Interview: Miami Based Rapper Voice of G Talks About His New Track "Home (Freestyle)"

“...the number one thing that inspires my music is life experiences. This music is my life and my life is my music. There isn’t anything in my music that I haven’t lived. I try to keep it as transparent and open as possible for my audience.”

— Voice of G

Big up to you on the release of your new track "Home (Freestyle)"; we're all dealing with the pandemic currently, but what specifically inspired you to write the song and why did you select that instrumental? Also, who produced it?

I wrote the song during the beginning stages of Florida's lock-down period. At the time, the cases of infection and death rate from the virus were rising. There was a lot of fear and panic being projected in the media too and I just felt I had to put my thoughts on the situation into a track to ease my own anxieties and possibly bring a sense of peace to my listeners as well.

The instrumental was actually inspired by artist and producer Knxwledge. I was listening to his track called, “Make It Live Forever” from his latest album “1988”, and thought to myself, "man I could really put my own spin on this". I sampled it, added my own drums, and within a few minutes I was writing to it.

If you could pick any artist to appear with you on a remix to "Home (Freestyle)", who would you select?

I think an artist that would do really well on this track would be Earl Sweatshirt. He has worked with Knxwledge before in the past and together they make a great duo.

You've mentioned that you discovered hip-hop after being a rock fan first. Tell about the experience of becoming a hip-hop fan and which rap artists caught your ear the most early on.

I really fell in love with Hip Hop my first year of college. I didn't have a car, so I would listen to music while waiting around to ride the bus. I was using my Pandora app one day and it started playing some Wu-Tang Clan songs and I was thinking to myself "damn this isn't half bad". Before I knew it I got sucked into the world of old school hip hop.

I was drawn to the grittiness of the East Coast and New York style and how uncut and raw it was. I loved how they could put words together to talk about peace, love and unity. Then, I discovered J Cole's “Forest Hills Drive” and Kendrick Lamar's “Good Kid, M.A.A.D. City”. The rest is history.

What are some things that inspire your creativity when developing new music and what you look for in production?

I would say the number one thing that inspires my music is life experiences. This music is my life and my life is my music. There isn't anything in my music that I haven't lived. I try to keep it as transparent and open as possible for my audience.

When it comes to production, I try to see what sounds fit together the best. At the end of the day I don't know exactly I am going to get, but I try to see what sticks and before I know it I have a great beat with its own story or vibe. In a sense when I make my songs, I feel like a freestyle painter or sculptor.

With "Home (Freestyle)" now released, what's next for you musically?

I am actually working on my debut album called “The Park”. I am still working on the production but the concepts are slowly coming together.

I will most likely release a few singles and videos in the fall, before finally dropping it sometime early next year.

Being from Miami, we've got to ask you, who is your favorite hometown rap artist?

Man, this city has a lot of dope artists so that is a really tough question. Right now my favorite has to be Denzel Curry. However, I would also like to mention Nacho_Out2Marz , Prone, Luko, Wxve and Peace of Mind.

Connect with Voice of G: Instagram

Interview: NYC Rap Artist Admiral Discusses His Latest Music Video "Carry On"

“The song in essence is a trip down memory lane. The scenery selected and the people who appeared in the video are people I shared many of my experiences growing up. It made perfect sense to have them set the scene.”

— Admiral

Congratulations on the release of your music video for "Carry On". Of all the dope songs on your "Decorated" album, why did you select "Carry On" to make a visual for and how did you come up with the treatment?

Thanks so much. “Carry On” is actually the 3rd visual off the album. We also shot visuals for “Echoes of The Back Blocks” and “One Man Military”.

It was actually one of the last songs I recorded for the project. The record itself was actually the foundation for the treatment of visual. The song in essence is a trip down memory lane. The scenery selected and the people who appeared in the video are people I shared many of my experiences growing up. It made perfect sense to have them set the scene. The roof top scene was more personal. It basically a scene set to allow me to talk to my lost love ones who I reference in the record.

Tell us about the "Carry On" song itself; how did you connect with the producer Music Mystro and what was your creative process for its development.

To be totally honest this record almost didn’t happen, Mystro and I discussed working record for some time as we’ve known each other for years. He isn't the type of producer who just throws you a random beat. I didn’t receive the beat until I was about to close out the project... Thank goodness.

The sample heard in the hook set the table for what I wanted to do with the record. I immediately thought of my parents and sister who passed on over a 3 year period... This became an opportunity for me to show them how much they continue to inspire me and my music.

When I told Mystro I was ready to record the song, he stopped me in my tracks and said he wanted to put some finishing touches on it. Couple days later I got it back and the rest was history.

Everything fit so seamlessly and the song has turned out to be the most successful record from the project. I love the project as a whole but this one will be remembered for years to come.

We all know that times change, but a lot of people, including myself, miss the New York City sound that artists like Wu Tang, Mobb Deep, Nas, and others popularized in the mid to late 90s. Why is it important for you to keep that authentic NYC sound alive?

I've always considered myself a throwback as an artist who does not conform to fads and trends. The greatest artists’ music will always withstand the test of time and I work to make memorable music.

Substance is must when it comes to my sound and I think there is a void I can help fill in that respect. I grew up on 90's Hip Hop which in my personal opinion the greatest era in Hip Hop from a musical standpoint particularly in NYC. This was a time that you really had to know how to rap to be a successful artist. Those type of artists really inspired me to really push my pen.

With the single/video for "Carry On" now released, what's next for you musically?

Prior to the COVID 19 outbreak I was working on my new album "Honor & Will". Its near completion and I’m hopeful to release before the end of Summer 2020.

What inspired you to create Glory Ave Entertainment and what are your goals with the brand?

When I began my career I was part of a group which later disbanded due to business complications. That experience taught me a lot about the game and planted the seed on how I wanted to move forward with my career. I knew that I wanted to be in a situation where I could create something in my own image larger than the music itself. I knew I wanted to make my own decisions and needed my independence to do so.

Glory Ave Ent was founded in 2010 as solely record label which later expanded by adding event production and artist development services as well. We are currently in the works of developing graphic design and film divisions with the goal of becoming a complete multimedia company in the near future.

Stream and Share “Carry On” on Spotify

Connect with Admiral: Website | Twitter | Instagram | Facebook

Review: "Subglorious Songs For Subpar People" EP by Vogue Villains

The Vancouver Island, BC based alt-rock band Vogue Villains craft an impeccable decadent world with “Subglorious Songs for Subpar People” for those who love their punk with just a hint of glam. A truly physical sound from the colossal riffs to the force of nature quality of the drums, the EP’s six songs deserve to be blasted.

Sly slinky grooves roll through the whole of the EP giving it a wild, unhinged sound. By far though, the true heart and soul of the EP comes from the fire and passion of the vocals. Lyrics are delivered with an unhinged, feral spirit to it. Layer upon layer filters into the mix with such flawlessness.

There’s a lot going on within these pieces, and the references abound throughout. A clear nod towards dance rock incorporates elements of Death From Above 1979’s newest incarnation, alongside elements of Interpol’s brooding darkness. Everything Vogue Villains do has their own distinct imprint on it, for they let the songs simmer. Nothing outright descends into the abyss; they merely flirt with the abyss in a way that feels acutely satisfying.

Building itself up into a frenzy is the patient churn of the opener “The Arsonist & Gasolina”. Small flourishes matter a great deal for they have a playful disposition to them. “Let the Wrong One In” lumbers forward in a way that recalls Primus at their most delightfully uninhibited. Elements of lounge filter into the swinging style of “New Striped Coat” for the song delves into a surrealist ode. By far the highlight of the album comes from the powerful “So You Say”. Full of such vigor, the guitar lines intermingle to create a virtual kaleidoscope of colors.

Various tonal shifts define the unease of “No Matter” where Vogue Villains embrace a bluesy disposition. Slowing the tempos down gives the track its own peculiar edge for every gesture is carefully considered. With “Subglorious”, the band nicely summarize all that came before in a way that feels satisfying and complete. Their sneering vocals work wonders as they delve into a woozy, unstable realm.

The Tony Sharkey produced “Subglorious Songs for Subpar People” EP shows off Vogue Villains’ uncanny ability to deliver a delightfully dark, weird and wonderful thing.

Stream and Share “Subglorious Songs for Subpar People” on Spotify

Interview: Trapsoul Singer-Songwriter Osé Discusses Her New Single "Overfeel"

“Some of my earliest memories of singing start from church and school; that’s really where I started discovering my voice, exercising it more, and performing and building my self-confidence on stage.”

— Osé

Congratulations on the release of your single "Overfeel". Tell us about what inspired you to write the song, and was it based on personal experience?

Thank you so much! When it comes to inspiration for "Overfeel", it wasn't necessarily based on personal experience, but experiences that I see some of my friends go through, and also I think that a lot of people have probably felt that they overfeel at some point.

Sometimes people tend to "care too much" when it comes to someone else and they may end up hurting themselves.

Can we expect a visual for "Overfeel"? If not, do you have a song in mind to release next?

Visuals for "Overfeel" can be expected in the near future! And as for the release of other tracks, currently I only have one other song out called "Games", but I'm always working on something new, I have a bunch of songs in the vault just waiting to be released, so I'm excited for that.

You've mentioned that you have been singing for over 14 years; what are some of your earliest experiences singing and when did you come to the realization that you are very good at it and should start creating music?

Some of my earliest memories of singing start from church and school; that's really where I started discovering my voice, exercising it more, and performing and building my self-confidence on stage. I always used to sing in school talent shows, conduct the music at school masses, I was even one of the leads in my high school musical, Hercules.

Growing up, of course, people would always tell me that I have a beautiful voice and that I shouldn't let it go to waste, and I knew I wanted to start building up my career in music, but then again, I didn't even know where or how to start, who to talk to, or how to even express myself effectively through songwriting.

However, the summer of 2019 changed my path in music forever. During that summer I went on vacation, and I decided to experiment with different beats and try to song write to see what I could come up with; so I locked myself up in the washroom--I figured that some of our best ideas come when we're in the shower--and I just started writing.

I wasn't writing about anything in particular, but I felt that I was on the edge of something, so I tried to focus and dig deep within myself to find out what it was that I was trying to say. Before you know it, within an hour, my first song "Overfeel" was written, and even after that, about 2-3 days after my second song, "Games" was written.

Every time after that all I wanted to do was write and make music, I couldn't be stopped, I always had some idea brewing that I had to get down on paper. After that was when I realized that I should be making music, when I couldn't go a second without thinking of something new to put down on paper.

Describe your experience performing at the Love Child Social House for Her Creative Toronto in March, and what song(s) did you perform?

Performing for Her Creative Toronto at the Love Child Social House was my first official live performance, and it was amazing.

When I went on stage to perform, it just felt so natural; I felt like I was in my element, and that was where I belonged. Of course with every performance there are always things that you could've done differently, but I still enjoyed performing "Games" and "Overfeel" there.

What are some of your goals musically for the remainder of the year?

Some of my goals musically for the remainder of the year are to definitely release all the songs that I have pending, I also want to make sure that I get as many visuals out for my songs as possible, and also I want to get more opportunities to perform live and on stage.

I feel like it's one thing to listen to song and try to feel the emotion that the artist is trying to convey, but it's another thing to see the artist exuding that emotion live and in person, and being able to connect with them; so live performance is another really important goal for me.

Connect with Osé: Instagram

Vancouver Alt-Rock Band Vogue Villains Drops Their Sophomore EP "Subglorious Songs For Subpar People"

Vogue Villains is a Canadian alt-rock band based in Vancouver comprised of Andrew Baskin (Lead Vox, Bass), Lucas Antoni (Lead Vox, Guitar), Nate Cox (Drums, Vox) and Robert Johnston (Keyboard, Guitar, Vox), who formed in 2017. Influenced by acts such as Queens Of The Stone Age, Mother Mother, Billy Talent, Arctic Monkeys, and Mini Mansions, the band has created a sound that is unmistakably and undeniably VV.

This unique sound is on full display over 6 songs on Vogue Villains’ sophomore EP ‘Subglorious Songs for Subpar People’, which was dropped on April 24th. The EP includes guest vocals on the song 'New Striped Coat' by Myles Young and on 'The Arsonist & Gasolina' by Steve Plantz, and there’s guest guitar work done by Nic Vanderschaaf on 'The Arsonist & Gasolina'.

Speaking about the EP, the band says that, “'Subglorious Songs For Subpar People' is about risky relationships that should never be, existential crises, doubting a corrupt belief system and a different perception of class. It has been a way for us to voice truths that would otherwise be frowned upon on open conversation. As big music fans we feel we achieved in making a record full of music that we would want to hear as listeners of the genre”.

We are very excited to share with you our in-depth review of this Tony Sharkey produced EP, as well as our exclusive interview with Vogue Villains, both coming soon, but in the meantime, rock out to it below, and connect with the band on their website and social media.

Connect with Vogue Villains: Website | Twitter | Instagram | Facebook

Interview: Ultra_eko Talks About His New Music Video "Yellow Redux" and Upcoming Album "Off the Grid"

“...The title ‘Off the Grid’ is a good summation of what it, and me as an artist and person, is about. It’s populated with characters who feel isolated from a society which does not value the human spirit, who struggle with communication and connecting with those around them. ”

— Ultra_eko

Despite the circumstances due to the pandemic, you have been staying very busy lately. Why is it so important for you to stay grinding and release new music?

Yes, I was concerned that the lockdown would slow me down, but to be honest, I’ve continued pretty much as before. Financially it’s been a huge struggle, but where there’s a will there’s a way. In terms of the writing it’s what I’m passionate about, it’s where I put my heart and soul. I can be listening to beats up to ten hours a day, completely lost in the writing. I’m obsessive, driven and compulsive, and I’m really happy to be able to direct these energies into my music at the moment. There have been many times in my life where these character traits have been directed into much more destructive and unhealthy pursuits, so I feel very lucky and blessed to have this creative outlet. I have a pretty clear vision of where I want to get to, musically. Not in terms of any career or material success, but the soundscape I want to create, the ideas and concepts I want to express, the stories I want to tell. And I remain determined to reach that place.

My aim is just to maintain momentum, keep producing, keep trying to improve and do things better with every track. I think being productive is very important. One of the best pieces of advice I read when starting out, probably about a year ago now, was not to obsess over each track too much; try and get something done, and then move on and try and do things better next time. I’ve come across individuals who have been obsessing over a single track for months, and this mentality seems to really slow their development. Nothing is ever going to be perfect, but also most people won’t see those same imperfections that you do anyway. I think that you develop faster and improve quicker by keep trying to make something different and improve on the last time. I can look back a year and see great improvement in what I’m doing. I used to discard half of everything I made, but I’ve learnt what works and what doesn’t, and that number is drastically reduced. I have so many ideas, so many things I want to record and write about, that I don’t see myself slowing down. I have always been prolific in whatever I do; I remember writing a 60,000-word novel in two weeks as a teenager. If you love what you’re doing, it never seems like work anyway; I’m thankful for the time I have to be creative.

Perhaps my main concern when the lock down started, was that I would not be able to go to the studio to record. But all the tracks from the forthcoming album, ‘Off the Grid’, were recorded in my loft, and I am very pleased with the results. (picture included).

Big props to you on your new music video “Yellow Redux”. Who directed the visual and why did you select this song to create a visual for?

The video was again created by the fantastically talented Eli Lev. He is a brilliantly talented video artist in my opinion, creating everything from stock footage. This is the eleventh video he has made for me, and we have developed a good understanding of each other in this time, I hope.

The track itself was the most obvious ‘single’ on the album, and I hope it will help me to reach out and find a bigger audience and be able to showcase my work to more people. The track is called ‘Yellow Redux’, because there is another ‘Yellow’ track I released last November, which has the same lyrics but a different instrumental.

There was also a techno remix made by Kalihamihari!, a Scottish hip-hop artist, from this original track, so in fact ‘Yellow Redux’ is actually the third incarnation of ‘Yellow’. I guess I must have a soft spot for it.

If your music could be the soundtrack to any movie, which one would you select?

I really liked this question and gave it a lot of thought. As I’m so engaged with creating at the moment, I don’t consume anywhere near as much film, music or literature as I once did. But as a teenager and throughout my twenties I loved my films , and so it was an interesting exercise for me to look back and reflect on what has influenced the kind of aesthetic I have so far been trying to create in my music.

Looking thematically at the forthcoming album, ‘Off the Grid’, the narrators and characters within the songs are increasingly isolated. They are individuals lost and without meaning, caught within the cogs of society’s vast capitalist machinery. They live in a world full of new technologies which are supposed to make us all more connected, and yet they feel more alone than ever. People are thrown together, yet communication is misfiring, relationships are breaking down. The drunk father and his tripped-out son in the ‘Yellow Redux’ track is a perfect illustration of this. They walk the street arm in arm, yet they could not be in more different places from one another. As the narrator in the ‘Eternal Sunshine’ track states, ‘I feel so separate, as if there were a pane of glass between us. I write upon it, backwards, from right to left so you might read it right, but it seems the meaning of my words always getting lost.’

There’s a lot of Orwellian imagery, and rather than mention a single film, I have been thinking about a writer and director who was hugely inspirational and influential to me; Terry Gilliam. I love the work of Gilliam, and to me his films are a celebration of the creative and imaginative power in all us. It is a wonderful, beautiful gift, and we should all try to maintain that childhood wonderment at the world. Our power to imagine, and the things we do imagine, are where the world we live in is conceived. The orderly and structured nature of this society we find ourselves in, regimented by time and routine, capitalism means of production, can often grind us down and crush our spirits, and it is important that we don’t lose sight of the magical, spiritual beings we are.

The Gilliam film ‘Brazil’ really blew me away the first time that I saw it, and it has always been a powerful influence on me. I can look at the track ‘Boy Done Good’ from the new album, a song about an employee trapped and suffocated in a mindless job, where he enters numbers into a computer all day long, the meaning of which he has no idea. He escapes from his dreary reality through the power of his imagination, through which he sees himself as someone important and respected, commanding the love of a beautiful woman.

There’s a lot of Gilliam’s ‘Brazil’ right there in that track along, and much of his work centres upon imaginative fantasies characters get lost in, and which is a kind of magic by which they use to escape from authoritarian regimes. His films often focus on the struggle we face in trying to satisfy spiritual needs, in a modern world that makes us feel disenfranchised and often meaningless. I think my work too covers a lot of these ideas; characters who feel isolated, outsiders. Aside from ‘Brazil’, ‘Twelve Monkeys’ and ‘The Fisher King’ are absolute classics. Of course, there is the brilliance of ‘Fear and Loathing’, though I would always favour the Hunter Thompson’s book in this instance.

What can you tell us about the “Off the Grid” album, and how is it different sonically and thematically from your debut EP “Kitchen Sink Dramas”, which you dropped a few months ago?

The new album is a lot more diverse than the EP in terms of the sound. I also think it’s a much more enjoyable listen. The few people I have shown it to have responded very positively so I really hope it is going to have a good reception. I believe it’s the best thing I have so far created, and I also think it is a lot more accessible than the EP, so it would be great for it to be a springboard and help me to continue finding new listeners.

Having said that it still has a lot of the same themes, and the title ‘Off the Grid’ is a good summation of what it, and me as an artist and person, is about. It’s populated with characters who feel isolated from a society which does not value the human spirit, who struggle with communication and connecting with those around them. But it is also about the power of human creativity and imagination to be able to transcend these limitations, and to each lift ourselves and be the best we can be.I hope that amidst all the darkness and despair, there is a message of hope and positivity.

Stream and Share “Kitchen Sink Dramas” on Spotify

Connect with Ultra_eko: Twitter | Instagram | Spotify

Interview: Las Vegas Rap Artist Symphonic Talks About His New Single "Set Myself Apart"

“I’m always inspired by things that I have gone through in my life, the people around me and most importantly, other music! We all have our idols and people that we can turn to within music and I’m no different... ”

— Symphonic

If you had to describe your music to a stranger in three words, which ones would you select?

Well, as you can see by my hair, I don’t like to limit myself to one thing, or three things. Or anything. But if I had to, I would say energetic, unapologetic and authentic. There’s not a person on this planet that can do Symphonic like I can, but I do encourage you to try!

What are some things that inspire your creativity as an artist when developing new music?

I’m always inspired by things that I have gone through in my life, the people around me and most importantly, other music! We all have our idols and people that we can turn to within music and I’m no different. Oh and cheesecake. That inspires me on the deepest level.

Congratulations on the release of your new single "Set Myself Apart"; it's a certified banger. Tell us what motivated you to write the song and how you connected with Blasian Beats.

Thank you! I wanted to write a song that I could always reference in my catalog that lets me know why I do what I do, and why standing out is always more fun that fitting in. Never been fit in my life so how could I? *insert laugh track*

I first heard Blasian Beats when he produced “For Everybody” by Kash Doll and his ear for instrumentation and building sounds is right up my alley so it only made sense to work with a GOAT!

Can we expect a music video for “Set Myself Apart”?

Yes you sure can. Date not set or anything but making iron clad and quality content is the name of the game and I’m taking over everything musical, visual and so on.

If you could pick any artist to appear on a remix to "Set Myself Apart", who would you pick?

Patti LaBelle. I’m only slightly kidding because could you IMAGINE? That voice? Ah. A treasure.

But in all honesty, I think that me and DaBaby would sound killer on this record together. Or any record for that fact!

What are your thoughts about the rap music scene in Las Vegas in 2020? Are there a lot of venues for emerging artists to perform and is the community supportive of local talent like yourself?

I honestly have no place to answer that. I just relocated here about four months ago and haven’t really stepped onto the scene here yet. The talent here is incredible though. I highly recommend you look into FCCMG (Full Circle Core Music Group) as they are a group of unbelievably talented artists here in Vegas and they were so warm and welcoming to lil (big) ol me!

Stream and Share “Set Myself Apart”

Connect with Symphonic: Website | Instagram | Twitter

Stream "NOMAD", the Newly Released Mixtape by NYC Based Artist Ayelle

Following on from singles 'Trust', 'Effort', 'Choice', 'Overtime' - and recent self-care anthem 'Fast Life' - NYC-based Ayelle can now reveal her 12-track mixtape in it's entirety. 'NOMAD' is out now.

Having signed to Universal Music Publishing US in 2019, Ayelle now reaches over 426,000 listeners on Spotify alone - not forgetting 26 New Music Fridays adds (the UK and ROW), Chill Hits, Chill Vibes, Alternative R&B, Apple Music Pop, Apple Music R&B, Apple Music Electronic, various latin music playlists, Pitchfork's playlist, and Spotify CEO Daniel Ek’s own discovery playlist.

Speaking about the 12-track mixtape, Ayelle explains that ‘NOMAD’ “is a collection of songs written over the past two years whilst I’ve been travelling almost every 2-3 weeks to places like London, New York, Los Angeles, Texas, Valencia, Barcelona, Bali, Cambodia, Vietnam, Stockholm and Amsterdam to name a few. Throughout my life I’ve never felt fully rooted anywhere. I grew up in Sweden and Spain, I’m half Iranian, I lived in London for 7 years and my family is spread across the globe. On my dad’s side my family comes from a nomadic tribe called ‘Qashqai’ and this resonates with me a lot as I can never seem to stay in one place for too long. Every song on this mixtape represents a part of that journey and something I've learnt about myself, or something I’m still trying to figure out.”

Ayelle's 'NOMAD' mixtape features collaborations with friend Rationale, as well productions cuts from Stavros, Lucas Nord & The Elements. Stay tuned for official music video for 'Fast Life' which was recorded in producer Stavros' apartment; where the record was also originally written.

Listen to ‘NOMAD’ now, stream it on your preferred music service and connect with Ayelle on her social media.

Stream and Share ‘NOMAD’

Connect with Ayelle: Twitter | Instagram

Sampling Record Store Tracklib Moves to Subscription Model

Tracklib, the world’s first and only service for quickly finding and legally clearing samples, today turned on a completely overhauled user interface with better functionality at every level, and upgraded its pricing model from à la carte to a subscription service offering lots more music to sample. For the first time, Tracklib offers a free trial period during which users can download 7-15 CD-quality tracks.

Tracklib’s extensive catalog of sample-friendly music ranging from 1928 to 2020 consists of everything from Mozart to Isaac Hayes, and today Tracklib has added thousands of new songs and individual stems and multitracks from artists such as Sly & Robbie, Les Baxter, Blowfly, The Stylistics, Jackie DeShannon and more. Many artists have released songs with Tracklib samples—including Lil Wayne, DJ Khaled, Phantogram, Mary J. Blige—and J. Cole’s 5x Platinum single “Middle Child” which was built around a sample from Tracklib.

“When we launched two years ago, offering a unified system and pricing model for sample clearance was revolutionary yet unproven for those labels, publishers, artists, producers, and songwriters who had lost a lot of revenue to unlicensed sampling,” said Pär Almqvist, founder, and CEO of Tracklib. “Tracklib has since proven our model, reassuring labels and publishers that automated sample clearance can work. We are very proud that the vast majority of revenue coming into Tracklib goes right back out to the talented artists whose works support the culture. In fact, many music creators make more money from Tracklib than from streaming services.”

To celebrate the new launch of the revamped service, Tracklib is launching a competition together with rapper Styles P giving up-and-coming producers the chance to produce his new single. The music needs to contain Tracklib samples, of course. This will run similarly to Tracklib’s successful competition with Wu-Tang Clan’s Inspectah Deck last year, which received thousands of entries from 45 countries.

Along with increased functionality and new music, people have been asking for an easier and more affordable way to access Tracklib, especially during the current global crisis. Tracklib is now moving to a three-tiered subscription model aligned with the producer’s journey in mind, from what’s essential for an amateur playing around to what’s required of a dedicated professional.

Essential: 5 track downloads each month ($5.99/month or $59.90/year)

Standard: 15 track downloads each month ($13.99/month or $139.90/year)

Professional: 35 track downloads each month ($29.99/month or $299.90/year)

Where all downloads were previously $1.99, now with a standard subscription the price per download is 50% more affordable. Those who purchase annual plans will get an additional two months free. During the 14-day trial period, users can try out the service/new site and start to create new music with 7 free downloads. And to make it even sweeter, for existing users or anyone who is already using one of Tracklib’s partner services--such as Amuse, Reason, Serato, and Songtrust—the trial period increases to 30 days and Tracklib will give new users 15 free tracks. If, after the trial period ends a user is still not sure which subscription to purchase or if Tracklib is right for them, they can keep the downloaded tracks and take as long as they need to work on their new music. Once they are ready to release their creations to the world, they can come back to Tracklib to clear a sample license, for as little as $50.

Tracklib has also lowered licensing costs and revenue share percentages for some of its categories. Depending on category and sample length, the price varies, but for the most common case, a 15-second sample from a category C track (over 90% of the catalog) you pay only $50 and agree to share 10% of the song’s revenue. Explained in more detail here: http://tracklib.com/licensing/

Many long-requested capabilities have been embraced in Tracklib’s new interface, including:

• A much better mobile version with a full-screen player

• One-click downloads for faster workflow

• Better browsing functionality with page filtering and more information around Artists, Genres and Labels

• More detailed waveforms to easily find the best parts of song and loops

• Inspiration pages across many genres of music

• A broader selection of curated collections of tracks

• Favorites! A seamless way to save tracks

• Song lists can now be viewed in both compact and standard views

• Dark mode

Connect with Tracklib: Website

Interview: London Hip-Hop Artist Mike Maro Talks About His New Single "Seasons Change"

“On arriving in Nigeria, I realised I had forgotten my midi controller back in England, and had no other choice but to find other ways to be creative. I ended up making “Seasons Change” on my iPad.”

— Mike Maro

When did you realize that you were actually very good at rapping and should start writing, recording and releasing music?

I realised I had a skill for making songs at the age of 11 and began writing then. As I grew older, I turned more to freestyles and at 16 I became the best in my school.

I made a conscious decision then that I was going to take music seriously, recorded my first song, began to release music and haven't stopped writing ever since.

Congratulations on the release of your new song "Seasons Change". Tell us about what led you to create this song on an iPad during your family vacation; and was it based on personal experience?

On arriving in Nigeria, I realised I had forgotten my midi controller back in England, and had no other choice but to find other ways to be creative. I ended up making “Seasons Change” on my iPad.

I initially intended to write the song for my brother's girlfriend at the time but ended up keeping it because it became so personal. The backstory is based on my second year uni experience, a true heart-break tale. My then girlfriend turned ex left me to be with who I considered one of my best mates; as for the rest of the story (i mention specific details in the song). I signed a contract in my first year to live with my then girlfriend (now ex) and 'so-called' best mate in the same house, the damage was already done by the time we got to second year. This made my uni experience catastrophic; I was only able to pick myself back together in my 3rd year.

Following up on the last question, what are some things that inspire your creativity as an artist and producer when developing new music?

These days I get inspiration from anywhere. I have a really clear head when I drive and am able to think freely and freestyle most of what I end up putting in a chorus for example. I am also inspired by themes in movies/series, when I write i try to take the approach of a script writer who is trying to tell a story with each episode.

I am also an avid reader, and have a huge love for autobiographies. These are some of the things that inspire me outside of the music because I feel as a musician you can get boxed in being creative just within music, hence when I step outside of my comfort zone I am able to see the world in different colors and have a clearer perspective when I write music.

Can we expect a music video for "Seasons Change" to follow? If not, what's next musically for you?

I am not working on a music video for “Seasons Change”, however, I am working on more new music and a couple of new music videos. As we are all supposed to be on lock down, I am having to be quite creative with my ideas.

Tell us about your experience in the gospel trio and what you learned about yourself as an artist during that period that has carried on to now.

Those were one of the most fun years of my life because I was a kid experiencing something new and exciting with my classmates who had the same interest in music as me. I was considered the vocal leader of the trio, there was a guitarist and the other who was great with hyping.

What I took with me from then is the confidence to get on stage and perform songs, I was very charismatic and I have always had a gift for producing catchy hooks.

Connect with Mike Maro: Twitter | Instagram | Facebook | Spotify

Nigerian Singer-Songwriter WurlD Drops His New EP "AFROSOUL"

Nigerian singer-songwriter WurlD continues to shape the current climate of music radiating from Africa with his highly anticipated new body of work, “Afrosoul”.

Showing significant levels of workrate – this being his third full length release in 18 months - ‘Afrosoul’ emerges as a thrillingly sophisticated and layered collection. WurlD’s soulful vocal performance effortlessly glides over production styles that dip between R&B and Pop, underpinned by deep African rhythms and finely worked Jazz elements. Including the COLORS-backed “Ghost Town” (which has amassed over 180K views in its first week), “Love Nobody” and recent release “Wayo” as well as four other unreleased tracks, the Lagos-born artist has crafted a significant statement of his ability, and with it, establishes himself as a new vanguard of the Afropop movement.

From saxophone-laced groove “National Anthem”, to the Afrobeats jumper “Story” to the soulful, “Birthday Song/Palmwine Riddim” with its sprawling, sonorous Fuji roots, the EP is marked by WurlD’s penmanship, underlining his credits on hits for the likes of B.O.B, Davido and Akon in his precocious career so far.

WurlD describes the project as “a fusion of Afrobeat and Electronic/Soul vibes”, and positions the project as one which “further defines my unique sound and ability to connect with my fans in vast regions".

WurlD has crafted a project rich in sounds, substance, and emotional depth – one that validates and reinforces the early promise from heavyweight tastemakers incl. THE FADER, VIBE and OKAYAFRICA. The swift capture of over 40M streams worldwide point similarly to the kind of gravitas that WurlD is commanding even at this stage.

The petrol blue-haired maverick continues to define himself as one of the trend-setting artists rising out of Africa right now. Be sure to keep your eyes and ears on him as he ascends to greater heights in 2020.

Listen to WurID’s DOPE EP, “AFROSOUL”, right now, stream it on your preferred music service and connect with him on social media.

Stream and Share “AFROSOUL”

Connect with WurID: Instagram | Twitter

Miami Based Artist GARZI Releases His New EP "STUCK IN THE MIDDLE"

Rising Miami talent GARZI unveils the next phase of his “alternative 808s” manifesto with the release of his “STUCK IN THE MIDDLE” EP, out now via Big Noise Music Group. STUCK IN THE MIDDLE blends GARZI’s alt-rock influences with trap and hip hop vibes creating a uniquely brooding, energetic fusion. An approach he calls “throwing up my emotions on a track”. A punk spirit tears through the EP with GARZI firing through the five tracks in eleven minutes; vocals and lyrics starkly exposed up-front with instrumental sections kept to a minimum. No doubt the punk attitude gets an injection from the addition of scene veterans John Feldmann (who co-produced/co-wrote the entire record), and Blink-182 drummer Travis Barker (who performs on the single “SICK OF ME” and takes co-writing/co-producing credits on three of the albums five tracks).

Opening track “WAKE UP” has the EP blazing from the get-go, with it’s rumbling low-end, flickering hi-hats and GARZI’s voice searching for a way out of a nightmare. “HOPELESS” follows and delves into even darker territory, building its frustrations to a shard cut off that opens up space for lead-off single “SICK OF ME”. Lyrically, “SICK OF ME” wrenches out a story of a relationship in crisis. A relationship between two people, as much as his relationship with himself. The track is juiced up with the drumming chops of Travis Barker who takes the energy up to the next level on a track that showcases GARZI at his most anthemic. By the time the EP reaches the closer, “SUMMER”, we find GARZI in a more reflective mood, moving forward and realizing how far he’s come. “I was mad then, but I think I get it now, I’m not the only one that this world revolves around” he calls out as the track builds to its conclusion.

The collaborative effort of “STUCK IN THE MIDDLE” came after GARZI caught the ear of Goldfinger frontman/multi-platinum producer/Big Noise founder Feldmann and the two found that they were “kindred sonic spirits”. Feldmann soon insisted that Barker come by their recording sessions. GARZI explains “It was crazy to have Travis drumming on the song because Blink 182 has been one of my inspirations since childhood… “We figured out a really dope sound. I have faith that the music is really sick.” He continues, “I’ve never been more excited about a project than I am about this EP, it’s been a blessing to work with such talented people like Feldy and Travis. The project’s name, "STUCK IN THE MIDDLE", is a reflection of where I feel like I'm at in life and the project talks about some heavy-hitting topics I've found myself in throughout the last year.”

“STUCK IN THE MIDDLE” marks an important next phase for GARZI who first came to attention as Yung Garzi amongst the South Florida rap boom of the late 2010s. This early success culminated with the Nick Mira and Taz Tayor-produced track “Demonstrate”, which notched eight million streams on the Soundcloud platform. The record would have eerily prescient lyrics for the artist who would soon be picking up label attention, while also planning his shift away from the rap scene. “Life's a movie so just stop and stare/Take a pic, yeah, I'll be gone by next year… big things calling, had to leave you right there...”

Discussing the new moves made on this record, GARZI says “this tape is in an entirely different world than my last one, but that's what makes creating music fun. I hope people can stop trying to classify music and just enjoy it and use these songs to get them through any tough situation they may be going through.”

While “STUCK IN THE MIDDLE” is a developmental step for GARZI as a creative force, it is also in some ways a step backward. To his roots. As a teenager, GARZI often felt isolated and “a little lost”. He found solace in rock, punk, and metal, falling in love with the Warped tour and the scene royalty that descended on the Sunshine State every summer. Band such as Memphis May Fire, Front Porch Step, and Of Mice & Men were formative influences and, while there’s no missing their sonic footprint on his debut EP nothing to something, it’s under the guidance of John Feldmann that GARZI is now able to fully realize his ambitions on “STUCK IN THE MIDDLE” and firmly put his own stamp on the scene.

For the kid who felt like an outsider who never quite fit in at high school, perhaps that’s because he’s always been an original from the outset.

Listen to “STUCK IN THE MIDDLE” right now, stream it on your preferred music service, and connect with GARZI on his social media.

Stream and Share “STUCK IN THE MIDDLE”

Connect with GARZI: Twitter | Instagram

Review: "The Codex: Running The Point" Album by D'Vo

Houston based CHH artist D’Vo reveals the inner optimism of spirituality on the faith filled flows of his newly released album “The Codex: Running The Point”. Lyrics rest front and center of the whole project, for he explores the importance of how community grows from belief. Highly articulate, D’Vo draws from a life lived to the fullest, as the narratives that fill the album reveal a thoughtful mind.

Arrangements too further add to this unique universe while D’Vo messes with listener expectations. Firmly rooted within hip-hop, he draws heavily from a West Coast G-Funk vibe, alongside trap, house, funk and even elements of Bossa Nova.

The kaleidoscopic approach works wonders for D’Vo. His low-key, laid-back delivery at times touches upon Snoop Dogg’s early output. Going for a joyful glee the way it all comes together recall Chance the Rapper’s playful mode. So much color is incorporated within these tracks, from lovely tender samples to the faded lo-fi synthesizers that occasionally punctuate the whole of the album. Sonically D’Vo brings elements of Neon Indian’s careful arrangements and the chilled out-vibes of Dam Funk, a particularly profound sort of crate digger.

Setting the tone for the album is the introspective “U Know What It Dew” which offers a wonderful shout-out to that Houston hip-hop institution, DJ Screw, even adopting his chopped and screwed style. Dreamy sounds radiate from the gorgeous “Halitosis”. Fantastically luxurious “281 Houston’s Son 281” has an incredible immersive approach. On “Elavated Thinkin” D’Vo goes for warm tones akin to Boards of Canada’s childlike sense of wonder.

The spacious “Drivin Wrong Way” features eerie undertones. Easily the highlight of the whole album comes from the potent “Me & My Friends”, feat. OB3PLE, Master Pe, Vicky Flint, and Yoel. References abound from Dolomite and beyond, giving it a summery spirit. With “Enmity” he strips down to the essentials. Classic and modern funk merge to become one on “Make It Last”. Happiness reigns supreme on “Swagger From My Father”. A sprawling ambitious take works wonders on “We Are Walking”, feat. OB3PLE and Fat Phil. Tying the whole album together is the intimate finale “Jesus Christ”.

D’Vo’s “The Codex: Running The Point” album shows off his uncanny ability to craft a true classic, one that feels positively timeless.

Stream and Share “The Codex: Running The Point” on Spotify

Music Sharing App Rhythm Aims to Change the Way You and Your Friends Share Music

Everyone wants to share great new songs they find with their friends, but there are always annoying obstacles to overcome. If you share a screenshot on Instagram, your friends have to leave the app to go to their streaming service and take a listen, something most people don’t want to do. Alternatively, you can share a song directly from your streaming service, but the problem is that half of your friends use Apple Music and the other half use Spotify. So what gives?

Today we are showing you Rhythm, a Toronto-based start-up which is aiming to change the way you and your friends share music.

Rhythm is a music sharing app that bridges the gap between streaming services. No matter if you subscribe to Apple Music or Spotify Premium, you and your friends can follow each other, post your favourite songs, and stream them directly from the app. Your news feed caters to your chosen streaming service, meaning that even when your friends post songs from the other service, you see the version that you can stream. If you like a song someone shares, you can save it directly to your Apple or Spotify library with the touch of a button.

Rhythm is laid out like your average social media platform; a news feed filled with posts from the people you follow, a discover page (similar to explore on Instagram), post tab, notifications, and profile. Each user signs in through their Apple Music or Spotify Premium account to access their music, and you can share screenshots of your Rhythm posts directly to your Instagram story as well.

Users can make captions on their posts, and their friends can add comments, similar to existing social platforms. Additionally, each post displays the number of likes and saves (ie. how many times people have saved the song to their Apple or Spotify library). You can add songs to your queue within Rhythm as you scroll through your feed, with the ability to change the order and/or remove songs from the queue if you so choose.

In summary, Rhythm is bringing social media and music streaming together in two ways.

Users who subscribe to different streaming services can now share with each other.

Your favorite songs can now be posted, liked, and commented on just like your pictures and videos

No more leaving the app you’re on to stream a song, and no more “sorry, I don’t subscribe to that streaming service”. This is music sharing as it should be.

Rhythm is available on the App Store in the USA and Canada.

Download Rhythm today: https://apps.apple.com/us/app/rhythm/id1499889444?ls=1

Connect with Rhythm: Website

Interview: D'Vo Talks About His Newly Released Album "The Codex: Running The Point"

“The theme on Volume II, Running the Point, is now you are on the basketball court, playing the point guard and using your vision to assist your team in willing the game.”

— D'Vo

Congratulations on the completion and release of your new album. If you had to describe the project to a stranger in three words, which ones would you select?

Describing the Codex in three words is extremely difficult but I would go with: Spiritual, Encouraging, Soulful.

How would you compare this album sonically and thematically to your last release The Codex Volume I?

Sonically, this project is much more polished from a production standpoint. The first album I was learning a lot and had never done anything like this before but now I feel confident in the production side of things. I have also made connections with people who are willing to point me in the right direction or lend me a hand.

How did you go about selecting the beats that you rapped on for the album and who were the featured producers?

Everything that I do is lead by the spirit, so when I get a beat either the music moves me or it doesn’t. I have a few beat makers that I work with, that will ultimately share their wave file, and then from there I record mix and master, and complete everything.

Some of the producers I work with is Beanz & Kornbread, Tellingbeatzz, & OB3ple and there are a few others, but everything is executive produced by myself and in most cases they haven’t heard the final song until it is published.

What would you say is the overarching theme or message of this album?

The first theme in Volume I was, I Got Next, think about a street basketball game calling out you are next to get on the court to compete.

The theme on Volume II, Running the Point, is now you are on the basketball court, playing the point guard and using your vision to assist your team in willing the game.

With this album now released, what your goals musically for the remainder of the 2020?

The Codex Volume III is already recorded and pretty much ready to go but I need to focus on marketing for the first 2 projects. I plan to create visual content to go with the songs, music videos, promo videos, ETC.

I do have five songs from the first album that are getting global airplay and one of the songs is getting some serious recognition on the charts, “I’ll Find My Way”.

Stream and Share “The Codex: Running The Point" on Spotify

Connect with D’Vo: Website | Instagram | Facebook

Interview: North London Rapper Cas Ghostman Discusses His New Video "I'm Gone"

“I feel privileged to grow up in North London especially Camden Town as it is one of the centres for music in the UK, if not the world.”

— Cas Ghostman

You have a very distinctive flow which is insinuated with a gruff, almost whispered delivery, which is dope. When did you start rapping and which song in your music catalog would you say represents you the most as an artist?

I grew up listening to 50 Cent and Eminem and as a young child wrote raps on little scraps of paper trying to imitate their styles as they were like my role models. I got really into producing beats in my teens and then started cyphering with my boys on the beats I’d made. I guess I was a bit of a late comer to the rap game in terms of age as I was so caught up in the game and other things. I didn’t really start to take it seriously until I was about 20 and never stepped into a proper recording studio to lay down a track until I was like 22, I am now 26.

If there was one song I would say represents me most as an artist I would say ‘Lotto’ which has a music video on YouTube (Watch HERE). I think the track shows my sense of humour and comments on the things going on at home and abroad which I find fucked up.

Big ups to you on the release of your music video "I'm Gone", which you directed. How did you come up with the idea of shooting it backward in terms of sequences, and was this your first time directing?

Thank you. I wanted to try and do something different with this video whilst trying to still portray what was being said on screen and was thinking how I could achieve that. I’ve directed videos before and each time I try to create an idea or story behind them, sometimes the idea comes across and sometimes not so much, its a lot of trial and error.

In the run up to setting down the idea for this video I was experimenting a lot with slow motion and reverse editing and how you can make the most simple things look cool like washing you face in reverse and slow motion. This experimentation led me onto the idea of starting at the end and finishing at the beginning.

Regarding the “I’m Gone” track itself, who produced it and what was your creative process for its development?

The beat for “I’m Gone” is produced by Jacob Lethal Beats who I have worked with on a number of tracks that are soon to be released. I really liked the trippy vibe on the beat which worked well with the feel of the video. I really tried to listen to the rhythm of the beat and find new and different flows that I could lay down once I had roughly decided what I wanted to say.

From track to track my creative process differs as sometimes it comes straight out of me, other times I have to create a structure to how I want to approach and create a song.

With the "I'm Gone" song and music video now out, what can we expect next musically from you?

Yes, the “I’m Gone” video is out now on YouTube and all major streaming platforms. I had a number of music videos and performances lined up before the lock down struck which all had to be cancelled. I’ve also had to postpone a trip to Colombia which is a bit shit, but I’ve kept my chin up.

I’ve produced and just released my newest lyric video “When It Rains” (Watch HERE) which is out now on YouTube and all streaming platforms (Produced by the Phonix).

At the moment I am sitting on a lot of music which I want to get out there and get videos shot for, so I am really trying to get the ball rolling and smash it. Watch this space.

How would you say that North London has influenced your music? Also, is the hip-hop scene different in North London compared to South London or other parts of the city?

I feel privileged to grow up in North London especially Camden Town as it is one of the centres for music in the UK, if not the world. My mums house is right round the corner from the late Amy Winehouse and I was there with my boys partying with hundreds of others on the night she died with cars blasting her tracks and people dancing on the street.

I think it has influenced my music in the sense of feeling free and encouraged to do it. A lot of my friends I have grown up with are rapping or playing instruments or in the creative game and its sick.

Ahh the North-South divide in London, I think when I was younger there was a definite divided in music as North and South Londoners didn’t consider the others to be real Londoners and ‘about it’. But as times have changed I think there is more of a sense of wanting to push the UK rap scene not only across the pond but also the world and different areas such as Birmingham and Manchester which were areas never taken seriously before have been bigged up and included in the push.

Stream and Share “I’m Gone”

Connect with Cas Ghostman: Instagram | Twitter | Facebook