Review: "How Far We Roam..." EP by Donny and Dinodondada

Donny and Dinodondada are two music producers who met on the campus of North Carolina Central University, and began collaborating on production based projects. Now they have picked up the mic and released their collaborative project “How Far We Roam…”, a ten track EP littered with poetic words that are relevant but remain timeless, and production that makes you yearn for the days of the legendary “The Infamous”, “Iron Man” and the purple tape.

Blasting off with Dinodondada and Donny’s intro, “feelinit” has a sparse backbeat - a canvas that allows these artists’ lyrical swag and confidence drip off of it, if you will.

“Toma” is another drunken and slowed down beat that sounds like a syrupy chopped and screwed jazz-meets-hip-hop vibe. Things wake up a bit with the pretty piano keys in “Caughtinit” that ride along with their aspirations and inspirations. The outro is a hilarious stream of consciousness that explores everything about what they looks for in woman, from foot fetishes to personal hygiene. We’re so used to rappers making a signature sound based off their beat and producers, but to see lyrics stand on their own feels like a refreshing difference.

“Close The Door” does fall into the millennial trap of materialism. And even though we’re in a raw time right now where we need to rap about principles and what we stand for, what would hip-hop be without the celebration of some good ol’ decadence and debauchery? As their eyes roam over “see-through sequins” on an alternative girl who loves fashion beyond the hype, draped in “high end everything, never with Balenciagas never with the upbeat shit/ never fuck with the Pradas” and saucy sneak peeks like “Victoria’s secrets under the sundress.”

Dinodondada and Donny takes a break from crooning to their honeys and livens things up with some brass instrumentals in “Paradise.” “Original Fake” leads us into an “Earth Wind and Fire” style beat that funkily croons along with Donny and Dinodondada as they flex their love for cannabis and fashion beyond the mainstream: “Gold from Acapulco/These ain’t Yeezys these from adidas from Yohji Yamamoto/Everything retro, so you know the Rollie is vintage.” As they looks down from the sky smoking the blunt, they reflects on what they have, what they love, what they smoke, and more. Donny and Dinodondada are not afraid to name drop in “Original Fake,” but want you to remember that they are far beyond the Instagram hype of things. They have their own style, and this song is part of the autobiography that weaves that tapestry.

“Chains” and “Nightflight” are essentially one song split into two (think a reverse “Life Is Good”). Nightflight is the first beat that slices sharp amidst the tracks with more jazzy, laid back instrumentals. A heart-thumping escape from the cops is still lined with their sense of style: “cops trying to kick the door/all they seen is my reflectin’ Jordan 4s/weed in my drawers” and fits in an homage to legends of the past “matched my two tone puffer/word to my mother/ I’m like puff in 94”.

The final track is fittingly titled “The End” and while it boats confidence, it warns listeners not to trust others too closely based on their braggadocio: “never doubt that were the illest/never believe in n***s who always say that they’re the realest”.

With a references to kingpin Ghost in Power, throughout their “How Far We Roam” EP, it’s clear that Dinothedondada and Donny are playing the lead in their own life stories and not backing down any time soon.

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Verzuz With Brandy and Monica - The RnB Reunion That 2020 Needed

What’s the ultimate musical artist feuds from back in the day? Brandy and Monica definitely come to mind, as ”The Boy is Mine” starts playing in our heads.

Verzuz Battles are the latest way for celebrities to prove their chops on line, providing tons of entertainment music lovers all over the world. It was created by producers Timbaland and Swiss Beatz as a form of quarantine entertainment.

It’s certainly surreal to be seeing your favorite artists live-streamed from your computer screen, as they battle each other for your affection and validation. While some of these battles have been disappointing, Brandy vs. Monica was the opposite.

New RnB queens like Snoh Alegra and Kehlani might be slaying in 2020, but where would RnB be at all without divas Monica and Brandy? The two of them represented a fleeting era of music that we’ll never get back. So of course when the two of them got back together, they broke the internet.

While many of us thought it would be a fiery shadefest (anyone remember when the two literally fought in 1999?) it was a gorgeous example of women supporting women. The reunion was a result of Missy Elliot working hard to get the two ladies together in the same room, and we thank the queen of hip hop for her adamance.

It had been a whopping eight years since the two were physically with each other. Monica told Brandy “I really do admire what you’ve done musically and what you have also had to endure personally.” With Brandy responding “I just need you to know I have the utmost love and respect for you as well. No matter the time where it seemed like I didn’t.”

It was a poignant reminder that women are often pitted against each other in Hollywood and by the media, and seeing the two of them hash it out in person gave us the feels. Further, Monica later admitted to Essence.com that the conversations had off camera were “bigger for me. You didn’t really get to see the authenticity of us having a real conversation as adult women.”

They each play fans 20 of their best songs, in a glorious and soul-feeding performance that felt cathartic for performer and audience. Watching these two songbirds jamming together side by side and cheerleading each other made us want to hop in a time machine ASAP.

And what did they finish off the Verzuz with? Their most famous duet of course: ”The Boy is Mine.” While her upcoming album “B7” was fire, we’re so ready for a future Brandy and Monica collaboration. 2021’s just around the corner - what do you say, ladies?

Review: "Detroit 2" Album by Big Sean

“Detroit 2” is symbolic of Big Sean’s long musical journey towards adulthood over the past decade. His past works (though just as fire) felt more adolescent. A youthful perspective that still had some more wisdom to gain. Just like the other albums, there’s a wordy stream of consciousness in every track that covers all the puzzle parts in the Big Sean autobiography.

Here, Sean is a deity in his own universe, and he’s pretty much perfect the art of the humble-brag. The intro track “Why Would I Stop?” is a cocky and relentless answer to his own question. From the first few lines alone, we can tell that he’s been working on his ever-evolving vocabulary, and we’re hype about it. That vocab stands up against a glitchy and bassy trap beat - the production on practically every song is flawless, and stitches a story when strung together. By the end of the first track, it’s clear that his serpent tongued metaphors and messages for the haters have improved vastly since IDFWU.

“Lucky Me” reveals health issues discovered at a young age, and unexpected solutions he found, like Eastern medicine. This track has more of an old school beat, but around 2:10, he switches up the flow, the key and the whole vibe of the track, speeding it up with a quick delivery that Twista would be proud of.

“Deep Reverence” ft. Nipsey Hussle is a haunted time capsule that does the late rapper justice and explored how Sean dealt with the aftermath and the hate that’s bred from nothing in his own community. He reflects, “After what happened to Nipsey, I reached out to Kendrick / It wasn’t even no real issues there to begin with / Lack of communication and wrong information from people fuelled by their ego.” He also tackles the mental health struggle for Black men with “In high school, I learned chemistry, biology/But not how to cope with anxiety” This line, along with the others that explore Eastern philosophy and spirituality, show dimensions of Big Sean in a light that African-American men in rap aren’t usually portrayed in.

Baby-maker track “Body Language” lightens things up, in a combo hip hop and bedroom track that gets even steamier when bae Jhene Aiko starts to croon, followed up by a syrupy Ty Dolla $ign chorus. It’s a dedication to the naughty queens who want some “Body to body, cheek to cheek, soulful moaning” but it’s equally a dedication.

On of our favorites track was “Harder Than my Demons,” the #blackboyjoy masterpiece which he dropped as the album’s first single, and is filled with more of the rapper’s dizzying metaphors and rhyme patterns.. Prioritizing positive vibes and self care, this anthem is also a triumph above his mental health struggles, or inner demons. If you put in the work like Sean, you can too.

Like many of the songs on this album, it’s a fast track at 2:21 minutes, but we wouldn’t call it short - this man can fit a lot of words into a tiny time frame. He manages to chill out a bit with “ZTFO,” where he drawls, “laid across the couch I’m zen the fuck out,” doling out advice to not feed comparisons, or worry what others think about your life.

As he ruminates on the lessons he’s learned over the years, he plays with genres. “Guard your Heart” is a departure from the heavy hitting hip hop production and explores a more soulful vibe, while “Lithuania” experiments with indie percussion, warped guitar, and a rock n’ roll feel.

In glimpses of tracks, we learn about the artist’s childhood, aversion to Western medicine, and spirituality, among other things, as he navigates life through his third and fourth eye. It doesn’t fit the template of formulaic rap albums nowadays, with seemingly conflicting aspects that merge harmoniously. We don’t know if it’s Aiko’s influence or that CBD he’s writing about, but “Detroit 2” proves that 2020 really is is Big Sean’s year.

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Review: "King's Disease" Album by Nas

The intro track to the album is a fearless anthem for the BLM movement, as it much of this album. People may have considered “Illmatic” to be his true comeback, but other Nas fans will find that this is where he truly shines.

While a lot of rappers are out here taking shots at each other and producing diss tracks a la Eminem and Machine Gun Kelly, Kings disease isn’t a refreshing reminder that we can all have success and use it to uplift each other rather than tear each other down.

Lines that give us goosebumps include: “You should want every brother to make it out But brothers want trophies, they troll for clout” and “You a king, you will be next to me, doing your own king shit, most definitely”

The lines encourage us to rise above gang culture, above social media culture , and above anything that promotes toxic forms of or comparison or masculinity. Much of this whole album feels like a big bro pep talk to the new era of rappers, instructing them to support their brothers rather than breeding animosity.

The transition into “Blue Benz” is flawless, and takes us straight to Queens, New York with a beat that hits and an ice cold Nas flow, his words like velvet as they explore debauchery and wild women.

"Replace Me” uses auto-tune the way it was intended, softens the track up along with a piano back beat. Nas spits, “That kid alright but I’m a kryptonite another type,“ leaving us pitying the next man that follows up a date with Nas - even if it’s with Big Sean or Toliver, who haven’t yet graduated to the throne. This track transforms the new school artists on it to old school, and that melodic, crooning chorus makes it even more addictive.

The lead single, “Ultra Black” is a celebration of Black physical beauty, like “Grace Jones skin tone, but multi that/Multiple colors, we come in all shades, mocha Black” and Black like “cornrows, afros” and it’s equally a tribute to black excellence and achievements, as Nas reflects on “Black like Kaep' blackballed from the Superbowls (Colin)”

Things cool down again with “All Bad” featuring Anderson Paak. This one has a chilled out and jazzy drum flow that permeates much of the album. The production choices feel like an homage of the mosaic of Black culture that led to hip hop, including jazz, blues, and soul.

Full circle features a round up of rappers that each murder their verse with ease. It’s especially exciting to see a comeback from foxy brown. It’s not all Lil Mosey and Bad Bhabie, for those of you who feel doomed. Biggie and Pac might be ghosts now, but their spirits live in Nas, a time capsule that manages to update itself and stay relevant time and time again. During this extremely bizzare time in the world, we’re facing an opportunity for rebirth, and this album is a sure symbol of that hope and optimism.

“10 Points” is another piece of brotherly advice that explores the judgement of Black celebs in the media, and reminds us “we all need knowledge instead of sneakers.“ It hits us with thought-provoking lines about materialism, where Nas pleads with us to remove the hype and re-focus.

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Review: "Blunderfish" Album by underfish and Léthargie

The “Blunderfish” album is exactly what your quarantine has been missing. It’s a wakeup call to rap and electronica - it’s all the musicality of a Chance the Rapper track, with all the weirdness and sense of humor from an Adult Swim show. Created by Canadian producer and rapper duo underfish and Léthargie, “Blunderfish” sounds like the grown-up version of your favorite Soundcloud rapper in the best way possible.

Léthargie, otherwise known as Michaël Landry, fits into a niche that the DCWS team hasn’t really encountered in our reviews before - his style harkens back to producers like AraabMuzik, focusing on sample-based trap and hip-hop beats. It greatly cheers up our #quarantinemood to hear dope instrumentals from someone with proper producer chops. Léthargie’s background is mostly in Electronica, but inspirations are hip hop heavy, ranging from Just blaze and J Dilla to 9th Wonder and Kenny Beats. The beats on this album aren’t just a canvas - they’re a piece of art in their own, and we can’t wait to see what big name MCs discover this under-the-radar gem soon.

The duo consciously worked on “Blunderfish” with a DIY sound in mind, along with early 2000s underground rap. We have to say, they pretty much nailed it with precisely chosen samples and unexpected vocal timbre.

A surprising standout beat we were obsessed with appeared as a casual interlude titled “Flopstyle”, “Sunlight” starts off as a soothing guitar-laden track that embodies how you feel standing under some warm ways, before it speeds up into something more exciting, and proves our golden friend a double edged sword; specifically warning us not to look directly into the sun. Underfish expands on problems of deception within the music industry and warns others as a cautionary tale while confessing his own inevitable involvement.

Underfish sells us a good performance in “Playin a Game”, but those Barry White samples steal the show, giving us a more complex peek into Léthargie and his process. The album is dotted with confident horns in this track and the cinematic “Mask Electric.” “Cloud Nein” is just as the title suggests, reminding listeners that every day is a chance to turn over a new leaf, all against a dreamy wave of a super-stoned beat.

Even if we’re stuck inside this summer, we’ll be playing “Blunderfish” as we soak in the sun or smoke that balcony spliff. We expect to see more hot drops from underfish, and hope that this duo eventually expand their portfolio to work with vocalists and branch out to additional collaborations.

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Review: "Self Made: Inspired by the Life of Madam C.J. Walker" Official Soundtrack by Netflix

Madam C.J. Walker is an unsung black history icon that carries just as much clout as Malcolm X or Martin Luther King. In the early 1900s, she created the first beauty products for black hair, which were practically non-existent at a time.

She was rescued from an abusive marriage by a saleswoman who would first become her mentor, and then her competition. Although it takes place over a century ago, much of the soundtrack is composed of contemporary tracks, surprisingly. You’d think it would end up looking kitschy of choice, but in reality, it’s sublimely curated. More notably, the soundtrack is entirely made up of female POC.

We start out with a pulsing and raw “Dance Or Die” by Janelle Monae, a funk-infused electro rap jam feels like it comes from the future and the past all at once. Then, we have the ferocious Little Simz on “Offence” whose syrupy voice hits just right against her jazzy band with a killer flute. Just like Madam C.J., these artists are all about confidence, the hustle and female empowerment. Other feminist icons sing their hearts out in anthems of self-respect and self-esteem, like Ndidi O’ “Call me Queen” a fuzzy Black Keys reminiscent, garage rock track.

In a way, it feels like a message that strong women prevail through generations - they pass on threads of invincible perseverance that are relevant 100 years backwards, or 100 years future. “I am woman, hear me roar,” screams this soundtrack, but in a completely understated glory. Our favorite song on the soundtrack that embodies this mood is “Woman” by Diana Gordon, an artist that also draws some parallels to Walker. Gordon has been a ghostwriter and behind-the-scenes collaborator for many more visible celebrities such as Beyonce, but is an undeniable force of nature. These days, she’s putting herself in the forefront with her own song and album releases, just like C.J. finally shone on her own.

Although tons of modern artists are featured, homages to various generations of black history inspirations of the past such as Sippie Wallace and Mamie Smith, a 1920s vaudeville jazz and blues artist who became the first African American artist to make a vocal blues recording. Queen Latifah’s horn-filled “Nature of a Sista’” also hits harder than we remember, and makes us wish that Latifah still rapped along with her illustrious acting career that exists today.

Between the politically charged soul track “rise up” by The Freedom Affair to Rapsody and Leikeli47’s braggadocios, competition nagging “Oprah”, it’s hard to pick a favorite on the Madam C.J. Walker soundtrack. Most importantly, the soundtrack is a love letter to every young girl and woman - each song is a mantra of self-worth and the beautiful complexity of womanhood in each of its different journeys.

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Review: "Pray for Paris" Album by Westside Gunn

Also known as rapper Conways’s brother, Westside Gunn has proven to be a formidable addition to the NY rap game. Hailing from Buffalo, New York, “Pray for Paris” proves Gunn has mastered the art of the album in a time of streaming one-hit wonders.

Westside Gunn’s style harkens back to a time when instrumentals and sick piano riffs made up hip hop instead of sound effects and bubble gum editing. “George Bondo” is a clear banger, and how could it not be with his bro Conway the Machine and cousin Benny the Butcher on the track? It’a fast and delirious ride on the keys back in time to NY in the ‘90s, before trust fund brats used it as their playground.

The classy “327” also features some jaw-dropping features, including Tyler, The Creator and Joey Bada$$. This track has a more laidback, jazzy instrumental and vocals to match. A hazy tune to light one to, this ambient provokes thoughts more than parties.

“$500 Ounces” snags a collab from the coveted Freddie Gibbs, a somber tune that goes between a sordid past and a lavish future with lines like: “I got skeletons in my closet right next to Balenciagas.” It’s hard to tell what we like more in this track - the beat or the verses. Both bring their A game.

Although the album is percussion dominant, “Versace”, produced by Jay Versace, lets Gunn’s chops shine without drums, and just some background vocals to lift up his ever-changing flow. In the following track, “Clairborne Kick,” fans are treated to a chopped and screwed, angelic and drunken celebration of lyricism thanks to Boldy James.

“Party wit Pop Smoke” is a turnt up tribute that comes in high on our list as well, especially with that poetic and velvety spoken word by Keisha Plum, sweetly delivering lines like “gun and drug charges give me butterflies” and “he started to cry, I kissed his cheek then drove the ice pick in his eye.” Damn.

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Review: "BEFORE LOVE CAME TO KILL US" Album by Jessie Reyez

Jessie Reyez is one of those artists who carries on the legacy of Amy Winehouse with her distinct and haunting voice. Her most swoon-worthy song on the new album, “BEFORE LOVE CAME TO KILL US” would have to be the eerie “COFFIN,” featuring Eminem with a swaying guitar ode that’s the perfect bare canvas for Jessie’s goosebump-inducing voice.

As she repeatedly croons, “I’d rather a coffin handmade for two, cause I love you to death, just like a fool,” she makes toxic love sound sweeter than candy, and we’re completely drinking the Kool-Aid. As the song goes on, it’s hard not to immerse yourself in the center, envisioning a live band performing this timeless tune.

Eminem’s feature wakes it up a little bit and adds some edge, but this is still definitely Miss Jessie’s song, on which even legendary Em is a guest. Then again, who better to feature on a song about toxic and self-destructive relationships?

“DEAF (WHO ARE YOU)” who are you showcases a harder side of Jessie as she experiments with rap. Regardless of the lyrics (which are generally less thought-provoking than her more melodic tracks) when she delivers it in that high-pitched raspy voice, it’s hard not to be seduced. It’s catchy as hell, but not as deep as some of the other members of this track list.

Intruders chills things out and brings it back to a mellow place that conjures images of “The Girl from Ipanema.” The island style, Bossa Nova inspired feels like a lullaby, even as she ruthlessly tells listeners about the dangerous consequences that her love can have: “So please no intruders, I kill all intruders, ‘cause my love is ruthless, so please no intruders.”

Reyez hands us her heart on a platter again with “ANKLES”, staying vulnerable while boasting how other girls can’t even measure up to her ankles. As she reminisces on a disloyal past lover, she reclaims that self-worth and respect through the knockout hook: Lights out, strike out, I doubt you’ll ever find anyone, these bitches can’t measure up to my ankles.”

When you think of Jessie and her slowed down angst, you don’t tend to think of party bangers, but “DOPE” completely changed out mind on that one. This bright, cut-up party anthem blends eclectic inspirations like Moombahton trap, EDM and ballroom voguing music. If we ever get to have a summer 2020, this is going to be its anthem.

“LOVE IN THE DARK” is a soaring piano ballad that establishes itself as an instant classic in the same vein of Adele and Beyonce, but “FIGURES” is the heart-wrenching slow-dance song that Jessie delivers to us in a 1960s style tribute to regret and raw, open wounds of the soul.

According to “BEFORE LOVE CAME TO KILL US”, this is just the beginning for an already explosive singer with a whole lot under her belt and a keen ability to evolve.

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Review: "It Is What It Is" Album by Thundercat

Many of you might not be familiar with Thundercat yet, even though he’s worked numerous time with famous artists like Kendrick Lamar. In 2020, he might not be a household name, but we don’t think that’s going to last very ling after “It Is What It Is.” The fifteen-song debut is his fourth album, and is a celebration of jazz, which this musician interprets in a genius, completely original way that many compare to the late greats.

“Interstellar Love” is a percussive roller coaster that feels like a merging of meditation and jazz - an energy that the LA musician seems to cultivate in many of his tracks. However, in “I Love Louis Cole” he speeds it up a bit, taking us on an exhilarating downhill journey at the speed go lightening. “Black Qualls,” featuring heavy-hitters Childish Gambino, Steve Arrington and Steve Lacy, brings funk back to 2020 in every sense, from the guitar to the syrupy vocals.

This is maybe the best work on the album, and perhaps because of the collaborators’ contributions. Arrington was a prominent ‘80s singer in funk band Slave, which Steve Lacy was a guitarist for the Internet.

Thundercat’s tracks seem to have a fluid connection to the tracks of Flying Lotus, which makes sense as the two were in the same jazz bands together as teenagers. The album is an exploration of existentialism and loss, with many of the tracks ruminating on the passing of Mac Miller, a close buddy of Thundercat. That being said, he remains positive on many tracks such as “Miguel’s Happy Dance”, a reassuring pat on the shoulder that tells you to keep dancing, no matter how much grief surrounds you.

“Overseas” and “Dragonball Durag” are also forays into funk, but less Saturday Night Fever, and more Marvin Gaye brand of harmonizing seduction. “Fair Chance” has the most radio potential, with an auto-tuned Ty Dolla $ign feature that infuses Thundercat’s usual style with more contemporary R&B that usual.

The entire album feels like a slow journey with the homies into outer space, and we can’t think of a better mental space to be in during this time of social distancing. Light a spliff, put on the dreamy intro track “Lost in Space/Great Scott/22-26,” get acquainted with “It is What it Is,” and appreciate the mastery of genre-fusion that this time-traveling artist has.

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What Coronavirus Means For Music, and How to Cope

Image Credit: Cottonbro

In March 2020, the CEO of Universal Records contracted the coronavirus. Over the past few weeks, the virus has been infiltrating different industries, and celebs who thought they were once invincible to illness that the rest of us normals are susceptible to. The world is slowly becoming a ghost town. Sports arenas are empty, as are music halls and dine-in restaurants. As humans, we find solace and connection in other people, as well as the energy that comes with all these suspended events.

In an attempt to “flatten the curve,” or reduce the chance of Covid-19 taking over our nation, businesses all over are closing for the remainder of the month and perhaps longer to try to minimize public interaction and spreading of the virus. This is a logical decision to make, especially given the serious repercussions for infants, seniors, pregnant women, and those with long-term health conditions.

The consequences for entrepreneurs are just as dire, as stock markets crash internationally and businesses are forced to shut down. Folks are being instructed to stay home from work, and while some companies are offering paid leave, kids all over the U.S are stuck without lunch and an education. It’s a tough time for anyone to make income and survive, and many of us have that an impending doom that the second Depression is going to hit us very soon.

The social repercussions are just as debilitating, with most people self-quarantining themselves and being asked to practice social distancing. This means staying away from public arenas, large groups of people, and generally, remaining two arms distance from other human beings. While some of us are able to be with our loved ones at this time, it’s still extremely isolating to not be able to go to the gym or attend any of the social events and restaurants that we’re used to going to. Yes, capitalism is suffering, but so is our mental health.

Listening to songs can bring people from all walks of life, all over the world together. It’s a barrier-breaking way to communicate and empathize with the world around us. But music has pretty much been put to a halt since the virus has required a more intense level of action. Music is insidious in everything we do - by nature, it’s social. It plays in the backgrounds of restaurants and stores which are now shuttered, and it’s the soundtrack to socializing with others. It fills up the silence and in turn, fills us with positive vibes. Clubs and bars have also shut down, reducing the chances of new tracks being heard.

Music festivals like Glastonbury are no more, which affects the income flow of musicians and also prevents new acts from being put on the map. Lil Baby just recently released an album, which would garner way more listens and exposure if these venues that usually play his beats were open. Instead, we have to listen through our headphones, which isn’t exactly the ideal way to match the energy of the music we listen to. Sure, we have our sad and introspective days where we prefer to listen to certain tracks alone. But too much of that can weigh heavy on the mind, body and soul.

Even though this chaos isn’t expected to last more than a month or so, it begs the question: would music survive without venues and social interaction? We’re already living much of our lives behind computer and phone screens, but through multiple generations, music has remained the one constant that brings people together physically.

Take a Dolly Parton concert, for instance. Dolly has a bevy of fans from all across the United States, ranging from the most buttoned-up conservative to the most free-spirited liberal. Younger and older individuals are both part of the cult following that is Dolly Parton’s legacy, and it’s what brings people with different perspectives together in harmony. If people didn’t have Dolly to bond over in public, and instead live-streamed the experience from home, would it be as epic?

That being said, music is an essential coping mechanism to get us all through this difficult time. It’s a symbol of hope. Listen to your favorite tunes with your loved ones - even if you have to sing it from the rooftops and balconies, like the beautiful souls of Italy have been doing.

Use the time alone to really flesh out and expand your musical identity. Get out of your comfort zone and listen to new genres. Take time to really dissect those notes and maybe even learn a new instrument. When the world does eventually re-emerge, you’ll be twice as appreciative for the existence of music - we already are!

Is Megan Thee Stallion Going Pop? An Exploration of "Suga"

via Instagram/@theestallion

Megan’s latest album “Suga” was a surprise to me - there were more influences of pop and mainstream, bubblegum hip hop than her past works. The sassy H-town hottie used to be an emblem of Texas, body positivity, and hip hop realness that we haven’t seen since the likes of Lil’ Kim and Remy Ma.

However, since being signed to Roc Nation and having Nicki Minaj as a more present mentor, it all started changing direction. I won’t say “going downhill” because I respect Megan and all her musical decisions. Rather, it was a conscious decision to include more demographics rather than the niche one she had previously appealed to.

“Hot Girl Summer” was undeniably catchy, but quickly turned into the basic white girl anthem of the summer. It gained Megan significantly more radio traction, but the ruthless and domineering personality we got to know and love started to dwindle slightly.

Fast forward to 2020 and the release of “Suga”. We saw hints of old Megan when she paid homage to Tupac with the feminist track “B.I.T.C.H,” and a few other other tracks stood out to me, including “Captain Hook,” a slicing and coy chat about her preferred phallic shape, “Savage”, an exploration of all the complexities we carry as women: Other goodies include “Rich” and “Ain’t Equals.” Those songs are dripping with Megan’s bravado, and her signature sensual-but-always-playful vibe, while indicating her evolution as an artist.

“Ain’t Equal” is probably our favorite track on the album, lacing vulnerable subject matter with furious energy. The Kehlani feature “Hit My Phone” was an abrupt departure, and resembled more of a Kehlani track than a Megan one - the same issue that Cardi ran into with “Ring.”

After all those frustrating problems with her previous label, 1501 Entertainment, it makes sense that this album would be a little less hard-hitting than the last one. Even if Nicki isn’t our sonic preference, she’s a wise and experienced female guide to have in the cutthroat territory that Megan is now in with her greater popularity. We can only hope that Jay Z helps her foster that originality - we all remember how Bey went from authentic R&B to more digestible pop tracks, and while it skyrocketed her to fame, her current sound is pretty different from those “Destiny’s Child” days.

While we want her to get her bag, we still hope that Meg doesn’t sell out, and that she uses her new freedom to fully express herself on the next album, rather than the desires of what others want to mold her into.

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Interview: Artist/Producer Theophilus London Discusses His New Album "Bebey"

Photo Credit: Ryan Cardoso

We had the honor of connecting with artist, songwriter and producer Theophilus London for an exclusive interview to discuss his very DOPE recently released album “Bebey”. We also got a chance to pick Theophilus’s brain about how his NYC swag and his Caribbean roots merge to inspire his music, his upcoming creative collaborations, the importance of self love in his music and life, and much more.

After reading our Q&A with Theophilus, be sure to connect with him on his social media, stream the Bebey album on your preferred music service, and check out some more of his DOPE music on Spotify.

There’s such a NYC swag to a lot of your flow, but it’s infused with an island swag that seems to encapsulate the melting pot that is BK. How do the culture of Trinidad and Tobago, or your Caribbean roots, merge with Brooklyn to inspire your music?

It’s a decision in 2017 that I made after recording “Bebey” and “Pretty” from the album and I was like wow! I was never going to touch it. I mean, I never say never, but I just don’t like to touch things like soca music. My people are celebrating Carnival right now and they live in one of the most beautiful Caribbean’s out there. It’s Indian and Africans mixed together, so it’s a lot of spicy food, a lot of spiciness in the culture. Indians and Africans hanging out is just spiciness all together.

I grew up in that melting pot and I never thought that I would be able to take contemporary hip-hop and the culture of what it is today, the internet culture, and make it make sense to my island. There’s only one Rihanna but there’s no guy, like a Caribbean king that’s from the states. I’m not from the states but that’s still not here, so we’re making something new here, too. I’m not even big in my country like that, as far as I know. It’s a subculture, though, it’s small. It’s not the mainstream. It was fun to take that shot like yeah, I want to be that kid. I want to be the main kid from the Caribbean that’s also the cool kid in America like Rihanna is. I want to work with Rihanna this year, and I want to do this, and I want to do that.

I had an early thought about this too because when I was younger, I was always into fashion and always into music, but the two of them never really hit. Even Pitchfork made fun of me for liking Morrissey, Jay-Z and Gucci all at once. It’s funny to see every artist now whose programs are all set up this way, like how Rihanna has FENTY. It’s really cool to see and I’m just happy now that I’m continuing to grow and be a better producer overall, so now I can go set up the music the right way. It’s like I’m cooking the best curry chicken. You can’t make it too spicy. This is my little menu right here and I’m improving it right now, too, and doing like six songs for the deluxe. I’m just super excited. I remember when the album came out I DM’d Rihanna and said, “Yo check out my album, it’s Caribbean new-wave right here.” I like that title and I want to do a Caribbean twist, and that’s on the merch too. I’m really excited that these aesthetics and ideas are coming to life.

This album blends a feel-good, joyous vibe that feels fit for a vacation escape, but the odd track hearkens back to an older era and crosses more genre lines than in your previous work. How did your collaboration with Tame Impala on the catchy indie track “Only You” go down?

That went down because I was bored from working with him on “Whiplash.” We were working on “Whiplash” for four hours this one night. “Whiplash” was that song that took us three years to make. For that, I finally had a eureka moment at a house party where I was like holy shit, these are the lyrics! It’s just like writing a movie, you know? It has to make sense, like does she meet the guy at the end? What was the final plot? I was working on the lyrics in LA and it was our only song at that point, and I’m thinking like, I know how the world looks at Kevin. I mean I don’t look at him like that because we’re friends, but I’m like, do you know how special you are to music? I FaceTimed Lil Yachty and he was crying on the FaceTime talking to Kevin like, “I DM’d you and you never looked at it, but I love you so much!” It’s funny because he’s so normal he just wants to be here.

Then I was like, we should start working on a cover and I’m going to produce it like we’re a band. It’s my band plus your band and we’re going to call it “Theo Impala.” We started this whole #TheoImpala thing and it grew really fast. His label got furious they were like what the fuck is “Theo Impala?” We never signed that. We have Tame Impala. You guys can never use that again. That’s how big it was getting. Everyone was like, we want a Theo Impala album! The label was so pissed. They were like, no, we have to get a Tame Impala album out not a Theo Impala album. They just have two songs. So while he was there with me I was just looking at his laptop a lot like what else you got in there bro? Next time I see him I’m going to try to take some shit from his laptop too, because he’s just like the golden child.

The other collaborations and features on this album’s tracks are pretty insane, and diverse. How do you come to collaborate with artists of such different backgrounds while maintaining your own musical identity in the process? Does this help grow and evolve your musical footprint as time goes on?

It definitely helps. I think you have to know yourself really well, you have to know the artist you want to work with really well, and know the idea really well and just execute it. Be yourself and let it flow. Be a scientist and try different things out. Like right now I’m in a really good place musically that I’ve never been before. I always used to write a rap, or write a song, or write a melody, and now I’m writing music and leading musicians to play back what I hear. I know that it’s really time consuming and you have to respect the craft but I’m ready to take it all and become the producer of the next decade. Those are my goals.

The sonic layers in your tracks feel complex and nuanced, especially in tracks like “Cuba” which bring together unexpected melodies and steady vocals. Can you tell us a little bit about your production process?

My production process starts with just living. Taking off the jewelry and all the ego shit and just going out there and hanging out with people, living your life and seeing where it takes you and what inspirations come to you and at what moment and at what time. Like Stephen Hawking, that shit was wild. All the people that he met and all the things he was trying to do in the span of his life. It’s just a reminder to stick to your life, follow your heart, and that shit will come like that.

As an artist, you inspire other creatives like Virgil Abloh, who you recently collaborated with and featured on Bebey’s cover art. In what ways do style and aesthetic affect your music? Do you ever create your own costumes, and are you your own stylist?

Photo Credit: Ryan Cardoso

It affects it 100%. Without style there’s no aesthetic to me and without aesthetic there’s no style. I’m in my foyer room right now and there’s just a bunch of notes on the wall and a lot of the Bebey zine is on the wall. People have been sending me stuff for my birthday and writing me things. I have these two brand names that are like if I’m in Los Angeles, I’m LA Theo. If I’m in New York, I’m NY Theo. So people play on that stuff.

I’ve started this house party brand, a TV pilot show, and an Off-White clothing collab is coming out soon. I’m also doing a bunch of theme parties with Caribbean food and big sound system music, and having to do videos and be a label man all at the same time, as well as a label owner. It’s kind of tough but it’s a great. It’s fun shit to do every day and it’s a wonderful, weird life being me and having to show up in these moments for my culture. And I am my own stylist, yes!

The DCWS team loves that self-love is a central theme in your music. It’s one that’s unfortunately not explored often by male artists, due to our culture of toxic masculinity. Can you tell us a little more about the importance of self love in your music and your life, and if possible, other men in the music industry with similar values?

I think self-love is so important. Going to fashion week, going to this and going to that and you’re always around the quote unquote best people in the world, but sometimes they’re the most wrong people. You’re building relationships with these people and then being like, well what is it all for? Am I just a photo boy? Am I just the kid of the moment? I don’t want to be that. I want to make my art stem from myself. When you go through the jungle, just being out in the world and not in your own home, any energy can sway you in any way. You can start not liking yourself, or you think something else is better for you, or you start doing things that aren’t like you. That’s another topic but to me it’s important to know who you really are or who you’re transforming into, and to have people around who know and love you.

But it’s also important to sometimes just be by yourself if that’s what you need. Sometimes I just need that. Like if I can tell I’m in a pattern of not loving myself and it’s projecting, I need to change it immediately because when you do, you just feel better. After the LV show, I took a complete look at myself with all this Louis Vuitton drip on and I just got back to America. Stepping foot in LA, I was ready to cause a raucous. I remember The Weeknd sent me a DM saying like who let you back in LA? You’re fucking shit up! I was going to wherever the kids were at every night just scaring people just for fun.

I haven’t been in music for four years but coming back was a whole new energy. It’s just fun. I love making it fun again and making it challenging for people. I remember Drake was kind of threatened. It’s like you have to be the Kobe. I heard Michael Jordan say Kobe ruffled his feathers and I love to do that, too. To do it all, though, I’ve just learned that you just need to love yourself and you’ll be ok and just keep a steady pace.

If you could have your pick, who would be your ideal contender to rap battle?

I would rap battle Drake because it would be challenging. It’d require a little monopoly or spade playing kind of focus. I would appreciate that. Either him or Busta Rhymes.

What’s the next step in the Theophilus London movement? Will we be seeing your own fashion line in the future, or is there a particular genre or city that might be your muse for whatever’s next?

I have a new collection dropping soon and I’m really excited about being the brand director of that and building that whole infrastructure. I’m excited about My Bebey Records signing creative artists. I’m excited to work with other artists. I’m excited about the Bebey zine where I feature artists that are doing really good things around the world and I’ll go interview them or send people to interview them. I’m looking forward to starting my TV show that’s like Catfish meets Pimp My Ride and we help people throw house parties for their loved ones. And excited to keep making more good music.

Stream and Share “Bebey” on: Spotify | Apple Music

Connect with Theophilus London: Twitter | Instagram

Review: "CHILOMBO" Album by Jhene Aiko

Jhene Aiko’s “CHILOMBO” is that journal entry turned breakup mixtape we all wished we had as angsty teens. It’s also that bedroom mixtape that chronicles the days of early love, with all the good, bad, and every bit in between. Reminding us of all those milestones and more, Jhene’s sweet voice covers a lot of ground with this 20-song album.

The first two breakup songs “Triggered (freestyle)” and “None of Your Concern” featuring Big Sean are pure empathy poetry that you can feel the listeners nodding along to as she gives her sermon. Even more meta is the fact that her ex Big Sean is actually featured on the track, making it feel more like a positive note of a closure than a bitter replaying of bad memories.

“B.S” featuring H.E.R is a work of levity, immersing us in a greenhouse of zen that brings us into Jhene’s world. A modern day reiteration of Aaliyah, Jhene is just the right amount of coy and sassy. Her vocals might be soft, but they’re anything but meek, with many lines hearkening mantras of self care and confidence.

Any other big part of that self care she covers? Some between-the-sheets intimacy that made our jaws drop in “P*$$Y Fairy (OTW)” which lays out blatantly sexual lines that male RnB singers don’t think twice about writing into their tracks. She served us a little Kelly Rowland with a whole lot of original Jhene in there, making this track a top contender for the entire album, coming just in time for Valentine’s Day. Chronicling how new lovers feel drunk on each others bodies in the honeymoon phase, her angelic voice delivers some contrasting *gasp emoji* lyrics that make us see her in a whole new way.

The rap features she got on “CHILOMBO” are also no joke, and only enhance her comparisons to Aaliyah. Ab-soul featured with a flawless verse on the wavy “One Way St”, a Lunice-esque track.

Both Ab and Nas transport the tracks to a late ‘90s, early ‘00s energy that we desperately need in the 2020 rap landscape. “10k Hours” with Nas is another floating-on-air moment that both voices regrets of a failed relationship and that floating-on-air feeling of addiction to another person. “Have you ever loved someone, then lost that one? /have you ever met someone that ain’t coming back“ as Nas delivers some Ja-Rule inspired vocals.

“CHILOMBO” has a warm and mellow overtone - something that the velvet-voiced Jhene has mastered by now. We wish we saw her pushing boundaries a little more, but be assured that loads of these tracks will be dominating playlists over the next few months and become the dopest beach tunes of the summer.

Stream and Share “CHILOMBO” on Spotify

Review: "Self Reflection" EP by Mitch Darrell

The first track on Mitch Darrell’s “Self Reflection” EP is titled “Where Are You God.” It’s a brilliant introduction; shimmery and full of vibes - a pleasant departure from the over-produced rap tracks that are being churned out by the dozen. Merging the conscious style of rappers like Common and Kendrick, Mitch Darrel has a refreshing flow and distinct voice we haven’t heard before.

We all need a chill-out break from aggressive tracks, and “Where Are You God” brings some levity, especially as the floating hook hits at 1:08. Like many songs, this track tackles a plea for faith, but gently, and with a creative take. “Rearrange” feels like a time warp as a the tick-tock of a clock intros it. With Mitch’s vocal chops shining in this, we get to see more of his unique timbre and graceful lyrics that stand out but are still digestible, like: “mumble rap is the reason that rap has stumbled backwards/ lyricism no talent rappers would fumble that word.”

Although many of his beats are filled with echoing effects and have an electronic influence, Mitch goes back to basics with an acoustic guitar based track “Blood on my Hands” that could easily play on a hip hop station, or an indie one.

Religion and his Christianity are occasionally referenced, but never in an overbearing way - just an introspective and curious approach that remains true to Darrel’s title and album art. “Not Black Enough” has a jazzy instrumental that evokes a Tribe Called Quest kind of energy without being too derivative. In this, Mitch similarly explores concepts of self-identity, particularly the complicated relationship between himself and his culture.

This rapper is being slept on right now, but with the trajectory he’s headed on in 2020, we doubt that will continue for much longer. Listen to Mitch Darrell’s “Self Reflection” below.

Stream and Share “Self Reflection” on: Spotify | Soundcloud

Interview: Indie Electropop Trio Lindy Vision Talk About Their Brand New EP "Adult Children Part II"

Major thanks to Dorothy, Natasha and Carla Cuylear, the three sisters of the Albuquerque, New Mexico darkwave/synth-pop trio Lindy Vision, who connected with DCWS for an exclusive interview to discuss their brand new EP “Adult Children Part II”. We also talked with the sisters about what it’s like to work with family in the music business, their musical influences, creative process when developing new music, and much more.

After reading our Q&A with Lindy Vision, connect with them on their website and social media, check out more of their music on Spotify, and be sure to stream/purchase their new EP, “Adult Children Part II”.

It really feeds the soul to see a trio of sisters work harmoniously and authentically together to create something magical as Lindy Vision. What’s it like working on a day to day basis with family?

Thank you. It really has been magical getting to work with one another. Working on a day to day basis with family is special. When we were younger, we probably took each other’s presence for granted because we grew up in the same household and we’d see each other every day, so we naturally just grew close and developed similar interests. As adults, we are still extremely close, but the only difference is that now we are living separately and we each have our own individual lives, so when we come together to spend time with one another as sisters or bandmates, it takes intention and a concerted effort.

Most families can probably relate that there are times when you might not be getting along with certain family members and you need a break, but when you’re in Lindy Vision and you disagree with someone, you’re kind of forced to work through the issue because there’s a lot on the line. We are all hypersensitive to each other’s moods and emotions and that can create a certain type of energy when you’re writing and playing music together, but we strive hard to resolve most disagreements and always stay loving and supportive towards one another.

It’s a lot of work, and we’re human, but it allows us to be the best artists and sisters we can be in this relationship. Majority of our relationship as adults has revolved around Lindy Vision and we’ve watched each other make a lot of personal sacrifices with regards to our individual families, finances, and time, so, we try to stay mindful of that and respect what each of us has sacrificed to keep our collective dream alive.

The inspirations from Karen O and the yeah yeah yeahs are definitely evident, and you cite them as one of your inspirations. We see a lot of rock influences, but do you have any RnB, hip hop, or other genres that help influence your music? Additionally, people have described you as no wave and dark wave, but how would you describe yourself?

Other genres that have influenced us include hip hop, Motown, and 60s/70s rock. One of our absolute favorite hip hop artists is OutKast. Stankonia was one of our favorite albums growing up.

As for Motown, I think we just always loved the melodies and compositions behind a lot of the songs written on that label. And the 60s/70s rock encompasses artists like the Kinks, The Velvet Underground, Led Zeppelin, and Marc Bolan to name a few. There is something inspirational in the lyrical freedom that those 2 decades offered in songwriting.

We would describe ourselves as Indie Electropop.

The vast travel across genres is an impressive one - while Abandonment has a little more of a tinkling, electronic sound, while Gamblers is a little bit harder and more explosive and grungy? Is your eclectic sound a cohesive and intentional one, or is is the result of your different styles meshing in a. Brainstorm moment together. You’ve previously mentioned that three of you have a natural order of leadership and who plays their part in terms of musical roles. Creatively, are you on the same page when you come up with songs, or do you all usually bring something different to the table?

I think our eclectic sound is a hybrid of both intention and our different styles meshing in a brainstorm moment together. We each have our own unique creative process but when it comes to the overall vibe/emotion that we want the song to create, all three of us are usually on the same page.

Naturally you have 3 different people writing their individual parts and helping to structure the song and establish the vibe. Our band really is a three-headed monster, but somehow, on our last 5 projects, we’ve managed to agree on a direction and what’s best for the music.

Anytime we can create a new song that we all enjoy, it’s this miraculous moment of everything falling into its right place. We were lucky enough on this last album to work with a producer, (Enrique Tena Padilla) who could make sense of the madness and bring a little more cohesion to our sound.

We love seeing girls crossing new boundaries in music - especially badass ones that know how to rock a guitar solo and play some wicked percussion. It’s very easy for the industry and public to quickly put female artists in a box under a singular label, but the diversity in your songs kind of refuses to let people do that. There’s sweeping drama, there’s indie rock elements, and even upbeat pop that we really haven’t seen since Karen O’s heyday. What’s your music making process and how do you see things big picture (i.e, concept, lyrics and production) as opposed to getting too focused on one thing?

Our creative process is always collective. We do everything together. Usually one person takes the lead with a certain part, for example Natasha might have a guitar rift or Carla might have a beat or Dorothy might have a vocal melody and then we build a song from that one part. The person who takes 'the lead' part usually has a song inspiration in mind and if the other members get writer's block, then we can use the inspiration song as a reference. It's a fun collaborative process and it's one of our favorite parts about being in a band. We really inspire each other when writing together.

I think our common goal of striving to create songs/music we enjoy listening to helps us keep the big picture in mind. Once recorded and released, songs take on a life of their own, and we are such big fans of music, we never want to put out music we don’t ourselves enjoy. It’s challenging creating music that all 3 of us like 100% of the time. We’ve all let go of Lindy Vision songs we’ve personally liked for the greater good of the band. I think this helps to make us stronger songwriters.

A big part of the vulnerability and rawness in your music and this “Adult Children Part II” EP related to your openness about how the three of you are kids of alcoholics. It’s always great to see artists use music as a tool of empowerment and empathy for other kids who have suffered from emotional trauma and trust issues. Lyrically, your tracks are intimate but still remain relatable for a range of any human being with feelings - what’s the secret to the formula, and how do you get inspired when it comes to writing?

Our music is very autobiographical. So, our own lives and personal experiences really inspire our creative process. Our secret formula has been striving to experience life with an honest and open heart and to experience every emotion – the good, the bad, and the very ugly.

As kids, our emotional literacy was quite poor, so creating music as adults has allowed us to explore all these suppressed emotions that we didn’t even know we had. Art is powerful like that. When it comes to writing, we get inspired by other artists and their music. It’s like whatever we're listening to at the time can really steer the direction we choose to take a project.

It’s also really inspiring to watch how artists that we’ve loved over the years have evolved with their music. It makes us want to continue to push ourselves and try new things and see what we can create next.

Apart from opening up on your personal family struggles, what is the importance of exploring your Native American and black culture in relation to your music, and how do you express those parts of your identity?

Our culture and identity as Native American and African American women have always been important to us, but it’s something that we’ve only recently began to explore in our music on our last three projects. As we’ve matured as women and artists, we’ve come to a place where we can honor these parts of ourselves in a way that is respectful, and not exploitative. Those parts of our identity are expressed in our performance attire and the strength we exude anytime we step on stage.

We wear our face paint as a sacred homage to our Jicarilla Apache ancestors and to our Black forefathers who sacrificed their lives so that we may exist. It’s important to represent our culture when given the opportunity, because of the violent, oppressive, and racist history of America towards Blacks, Females, and Native Americans. We are proof of our existence and resilience despite all odds working against our people.

Presenting our music and our image is also important in order to diversify the predominantly white male indie rock music scene. In America, we historically and presently have had an underrepresentation of people of color in places of power and influence, whether that be artistically, politically, or in pop culture. It’s important to see artists that look different or that look like you on major platforms. There is a value in being seen and acknowledged.

Who are some other emerging New Mexico artists the three of you support and that we should be adding to our playlists?

The late Wakeself, Andrew Martinez, was a groundbreaking Native American hip-hop artist in NM that we loved. His lyrics were always uplifting and positive. Checkout his last release “Ready To Live”. And A. Billi Free, a young African American female RnB artist from Southern NM; she seems to be putting out some strong music; check out her album, “I Luma”.

Connect with Lindy Vision: Website | Facebook | Instagram

Review: "Meet The Woo 2" Album by Pop Smoke

He’s definitely not the next Tupac Shakur, but it’s undeniable that Pop Smoke’s drill style of gangster is incredibly catchy, and he’s sort of created a sub-genre of rap with his one-of-a-kind delivery. At just 20 years old, Smoke starting blending his NYC swag with a UK style of drill rapping. In lieu of rappers like Waka Flocka fading into the background, artists like Smoke are here to pick up the slack. He’s made for the radio, with that raspy growl and addictive but hood-friendly hooks. His latest project is a mixtape follow-up to “Meet The Woo” dubbed “Meet The Woo 2”.

With singles like “Christopher Walking” dropping before the album, we at DCWS were pretty hype for the ultimate product of “Meet The Woo 2”. Filled with Pop’s signature adlibs, his sound does get a little repetitive over time, but there are some stand-out tracks that are going to be dominating roof parties as soon as the weather starts to warm up.

Lyrics aren’t exactly Smoke’s strong suit, but he pleasantly surprised us with “Element” and “Armed and Dangerous”. Element showed off a more clever side of the rapper with witty pop culture references like “I have her hanging off the rod like she Mimi.” Sweetheart shows a slight less aggressive side of Smoke and blends beautifully with Fivio Foreign’s husky vocals to create a well-textured song and creepy hook that helps keep the album from getting monotonous.

The Canarsie-raised native also brings more of his moshpit inducing bangers to the table like “Shake the Room” featuring Quavo, a kindred spirit to Pop in terms of chill personality with a dose of turn-up. Hypnotizing female vocals give us snake charmer vibes that are perfectly paired with a spliff.

“Dior” is featured as a bonus track, but it’s one of our favorite tracks that embody the Pop Smoke spirit. It’s lighthearted, filled with drip and party vibes embody NYC. This project feels full circle next to its predecessor, “Meet The Woo” which included his breakout track “Welcome to the Party.” Pop is a gangster no doubt, but an easy one that likes to dance and “get retarded off the xan.” His foremost priority is to chill out and party, which is a message we’re grateful for in the mess that is 2020.

Stream and Share “Meet The Woo 2”