Review: "Just Before Dawn: 2nd Wave" Album by Ezza of Choom Gang

Previously, we got to know Canadian artist Ezza of Choom Gang on his project “Pilot Boy” and in 2021, he’s starting the year off with his new project, dubbed “Just Before Dawn: 2nd Wave”. The album starts off with a dreamy, and fragmented beat on its intro track, and is titled “Vibes Are Us”. This song carries a Jack Harlow style drawl and features a collaboration with Light Spectrum and Ill Table Manners.

It’s the ultimate track to pair with an after-work blaze sesh or a wake n’ bake session when you’re looking to fade your troubles away. This relaxing song is meant to chill you out, or as this track puts it, “I believe we could loosen it up/ I don’t know if Metamucil enough, though.”

“Fate” wakes up the album a little more, coming at the haters with a slightly harder beat as he dictates: “It’s all love/we gettin’ rid of that hate/it’s time to come together and control our own fate.”

This is a message we could all do with mid-pandemic - take control of your life and brush out the haters. Ezza also professes his love for cannabis in these lines, with a stoner-friendly twist on the usual allusions to drank: “sippin’ weed drank/ but it feel like champagne/we the champions/ I ain’t talkin’ a brand name.”

“Interdimensional” has an addictive chanting backbone to it as Ezza makes allusions to new and undiscovered dimensions to his intergalactic production and lyrics. As he finesses his way around Jasmine and Aladdin wordplay, Ezza’s magic carpet takes us to new heights, exploring around his hometown and paying homage to Canadian locales with “about to buy a home in Muskoka/then hit up Etobicoke/only a forward motion that I’m rollin.” It’s one of our favorite tracks on this work, with a fire stoked by aspirational hustle and hometown inspiration.

“Spiritual Warfare” clarifies that “this ain’t some street sh*it/this is spiritual warfare/I believe it.” In this song that reminds us of Big Sean’s “Harder Than My Demons”, Ezza shares his story on fighting the negative vibes and rising above to be better. During a pandemic, this is advice we could all benefit from following. Other lessons in the track? “Never front/cause that’s just what they want/they want you to be successful long as you are what you’re not/but remember who you are/cause it’s never too far/you a god in the flesh let me remind y’all.”

It’s an anthem for the underdogs promoting self love, which we don’t see too much of in the rap game - especially from men. “Heal My Soul”, the clincher on this album, follows suit with the same philosophy. Last year was a tough one, and Ezza’s work is an introspective reflection of that. Here’s to 2021 being filled with less demons, more healing, and a whole lot of self-acceptance.

Stream and Share “Just Before Dawn: 2nd Wave”

The Best DJ Premier Beats Ever

Who is DJ Premier? If you don’t know, you were probably born after the year 2000, and there’s nothing wrong with that. Still, if you love hip hop, the art of production, and music generally, this American producer and DJ, otherwise known as Preemo, was one half of the iconic group Gang Starr, and plays a huge part in hip hop history.

While some producers rely on fundamental, one-size-fits-all beats, a DJ Premier track instantly stands out from the crowd. Production is the backbone of a solid rap song, and Premier helped set the standard high. Full of heavy scratching, raw loops, and impeccable timing, the aggressive nature of a Premier beat brings us back to the hungry hustle that hip hop is based on. He’s a big part of music evolving in the 90s, and entered the 2000s with full force, working with everyone from from Common to Jadakiss. Here are the most impressive beats by DJ Premier.

1. Gang Starr “Family and Loyalty” (feat. J Cole)

We had to start with one of his more recent tracks, just to prove that after decades, Premier hasn’t sold out, and still has that “it” factor that makes his music so addictive. Since Guru’s death, we lost that electric chemistry between MC Guru and DJ Premier, but we were blessed with this posthumous gem, which reminds us of hip hop’s true origins.

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2. Big L “The Enemy” (feat Fat Joe)

Premier captures the signature grittiness of NYC rap once again, and despite being raised in Texas, he’s mastered the tough voice of the concrete jungle. “The Enemy” is dirty as can be - it’s a prime example of vintage Preemo, and we might like the unpolished version of him the best.

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3. Jay-Z “D’Evils”

Premier has absolutely mastered the art of the piano sample. Want proof? Look no further than this Jay-Z track, which features a sample of Allen Toussaint’s “Go Back Home”, a jazzy juxtaposition that’s woven in to the hard beat flawlessly

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4. Capone-N-Noreaga “Invincible”

Agile scratching and a flawless, catchy sample of "Hey Boy Over There” by Jimmie and Vella make “Invincible” a head-nodding banger to beat for many modern day producers. We’re not sure if they’ll ever be as good as this elusive talent.

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5. Notorious B.I.G. “Kick in the Door”

If you got lucky enough to produce a Biggie track, that’s proof that you’re creme de la creme as a beat-maker. Apparently, the original Kick in the Door beat couldn’t cut it, so Diddy recruited Premier for a bulletproof makeover. Diddy said he needed a “Tunnel banger”, and this producer definitely delivered.

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6. Nas “N.Y. State of Mind”

This 1994 track proves Premier a complete master and innovator of the keys. All it takes is one listen to this song off “Illmatic”. As you listen to that off-key chord that finishes off every bar, you’re transported to dark alleyways and nasty underground cyphers of another era.

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7. D’Angelo “Devil’s Pie”

This 1998 classic proves that Premier can easily color outside the lines of hip hop, as he often did with his D’Angelo collaborations. A thumping bass and drums to match make for an explosive (though sultry) rendition that feels timeless, erotic, and perfect for late night listens.

Can’t get enough of these tracks? Check out Spotify’s 50 Best DJ Premier Beats playlist ASAP - https://open.spotify.com/playlist/5nfwgkui49M5p99SPxK6Hf?si=1cfd22ef66364574

Has TikTok Changed the Music Industry For Better or Worse?

The music industry has always had to adjust and adapt along with technological advances. The way we consume and get put onto new songs is different nowadays, and will keep evolving. The MP3 was once the most coveted form of music, but since then we've moved onto ad-free streaming services, and more recently (mostly due to TikTok) we’ve come to discover music through snippets. TikTok was initially musical.ly, before $75 billion Chinese corporation ByteDance bought it and seamlessly urned it into TikTok.

A random 15-second clip can lead to an avalanche of luck for musicians nowadays. Still, it comes with frustrating side effects, like getting famous from a 13 year old lip-synching or doing a ridiculous dance. In 2020 alone, the app had 176 songs, which culminated in over a billion unique video views. But it leads us to wonder - is this app bringing musicians popularity based on talent, or chance?

This app has become a champ at blending music with videos, adding a new definition to the idea of the “music video”. Music is an essential part of the TikTok formula, and plenty of young fans even flock to this app to discover new music, rather than Spotify, Bandcamp, or Soundcloud.

And while a lot of the articles out there are talking about numbers and how TikTok could bring money to the music industry, we’re looking at this through another lens. Social media apps have made getting famous easier than ever. Additionally, music has been commodified like never before.

As music has evolved in the mainstream, it’s become less about the songs themselves, and more about what I like to call The Viral Factor. This changes the musical logic behind the song popularity. It doesn’t matter anymore whether the song is objectively well-constructed, or “good”. It becomes based on whether a large amount of people have come upon it by chance, making the talent of the musicians irrelevant and based on circumstance.

On the other hand, one could argue that TikTok is driving discovery to new artists and their streams, engaging users beyond the short video clip. Songs that have gotten famous from challenges and clips include blue-haired rap-pop artist Ashnikko’s tracks “Daisy” and “STUPID” ft. Yung Baby Tate.

It also adds a unique resource for musicians,When they heard her track “Daisy”, Dr. Dre’s Beats created the #BeatsDaisyChallenge, a TikTok campaign to make a music video out of user-created content. Over the course of a month, the company compiled clips submitted by users, corresponding to the Beats headphone colors. Thanks to the app, “Daisy” rose to #24 on the U.K. charts.

Old school rock band Fleetwood Mac also experienced a spike in streams and listens with their track “Dreams” which was made famous by a TikTok video with a skateboarder and some cranberry juice, in another random aberration of music logic. This was not an intentional promo for the band - it was just another instance of viral TikTok magic.

Perhaps it’s just another means of influencers influencing, but music is sacred for our souls, and it feels wrong to treat it as a mere commodity. If this app uses their powers for good and helps bring a spotlight to underrepresented hidden talents and independent artist, it’ll make the future of music just a little more optimistic.

UK Drill Artists (Besides Skepta) That You Should Get to Know

Drake recently shone a light on UK Drill with his series “Top Boy”, but a lot of people in North America are still missing out on UK Drill, a hard-hitting sub-genre of rap that follows its own beat.

Drill is a sub-genre of hip hop and trap (preceded by grime) that actually came out of Chicago’s South Side around 2010. Drill is signified by gritty, violent lyrics versus the cleaner appeal of mainstream, radio-friendly hip hop. This then gave birth to UK drill, which came out of London and which the Brixton district was particularly famous for. By the mid-2010s, it skyrocketed in popularity, shaping European and NY Drill with artists such as the late Pop Smoke.

Today, UK Drill has expanded and flourished within the drill scene, with themes of loyalty, lives lost and stolen, and things being bought or sold. Lyrics, flow, and cadence of these UK artists indicate a fiery hunger that we sometimes miss from their lazier mumble-rap US counterparts. Here are drill rappers in the United Kingdom (besides household names Skepta and Dizzee Rascal) that are taking over the scene.

Headie One

Often referred to as the King of Drill, Headie One has featured with Drake and his album debut Edna came out at #1 on the UK charts. He has that “it” quality on every feature, often stealing the spotlight from the main artist. Between impeccable storytelling and uncanny punchlines, it’s clear that this star from North London is only just getting started.

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Ivorian Doll

If Headie One is the King of Drill, then Ivorian is his queen. Her freestyles and track albums are equally hard-hitting, but she never forgets to get a little cheeky with it. She’s dedicated and gritty, but also not afraid to flaunt her promiscuity and admire herself while giving a wave to the haters.

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Shaybo

Shaybo has been in the game for the longest out of most female drill rappers in the UK. And even though she’s not new to the limelight, people are finally starting to appreciate her for her raw talent, effortless swagger, and refusal to sugarcoat things. She’s head to head with the top male rappers in the game, and we can’t think of a better way to break up that boys club.

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Abra Cadabra

Abra Cadabra first came on the map after UK rap duo Krept and Konan remixed one of his tracks, “Robbery”. He ended up winning MOBO award in 2016 for the song. People often draw comparisons between him and Pop Smoke due to their voices, but Abra Cadabra’s experimentation with flow and melody sets him apart from the crowd. Everything he delivers is relentless (see: “On Deck”) and impossible not to nod along to.

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Dutchavelli

Dutchavelli became a staple at DCW when he featured on “I Dunno” with Stormzy and

Tion Wayne. For a while, Drake has been his hype-man by reposting various Dutchavelli clips - not a bad endorsement. Fun fact: his biological sis is Stefflon Don. His bars are endless and never stuffed up with filler content. Other must-hear tracks include “Never Really Mine” and his 2020 album, “Dutch From The 5th”

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TeeZandos

TeeZandos is trending hard right now, and while many drill rappers work within a certain format, teenaged Tee isn’t afraid to color outside the lines. An IG freestyle is what made her go viral, but that was just the start for this energetic and unexpected rapper who isn’t afraid to stand out. She puts it best herself on her breakout track “Need Focus:” “F*ck being normal, I want to be the oddest one.”

Review: "Endangerment" Album by T.E.E

Rather than braggadocio or descriptions of drip that have been overwhelming rap, Goldsboro, North Carolina based artist T.E.E is here to bring us a more relatable album for the everyman, while still pushing us to do better. A lot of us have found ourselves in a pandemic-related slump, and this motivational, ambition-peddling work entitled “Endangerment”, is exactly what we need to hear.

The first track “Get It” is a cold and ruthless reminder to get back on that hustle. The beat is delightfully minimal but hard-hitting, reminiscent of a drill beat. This rapper’s unique delivery and vocal timbre piqued our interest. Whether this is a reminder for you to get up and get to it or the soundtrack to your workout, this track is versatile and has a timeless feel.

T.E.E references his inspirations as Meek Mill and Rick Ross, and while that’s immediately evident from his songs, it doesn’t feel overly derivative. His tracks are aspirational, also dedicated to his thoughts and surroundings. There’s a sense of self-awareness that intrigues us.

“Worth” is another standout that starts with a brightly tinkling piano. “Worth” showcases T.E.E’s lyrical talents, as he reminds his competition that his lyrical lessons don’t come for free: “Show ‘em how to do verses well, but I have to tax ‘em.” Still, he’s not above sharing his mental health struggles, which we’ve all inevitably dealt with recently, “My depression got me stressin’, existential drip.”

“Self Made” ups the tempo and pushes the competition to the side with the help of artists GenWorld and Jhony Allen West the Sketch. With energy, the chorus delivers: “Get out my face/get out my way/get off my case/or run this fade/y’all n*ggas made that I’m self made.” Targeting sellouts and those who climb the networking ladder, T.E.E is clearly focused on his own journey, and getting there on his own terms.

“Music Junkies” on the other hand is an homage to the artist’s authentic and genuine passion for music over clout. T.E.E also produces beats along with his raps, and for him, music always comes first. With “I’m a music junkie/I don’t f*ck with y’all/with the tools on me/I be dropping these bombs,” he flexes his production and the behind-the-scene process that many rappers aren’t a part of.

T.E.E is about the anatomy of a song, not just getting the glory for delivering it.

“We’ll Be Right Back” featuring 2FLY KING departs from the Meek-style delivery and slows it down to a lazy, old school (and beautifully mixed) beat, giving us a chance to catch up with this fiery artist. This fluid track goes down like honey and is definitely a DCWS favorite.

Authenticity is something the industry has been lacking for a while, and it’s soul-fulfilling to see that independent rappers like T.E.E are still pushing the envelope, and hungry for their next chapter.

Stream and Share “Endangerment” on: Bandcamp | Spotify

Get to Know Eclectic Irish Rapper Denise Chaila

A lot of people complain that female rap is manufactured to fit the male gaze. It’s true: mainstream success of many women in hip hop is based off how well they dance and their general appearance over subversive content and uniqueness. But with players like Princess Nokia, Chika, and other rappers carving out new niches of identity in rap, other rap queens are finding their voice and reveling in their differences, rather than trying to squeeze themselves into that box.

Denise Chaila is leading that charge in Ireland, and she’s hard to pinpoint even when giving a description. A quote from her interview with The FADER sums it up: “I'm always looking for the common denominator between Tolkien, Tupac and mo teaghlach - my home.” This Irish talent blends fantasy, gangster rap, and Irish culture in her tracks, making for a rich tapestry to write her songs on.

Denise recently released her 2020 album “Go Bravely” which is what put her on our radar. In her single “Anseo” she images herself as the “Black James Bond” with an Azealia Banks or Flo Milli style lilt and a melodic instrumental backbeat that even draws in classical music. Chaila’s other tracks feature minimalist but exotic sounding production as indicated in her title track “Go Bravely”. Her beats sometimes feel like ASMR in process- weird, unusual, and satisfying sounds bubble together with her addictive accent.

Her wild inspirations aren’t just a ploy for attention - they genuinely represent who she is, even though the combination stands out on paper. Along with dexterous lyrics and undeniable charisma, she finds a way to weave in themes of culture, racism, gender, and finding your place when you don’t fit into one easily. From panic attacks and depression, to frustration with misogyny in rap, Chaila raps about things that are both pressing and relatable to audiences.

In “Move” she tells us against a jazzy background, “I've been feeling different…/Need the serotonin quicker.” This debut album kind of feels like a coming of age process for Denise, a leader of new traditions reaching new heights. She puts it best herself on the track “Down”, where she “dances on the grave of dead traditions.”

For young Irish Black girls, Denise Chaila is a necessary role model for an underrepresented group. She admitted in an interview with The Independent that this lack of representation affected her self-esteem growing up, as well as pre-conceived notions of what she could achieve: “I think that the truth is, being a woman, and being Black, in a country where I didn't always see reflections of myself, impacted a lot on my confidence, and my expectations of what success meant.”

In 2021, it’s safe to say that Denise has gone a long way in finding herself. She's called confidence a “political statement” and in a world where artists are taught to seek validation, we think that’s pretty powerful. She’s bringing light and levity to a time when things are dark - a reminder that second chances are possible.

Connect with Denise Chaila: Instagram | Twitter

Why DaniLeigh's "Yellowbone" is Controversial, and More on Colorism in Music

Recently, Dominican-American singer DaniLeigh released a snippet of her song “Yellowbone” which celebrated light skinned women. A prominent lyrics in the song goes: “Yellow bone that’s what he wants” discussing her man’s preference for light-skinned women.

The song itself wasn’t very good, especially compared to the artist’s usually very catchy tracks. And underneath, the sentiment wasn’t just about a sexual preference - it’s a dangerous and racist colorist anthem that needs to stop being perpetuated in 2021.

The oblivious way that Dani dealt with the fallout made it even worse. She cried out on social media, “Why I can't make a song for my light skin baddies?? Why y'all think I'm hating on other colors when there are millions of songs speaking on all types... Why y'all so sensitive & take it personal... Gahhhh damn,” That smells like an All Lives Matter style argument to us, Dani. Not cool.

While the singer thought she felt every right to come out with this song since "I’m Dominican... I’m Spanish, I’m black I’m white,” her Blackness or lack thereof has nothing to do with why the song is so problematic. Rather, the promoting of this terminology is what’s damaging, especially since so many people look up to her as a role model and musical icon. Additionally, DaniLeigh has never discussed how she identifies as Black or Afro-Latinx, so this feels like a shoddy excuse.

While she felt like she needed to make an anthem for girls that look like her, it’s not exactly like the space is lacking. We already have white supremacy to celebrate light skinned individuals over those with dark skin. The word yellowbone itself has been used to favor and compliment light skinned Black people since the 19th century. Colorism has been pitting Black people against each other since this time, and has ingrained a deep feeling of self-hatred in the dark-skinned community, as well as a sense of alienation.

The word yellowbone is a way to quantify beauty in relation to whiteness. It’s another way of perpetuating narrow, European beauty standards that are derived from slavery and colonialism.

So while she might think it’s an anthem to uplift her community, it’s actually a song that stomps down on an already downtrodden and disenfranchised one. While we’ve come to expect ignorant white dudes using these terms, it’s unfortunate that a prioritizing of light skinned women is seen not just in Danileigh’s track, but by rappers as well.

Anti-Blackness is not poetic. It’s ignorant. We want more Kendricks. We want more “Brown Skin Girl” tracks and take downs of colorism. We want awareness raised on colorism, a threatening but often under discussed aspect of racism that prevents true solidarity.

DaniLeigh is probably out there scratching her head, wondering why her male competition isn’t being held to the same standard. But as a woman in the industry, she should have been aware of that uneven playing field off the bat, and how a song like this helps feed into the system. Instead, she should have used her platform to be a little more politically conscious, and a little less tone-deaf. Hopefully, other light-skinned artists on the scene will use their privilege to end colorism’s legacy, rather than perpetuating it in an already problematic industry.

Why Do Female Rappers Always Perform Better on Freestyles Vs Albums?

Rappers like Trina and Remy Ma don’t exactly come a dime a dozen nowadays. Instead, Insta-models and girlfriends or wives of rappers are being given the spotlight (no shade, Jerrika Karlae, but we’re looking at you) making success increasingly more difficult for actual female rappers spitting real talent.

An album is totally different from a freestyle. You get less creative liberties, and it’s not so much an indication of skill as it is an attempt to sound “catchy” or get radio play.

As a diehard feminist, I’ll never cast any judgement on rappers that rap about their bodies or their bedroom skills. All I’m saying is that there seems to be a disproportionate amount of rappers that focus on that subject matter vs other topics. We don’t get too many mainstream women rappers talking on their street cred, the community, and profound life experiences.

While queens like Saweetie and Meg Thee Stallion got famous off catchy bangers, it’s undeniable when you hear their freestyles that the album content pales in comparison. These women have breath control, lyricism, speed, and are dripping swag along with all that. From cyphers to freestyles, they consistently stand taller than their male counterparts, who still manage to reach fame quite easily.

It’s obvious that the quest for success is way harder for the women out there, who face a double standard within the industry. They’re harped on for only boasting about their sexuality in tracks, but there isn’t much of a market to make millions in more authentic content. Rappers with equally fire album tracks and freestyles such as Young M.A don’t come along frequently, though we wish more rappers would follow suit in her strong, complex identity.

Icy girl Saweetie is our favorite anomaly who rides the line between between mainstream popularity and being a genuine artist in both freestyles and albums. Her sidesplitting TikTok and IG videos show her sense of humor and make her more relatable than others that let fame and snobbery get the best of them. As one Youtube commenter of her page puts it “Saweetie gives me popular girl who’s actually nice to you vibes.”

In her “Pretty Bitch Freestyle” she’s wearing a hoodie, loose jeans and band tee, and her controversial red nails that earned many haters online, sending out a message that she doesn’t have to appeal to you to keep thriving.

Still, she recently released “Best Friends”, a non-freestyle single with Doja Cat with a fresh theme of female friendship and empowerment. The lyrics, video, and chemistry between these two hypewomen came in at 10/10. We were pretty excited about this track and can’t wait to see more unique work like this by women in the game.

Megan Thee Stallion, on the other hand, proves that she’s the reigning champ of the industry in her freestyles, while her albums (although commercially successful) seem to be more like a pop-infused ploy to skyrocket in the industry, charts, and on the radio. There’s an unbridgeable gap between some of her freestyles and her post-fame albums. When she dropped her Megan Monday Freestyle, our jaws were on the floor. Still, there was no follow up, leaving fans wanting more. We’d love a full album of Stallion freestyles, but can’t see that happening anytime soon. She’s on the money-making, Beyonce trajectory to reach #1, and you can’t blame her for it.

The music industry needs to create more space for a diverse range of female rappers to be on the scene. Lord knows we have enough Desiigners, Bluefaces, and Tekashi 6ix9ines over-crowding it.

Check out some of our favorite rap queens to put on your radar ASAP.

Interview: UK RnB Singer-Songwriter Rosita Discusses Her New Song "Masterpiece"

“I feel singing and performing live will always be food for my soul, however there’s just something about writing and sharing personal, raw, vulnerable songs and people relating to them.”

— Rosita

How did you get your training as a musician? Are you self taught? Tell me about your back ground in singing and songwriting, and how you discovered your love for both. Additionally, what feeds your soul more: singing, or songwriting?

I think one of the biggest misconceptions people make about me is that my voice and singing ability came from nowhere. It’s probably half true, but vocal/performance training definitely played a huge part in my development as an artist.

I started singing around 8 years old when I attended a performing arts school, alongside that I was having private vocal lessons, where I was trained in genres such classical, musical theatre and light opera. I started writing my own songs at around 12 years old, I had just been bought a piano so I was always playing chord progressions and writing lyrics to them.

My musical style began to change when I started writing my own music and started to establish my own artistic sound being pop/soul; my style now has evolved into R&B. I have always been influenced by some of the greatest vocalists in R&B/Soul such as Amy Winehouse, Lauryn Hill, Beyonce etc. Other influences include Ariana, Jhene, and Jazmine Sullivan.

Even though I was vocally trained for years, by listening to these artists, I was able to adopt techniques such as riffs and runs etc. Being able to pour every emotion I have into a song and let it out as a form of therapy is hugely important to me, if I have an issue I write a song about it and put it to bed. I feel singing and performing live will always be food for my soul, however there’s just something about writing and sharing personal, raw, vulnerable songs and people relating to them. That definitely feeds my soul more.

“Masterpiece” has a jazzy back beat that seems to blend a few influences and perfectly matches your voice, whereas “3AM” seems to pick it up a bit with afrobeat and dancehall inspiration. What’s the process of choosing a beat and working with producers on your tracks to make sure they fit your vision?

For each producer I worked with it’s always been a slightly different process. I originally wrote “3AM” on keys and was super sultry and ballad-like. Once I had sent the song over and received back the first demo I was like woah, this brings a whole new feel and type of energy which I loved, I think it can be hard putting your trust into producers because you have to make sure what they’re making represents and resonates with your sound as an artist; not just theirs.

With “Masterpiece” I worked with Kenniblu, he sent me a few beats and I chose whichever I felt most drawn to, being the beat behind “Masterpiece”. I think these beats were initially made for hip hop artists, but with my melodic lyrics it seemed to fit really well.

When I first heard the track for “Masterpiece” I fell in love with the whole sound and thought I could write something real special. I managed to write the whole song the day I was sent the beat, everything just flowed and felt so natural writing to it; it was definitely a bit of me.

The meaning behind “Masterpiece”, as you’ve mentioned before, is all about confidence and self-love, which we always celebrate at DCWS. Does making music help you practice self confidence and self love, or was there a particular story behind “Masterpiece” that mentally took you to that space?

It’s taken me a while to learn to be confident in my own body, I’m still learning today. Some thing that helps me is listening to empowering songs, songs about self love, feeling good etc. I wanted to make one of those songs so other people can listen and get the same feeling I did.

Did CV a creative block on you or motivate your music making process?

When we initially went into lockdown, I had lost all my gigs and uni had closed; this gave me all the time in the world to write, record and better my skills as a musician. It definitely motivated me in terms of making music, I didn’t have life get in the way of anything so everything was pretty smooth in terms of the music making process and releasing music.

I had all my recording equipment with me at home, so I was able to still create, I definitely think this lockdown was a blessing in disguise for myself and my artistic development.

What was the first gig you booked and what did it mean to you? Since social distancing guidelines and livestream concerts, we’ve entered a new era of concerts. What was the favorite venue you ever played at, and would you ever consider doing a livestream performance?

Since about 13 started doing pub/bar gigs as a good money earner and to gain performance experience I guess. But the first gig booked for myself as an artist was on the Unsigned Stage at NEC Birmingham, it was awesome. I had a full band with me too, which is just a wholesome experience; hearing arrangements of your own music is so beautiful.

My favourite venue/gig I’ve ever played has to be at Gloucester Rooftop Festival, the vibe and setting was stunning, the atmosphere was great and I had a whole orchestra backing my songs. It was such a surreal moment and one I defo won’t forget!

I would definitely like to do a livestream performance, I would prefer to perform with my band/ some sort of live backing rather than use tracks, I guess that’s why I’m a little hesitant to do so currently. Hopefully very soon though!

Your sound reminds me a lot of old school R&B songstress - you cite H.E.R and Jorja Smith as inspirations, but are there any contemporary underground artists that inspire you today?

I’m always listening to new, up and coming R&B artists, some recent artists which I’ve been inspired by include: Kojey Radical, Victoria Monet, Jessie Reyez, Miraa May, RAY BLK and KAYWHT.

Tell us about the Artists Development program “Upsurge” that you were accepted into, and how that influenced your experiences as a musician?

Being a part of Upsurge has enabled me to collaborate with some of the best producers and engineers I’ve ever worked with. It’s also allowed me to connect with loads of other musicians, I’ve made friends for life with some of the members. It’s definitely speed my eyes to new gen res of music, and allowed myself to grow as an artist, in terms of performance, confidence and as a writer.

Who is your dream artist to write songs for, and who do you dream of collaborating with one day?

I would absolutely love to write for/with SZA and Jazmine Sullivan. They’re unbelievable song writers and performers, it would be INSANE to work with them one day!

I would also love to collaborate with Jacob Collier, his musicality and theoretical knowledge blows my mind; I am in awe of his work.

Connect with Rosita: Instagram | Facebook | Twitter | Soundcloud

Underrated Female Rappers You Need on Your Radar in 2021

It’s safe to say that being a woman in the rap game is no easy gig. With rappers like Tierra Whack and Mulatto finally breaking through to the mainstream, we’re here rooting for the other underrated rap queens that need to get some more visibility ASAP. Here are the hottest to know about in 2021.

Flo Milli

Flo Milli has been compared to Nicki Minaj, but with her unique flow and delivery, we think she’s fully developed a sound on her own, at the young age of 20. Flo is definitely primed to put Alabama on the map the way Meg did for Houston, and we hope she never loses her bold and brazen attitude that’s ever-present on tracks like “In the Party” and “Like That B*tch.”

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Armani Caesar

Armani is signed to Griselda and has popped up on other Griselda artists songs, like Benny the Butcher and Conway the Machine. From rhyming about coke to crime, her voice fits flawlessly on every Griselda beat, and those beats are not easy to rap over. She ranks high up there with the label’s best male rappers, and even out-raps the boys on tracks like “Gucci Casket.”

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CHIKA

We discovered CHIKA after her jaw-dropping performance on NPR’s Tiny Desk series. This Alabamian artist is maybe one of the most inspiring and talented rappers we’ve ever seen come out of this day and age. Along with her lyrical gift, a kind of gritty honesty juxtaposed with vulnerability is what makes this young artist so mesmerizing. From worries about society to her own troubles, CHIKA is always relatable, and headed towards greatness.

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Jucee Froot

Jucee Froot first popped up on the soundtrack of Insecure with the track “Eat Itself” which kept us hooked. This tatted queen gives us Gangsta Boo vibes, and can definitely hold her own with male rappers. Her lyrics are always sexually empowered (re: the “Girls Kissing Girls” video) with a Southern sound that makes you want to get a little wild.

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BIA

BIA is just now getting the fame she deserves thank to her hit “Best on Earth” with Russ. Still, we can’t wait to see a new piece of work from this queen, who tackles aggressive bars with an effortless, casual vibe. BIA’s tracks are cocky, smooth, and always bringing strength to her fellow women.

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KentheMan

This lyrical up and comer from Houston slays freestyles and has released songs that are definitely on our radar, including “He Be Like” which we haven’t been able to get out of our heads since its release in 2019. Her voice has a bassy essence that works perfectly with her bass-heavy production. With that pink hair, we even get a young Lil’ Kim vibe.

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Ivorian Doll

Asian Doll might be dominating the US with her beats, but it’s Ivorian Doll who we see as the real underdog right now. There aren’t too many female artists coming out of the UK Drill scene,

And Ivorian is definitely leading that charge. Her diction and force hit us hard every time without being overwhelming. She’s not afraid to throw shots, and every diss gives us goosebumps.

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CupcaKke

This curvy rapper is aggressive as hell, and we’re here for it. Tracks like “Discounts” deliver straight bars, but her ability to write and deliver diverse content with confidence is what keeps us coming back for more. The execution hits harder than most mumble rap dudes dominating the game right now, and we hope CupcakKe gets the come-up she deserves.

Review: "Man On The Moon III: The Chosen" Album by Kid Cudi

Kid Cudi is back. Since “Day ’n’ Nite”, his releases have been catchy and solid but nothing special compared to his initial debut. But that all changes with the release of he hasn’t made such a unique footprint until his 2020 work, “Man On The Moon III: The Chosen”. Cudi conjured up a cosmic album with this work, which some critics were harsh on, but the sound and message is exactly what we need after this mess of a year.

It proved something we’ve known forever: Cudi has been the face of angsty rap for a minute now, and he’s kind of turned it into a genre of its own .At the same time, that emotional vulnerability in his tracks allows him to push past the rapper bravado and air his mental health struggles, which is something that we need more in hip hop. Especially post-pandemic, when a lot of people are dealing with anxiety, depression, and more.

Still, “Tequila Shots” manages to remain upbeat while Cudi airs his grievances, and is one of our favorite track on the album. From the classic Cudi beat and genre-melding flow, this track might sound like a mellow ride, but it talks about the inner battle of Cudi’s brain, which “cant stop this war in me.” He explores his faith and the gloomy themes that run through his music: “Back just where I started, it's the same old damaged song.” And while his demons haunt him at night, he finds refuge in creativity, indirectly encouraging us (night owls or not) to do the same: “Back up on my late night session remedy/ Something ‘bout the night that keep me safe and warm” but follows it up with the reality of depression and how it can unexpectedly rear its ugly head: “Lotta shit is weighin' on me, it's a storm/N ever thought I would be back here bleeding.”

The beat in “She Knows This” and “Dive” tap more into Cudi’s trap side, lightening things up with a faster tempo and a stronger bass-line. We see Cudi on a drill beat for the first time wit Skepta and the late Pop Smoke on “Show Out,” and if the clubs were open, it’s safe to say that DJs would be playing this track non-stop. “Heaven On Earth” also shows off an angrier, sped-up side that we’re not as used to, but he uses lo-fi fuzziness and guitar to make it a signature Kid Cudi original.

Then, all these flashy, racing tracks are follows up by the melancholic “Solo Dolo Pt. III”, which croons: “Yeah, I take it, they don't know 'bout it/Yeah, I take it, I don't need nobody/Deep in Hell in dark corners /Deep in my dreams perceived”. In the verses, he opens up about suicidal tendencies "Say, "I'm waitin' to die," I cry/Many nights I spent gettin' fucked up, livin' a lie" and explores the stages of self-blame, self destructiveness, and the toxic secrets that mental health struggles can cause. “Sad People” is another emo rap track for stoners that’s perfect for when you’re feeling down in the dumps. Still, the chorus lifts up depressing verses with an aspirational chorus: “N***a been in hell, the same ol’/On a mission and I'm gonna fly high (High)/This for the sad people who keep the blunt burning and we/Off on a journey, you learn me.”

For the critics who find Cudi’s new album underwhelming, they simply can’t understand the power of music for mental health. He shares his darkness with us, and lifts up us when we need it most. We’ll admit it - Cudi opening up about addiction and mental health at such a relevant moment in time doesn’t automatically make the album amazing. But the fact that this enjoyable work is also relatable and far from perfect connects this star to us normals, and we think that counts for something.

Cudi’s music has represented transformative moments in a lot of lives, and this album isn’t an exception to that sentiment. If you’re currently going through a low, put “Man On The Moon III” in your headphones as a reminder that you’re not alone in that feeling.

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Review: "Good News" Album by Megan Thee Stallion

We listened to Megan’s new album “Good News”, which was highly anticipated due to the diss track towards her ex best fiend Kelsey and Toronto artist Tory Lanez. Raunchy as ever, Meg tackled this track and the rest with ease. Not letting her pettiness get the best of her, Thee Stallion shifts her focus on other tracks to her classic brand of body positivity and female sexual empowerment a la Lizzo. There’s a pandemic going on, and unless you’re married or living with a partner, the body you’re getting closest to is most likely your own.

“Shots Fired” is unforgettable with a minimalist, old school inspired beat sampling “Shots Fired” by Notorious BIG. She savagely rips apart those from her team that betrayed her and the man in the industry that attacked her and tried to discredit her truth "You shot a 5'10" bitch, with a .22/Talkin' 'bout bones and tendons like them bullets weren't pellets.” It’s a narrative that we’re missed in a lot of ad-libs based rap from the last few years, and Megan does more than borrow this B.I.G beat - she makes it her own.

“Circles” speeds things up with a New Orleans bounce backbeat and flow that channels a female Drake as she airs all of her grievances. Again, she explores fake friends and disloyalty, something that a lot of people can relate to: “Bullet wounds, backstabs, mama died, still sad at war with myself, in my head, bitch, it's Baghdad (Yeah)/New nigga tryna come around and play clean (Hmm)/And my clothes fit tight, but my heart need a seamstress.”

“Cry Baby” turns a baby cry into an addictive sample that’s catchy as hell - it’s a bummer clubs re closed, because this track would be everywhere. As Da Baby lists off the names of his conquests, we get reminded of the bassy beat behind this duo’s last famous feature, “Cash Sh*t.” it’s clear that these two have chemistry and we’re on the edge of our seat waiting for a full collab. Some female rappers get overshadowed by their male features, but it seems like the competition just fuels Megan to be her baddest - especially when she’s trying to prove a point to Tory Lanez. As she chronicles her spicy bedroom romps, she reminds her lover (and female listeners) to speak their mind and prioritize their pleasure: “Don’t fuck me like that, fuck me like this!”

She swaps gender roles and champions equality in “Movie” featuring Lil Durk, where she reminds us “I'm a boss, I could buy the same thing my man bought.”

Then Meg switches things up with a melodic SZA chorus that croon us a romantic 90s melody while Megan gets naughty with jaw-droppers like “Freaky bitch, I do this, suck it like I'm toothless” as she retorts to the haters that say she’s “too tall” for a man: “Long legs, he intimidated, Amazon, I'm elevated/Lil' people make lil' people/stallions breed prize babies.”

Our favorite tracks are all hidden gems - they’re not the catchy singles off “Good News” that are sugary pop or radio friendly. They’re the ones that scream classic Meg: racy, ruthless and unapologetically loving herself, but most importantly: encouraging her fellow women to do the same.

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Review: "JP4" Album by Junglepussy

Junglepussy just released her “JP4” album, and she’s as wild as ever. Her talent hasn’t dwindled at all since her last album, “JP3”. The 28 year old blends alt-rock, rap and new sounds in an empowering way that we haven’t heard before.

The intro track, “Bad News”, an a newly emo take on Junglepussy with emo guitar and echoey effects. Think less bravado, and more a late night noir film with some ominous vibes. She’s making her sound more diverse, as artists like Princess Nokia have been doing with more experimental sounds that stretch the definition of hip hop. Men have been playing with sound for decades - why are girls boxed into corny lyrics and the male gaze? Track 6, “Spider” is another vintage-sounding, slowed down track perfect for late night vibes.

“Main attraction” lightens things up with some high hats and her a syrupy melody sung by Junglepussy. It’s almost like an alter ego to the last track, but her sugary delivery is permeated with her edgier rap voice. In the chorus of “Main Attraction”, we hear the rapper dreaming about a low-key bae who likes classy whiskey drink, and has antisocial tendencies: ‘I want somebody who don't like nobody (‘Body)/I want somebody who don't like to party (Party)/Sit in the crib and sip a hot toddy (Toddy)”

She brings out her less vulnerable side in the verses but still years for someone who’s “not a social butterfly” amidst a sea of lying, untrustworthy dudes. She just wants someone to do cozy thing and home with, and to be honest, ever since COVID, it seems like that’s all we can do anyway.

“Telepathy” has another equally weird background that feels like a Santigold meets N.E.R.D production with slicing words about the many fantasies in her complex mind with sexy, cocky lines like “I'm my own snack, why you brought me to the store?/You wanna buy me what it is you think I want/He purchasin' the sun, the moon, the stars”.

“Morning Rock” is the feminist wake n; bake anthem we never knew we needed. Setting our alarm clock to this song ASAP. As the playful refrain goes “Morning rock/ I roll the chef” she puts basic dudes on blast with statements like “Why I gotta smile so you comfy?/I gotta hate me for you to love me/I gotta teach you how to treat me/I gotta keep sellin' the fantasy” and “What a waste of this hairdo, six hours at the salon to impress you.”

She acknowledges that she needs to sell a fantasy that’s not the real her in order to succeed, but urges her fellow queens to be happy with themselves and the place they’re in, leaving us with a philosophical line that sticks in our memory. “Tellin' all stores the grass ain't greener on they side, nah/Whoever said that was high off the pesticides, bruh/Look at my lawn, bask in all the colors 'round here.”

“Arugula” transports us to deep Brooklyn in a Spike Lee scene with that drunken delivery against an equally slurry saxophone backbeat, but “Stamina” ft Gangsta Boo is still the highlight of the album for us, starting out with a beat that sounds like a tango.

The lyrics might be filled with sexually explicit spice, that’s more what we hear from the mainstream, but how could she not with a feature from the OG Gangsta Boo (the only female of Three-6-Mafia)? It’s about both being an outcast, but still embracing your sexuality as you desire.

Though each female rapper in the game is slaying their respective journey, “Stamina” is a quiet reminder that Junglepussy was here before Megan Thee Stallion, and Gangsta Boo was there before both of them.

It’s a way of letting us know that freakiness and embracing your sexuality has always been present in female rap, but these three multigenerational queens are here to remind you that their brand is definitely not for the male gaze.

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Review: "Burden of Proof" Album by Benny the Butcher

Buffalo rapper Benny the Butcher is one of the most promising hip hop players in the game right now, and the album “Burden of Proof,” (his first work since 2019) cements that. “Burden of Proof” is the leading track with crisp clear production and a bulletproof horn foundation. His rhymes are slick-tongued and filled with entrepreneurial hustle with a fire that reminds us of a young Jay Z.

It walks the line between distinguished man presented to the public, and the gangster underneath that mask who’s always in the shadows. Unlike some artists who exist purely for hype, ego and lifestyle, Benny carefully approaches himself not only as a rapper, a multi-faceted brand. He tells us about it in the first lines: “Yo, last year was 'bout brandin', this one about expandin'/Caught a flight to Cali, made twenty 'fore I landed/This rap shit easy, tell the truth, I can't stand it.”

Beyond this vicious intro, the fluttering back beat in “Sly Green” stands out as the next essential track. His flow stands up hard against it, as he reps Griselda with pride, zooming back with nostalgia to the 90’s, or the “shoebox era” as he calls it, and moving on to compare other rappers in the game as addicts that buy his poison: “Y'all comparin' me to niggas? (Huh) That's abusive to my name/I sold the dope to 'em, then I watch 'em shoot it in they veins.”

While we weren't too impressed with Rick Ross’s feature, “One Way Flight” is a gloriously intertwined collab between the Butcher and Freddie Gibs. It’s a tale of perseverance “I survived all them death threats and three felony convictions” next to surprisingly poignant lines that read like a haiku, “What's a stage with no mic and no voice of a poet?/What’s more important, the flower or the soil that grow it?”

These two sides of Benny the Butcher are present in every track on the album, speaking to his complexity as an artist, and a man. It sometimes feels impossible to pin him under any label, and we love that. Gibbs’ chorus is a message to a brokenhearted bae who might not be able to handle the side effects of fame, but can’t deny the shiny gleam of materialistic things: “Trips with that work, my baby made it back/I fuck with them hoes, I know she hated that/You gon' cry in that Toyota or this Maybach?"

“New Streets” is paired with the perfect sample (something Benny the Butcher always has on deck) and chronicles a chat with his girl over taking his gun with him on the road: ”Told baby girl I'd be back, she said be careful/I told baby girl I'd be strapped, that made her worry more”.

“Thank God I Made It” featuring Queen Naija is a love letter to single mothers “who had to teach their teenage boys to use rubbers” and disappointed but profound comments towards absent dads “I can't respect the man who don't raise his son/Then you blame the white man on what they become.”

Benny’s words are as poetic as they are raw. There are light moments, and there are dark, with genuine emotion through them all. The cohesion in this album is undeniable, and while there’s not too many minimalist, slowed down tracks, we almost prefer to see this artist flex his breath control and impressively delivered lyricism. In an album studded with celebrity features, Benny the Butcher is still the biggest star.

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Review: "Occupational Hazard" Album by Mozzy

There’s no doubt about it, “Occupational Hazard” is one of the hardest Mozzy albums out there, and it’s intentional. In a press release, he mentioned that this was his favorite project because it was a return to the old Mozzy (aka, Hellgang Mozzy) - a shoutout to the streets as opposed to the mainstream, which he said “Beyond Bulletproof” was intended more for. Instead, “Occupational Hazard” isn’t all rainbows and Daisys - it’s a realistic discussions of topics only those that live a specific lifestyle will be familiar with.

The California rapper mentions that the message of this album is that you won’t always get a happy ending or a sunny ride if you decide to live this lifestyle. “When you choose to make your money a certain way, there can be consequences that come with that but own it, embrace it.” While it’s a warning to fully understand what you signed up for, it’s still a celebration of gang culture, which many people have mixed feelings about, given the nature of Nipsey Hussle’s death.

His smoky voice is a pleasant departure from the younger sounding rappers speaking on similar topics. In ‘Same 40” he spits, “watch what you troll on Instagram cause you could die today”, speaking to the effects that petty social media posts have on gang and gun culture. and the ease which which he could hire a hitman “i can get you cooked for less than what I got this rolley for”.

In “Heartbroken” Mozzy recruits Quando Rondo for a slowed down piano track that talks about how OGs need to numb their pain and heartbreak from all the friends lost to violence, and the paranoia you’re left with when you’re one of the few left standing “And the way I sip that purple potion, I'ma need some rehab/Roll up that dojo for the fallen soldiers/everytime I look over my shoulder, it's whole 'nother death”.

Quando raps about the perks of living the highlife, but in the back of his mind, he knows that his decadent and drippy lifestyle could be gone in an instant due to the path he chose: “Two double cups, I love to pour up, I'm switchin' lanes in the Lamb/This shit so crazy but I know right 'round the corner be death”.

“Never Lackin” is a tribute to his late grandmother “Damn I miss my granny, she the only one believed in me/Never pictured you leavin' me, wherever you are/I hope it's frequent that you think of me, forever you are/The only one it's hard to live without, eternally scarred.”

Still, he pushes through to make sure “momma rent is paid.” The chorus explains the title of the album, listing the range of well known occupational hazards that come with living the high-roller life, as he reminds listeners “I'm a gangster first and then a rapper.”

The slick lyrics and chorus rhyme patterns hit hard in “Hazardous” a fearless claim to street bravado and all the stories swirling around his notoriety, from “never feared another man, that n*gga bleed the same/I bought some balls and told the dealer he can keep the change” to “I hit my dawg inside his mouth and he don't speak the same/I keep it flame, he bowed his head when he seen the flames”.

“Occupational Hazard” seems like a clear message to the haters, and a reminder to his musical fans that he wouldn’t be making songs without the inspiration of his lifestyle and even so, he’ll always have an undefinable grit that makes him more than just another famous rapper.

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Review: "Alicia" Album by Alicia Keys

Alicia Keys calls “Alicia” genre-less, but we think it’s more like a mesmerizing melting pot filled with spices from all corners of the earth. The album is definitely guitar heavy as opposed to her previous piano preference. She utilizes the instrument in diverse and creative ways, so we don’t even miss those signature keys from Keys (don’t worry, we still get some in “Perfect Way to Die”). From the 80s to present day, Alicia weaves a gorgeous tapestry of sound. This is her first comeback since “This Girl Is On Fire” and it’s a glorious one, filled with flawless, carefully curated features. In this album, Keys’s natural musicality and seasoned years in the industry shine through organically.

The album begins with “truth without love” which feels like abstract jazz before her smooth vocals bring in an unusual R&B flow that we haven’t heard before, with notes of Solange. There’s a freeness to it that we event felt from the artist in more pop-centric tracks like “Girl On Fire”.

Its a bummer for the track “Time Machine” that clubs are closed, because this funk-inspired, danceable track takes us a couple decades back in time, soaking Keys in an Sade-style track that we’re obsessed with. For an artist that’s had as many musical chapters as Alicia Keys, it blows our minds that she’s still this innovative in 2020, a year that we needed it most.

Wasted Energy with Diamond Platinum slows down things to a bassy, mellow reggae beat and she softens her voice up for this song that we can all relate to. It’s a a tale of rejection and heartbreak that we’ve all felt at one point or another, “Brokеn promises along the way/Lost count of how many you made/My lovе, my love, my love/Tied up in your plans/still on center stage/no great escape.”

Usually these lyrics are reserved for more conventional R&B beats, but the sadness behind this beat speaks something more complex. She’s looking back on painful memories, but coming from a place of healing and reflection. Tanzanian artist Diamond Platnumz kills it on the outro before a choppy acoustic guitar wakes us up on the inspiring “Underdog.”

This song, co-written by Ed Sheeran, is a shoutout to the marginalized people who face adversity, as Alicia’s hook sings “This goes out to the underdog / Keep on keeping at what you love,"You'll find that someday soon enough / You will rise up.” It’s all about defying the odds, and a line that stands to us is “ They say I would never make it but I was built to break the mold.” For anyone experiencing a low, it’s kind of impossible not to feel uplifted by this track.

“3-Hour-Drive ” slows things down again to this baby-maker of a track that’s perfect for setting the mood, or going on an existential late night drive. As always, Sampha’s vocals give us goosebumps, especially against that spacey echo of a background beat.

We love that she’s gone back to her slow tempo R&B roots, especially in tracks with fellow crooner Miguel . This gentle guitar duet is a smoldering back and forth between the artists that definitely needs to be added to the 3 hour drive playlist. A song hasn’t given us this kind of tingle since Jhene Aiko’s more explicit “Pu$$y Fairy” released earlier this year. “So Done” ft Khalid is another glossy guitar track that Keys’ voice sounds like velvet against.

It feels almost surreal to see Keys do a collaboration with her protégée, Swedish R&B sensation Snoh Aalegra who sounds like Keys with a hefty dose of Amy Winehouse. It’s a love song to the one that acted as her saviour (we’re assuming she’s talking about hubby Swizz Beats and her kids) and the safety of a sure, secure, and healthy relationship: (“And if I could stay, I'll stay here forever/And if I could be here, we'll be here together/'Cause did you know that you save me?/Did you know that you save me from the fall?”).

Her guitar theme gets beefed up with some percussion in “Jill Scott” ft. Jill Scott as the two icons daydream about public displays of affection without a hint of shame - just pride to show that person off: “Kiss on me in the daytime/In front of the whole show/So they can all know/I want you to love on me, love on me/Love on me in the daytime/Like you do at bedtime/So they can all know”. It’s the anti-sidepiece anthem to remind women all over they deserve to be showered with unconditional love in all settings.

Her final song is a reminder to us that even though Keys is an A list celebrity, she’s still as earnest and genuine as she was since Day One. “Good Job” is a timely song dedicated to other “underdogs,” as Alicia likes to call them. From parents to teachers and frontline workers, it’s a celebration of the ordinary people, whose strength keeps the world turning: “you’re the engine that makes all things go/always in disguise my hero I see your light.” During coronavirus, when so many people are struggling, this track hit us hard in the hearts.

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