the Native Tongues) have shown that they can still bring it in 2017, many oldheads have been itching for a similar resurgence from another New York hip hop group, the Wu-Tang Clan. Wu-Tang’s most recent album release, The Saga Continues, is once again a reminder that not only does Wu-Tang’s saga continue, but so does the vintage 90s hip hop sound that has been so overshadowed in recent years.
It seems like it was just yesterday when dvsn, the Toronto-based joint project between vocalist Daniel Daley and producer extraordinaire Nineteen85, debuted in 2015. In the brief time since their inception, dvsn has garnered 150 million streams and, arguably, landed the largest gig that any aspiring artist could land. In 2016 dvsn opened up for the Drake and Future on the notorious Summer Sixteen Tour, and with this brought their smooth, 90s R&B to the masses. While although only debuting their music to the public within the past few years, dvsn has been involved in the music business for much of the last decade. In the early years, dvsn leaned heavily toward rap because, as Daley says in a recent Rolling Stone article, it wasn’t really the “coolest thing to say ‘Yo, I sing – have you heard that Boyz II Men record, that new Usher or Ginuwine?’” However, once 85 heard the remarkable voice of Daley, he knew that the talent couldn’t be ignored.
Don’t act like you weren’t even just a little bit sad when Rostam Batmanglij announced over twitter in 2016 that he was leaving Vampire Weekend. The New York based indie band who had brought hits like “A-Punk” and “Holiday,” as well as released one of the most compelling coming of age albums of the 21st century, Modern Vampires of the City, had lost their production mastermind, and to us fans who knew how critical his talents were on tracks like “Diane Young,” perhaps they had lost their essence, too. I was devastated, to say the least. https://www.youtube.com/playlist?list=PLr6glYSzgcG2_GS0spAV9zvJiOSZx9N7F
Lucky for us though, not only has the frontman Ezra Koenig been gracing us with consistent social media updates for a new Vampire Weekend LP — working title Mitsubishi Macchiato — but Rostam Batmanglij is also confirmed to be collaborating with Koenig on parts of the new album. What’s more, Rostam has found enough free time to release an effort of his own: Half-Light, his first solo record.
Lecrae has always been an artist who does not like boxes, and those who attempt to categorize him into one would be hard-pressed to try. Bringing the gospel to hip-hop long before Chance came to the scene, Lecrae’s ability to maneuver between disparate, non-interacting circles served as both his greatest strength and weakness. Being a two-time Grammy Award winner and having performed on Jimmy Fallon and Sway in the Morning, he has achieved a level of success unseen by Christian artists. His diverse catalogue defies categorization and yet for all these pioneering advancements, it seemed that what he gained came at the cost of personal piety. Beginning in 2012 with Church Clothes, its subsequent sequels and his chart-topping 2014 LP Anomaly, he introduced listeners to a more socially-minded Lecrae; the bona-fide rapper was still spitting fierce rhymes, but in his razor-sharp criticism of social injustice he seemed to have lost the vibrancy and passion of articulating his faith, which was a staple of his earlier works.
A lot has happened during Fleet Foxes’ six year hiatus — just ask former drummer Josh Tillman, who split from the band shortly after the band’s second LP, Helplessness Blues, with time to release three records of his signature brand of misanthropic folk rock before the remaining Fleet Foxes produced one. Not to say the other members of the band were lazy on their time off — lead singer Robin Pecknold was pursuing academia at Columbia University and guitarist Skyler Skjelset spent time touring with dream pop duo Beach House. Well finally, the Fleet Foxes long anticipated third album, Crack-Up, has come, and while this new LP certainly reflects a band that has changed since their last record, everything that defined the Fleet Foxes on their previous two albums — nonlinear song structure, reverb-soaked vocal harmonies, layered instrumentation — is all very much there. This album still certainly evokes the rustic respite of a backcountry sojourn, but it is also processed enough to remind you of the smartphone you rely on to take pictures when the landscape most precisely captivates you. Crack-Up serves as loosely defined concept album that explores the theme that “no man is an island” to varying degrees.
Fifty years ago, people from across the country gathered in San Francisco’s Golden Gate Park to celebrate music. The Summer of Love hosted music from many different genres, both mainstream and underground, but the highlight of the festival was the new genre, born in California’s Bay Area and brought to life by bands such as Jefferson Airplane and The Grateful Dead. 1967 was the year of psychedelic rock. Despite its immense influence on the 1960s and 1970s counter-cultural movement, psychedelic rock has largely disappeared from the limelight. Those, like myself, who still crave the unorthodox guitar riffs and new chord progressions, must plop down an ancient record onto a turntable for a chance to listen to the wild sounds of the genre.
After nearly 30 years of working alongside the likes of Chris Cornell and Eddie Vedder, Matt Cameron has decided to venture out as a solo artist. Cameron rose to fame in the early 90s as the lead drummer for both Soundgarden and the grunge supergroup Temple of Dog. He continued on with Soundgarden through their 1996 release of Down on The Upside and the group’s dissolution soon after. He was picked up by Pearl Jam to sign on as their new drummer, a gig he holds to this day. Throughout the years, Cameron always focused heavily on songwriting, despite being overshadowed by two of the greatest singers of all time — Cornell and Vedder.