• Welcome
  • Shop
  • About
  • Read
  • Listen
  • Menu

True Laurels

  • Welcome
  • Shop
  • About
  • Read
  • Listen
image.jpg

QTIPOCS On The Block: DarkMatter

February 24, 2016

DARKMATTER is a trans South Asian performance art duo compromised of Alok Vaid-Menon and Janani Balasubramanian. They are based in New York City and are emerging legendary performers who played at venues like La MaMa Experimental Theater, Nuyorican Poets Café, and have performed internationally at major festivals and universities in India, Amsterdam and Canada.

But mostly importantly, they inspire me. They empower me. They make me want to be an aggressively courageous individual. As a queer POC, although I am a buck rapper, I still find myself dealing with social insecurities in regards to my identity. DARKMATTER's performances help me not only feel erect in myself, but also educate me on learning how to communicate through my identity effectively and fiercely with no apologies. Seriously though, this is one of my most favorite interviews yet and is very lengthy so I want to leave this introduction short and end on this note: DARKMATTER AIN'T NOTHING TO FUCK WITH.

image.jpg

Which do you see as more vital: internal activism or physical?How do they work together? How does fighting policies/laws that work against the livelihood of qtipoc's interact with helping qtipoc's radicalize their identities within themselves?

DarkMatter: First of all, this idea that there is a “real,” offline self as opposed to an “imaginary” online self is so messed up. We are all cyborgs!!! We are all existing and resisting in multiple planes and dimensions. All of these binaries are false! URL & IRL activism are not oppositional, they mutually inform each other desperately and intimately.The battle has to be fought on all fronts: from the netroots to the grassroots. Not every person needs to be engaging in every type of resistance. We keep on stumbling through debates of what is, “real” activism, what is the “real,” work -- as if there is one path, one way to liberation.

However, it’s difficult to hold space for the legitimacy of so many different forms of resistance in a climate where people in power get to define the terms of engagement, the grammar of resistance.  The racist and ageist media continually dismisses internet activism as a millennial generation just obsessed with clickbait activism. Actually, there’s a lot of dynamic and transformative work being done online -- life saving work -- that completely gets dismissed and sometimes even ridiculed. We think this is precisely the power of cyber activism -- its inability (and in fact its refusal) to be categorized and understood through what society regards as “activism” and “politics.” It’s often work that’s deeply cathartic, emotional, and paradigm shifting.

So we need both seriously and desperately. We need the types of consciousness and validation and representation and decolonial imagination that comes from living and being online as well as the direct action and marching and courtroom packing and fundraising to bail out people from cages that happens offline.

How do you feel about the separatism amongst oppressed people, does the theory of divide and conquer sound realistic for this situation? Also, do you believe in the idea that it's created by patriarchy/capitalism?

Yes there is a type of division that comes from systems of oppression like capitalism and white supremacy. I mean, dividing oppressed people is a state policy in this country -- it keeps people infighting rather than building the types of intimacies, solidarities, and coalitions that build our collective power. “Gender,” is one of the most explicit forms of social division. Gender was/is literally a colonial import created for the specific purpose of dividing colonized people so that “men” and “women” were fighting against each other rather and building internal hierarchies rather than organizing as a people against state violence.  But not all divisions come from the state. Some divisions are actually created for safety, effectiveness, and strategy. It’s romantic to believe that all oppressed people can unify together, but on the ground it looks like people saying “community,” but really meaning “me.”. Often groups separate for survival and because they have been exploited and erased -- and that’s totally real and necessary, too.

image.jpg

How do you feel about the poignance of visibility and is it enough? What else should people be doing?

No visibility is never enough. The way neoliberalism and surveillance culture are operating today is that it actually uses visibility to do the work of racism, capitalism, patriarchy, etc. It uses the visibility of Caitlin Jenner to distract people from all of Black & brown trans people enduring so much violence,  it uses the visibility of celebrities to distract from the real conditions of poverty experienced by so many. Unfortunately, in this system, visibility for some necessities hyper-erasure for most and individual emancipation requires collective degradation for most. Visibility -- and representation more generally -- cannot be the end goal. It has to be a means to an end. What is visibility actually doing? Is it redistributing resources, is it turning awareness into action, is it part of a bigger and more strategic campaign to change people’s day to day experiences and lives?

What is it to you to be an activist for South Asian queer, trans, intersex folk? Do you feel like the you have to activate for both South Asian QTI folk living in America and in India?  How does India's caste system affect your mental mobility and ability in the struggle? For those who are little blank on warfare/structure India's caste system (like me), could you briefly share some insight on how it affects QTI identities and how it inflicts its damage on the people of India?

The caste system is an inherited system of social stratification with no mobility except for death. It’s inherent to the religion of Hinduism (though now it’s found across religions in South Asia) and positions Brahmins (the highest caste) on top with social, economic, and spiritual power over Dalits and other lower castes. Caste is wherever South Asians are (even in the United States). Queer & Trans Dalit activists are producing some of the most important theory and organizing about these very serious issues.

We are both upper caste people which meant that the subordination enacted by our peoples actually created the very real material conditions (like being able to immigrate to the US, get citizenship, attend schools here, succeed in conventional ways) that enabled us to be so visibly political in the ways that we are. We understand our activism as a form of harm reduction -- our people have been so messed up and have actually produced a lot of the things we’re protesting -- so our activism also comes not just from a place of oppression, but also complicity and responsibility as well.

image.jpg

How do you work with embracing your desi foundations with your identity vs your trans/queer identities? Or how does those two identities interact? Could you tell us about some work of legendary South Asian trans,queer,intersex people that inspires you?

So many queer/trans South Asians we’ve met experienced our sexualities and genders always as a “versus” in relationship to our desiness. So many of us grew up being told that queerness was a Western phenomenon, something that we picked up (or even were tainted with) here. What this does is erase a long and profound history of queerness and transness within various South Asian cultures and traditions. Part of the work of decolonization has to also be queer liberation -- a recognition of the queerness that already always existed in so many of our cultures across time. Oh gosh! There are so many trans/queer South Asians doing special and important work. Part of the best part of touring is we have gotten to meet so many brilliant people! We dance to DJ Ushka’s music, dream to Akshay Khanna’s unruly politics, scream to Richie Shazam Khan’s outfits, and are inspired by Vee and the rest of Dalit Women Fight.

How do you feel about being invited to be either interviewed for a white publication (often they too perpetuate white supremacy, classism, etc) or performing at a conference curated by white people at their schools, etc? Do you put forth extra effort to be also in Black spaces, South Asian spaces, or even trying radicalize folk from your communities who are of your ethnicity but don't support queer, trans, and intersex people?

This is always such a thorny issue. As you probably know well -- the art world is so white, masc, and heteronormative. Often *visibility* in the art world is dependent on how palatable you are to white interests and aesthetics. “Making it,” is often a code word for “having white people like you.” So often as artists of color we have to cater to and participate in white supremacist institutions in order to make money. But we try our best to build partnerships with local BIPOC activist groups in the city we’re going, fundraise from white/cis folks in order to give back to the people who really deserve it.

Speaking of...white allies, how do you see them working against and for you? Also a lot of POC frown upon activist of color who sex with white people or are in a relationship with a white person. What are your thoughts on that?

You know what’s a homonym for ally? A lie.

I def want to know how you feel about Tinder or social media dating. I often feel like I have to extra navigate them, not only because I am queer but I am underground, non-mainstream queer. Have you found success (LOL)? Also just to be nosey, what's your zodiac scenario? Sun, rising, moon?

Often we find we’re far too earnest for only social media dating. People are like, “What are you into?” and we’re like, “Talking to my mom on the phone and trying to destroy heteropatriarchy, how about you?”

Janani: Leo/Virgo
Alok: Cancer, Leo Rising

What are your goals as artists and activist? How do your own personal lives affect these goals? What's the next step for Darkmatter? A tour (with Abdu Ali...lol)?

We want to keep on having fun and trying to make the world a little less fucked up. We’re not sure we understand the difference between our “personal” and our “political” anymore. So much of this is life work. Next step: responding to the rest of our emails in this inbox, step after that...trying to get some sleep before we wake up and do more work tomorrow! Taking it day by day!  TTYL :P

Visit DARKMATTER's website to learn more about their work.

Tags: qtipocs on the block, qtipoc, abdu ali, darkmatter
Comment
Photo: Diamond Dixon  

Photo: Diamond Dixon  

Stream :3lON's Debut EP, "Ronin"

February 12, 2016

Late last night, Downtown Baltimore's favorite singer :3lON dropped his debut EP, a 5-track project titled Ronin. Last week, the project's lead single "Many Moons" was debuted on Afropunk. Stream Ronin below, which is out on Nina Pop Records:

"Ronin" Produced by https://soundcloud.com/elonofficial "Many Moons" Produced by https://soundcloud.com/alienood420 "Floating" Produced by https://soundcloud.com/elonofficial Co-Produced by https://soundcloud.com/schwarz420 "Prometheus" Co-Produced By https://soundcloud.com/schwarz420 & https://soundcloud.com/lainmang "Tea Leaves" Produced By: https://soundcloud.com/elonofficial Vocals Recorded by Brandon Lackey at Line Up Room Studios All Tracks Mixed & Mastered by: Schwarz

Tags: 3lon, baltimore music, nina pop
Comment
Photo: Reginald Thomas  

Photo: Reginald Thomas  

Meet YGG Tay, The Rapper Bringing Joy To Baltimore Street Music

February 11, 2016

To say that, right now, Baltimore is producing an unprecedented number of musical artists feels a bit irresponsible without having done the proper research but over the past two years, the city has seen a significant jump in the number of artists finally being comfortable enough to share their work with the rest of the world. This is especially true with the amount of street music being pumped out. At the turn of the decade, G-Rock and Smash (both now deceased, sadly) were undoubtedly the biggest voices for the streets of Baltimore but technology hadn't reached a point to where their music could travel with the necessary speed to spark a phenomenon. That changed with Instagram and Twitter's increased role in youth culture over the past three years. In 2014, Young Moose and Lor Scoota took the city by storm, as their singles "Dumb Dumb" and "Bird Flu" resonated with the city just as strongly as Rod Lee's "Dance My Pain Away" did in the mid 2000's and Tim Trees' Rod Lee-produced "Bank Rolls" did in the early 2000's. Their success has surely made an impression on the city's youth, showing that if they show their art to the world, recognition, money and a way out of the struggle could soon follow.

At the tail end of 2014's local street music craze came YGG Tay, whose music, like most street rap, covers his experiences in a harsh environment but what sets him apart is his celebration of the benefits that come with that lifestyle. From his first track "Why You So Mad?" to recent cuts like "Ain't No Way," it's hard to imagine Tay not laughing or smiling while recording, enjoying all the money, women and clothes that he can handle. His demeanor is almost Mase-like in that his charm is infectious and before you know it, you're screaming lyrics to his songs with his same level of joy, even though you probably can't splurge the way he died in his music. With at least 10,000 downloads on each of the tapes he's released over the past year, a co-sign from Future and deals on the table, it's gonna be interesting to see where his young career goes. I recently caught up with the 21-year-old to discuss his career goals, what he's learned from Future and how he wants to affect his listeners. 

When did you get your start in music?

YGG Tay: Jeezy. Nothing but Young Jeezy. I feel like I know that nigga life. He talks nothing but my life. I listened to a lot of Gotti, Future, and Boosie too.

Most of your music embraces having fun and living this grand lifestyle. When you started out, did you have a goal for what you were trying to portray? Like, do you wanna just speak on your life or are you trying to inspire others to go after what they want?

I can’t say it was a goal because I never planned on being a rapper. I didn’t grow up wanting to rap; I just started this like a year ago. Basically, I just talk my shit and talk about my lifestyle.

When was the moment you decided you wanted to actually pursue a rap career?

One day I was with my homeboy playing around, making songs and then I made a video for the “Why You So Mad?” joint. That shit blew up and I was just playing. I just wanted to do anything. After that, my homeboy came to me and said “We about to take this shit serious.” He locked up now but we been going hard ever since then.

So what even inspired you to make that song?

Man, I can’t even remember. Just being bored yo (laughs). I didn’t have nothing else to do.

You’ve put out your first three tapes within a year and they all have over 10,000 downloads on Spinrilla right now. Why do you think people gravitated to you so quickly?

I think people gravitated because they believe me, you feel me? If I’m on a tape talking this and that, Balmain and all that, you can go to my Instagram and see it.

How did Future come across your work?

I met him through my homeboy G.O. who talked on the intro to the August 13th tape. He locked up right now. But the whole Freebandz is my niggas.

Has he given any game to you directly yet or are you just sitting back and learning from his moves? Because, the rate that he’s dropping projects is insane. It’s only been a year for you and you have three tapes out.

Both. I definitely look up to him the most out of anybody right now. His work ethic is crazy. That motherfucker don’t leave the studio.

Since you dropped your first tape, is it something you told yourself you gotta improve on?

Not really. I’m just getting used to rapping, being in the studio, playing with different flows and all that. At first, I was just going in and whatever was on my mind I would just say it. I didn’t give a fuck about how I said it or anything. I used to freestyle but now I take my time and write some stuff down.

Over the past two years, more and more artists have been popping up in Baltimore, which is a great thing because even four years ago you couldn’t name a lot of people. What do you think is happening here that’s making young kids want to pursue music as a real career? I’m finding a new local artists online damn near everyday.

Niggas coming out of nowhere with them hits, too, I’m not gonna lie. I don’t know yo. Instagram a big part of it, I think. People seeing rappers get a lot of love.

You mentioned already being approached by labels. Is that a route you want to go now or do you want to avoid it?

I’m gonna avoid it right now. I wanna try this independent shit first because I got my own money to do my own shit. It’s a couple labels that’s been talking to me but I wanna see how I can maneuver through this my damn self. The only reason I was thinking about signing to anybody is that machine, man. But if  you do it independent, you got your own power and you don’t have to listen to nobody. I’m a boss. I don’t like listening to people.

What do you think Baltimore has to offer that’s not present in music right now?

Baltimore is Baltimore. All this crazy shit going on, we got our own slang. We just different. Nothing compares to it. People always bringing up “The Wire” but “The Wire” don’t got shit on this shit. It’s really wicked! It’s way worse than that.

Last year I performed at sxsw and when I was done, some dude from Philly ran up on me like, “Yeah, I already know about you. I’ve been seeing you and listening to your shit.” I was like, damn. Nobody never blow from here. We don’t have one rapper that blew from here. One! It’s gonna come. And I feel like when one person blow, everybody gonna blow. It’s  gonna start flooding. It’s like how it got here. One nigga got hot in the city and everybody started being like, “Oh, I like him too.” I feel like Baltimore time coming. Everything takes time.

Who are you listening to in the city?

I like G-Rock music, who just died. He talk that talk I like. I listen to Moose music. I like FMG’s music. Of course I fuck with Tadoe, Lor Staccks and Dre. YG Teck. I like Shy Money. Hope I didn’t forget nobody.

How are trying move going forward? Three tapes a year every year?

I’m in the studio all the time so I’m definitely gonna be releasing a lot of music. I’m in the studio like four times a week but I need to be in there every day.

What do you want people to gain from your music?

I wanna inspire everybody to get money. Just get the money and everybody can live good.

Where do you see yourself in a year?

Everywhere. TV, awards, everywhere.

Tags: Baltimore rap, ygg tay interview, ygg tay
Comment
image.jpg

Stream Grey Dolf's Debut Project, "What's Yor Enternitity?"

February 10, 2016

Downtown Baltimore standout Grey Dolf has just released her debut full length project, an 11-track tape called What's Yor Eternitity? Known through local circles for her quirky delivery and no-rules approach to releasing music, I briefly spoke to Grey about the motivation behind her debut, to which she confessed a need to change her music making methods: "I dedicate this to myself and newness and to everyone else that had to go through overcoming the pressures of the real and fake. Pressures of illusion; thinking things are one way and having a mapped out plan and, in reality, it's an entirely different wave and it takes God to really help you see the reality," she said.

There's definitely a sense of Godliness and a need for guidance on What's Yor Eternitity? as the bulk of the tracks feature ethereal production accompanied by Grey's distant, echoed voice -- almost as if she's taking on the role of God speaking to her, telling her to change gears. The project features production by Grey herself, Macdona, Fr33drvgs (who produced 4 of the tape's 11 tracks) and more. Stream and purchase What's Yor Eternitity on Bandcamp:

Tags: whats yor eternitity, baltimore rap, grey dolf
1 Comment
image.jpg

QTIPOCS On The Block: Cakes Da Killa

February 10, 2016

As writer D. Watkins would say, exposure can be powerful. When a black kid sees President Obama, they too can see themselves as commander in chief. In 2012 I saw something I never saw ever in my life; black queer men rapping, but not chastised as a mockery -- instead being coined as revolutionaries in hip hop. Cakes Da Killa was one of those men.

I already began rapping in early 2012 but when I saw Cakes Da Killa, Mykki Blanco and Le1f slaying out of New York with different styles, confidence, and great music, they became mentors for me and many other queens. I was encouraged to do my thing as they were examples of what I could be in rap. Cakes Da Killa was one of the first rap queens I saw perform too. He was performing at the infamous and now deceased Bushwick, Brooklyn staple, 285 Kent and he wasn’t playing no fucking games. Unapologetically everything, Cakes fearlessly took the stage, spitting provocative and sexually radical lyrics on top of bouncy club tracks, as he ferociously danced across the stage, giving one of the most LIT shows ever.  It’s been close to 5 years since Cakes has begun rapping in the spotlight and he has toured all over the world, been featured on VH1’s “Out in Hip Hop” and has been featured in almost every music publication ever. Enough said.

http://eyescream.jp/tyo/blog/alan/17965/ @cakesdakilla cakesdakilla.com fbl.me/cakesdakilla twitter.com/CAKESDAKILLA Produced by Moonbase Commander SC: @mbc fbl.me/mbc twitter.com/mbc_beats Artwork by Theresa Cromati

What is a memory from your youth that forecasted what it would be like living this world as a gay black man?

Cakes Da Killa: I don't think I can pinpoint one clear moment to really describe the landscape of this lifestyle. I think we as gay black men have very similar experiences in our development but there are also huge differences. For me, coming out in the third grade was sort of dramatic but like every obstacle in life, I faced it head-on and came out in one piece.

Maybe dealing with one of my early "lovers" helped me understand the complexities of attraction and the complications with male sexuality. I remember falling in love with this jock in second grade, pure puppy love, and feeling like I was his special portal to a truer reality. After a couple months things seemed off. I confronted him about it and he told me he just realized he wasn't gay. I cried on the rest of the bus ride home. This was my first taste of heartbreak but definitely not my last.

When you go back to those memories, do you think your former self could predict you being a rapper? Why yes or no? Who inspired you at that time when it comes to rapping and black music?

No, making music or rapping was never a thought. My mother's ex-husband even ran a label so rappers and the turn up were just something that was always around me but it never appealed to me. I only started rapping as a joke because I was funny, witty and it was an easy way to make straight people uncomfortable. I was used to getting attention and rap was just another hidden talent I discovered I could use as a shield to protect myself from negativity. Yes, Rashard was gay but Rashard was also cool, popular, dressed nice, always had a joke and could rap a little so the "gay issue" took a backseat and no one could intimidate me or try it. 

 

I often become frustrated in the rap world, dealing with not only white mediocrity in music, in general, but I also think us rap queers have to work a thousand times harder. As I said once on Twitter, we not only give the best live shows, we got lyrics, flow, and are pushing the genre's sound yet it's hard for us to get representation. You, Le1f, and Mykki are definitely ground breaking in the industry but people might look at y'all and say, well the girls do have a chance, but that chance is still very slim.

We do have to work harder. This is just something that comes with the territory of being trailblazers and pioneers but we are making it look easy and I love that.  I think once we realize we should be holding each other down, supporting each other, building each other up anyone who wasn't sold will have to fall in line. This goes for all artists and the LGBT consumer as well because the gay dollar is impactful. We have power. I've never looked for validation or acceptance or representation though. I am what I am and the blessings that are meant for me will happen for me because it is what it is never what it might be.

I want to know your thoughts on what gets on your nerves in the music world being queer and black and what advice would you give to those who look up to you and want to pursue rap?

Well firstly,I think using the umbrella term queer is sort of annoying because at this point queer kids have an identity, a look, and a language and some of those things don't line up with my experience. It's not queer when I get on the M train to Marcy in Brooklyn. It's banji or it's cunt. I hate umbrella terms in general, though. With music I appreciate any press I've received but media outlets sometimes don't do their full research which is why I always say LGBTPOC need to tell our own stories or we will have many more Stonewall movie incidents where our trials and tribulations are white washed for mainstream dollars.

 

Side note: What's your take on navigating through app dating and IRL dating?! LOL. I feel like it's so hard these days for the girls to get a date. Or it's just me? LOL. I do have this idea that you know for a long time, the girls already was finding alternative ways to hook up and seek partners, whether it's the pier or some underground club but I see these apps and shit as back door dating and feel like now the girls don't know how to deal with it and also are starting to conform to heteronormative culture. I hate that all profiles say "MASC ONLY," "NO FATS," "NO FEMMES." Like, do the girls forget who they are and where they come from? How dare they be prejudice?! And don't make me start on this new trend of black girls only dating white gays. lol. But anyway, what are your thoughts on that?

I don't do apps. I tend to fall for people I'm working with at the time. I'm big on IRL chemistry. Make me laugh over some drinks because yourInstagram follower count will not wow me. Getting a date isn't hard especially when you become this "thing" in the media and start traveling around the world. What's hard is finding a pure frequency to freak with. Something pure. Dating is complicated enough already but being black gay and a male adds so many more dimensions to the situation that can lead to some unhealthy occurrences. I'm currently happy with just being happy.

image.jpg

What kind of topics are interested in rapping about in your music and why?

Everything. Nothing is off limits.

Do you see rapping as a life long career? What other mediums are you interested in exploring and why?

Rap was never a career for me but it is my only profession at the moment. Making music has opened so many doors for me and I've met some really interesting people that I couldn't live without. Other mediums I'm into are nightlife things like promoting and curating, acting, writing and designing. I think I could see myself running a booking agency in the future or maybe assisting curating festivals and shows.

What's coming next?

Debut album and my mainstream takeover.

Tags: qtipoc, qtipocs on the block, abdu ali, cakes da killa, mykki blanco, le1f
Comment
image.jpg

Preview A Documentary That Uses Rap To Show The Ups & Downs of Everyday Baltimore Life

February 09, 2016

A couple years ago, photographer/filmmaker  Diamond Dixon was invited to a friend's photo shoot where she met his roommate, an aspiring producer named Justin and a genuine connection was established from there. Eager to learn about what Justin was working on, she visited his place in the Belair-Edison neighborhood of Northeast Baltimore and learned that he lived amongst many talented and passionate artists -- ones who were facing the everyday struggles of living in Baltimore City while trying to remain creative. A couple visits turned into Dixon -- a Norfolk, Virginia native who moved to Oxon Hill, Maryland as a young child -- documenting the young men on Justin's block and, in the process, learning what fueled their need to create. The result is her film, "B-More", which will be released in stages starting this summer and into 2017. To get a feel for what influenced Diamond to start the film, what she learned about Baltimore in the process and what narrative she's trying to shape, I caught up with her to chat.

You're not originally from Baltimore so what led you to making a film based on life within the city?

Diamond Dixon: I moved to my dad's house and visited Baltimore often for events and the flea market. I enjoyed the energy here. It was inspiring to visit and see the culture. I became curious to know what the experience was like living here. I was searching for anything that went against the negative things I would hear about the city. You know things like, “Oh, its dangerous, ”or whatever people like to say. I just wanted to know more about the city's history and the people that create it. I recognize everything has balance. I just knew I would document something here about the younger black experience and how the conditions affect them. I gravitated towards finding the answers to my questions. I planted the seed literally in 2012, just driving around one day. I told myself that there is more to know than just what I hear and see.

​What perception did you have of the city and culture before pursuing this project and has it changed since?

I’ve always viewed this city and culture as beautiful. One day I met an older woman who is a Baltimore native. She literally has hundreds of documents and newspaper clippings about the Black experience from the 50’s-present in the city. She helped shape my perception of the city. She also told me about the history black people have in Baltimore, which allowed me to appreciate the city on another level. My perception has not changed much though.

image.jpg

Freddie Gray's death brought national eyes to the plight of black people in Baltimore but your film detailed some of that prior to the uprising. Was it your intention to highlight that?

I intend to highlight what they’ve personally experienced by the police, definitely. When I first began this project, those were some of first questions to them: “How do you feel about police and brutality towards Black men here, and beyond Baltimore?”…you know? I want to get down to how that affects the psyche of young black males and how can we transcend that as well.

Why did you choose the subjects that you did in the film? Did you sense something special?

I chose to focus on them because, in my eyes, I felt they had a story to tell from day one. From the first day I met them you could tell they are all very passionate people. Even looking in there eyes, you can tell they want more, they want to build, create, etc. I definitely saw something special in all of them. I realized that they all had drive and hunger for creating more.

By getting to know them, what did your experiences make you realize about yourself? Did you see yourself or close family in them?

I realized that art takes time. Justin often says that to me. Patience is truly key. I learned to take my time and to let things unravel naturally. I definitely see myself in all them. We’re all on the same journey to be honest. Which is striving to create a legacy and building inner wealth. They are like brothers to me. I like to help them with anything they may need. I can definitely talk to them about anything, which makes me feel like family for sure.

image.jpg

Subscribe to B-More's YouTube channel to stay updated on the film's progress. 

Tags: greedy, Baltimore rap, northeast baltimore, bmore documentary, diamond dixon, drug dillon, justin maddox
Comment
image.jpg

Photos: BaltiGurls' "BLK LUV" Show

February 08, 2016

Over the weekend, all black and brown girl art squad, BaltiGurls presented their first collective art show, "BLK LUV", at Penthouse in Baltimore. Accompanied by music from the collective's in-house DJ, Trillnatured, the show consisted of performance art, paintings, installations and collage work by members Briana Arrington, Suldano Abdiruhmanm, Jenne Afiya, Chanel C. Cruz, Ashley Chambers, N'Deye Diakhate, Donnisa Hinson, A. Isabel, Sophia Yeshi, Christianna Clark and Stephanie Alexandra Wallace.

According to BaltiGurl's frontwoman, Jenne Afiya, the show's goal was to pay homage to both Black History Month and Valentine's Day by celebrating the aesthetics of their love traditions and collective cultural identities. Here are photos of "BLK LUV" by the collective's photographer, Ashley Chambers:

image.jpg
image.jpg
image.jpg
image.jpg
image.jpg
image.jpg
image.jpg
image.jpg
image.jpg
image.jpg
image.jpg
image.jpg
image.jpg
Tags: all female showcases, Penthouse Baltimore, BLK luv, baltigurls, black and brown female artists
1 Comment
image.jpg

Diary: Jay Wyse

February 05, 2016

It's February 3rd, two days before I release my Nine Twenty Five album and I'm definitely excited.  Woke up this morning in a good state of mind even though it's raining and I have to head in to my 9-5. It's funny because when people see me at work they give me an odd look like, "hey don't you rap?"Of course my reply is yes. It's like they don't expect me to have a job, though. At this point in my musical career I have to stay with a job in order to fund the music and balance daily life. I honestly think that makes some people take to me more easily, realizing that yes I have a dream that I'm pursuing, but at the same time, I'm out here working like you are.

Music was never something that I wanted to do since I was younger, instead it came at a time in my life where nothing was going right. I mean of course we all may have rapped lyrics to our favorite songs but that was about it for me until 2011. In 2009 I got shot and was facing a gun charge, and in 2010 my best friend (Biscuit) was killed. Imagine holding your best friend trying to talk to him and keep him here while he lays on the ground with a bullet hole in his head. It will change you forever. Especially when the previous year it was him at the foot of my hospital bed. I turned to music seriously then in order to express myself and keep his name alive. The more and more I wrote the more and more my passion and love for music grew. Today I can't imagine how life would have been if i didn't seriously start to pursue music. I've had opportunities come my way that I would have never garnered without music and for that I'm thankful. I'm not the most religious guy but I do believe in God and I do believe that certain things may happen in order for other things to occur if that makes any sense. God works in mysterious ways they say.

It's almost time for me to clock back in now. My job isn't hard at all, but who really wants to work for someone else's company all their life? A lot of times I think about quitting but then I'd really be a "struggling rapper" ha ha. So for now I'll balance the job and the music.

Stream Jay Wyse's album, Nine Twenty Five.  

Tags: Jay Wyse, artist diaries, Baltimore rap, Nine twenty five
1 Comment

QTIPOCS On The Block: Aeon Fux

February 04, 2016

Like the legendary singer Luther Vandross, I believe that there is nothing more beautiful that the voice of the black feminine bodied person. But then I also had to rethink:  Any person who is of color, whether presented as a man or a womyn, that manifests the feminine energy in their vocals has the most beautiful voice in the universe. It’s something instantly poetic and provoking about the black feminine voice whether it’s the gospels of Mahalia Jackson or the chants of Sylvester or the whispers of Sade. Why is that? I often think about how much the black feminine bodied person who is innately celestial has endured not just in the United States, but everywhere in this world. And  because of enduring so much affliction on themselves and their children, by default, they are the most resilient and powerful beings that ever existed in this world.

Aeon Fux is a singer based in Olympia, Washington who embodies that strength, power, and skill just through their voice alone. Their music encompasses the epitome of afrofuturism, with a jazzy flow and doo wap attitude. Fux is one of my favorite contemporary singers on the internet and I had the honor of performing on the stage with them and heard it for myself IRL. Of course, I was lifted off in another universe as they took the stage like a black anime heroine and gave magical vocals and ambiance. Their presence was fierce and unapologetic, while their eyes and hand gestures comforted me as to say everything is going to be alright. They were just as amazing to see as they were to hear. They have been featured on Noisey and become one of the most desireable voices of the Pacific Northwest.

Let me get this out the way. I find it ironic and very peculiar that your aesthetic is future as fuck yet your music is throwback and feels like old doo-wop/jazz. I do believe that time is fake, though. Do you do this sort of paradox on purpose or nah?

Aeon Fux: I agree with that sentiment, time is totally fake! I often refer to things as being in ‘insect time’; bugs have no concept of clocks and operate purely through biological function and I like to think about what it would be like to live like that. Much as I believe that time is paradoxical, music carries many of the same qualities. The universal language of music is one that should be played with far more often! It’s easy to restrict yourself to a genre and to play it your whole life but my influences and interests are vast and I like to experiment with how I express that.

There's plenty of conversation about queer male cis folk, but I don't feel like there's much conversation about queer womyn or nonbinary folk. What are your feelings about that?

My feelings about the current state of visibility in the queer community are complex. I have a hard time believing that non-binary representation is anywhere on the horizon, and I rarely hear it discussed outside of the internet and my peer groups. I’m still at a point where I often resign myself to ‘she’ pronouns, because explaining ’they’ is more effort than I have the energy to deal with. But my issues pale in comparison to those that many of my friends have to deal with. Whereas the issues that affect me are more an annoyance than anything, for others it is an issue of immediate survival. Too many trans women are being murdered for there to not be active discussions about what can be done in the community and outside of it. Too many young people are killing themselves because they are so afraid of the futures they have to look forward to. When someone misgenders me it doesn’t put me in danger. I have the privilege of not suffering from dysphoria, but it’s something that a lot of people deal with that can make navigating this space even more difficult. What I’m getting at is that we still have a very long way to go. Representation and conversation of one group does not protect the people that need protecting the most. I wish that there was more solidarity among queer folks, and that those of us that have more visibility and opportunities to speak out on these issues do so. I wish that the people that have these lived experiences had more opportunities to do so instead of having people speak for them, when many of these people aren’t truly listening.

What is your identity and how has your identity empowered you and also how has it affected navigating through this world, western world, Washington, Olympia, etc?

My identity is an amalgamation of my lived experiences, internal and external. Every path on my journey, ‘good’ and ‘bad’, has contributed to my identity in some way. I believe that soul and identity are intrinsically linked, both are these very liminal places between body and mind and I think they may inhabit the same space. I can easily identify as many things. I’m black, sometimes a woman, mostly non binary, queer, fat, mentally ill, a survivor, a musician, left handed, I could go on almost infinitely. It is easy to attach your identity to aspects of yourself, and to let them become your identity. Sometimes you can’t control what becomes part of your identity. My blackness is apart of my identity whether I like it or not, because it’s something I can’t change and I am reminded of it every day. The way I am treated and perceived by others is affected by my blackness. But it has also shaped who I am in a way that I can’t compare to anything else. My experience is so unique to me and yet many aspects of my life have resonated in others, and vice versa. I sometimes think that we over complicate identity with a very human need for categorization. To get into specifics, I was often an outsider among my peers, as many black people in areas like the PNW have experienced. My predominately white peer group influenced a lot of the culture I was exposed to up through my late teens. I think the term “woke” is hideously overused, but there was definitely a point in my life where I realized what it meant to me to be black, and that it began to empower me and make me proud.

How does your identity come into context when creating your music?

I think my identity has manifested itself in interesting ways through my music. My current obsessions are always obvious through my lyrical content and subject matter, but when I write about experiential things I try to touch on universal feelings that anyone in the human experience can relate to. I want people to feel some type of way connecting with the imagery I evoke. I like to think about feelings that are deeper than feelings; I attempt to make music that speaks to parts of us that we are afraid to feed, in fear of being consumed by them in turn.  

Side note: Do you feel like it's a challenge being musician working outside of NYC, LA, ATL, major cities and, if so, why or why not? I feel like it's mad talent all over and with the internet you'd think gatekeepers (journalists, booking agencies, labels, etc.) would be more about putting on artists everywhere. What are your thoughts about that?

Oh for sure, it’s definitely a challenge. It’s less so for DIY artists, and there’s a good number of places to play live locally, but if you’re trying to pursue music professionally it can get pretty stagnant. Despite the importance of local press, it is extremely difficult to get recognized on a national level even through the internet. Honestly, I think a big factor that plays into it is laziness. A lot of people in major cities have opportunities to make these connections in person, and a performance is easier to sell than a soundcloud link. Artists that are easily accessible in places that are hubs for entertainment can be charismatic in person. Admittedly, this is sometimes harder; the image you cultivate for yourself online can also be what holds people’s interest, but if you’re trying to make a transition from URL to IRL I don’t always think that’s a good thing. So much of this industry relies on word of mouth and who you know, and obviously the more people there are, the better chance you have of your name reaching someone you’d like to connect with. I don’t really think my thoughts on it matter, because I can’t currently change my situation. I’m just doing the best with the resources that I have and I encourage others to do the same. Don’t be afraid to send out demos and always give your best during a performance because you never know who could be watching.

a sequel to 'Call Me'

Society definitely has issues with understanding queer/gay/trans folk but  don't have a clue or know how to approach folk who are non binary or non gender conforming. What are the struggles with that identity and navigating through the world? What do you think people should know about that identity.

I touched on a bit of this in previous answers, but I think that nonbinary/gender nonconforming identities are complex, just like people are. People need to be treated like individuals because you never know what aspects of someone’s identity are most important to them. Let people speak for themselves and be a good listener. There is such a huge lack of understanding of what it means to be non-binary, collectively people still seem to be stuck on the issue of whether or not ‘they’ is grammatically correct. There are days when I wake up and I feel neither like a man or a woman. I tend to present as pretty femme, but I don’t think that clothing has a gender and I just dress in a way that makes me comfortable. Often times I don’t feel particularly ‘feminine’ or ‘masculine’, I just am. I realized that it was okay to exist outside of that binary, and that it was just another form of identity that people use as a signifier. In a world of black and white, for me non-binary is less gray and more whatever color you feel like painting with. I think it’s important for me to say ‘for me’, because I think the experience is different for everyone.

Anything else you wanna explore? Also what are you working on?

I’ve been pretty busy with school so I kind of got caught up in being a student for a hot minute. But I’m playing live more this year and I’ve got some new material in the works! I’m still planning on dropping a mixtape in the near future, and I’ve got some merch planned out. I’ve got a pretty neat project in mind that I hope to see come to fruition this year, but I want to keep quiet about it until I get the ball rolling a bit more.

Tags: aeon fux, qtipoc, qtipocs on the block, abdu ali
1 Comment
Photo: Devin Allen

Photo: Devin Allen

Stream Butch Dawson's New Project, "PREY"

February 03, 2016

Whether he's performing, producing, dropping collaborative projects or dropping Basement Rap Radio mixes, it's hard not to see Butch Dawson's name pop up in Baltimore music circles. Known for a sound that points more towards key-heavy production and loopy synths, Dawson's latest full length offering, PREY, is one of his most trap-heavy outputs and as he descibes in a note below, it soundtracks one of the darkest periods in his life. Stream PREY below. 

From Butch Dawson:

"PREY is a dark and sinister project. It's about being in my own world of consciousness and what comes out of it musically. I started this project in a depressed, angry state of mind and i felt like the color red worked for what i wanted as far as art direction. The slogan I used to promote the tape was "prey on silence" and that basically means that I'm killing silence with noise."



Tags: butch dawson, basement rap, baltimore rap
Comment

Premiere: Watch JPEGMAFIA's Video For New Track, "I Smell Crack"

February 03, 2016

Since moving to Baltimore last Spring, JPEGMAFIA has carved himself a consistently-growing space within the city's downtown music scene with his combative approach to police brutality, hard-to-detect liberal racism and art students' sense of entitlement. All of those talking points will be addressed with more fire than he's ever exerted in his forthcoming project, Black Ben Carson, which is set to drop on Valentine's Day. As a preview of the project, we're premiering JPEG's video for "I Smell Crack" where he comes at racist police and insincere politicians on a snowy Baltimore rooftop. Watch below:

Tags: jpegmafia, black ben carson, baltimore rap
Comment
photo 1.JPG

Abdu Ali Claims His Humanity In New Track, "I'm Alive"

January 04, 2016

Looking back on a year filled with insecurities, countless amounts of black people being killed by police and frustrations about his career, Abdu Ali pulls it all together to remind himself of his long journey and purpose on his first track of 2016, "I'm Alive (Humanized)". The JPEGMAFIA-produced song will be featured on Ali's MONGO mixtape which is set to release in April. Stream "I'm Alive (Humanized)" below: 

words/vocals by ABDU ALI song produced by JPEGMAFIA

Tags: abdu ali, jpegmafia
Comment

Baltimore's Best 27 Songs of 2015

December 23, 2015

1. Tate Kobang- Bank Rolls

Tate Kobang is not a new rapper in Baltimore. He's actively been dropping tapes over the past couple years -- some stuck and some didn't. He went back to the drawing board and revisited his roots this year, though. Following a tradition he's developed over the past two years to drop music in honor of his late mother's birthday, Tate dropped a remake of Tim Trees' Rod Lee-produced "Bank Rolls", a Baltimore hit in the early 2000's that never grew beyond the city. Coincidentally, Kobang's mom was born on April 19th, the same day Freddie Gray died from complications related to his arrest by the Baltimore City Police Department. 

"Bank Rolls" is far from a politically conscious track but its rise to becoming a national hit simultaneously grew with Baltimore's uprising against police injustice and brutality, making its shouting out of different neighborhoods and streets throughout Baltimore City, simple production and accompanying dances more unifying that Tate may have intended it to be.  -Lawrence Burney

2. President Davo- I Just Be

President Davo made his name in Baltimore for jacking beats last summer when he dropped his own version of Big Pun’s “I Don’t Wanna Be A Player”, which became a local hit and has racked up over 2 million views on YouTube. The stakes for that remake were arguably low considering the original is already a feel-good, party track but deep into Davo’s Underrated 3.0 tape lies “I Just Be”, an epic tale of everything Davo-related over Eminem's "Cleanin' Out My Closet." When the beat dropped on my first listen, there was this "What the fuck?" moment where I questioned why anyone would try rapping over this in 2015 but Davo took the opportunity to spill out everything brewing inside.

"I Just Be" goes from Davo questioning the friends around him, to people thinking he was soft for singing in his tracks, not being able to help his stressed-out little sister, to the fucked up prison system and his penthouse dreams. All the rambling gets a periodical break whenever he says, "I just be," in a way, breaking the story down into chapters. It truly succeeds because once Davo gets into a pocket, pulling you into the complexities of his brain, the fact that the track was originally a smash hit by Eminem becomes secondary, or completely irrelevant.  -Lawrence Burney

3. Al Rogers Jr. - Oodlesnoodles

Through his many transformations and vocal progressions, Al Rogers Jr. has always maintained keeping a personal narrative in his music, bringing the listener closer to what makes him tick. This year, Rogers Jr. dropped his second mixtape, an alternate universe where love trumps all the world's ills, called Luvadocious. On "oodlesnoodles" Rogers looks back at his childhood where he watched his brothers cook crack and go to the market with an EBT card just to grab a pack of noodles for dinner. On the surface, it sounds like a hard luck story but its flipped during the hook where Al assures, "some days you smile, some days you frown," through light drums rolls and crashes before the Drew Scott-produced track breaks down to a "Thriller"-like fadeout. - Lawrence Burney

4. Lor Scoota- King Me

Quiet for most of 2015, Lor Scoota delivered another chapter of his Still In The Trenches series at the end of the year, building on his catalog of street stories and gunning for national stardom. Since his "Bird Flu" track and dance had the city in a stronghold last year, Scoota hasn't deliver a track even close to being as impactful but he's been low-key improving with every release. "King Me" is a hook-less, self-congratulating marathon that looks back on where he was a year ago, his hometown hero status and where he's headed. With Scoota, what he's saying probably won't change much but how he delivers it is what will either separate him from the pack or keep him where he is. But for "King Me", his zone spans for the full three minutes. - Lawrence Burney

5. Abdu Ali- Keep Movin (Negro Kai)

Abdu Ali has made his name over the years as a voice of the unheard and muted, usually over Baltimore club-influenced instrumentation. He kept the lyrical content in tact but stripped away from the frantic production for the only track he released in 2015. "Keep Movin' (Negro Kai)" is a minimal, tribal chant-like record with stellar imagery ("every time I step outside, Nina Simone starts to sing.") and detailing of what it's like to deal with constant oppression and fighting off attempts to silence your passion. If you need a pick-me-up, this could be the one. -Lawrence Burney

6. Young Moose- OTM

The influence and gravitational pull of Young Moose’s music have never been dependent on how polished his raps are. There aren’t any clever metaphors or double entendres waiting for your “Ooooh’s” at the end of each line, just the harsh reality of what Moose has gone through and what he’s facing at the moment. Every once in awhile, though, East Baltimore’s hero gets into pockets like he does with his triplet flow on “#OTM”. Like the bulk of his music, the track details how he’s going to whack the opposition but does so in a way that most haven’t heard over his short career, where staying on beat usually plays second to the storytelling. Here, Moose gets both down tightly. -Lawrence Burney

7. Damond Blue- Godzilla

Damond Blue is quietly one of Baltimore's sharpest rappers with a delivery that cuts deep and a rolodex of flows to choose from. That skill set was best showcased in his "Godzilla" track where he weaves through, bigging himself up and listing off what his raps remind you of: smoking a zip, grabbing a brick, flipping on pissy mattresses in the alley.  -Lawrence Burney

8. JPEGMAFIA- Beautiful Pussy

Moving to Baltimore just before The Uprising and thinking back to all the racial tension (both direct and passive) he's faced throughout his life in America and many stops around the world during a stint in the military, JPEGMAFIA had all the fuel he needed to drop his Darkskin Manson project, a straight jab at liberal racism and white supremacy. He took a couple (great) left turns on the tape, though, including the drowned-out lullaby that is "Beautiful Pussy." On the track, JPEG runs through his alchemist abilities, (making a mountain from a rainbow, turning a woman into a God, etc.) surrounded by glitchy snares in a voice that sounds like its fading away. And although Darkskin Manson is a reclaiming of the name from Charles Manson, JPEG's actual voice sounds closer to a black Marilyn Manson here. -Lawrence Burney

9. GMG Tadoe- One Call

At this time last year, GMG Tadoe wasn't on the minds of most of the 20,000 people who've downloaded his The Slick One mixtape on Spinrilla. To his defense (and a celebration of his quick rise), he didn't even have music out at that point. Tadoe has placed himself as one of the most adored rappers in Baltimore since he dropped his "YSN" video which jacked the beat from iLoveMakonnen's "I Don't Sell Molly No More" back in April. 

"One Call", like "YSN", puts Tadoe's monotone drawl at the forefront which, in most cases, would seem dry and disengaging, but there's a hypnotizing quality to his dragged-out delivery. The hook's premise ("When you out here gettin' bread, these niggas, they want your head") could be chalked up as the routine "niggas hating on me" rhetoric that pops up in countless rap songs but with the speed of his local rise and Baltimore's murder rate reaching its highest point in over 20 years, there's more validity to why Tadoe may need to make that phone call. -Lawrence Burney

10. Quilez Fargo- Money Bags

Given the deity-like status that the Gucci Mane & Zaytoven super duo has established across hoods and blogs over the past decade, grabbing a beat out of their catalog to rack up some listens is hard to argue against. West Baltimore's Quilez Fargo borrowed the production for Gucci's "I Don't Love Her" for his "Money Bags" freestyle where he rides the beat effortlessly, listing off trap laws and his drink preferences. -Lawrence Burney

11. Joy Postell- Hands Up, Don't Shoot

As portions of Baltimore burned in protest this past April and the city erupted in response to a century's worth of systematic racism and oppression, Baltimore native Joy Postell watched sensationalized news feeds from her then-home in L.A. Not being able to physically contribute to the city's uprising, she took to the mic for "Hands Up, Don't Shoot" -- a timely anecdotal response to police brutality that transcends just Baltimore, and America, for that matter.- Lawrence Burney

12. Butch Dawson & :3lon- Record

Individually, Butch Dawson and :3lon are two of the most active artists in Baltimore's downtown music scene, dropping tracks, collaborative projects and performing seemingly every week. Both also produce the bulk of their own tracks so their joining of heads for their Pvrvllels EP not only showcased what could be done when they weren't at the handles, but also how their content would compliment each other. "Record" is one of their most interesting pieces as, instead of a general narrative being carried throughout, it's both a signature :3lon track and Butch track all at once. "Frequencies on a screen programming every thought," is what :3lon sings on the hook, upholding his futuristic, Anime-influenced subject matter while Butch carries out the verse, bigging up his rap skills and looking back at people who've overlooked him. -Lawrence Burney

13. Beya Likhari- Bad Dream

Beya Likhari's brand of dark, imagery-filled fantasy world R&B, at times, sounds like it could have backed a few Odd Future tracks in the collective's earlier days. That stands true in "Bad Dream" where, in a nightmare, she gets a visit from Edward Scissorhands, sees owls and pterodactyls only to wake up to a lover who isn't there to console her. Her still, unchanging register helps translate the creepy story even more. -Lawrence Burney

14. Lor Chris- #JusticeForFreddie

As it usually goes with similar stories, the bulk of Freddie Gray reactions and tributes over the year have come from people (black and white) who have not lived in his circumstances, consequently revealing their lack of understanding of what obstacles he faced before passing. Lor Chris, on the other hand, comes from Gray's Sandtown section of West Baltimore and routinely speaks on the ills of his environment, making it fitting that he'd make a song paying his respects to Freddie, sharing personal accounts of negligence by neighborhood police in times of crisis and shouting a plain "Fuck You" to Mayor, Stephanie Rawlings-Blake. The video only adds to the song's potency as it was shot in the thick of April's uprising. -Lawrence Burney

15. Grey Dolf & Blaqstarr-D’usse Blunts

Grey Dolf's early career is filled with random acts of impulse: EP's recorded in a day's time, abruptly deleted her SoundCloud account, random covers of Lil Wayne's "Fire Man" The same went for a project she and Baltimore club legend Blaqstarr teamed up for called D'usse Blunts, after a day of indulging in them. The project's title track gets unexpected triplet flow verses from Blaqstarr while Grey Dolf whales throughout to create unexpected, beautiful chaos. -Lawrence Burney

16. Black Zheep DZ- Globetrotter

Wordplay isn't new for Basement Rap's Black Zheep DZ but he hasn't been quite as sharp as he is here on "Globetrotter." Dodging through a flurry of flutes, DZ's lone verse doesn't falter from open to close, making me hope that there's an unreleased second one floating around somewhere. -Lawrence Burney

17. GMG Tadoe- YSN

At nearly 1 million views on Youtube, GMG Tadoe's debut track "YSN" (Young Slick Nigga) quietly went head-to-head with Tate Kobang's "Bank Rolls" for local favorite since both were released in late April. A jack of iLoveMakonnen's "I Don't Sell Molly No More", the track is an introduction to Tadoe's infectious, deep, harmonizing raps where he never stops for a breather. -Lawrence Burney

18. YGG Tay- Money

YGG Tay started rapping in 2015; not bad for an artist who's already grabbed the attention of Future and gotten at least 12,000 downloads on each of the three tapes he's dropped over the year. Barely able to catch a beat in his January-released Rich Before Rap, Tay has improved significantly with both flow and ear for production on his most recent tape, August 13th. A tape full of bangers highlighting his flashy lifestyle and money being blown, "Money" is one of the project's best which is a three-minute-long cash love song. -Lawrence Burney

19. James Nasty- Games (Feat. Abdu Ali)

James Nasty lives up to his personal mantra to influence people to "fuck on the dancefloor." His latest offering "Games" is a no-nonsense ode to sexual invitation with a chopped-up vocals of "games ain't my thing, I wanna fuck." The song retains Baltimore club groove while adding percussive and melodic elements reminiscent of tropical bass. -Antonio Hernandez

20. Dakidd Moo- Narcoticz

Dakidd Moo's harsh, raspy voice and delivery alone could save a track from being a complete fail, but luckily, he has the rap skills to bring it all together. "Narcoticz", the title track of his October-released mixtape, runs down Moo's long, complicated relationship with drugs: selling them, consuming them and avoiding being arrested for it all. -Lawrence Burney

21. Juwan ft. Matic808, Jay Verze, Mike-Mike ZOME - Represent

The DJ Juwan-produced posse cut "Represent" is as familiar as it is refreshing. Juwan has gained local notoriety for his club tracks and remixes after being largely unidentifiable for years, both for flipping classic breaks and samples, and giving some of the hottest songs the Baltimore club treatment, such as Hotline Bling. "Represent" features a chant-based hook, driven by a simple synth melody, with impressive showings from Matic, Verze and ZOME. This track in particular showcases the timelessness of Baltimore club and the artists still working to cultivate the sound. -Antonio Hernandez

22. A Mirror and the Reflections- Outta My Bed

"Outta My Bed" is a standout from Amirror and the Reflection's eponymous mixtape released early last month. Lead vocalist Amirror asserts that she's the "queen of the jungle," over the grungey, lo-fi track, backed by the Reflections. I am eagerly to see what's next from the "bangy soul" trio. -Antonio Hernandez

23. Icey Mike- Icey Avalanche

While his music is extremely unpolished, Icey Mike gets by just with upholding the blueprint that Gucci Mane laid out for us all: to get stupid high and to shine at all times. If there isn't one in existence somewhere on the internet, Icey Mike is forging a subgenre based solely on Gucci Mane's zany lyricism and it works well here on "Icey Avalanche" where he says: "You know I' bent behind tint, smelling like a pound of kush and Reggie Bush is your scent/ I'm 'bout to be major, Bitch I'm balling just like I'm Peja/ Stojakovic, I gotta get rich so I can ball on my haters." -Lawrence Burney

24. TT the Artist - "Gimme Yo Love"

TT the Artist shows her more light-hearted side on the infectious "Gimme Yo Love." The Schwarz-produced track combines ubiquitous Baltimore club breaks with bright synths, in a crossover track that is the perfect counter-balance to her anthems such as "Thug It Out" and "Pussy Ate." -Antonio Hernandez

25.  Normaling - "Full Metal (Seclusiasis)

Normaling duo .rar Kelly and Lemz really know how to shake things up in the world of club music. When it comes to Normaling, everything you think you know and understand about the native sound of Baltimore is completely irrelevant as they straddle a fine line of club music and techno that sounds like it was made in a creepy sweatshop somewhere. Case in point - "Full Metal".  It's a raucous take on club music in which they channel the aggressive machismo of Stanley Kubrick's Full Metal Jacket. Matthew Modine's terrifying screams complement the pounding bass while R. Lee Ermy's orders let us know who's boss. -Casey Embert

26.  Histo - "Yung Spvce Cadet" (Space Is The Place)

Baltimore-based label, Space Is the Place, is the perfect launching pad for a future-inspired club track like this.  On "Yung Spvce Cadet", Histo skips the typical Baltimore club sound in favor of glitchy bleep-bloops and deep space twinkles for that ultimate extraterrestrial vibe.  Now we wait for the rest of the world to catch up with us. -Casey Embert

27. 7uca- "...beaches // los angels (Feat. Rickie Jacobs & Jordxn Bryant

7uca's ode to women and vices "Pink City Motel," shows a growth and focus that was hinted on his "Most Violent Year EP," which was released this past Feburary. Baltimore lyricists Rickie Jacobs and Jordxn Bryant assist in the track's first song "...beaches," and each artist brings their own tale of balancing love and ambition. 7uca goes solo on "los angels," wrestling with his goals and his inner demons, with a sense of urgency. -Antonio Hernandez

Tags: president davo, al rogers jr, tate kobang, ygg tay, dj juwan, tt the artist, icey mike, lor scoota, gmg tadoe, abdu ali, damond blue, Joy Postell, lor chris, young moose, matic808, black zheep dz, butch dawson, dakidd moo, james nasty, Grey Dolf, coach b, jpeg mafia
Comment

Meet Salvation Project, The Teenage Producer Making Waves In Lima's Club Scene

December 03, 2015

Salvation Project, real name Diego Barrera, is among a slew of young artists cultivating the electronic music scene in Peru. At just, 16-years-old, he as already released a number of remixes and original tracks, including 2014's Saxtone, featuring Russian saxophonist Morozov Mikhail. 

In order to hone his skills, Diego joined Project Media, an incubator for promising young DJ's and producers which  functions like a trade school for electronic music; students take courses in hardware and software, learning how to market themselves, and have opportunities to showcase their work. 

Fellow Peruvian DJs and producers, such as Dengue Dengue Dengue! and Deltatron, have caught the attention of global bass fans around the world for the unique blend of traditional Peruvian rhythms - like cumbia and criollo – with electronic synths and 808s. In the coming year, Diego is working on incorporating the music and culture of indigenous communities with his signature Deep House and Tech House grooves. Curious about his start in music, his training and what he has planned for the future, I caught up with Salvation via email.

How did you get into DJing and producing electronic music?

Salvation Project: When I was at school, the bus driver, who loved electronic music, put a techno track at full volume on the ride home. It was the first time I ever heard electronic music like that in my life and it just blew my mind; from that day I got obsessed with house music, being a DJ and producing tracks.

What music did you grow up listening to?

Before the epiphany I had back then on my school bus, I was a really big fan of rock, in general. My favorites types were - and still are - indie, alternative and punk.

Are there many outlets for you to perform or play music?

There's more electronic music festivals in Peru every year so right now it's ok but I'm sure that next year will be better. I think electronic music in Peru still needs a little push and it's my dream to be the one who pushes it in the future.

Did you have anyone showing you how to get into producing?

Not at first. I was on my own with online classes, but then I got so much better after joining Project Media. They helped me find my own sound as an artist.

Who do you look to for inspiration?

I go to electronic music festivals which helps all the time.

Are you influenced by music in Peru such as criolla, cumbia, etc.?

I think I am. I love the music of my country; I find it really deep and rich in culture, but right now I consider my music not as much influenced by my culture as I plan it to be in the future.

Are you working on any projects currently?

Yes! I have a new EP in the works. I'm going to travel to Puno and live with the Aymara community for a few months to create some tracks mixing the Aymara's music with House music. With the help of the Aymara's Orchestra adding their instruments to the track such as the Quena and the pan flute and also some amazing vocals from the singers from there. I hope to finish it for release next year. Also next year, I will be part of the Project Media Showcase and I'll be releasing 3 new tracks for sale on all platforms, so 2016 seems really nice for me.

Thanks to Mikhail Morozov for the amazing work with the sax. Don´t forget to check Mikhail´s work and follow him. @syntheticsax itunes: https://itunes.apple.com/us/artist/syntheticsax/id372953271 Facebook: https://www.facebook.com/russiamusic?fref=ts Youtube: https://www.youtube.com/user/syntheticsax Twitter: https://twitter.com/syntheticsax Webpage: http://sax1.ru/

Follow Salvation Project on SoundCloud.

Tags: salvation project, project media peru, cumbia, criolla, peruvian club music
2 Comments

Black Zheep DZ Links With Yung Gutted & Czarquan For "Globetrotter" + "90 Degree"

December 01, 2015

Late last night, Basement Rap member, Black Zheep DZ, released two new songs "Globetrotter" and "90 Degree" which are both produced by Brooklyn beat-makers Yung Gutted and Czarquan.The latter, slurred and heavy, is more of what's become the rapper's expected sound while "Globetrotter", filled with airy flutes, pulsating base and some of Zheep's sharpest wordplay, to date, premiered as an unnamed track on last month's Basement Rap Radio. The tracks serve as momentum starters as Zheep's preparing to release a collaborative EP with fellow Northeast Baltimore rapper Soduh next month titled Days In The East. Stream "Globetrotter" and "90 Degree" below:

Follow Black Zheep DZ on Twitter and SoundCloud

Tags: yung gutted, black zheep dz, czarquan, soduh
Comment

Listen To Basement Rap's December "Basement Rap Radio" Mix

December 01, 2015

Baltimore's Basement Rap crew is back with a new installment of their monthly "Basement Rap Radio" mix. December's mix includes unreleased tracks from Buffa7o, Butch Dawson, Black Zheep DZ and a hilarious JPEGMAFIA song that comes across as a love letter to late-night Baltimore carryout, Jerry's where he details his favorite things to order "wings with mumbo sauce and a half & half). There's also beats from EU-IV, Jacob Marley and Llamadon musicians, Freaky and Michel. Stream "Basement Rap Radio" below:

Basement Rap Radio recorded, mix, and arranged at Llama Studios by Jujuan Allen.

Follow Basement Rap on Twitter & Soundcloud

Tags: basement rap radio, basement rap, butch dawson, jacob marley, black zheep dz, buffa7o, ryan p, eu-iv, llamadon, jpegmafia
Comment
Courtesy of Junglepussy's Instagram account

Courtesy of Junglepussy's Instagram account

Visions of Junglepussy: 3 Visual Ideas For "Pregnant With Success"

November 30, 2015

Junglepussy’s debut full length album Pregnant with Success has me questioning everything in my life. Not in a, “Why am I not releasing a bomb ass second album?” way but more like, are the men in my life worthy of my time? Am I treating myself right? Why is my diet so trash? Am I chasing my vision or someone else’s? Does JP really take that many Uber’s? It also made me see music videos, something I haven’t done in a while. Instead of a review I’m going to write three short treatments for my three favorite songs from the album.

“Somebody” produced by Shy Guy and Matt Parad
Fade in of Junglepussy singing this song atop a red grand baby piano. The time period is 1940’s black excellence.  Her look is very Dorothy Dandridge, floor length gowns and long gloves. She’s performing to a crowded club of sophisticated cats, and jazzy dames. There is a tall mysterious figure in the back of the club, that catches her eye. She finishes her set to a standing ovation, she goes to the dressing room and finds red roses on her vanity, with a card attached. In the card, someone drew two eye emojis and then signed “-Somebody." She smells the flowers, smiles and looks at herself in the mirror.

“Pop for You” produced by Shy Guy
We open with varying women in different settings: the kitchen, the nail salon, the movies, the gym all mouthing the chorus, “This pussy don’t pop for you...no more”. The women are all mouthing the words to their trifling boyfriends. It’s very “Cell Block Tango” from Chicago.  We cut to Junglepussy rapping as she sits in front of the TV on the couch with her boyfriend. He’s falling asleep as JP talks, the glare from the TV shining on their faces.  She tells him about himself as he continues to literally fall asleep on her.  We hear a horn honk in the background, it’s JP’s new boo in a drop top Corvette with a tiger in the backseat. He’s on his way to take her to the zoo. JP jumps out the window and lands in his arms. They zoom off into the distance, as Junglepussy twerks out the front seat window.

 “Get it Right”/ “Get to Stepping” produced by Shy Guy
Junglepussy is the leader of a drag race club in Tokyo. It’s the big race and JP is at the auto shop making sure her ride is tricked out with everything she needs to win. Her car is some cool sick shit, like a spaceship or something. She revs her engine up and rides off to the cut off highway where they’re holding the race. The song changes to “Get to Stepping." JP gets to the race, but her car starts acting funny. We see the mechanic from earlier talking to JP’s opposition. She’s been set up! Just as panic starts to set in, JP remembers her cousin is a mechanic, so she calls her up. Her mechanic cousin makes it just in time to fix the car. The race starts, and the opposition is pretty close, and it seems as if JP won’t win, she even sweat a little, then remembers she has “Jungle Juice”. She drinks some and gains some speed, crosses the finishing line and wins.                 

Pregnant with Success is an ode to my mother, to all mothers, to anyone who's ever planted a seed, to anyone who's ever created something, to anyone who's ever waited patiently for something to come into fruition.

Junglepussy is always putting on for ambitious black girls who think highly of themselves. Hilarious and honest, this album makes me wish I could roll up and make brunch with JP as we trade war stories. And by war stories, I mean stories about dick. Pregnant with Success is an ode to the female experience, especially those with an abundance of melanin, a nostalgia for the early 2000’s, a love for island vibes and an affinity for spiritually.

Nia Hampton is a writer and filmmaker based in Baltimore. Buy her ebooks!

Tags: junglepussy, pregnant with success
Comment
Photo: Keem Griffey

Photo: Keem Griffey

Watch Tate Kobang's Video For His New "Jumpman" Freestyle

November 24, 2015

After having a stronghold on Baltimore's airwaves this summer with his track, "Bank Rolls", Tate Kobang has been consistently dropping loose tracks -- presumably, to keep fans occupied before he releases his full-length debut on 300 Ent. His most recent offering is a freestyle over Drake and Future's Metro Boomin-produced "Jumpman" from their What A Time To Be Alive album. Here, he raps non-stop as he bounces around and, as always, shares the spotlight with friends breaking out into a combination of Baltimore dances. Watch the video below:


Tags: tate kobang, jumpman, baltimore rap, 300 ent
Comment

Meet Grey Dolf, The "It Girl" Of Baltimore's Downtown Rap Scene

November 20, 2015

At this point, there's rarely a passing week where Grey Dolf isn't playing a show in Baltimore's downtown music scene. Active for almost an exact year, the 20-year-old who was born Brayaira Simms took on the challenge to finally pursue a career in music after playing around with the form since childhood, moving to New York at 18 for personal growth and coming back home to a continuously growing DIY scene fronted by black and brown kids. Dolf's music doesn't fit into any box, not even ones made for what "alt rap" is supposed to be. At times, she raps conventionally and even fits in a bit of comedy like performing a full tape worth of Chief Keef covers. Wailing uncontrollably over lo-fi production isn't out of the norm for her and neither is creating an impromptu mixtape with Blaqstarr called D'usse Blunts in a matter of four hours. No matter the classification for what Grey Dolf's music and overall aesthetic is, she's been attracting a growing level of support and attention since mustering up the courage to rap at local collective Llamadon's open-mic series, Beet Trip, last summer. We recently caught up with Grey Dolf and learned about some pivotal points in her growth as an artist and where she wants to move, going forward:

Musical Beginnings:

Grey Dolf: I started getting into music in middle school after people started to tell me my voice sounded like a boy. That actually made me sad and I became more conscious of my voice. It made me hate my voice and sometimes I still do. But my early music came to me when I was in the shower or in the mirror looking at myself, making up songs. In high school, I used to take academic things and take them to another level or more relatable through music. If I would be thinking about something that I was having a hard time with, and then start listening to myself to figure it out, it would turn into these ballads I’d be singing to myself. I have so much of that material from voice memos. It's actually ridiculous.

When Pursuing A Career In Music Became Real

I attempted to try college in Baltimore then I just had to leave because it was too much. I moved to New York when I was 18 and stayed for like 7 or 8 months before I came back last summer. I worked at Banana Republic in Soho (laughs) and lived in Lower East Side.

I came down to Baltimore like two times one month in the summer while I was living in there and I went to Llamadon's Beet Trip one night. I was drinking a lot of Patron and cooling it with people I hadn’t seen in a while and I was just really feeling it. I was really turning up and got on the mic and it felt really good. A lot of people were like, “Oh my gosh, I wanna work with you.” I was just listening like, “That’s what’s up.” But when I told some people that I was really about to do this, like really be Grey Dolf and perform and put on shows, some people were like, “You not gonna be able to build it up that fast.” It was funny when I look back. It was actually November 14th when I did put on my first show and performed last year.

Influences

I interned at this shop downtown called Agio when I was in high school and that’s where I met Jacob Marley, Butch Dawson, Black Zheep DZ and some other people. Seeing all them make music was a big influence. Even like being in studios with random hood rappers when I was younger was an influence to me. But I always thought Baltimore was super chill. I think everybody could work more collectively but like 2Pac went to Baltimore School for the Arts and it’s a lot of cool factories for manufacturing here. It’s just a lot of cool and inspiring things going on here.

How To Release Music

I’m strategizing from an energy perspective but I’m trying not to be too forceful. It’s all these different things. Like, I just deleted my whole SoundCloud just because I wanna release music in a better way. I can do better than that. I’d rather post all my songs visually. I was on YouTube and typed in my name and saw so much shit that I didn’t even post. Audio is great but I don’t think people will get me without a visual. It’s really fun. I’m still figuring how I want people to receive my work, though. At first I was just making things for me but the fact that other people are involved in that process now is interesting.

dolf 2.jpg

What Could Be Better

I could definitely sharpen my organization because it’s crucial to how people receive my stuff. I need to work on production too. I just got rid of my computer because the beats I was making on there weren’t quality. I wanna start incorporating more instruments in my work beyond digital sounds like piano, maybe clarinet and guitar.

Tags: Grey Dolf, jacob marley, butch dawson, black zheep dz, beet trip, llamadon
1 Comment

6 Things You Need To Know About "Not About A Riot" Before Its Screening This Weekend

November 19, 2015

At this point, there has been (and will be) countless accounts of Baltimore's Uprising this past April which happened in response to the Baltimore City Police Department's alleged killing of 25-year-old Freddie Gray. In a great deal of national news coverage, rioters, protestors and even children were painted as savage and unruly while smaller outlets like VICE came to film how the music scene responded to the events. Back in May, we premiered Baltimore-based filmmaker Theo Anthony's "Peace In The Absence of War", a dialogue-free short film which surveyed across the city, zeroing in on the faces of police officers, National Guard members, media and others' expressions throughout various events during The Uprising.  Still, there has yet to be an in-the-action account shared from the perspective of Baltimoreans. During the unrest, filmmaker Malaika Aminata felt compelled to organize an Artivism (art and activism) march to not only combat the injustices that citizens suffered long before Freddie Gray's death, but to use creative expression as a way to reel people in to these issues. While doing so, she filmed these artists interacting with the community and now has a documentary to share, titled "Not About A Riot."

The film is being previewed in Baltimore this Sunday at EMP Collective to raise funds for its production and distribution and to get an understanding of its creation and intentions, I had a quick conversation with Aminata. 

You were actively organizing during The Uprising. Did you feel a responsibility to your community to do so?

Malaika Aminata: I think I felt a responsibility to myself formost. During that time, emotions were super intense and I knew I had to do something productive with the energy I was feeling just in order to function. At first I felt helpless and completely overwhelmed, but then I started to think about how I could contribute to being part of the solution. Thats when the idea to organize an "Artivism" ( art + activism) march came up. That's also the reason I decided to make sure I was capturing what was happening. I did it because others needed it, but it was just as much needed for me.

The usual idea of someone organizing during something like what happened in April is to protest against injustice and discrimination but what you were involved in seemed to be more about promoting art. Why?

It was still very much focused around injustice and discrimination as well as a bunch of other issues. Art was just the language being used. Why art? So people listen.

Would you consider the pushing of this film to be an act of protest within itself? Like, dispelling the notion that Baltimoreans were destructive and unruly during the unrest?

I don't think it necessarily dispels that notion, it's just does not focus on that aspect because in the grand scheme of things, that isn't the part that really matters. There are much more critical questions. What matters is why. If someone is destructive, why? If someone was looting, why? What are the conditions that causes this reaction in the first place, and how can we change those?

I was living in Bolton Hill at the time on a super ritzy street with a chain that blocks people off from entering and a gazebo nobody touched, but right across the street is public housing. People were definitely taking things but what I saw being taken were mostly everyday necessities: toilet paper, diapers, laundry detergent, etc. You don't take those things if you don't need them. 

Through the process of making "Not About A Riot" what did you learn about yourself?

I learned I truly love the city of Baltimore and the people who make it beautiful. I learned to use sadness and frustration as a means to create on a grand scale. I learned to ask for help.

What did you see art and music do for the people of Baltimore during such a vulnerable time?

I saw art do what it always does: communicate messages to people who wouldn't normally listen. But, this time, the message was clear and very intentional. The city was on the same page, everyone was singing the same song. That doesn't always happen but when it does, the impact is undeniable.

Why is it important for people to see "Not About A Riot"?

For people who experienced it, I'm not sure it's as necessary to see it as it is a necessity to remember what happened during that time, to remember the power of unifying, to remember there's still work  do. But, I guess the film makes you recall all those things. So in that case, it's very important for people to see "Not About A Riot". It's very important to see it over and over again. I also think it's important to tell the truth. And for people who weren't there to know some of it. I think the film helps with that.

"Not About A Riot" will be screening in Baltimore, this Sunday, at EMP Collective to help raise money for post-production and distribution. For more information on the event and how to help, visit the film's Indiegogo page.  

Tags: baltimore uprising, not about a riot, emp collective, malaika aminata
Comment
Prev / Next