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1st Quarter Releases in Summary: A Quick Look at Some Under the Radar Mixtapes/Albums/EPs
Everyone knows the big name releases of this year. The Life of Pablo, Untitled Unmastered, Slime Season 3. That is great, but there are a ton of rap albums that fly under the radar that are worth listening to. Last year I made a concerted effort to listen to more projects, just checking out random tapes and albums, even if I’ve never listened to the artist and I've tried to continue that this year. I remember /u/Chrussell used to do a monthly wrap up of lesser known projects, but obviously that is a ton of work and he ran low on time. And I definitely didn’t have time for that sort of commitment either. But on a slow sunday morning, I figured why not type up a little thing on a bunch of lesser known albums I’ve listened to this year?
This list is obviously far from comprehensive, I also have a personal taste that drives what I listen to. So if you have listened to a lot of lesser known projects from various subgenres that I listen to less(e.g. trap, drill, bay shit, etc), please post them in the comments! I’ll check them out and I’m sure others will like it too.
In no particular order:
Alwasta by Oddisee - Probably on of the more recognized names on this, Oddisee is an emcee/producer from DC. He is on Mello Music. He dropped this EP for free on his bandcamp. Check it out here. He has a very lyrical, smooth style which pairs well with his instrumentals that use a lot of lush, live instrumentals. On this EP he gets more political than he usually is. Check out Lifting Shadows for a sample track.
Ritualize by Lushlife and CSLSX - Lushlife is a rapper from philly, and I believe CSLSX is a more electronic production group/band. You can cop this on bandcamp. This is a very different sounding album, it sounds like someone melded Beach House and dream pop in general with rap. Interesting and different. For a group that isn’t tied to NYC, I feel like this album is very much a sound of NYC at night vibe. Check out Incantation for a sample.
Believe by DP The Prophet - DL from bandcamp here. DP is from Virginia(I think?), and I honestly don’t much about him. He reminds me a lot of J Cole in vibe and not just because he is a southerner with a more NYC influenced style. Tracks like Good Morning America remind me of Cole’s Miss America, and something like Where I’m From and For Hip Hop also sound like tracks I could see Cole on.
Entitled by Torae - Listen here Torae might be a bit more known than the last two, but there wasn’t a ton of discussion of this on this sub. Torae is a solid traditional lyricist from Coney Island, BK. Recommend if you like his frequent collaborator Skyzoo, Nas or Sean Price. Check out Coney Island’s Finest for an example.
Seventy Nine by Planet Asia & DJ Concept - Planet Asia is a rapper from Fresno who has been in the game a long time and worked with big names. This is his most recent project. Lot of old school sampling going on from DJ Concept, Asia raps over some well crafted beats with a loose theme of gold flowing through the album. Features include Blu and Sean Price, and Asia has a similar appeal to Price especially. Stream here
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From Ashes to Kingdom Come by Truth - Straight ahead, 90s boombap revivalism with this project. Bars, boom bap drums, scratching, this is very much a traditionalist album. Some like that style, some don’t, so chances you’ll know where you fall on that. Shouts to /u/tayneicangetinto who put me on this.
Pleasant Grove by Rikki Blu - Stream on his bandcamp. I don’t know a ton about him, but he reminds a bit more of a rap-traditionalists’ version of someone like Jazz Cartier in that he is rapping over a lot of airy, woozy tracks with some trap-esque hi-hats. Nice weeknd sample on the title track too.
Home by Ash Riser - Not hip hop, but Ash Riser has featured heavily on some early Kendrick Lamar tracks(he is the singer on Ronald Reagan era) so I figured some people could be interested. Ash Riser has a very unique voice, and pairs that well with some eerie indie rock/singer songwriter type tracks. Stream on his soundcloud, check out Kill the Messenger or the title track if you are curious.
Flygod by Westside Gunn - I feel like Gunn should be called a “neo-New York traditionalist”. What I mean by that is that his work, and the work of similar rappers often evoke the feeling of traditional street NYC lofi rap like Wu or Mobb Deep without really being an actual total retread of the style either. Recommend if you like dudes like Ka, Roc Marciano etc. Features include Marciano, Danny Brown, Action Bronson, and Skyzoo. Stream here.
America’s Most Blunted 2 by Chuuwee and Trizz - Some pretty laid back weed rap here. They aren’t associated with Jet Life, but they certainly sound like they should be. Both Chuuwee and Trizz have a bit more aggressive flows(reminiscent of The Underachievers I think), but if you are familiar with the work of Curren$y, Young Roddy, etc, you will be at home here.
Cameo King 3 by Termanology - Download on datpiff. Mixtape is hosted by Statik Selektah, so if you are into that general production style, you will be very happy. This tape is really deep with big name features. Sean Price, Freddie Gibbs, Styles P, Your Old Droog, Ghostface, Action Bronson(on the same track?) and more all make appearances. Given the insane list of features, it feels more like a sampler compilation tape(or like a Statik Selektah album) than a proper project, but given the quality of the artists on this, that is okay.
RIP 1, 2, 3 by Prodigy - For such a big name artist, I’ve heard very little about these three tapes on here. They are less full formed mixtapes, than they are collections of loosies. But when the loosies are so good, it hardly matters. It is nice to have a lot of lesser known P tracks in one place, and I discovered quite a few I hadn’t heard about. Check it for any fan of Prodigy.
Sip The Nectar by AG Da Coroner - AG Da Coroner is an NYC who like several others on this rundown, has a very street NYC rap style that evokes an earlier time in rap without sounding dusty. In particular, AG Da Coroner(not to be confused with AG of DITC fame) has a very gruff, deep, menacing voice that lends his rapping an intense character. This album, like Flygod, takes things a bit darker than more well known NYC revivalists like Joey Badass. Features include Roc Marci again, Action Bronson again and Mayhem Lauren. Those guys are all good reference points if you want to know what type of music he makes.
Blackwhitegoldville by Jansport J - Bandcamp. Jansport J is an interesting producer, and this is an almost entirely instrumental project. HHH is always asking for good music to study to, and I definitely things this qualifies.
88 By Nick Grant - Atlanta rapper who sounds nothing like Atlanta, as you might guess from the illmatic esque cover. I’d compare him to Fashawn and J Cole in rapping style and in terms of what sort of production he goes in over. You can download this tape on datpiff. Features include Killer Mike and Big KRIT.
Other projects that were less under the radar, but still good to check out: Out My Feelings: In My Past by Boosie(you should know Boosie by now, but this project didn’t generate a ton of talk here), He Is Risen by Smoke DZA(classic Smoke DZA stuff, recommend if you like curren$y), Lead Poson by Elzhi(straight up bars, recommend if you like Nas, Skyzoo, etc type folks), The Night I Went To… and The Night I Went To Chicago and The Night I Went To LA by Rockie Fresh(MMG artist who is just kind of a light, fun dude. Reminds me in a way of Kid Cudi in terms of rapping. Nothing particularly deep going on here, just some decent rapping, solid production and nice pop appeal).
So that is just a quick rundown of some cool lesser known projects from this year. Hope you found something to like in here!
A strange thing you learn about American popular music, if you look back far enough, is that for a long time it didn’t much have “genres” — it had ethnicities. Vaudeville acts, for instance, had tunes for just about every major immigrant group: the Italian number, the Yiddish number, the Irish one, the Chinese. Some were sung in a spirit of abuse; others were written or performed by members of those groups themselves. And of course there were the minstrel shows, in which people with mocking, cork-painted faces sang what they pretended were the songs of Southern former slaves. This was how we reckoned with our melting pot: crudely, obliviously, maybe with a nice tune and a beat you could dance to.
Sometime in the 1950s, the mainstream saw its last great gasp of this habit. A nation that considered itself very space-age and worldly enjoyed quaint spins on sentimental Italian music (“That’s Amore” and its pizza pies) and Trinidadian calypso songs about hard, simple labor (“Day-O” and its bananas). You had your “Latin” numbers, your Hawaiian ones, your “Asian” songs — light ethnic pastiches laid out cheerily, like an international buffet that serves falafel one day and schnitzel the next, never too bothered about how accurate the recipes are.
There was a simple notion behind all this stuff, and it was the belief that music, like food, came from someplace, and from some people. Even when it was played in a condescending ethnic-joke burlesque of who those people actually were — even when it was pretty aggressively racist — the notion remained: Different styles sprang from different people. Then all of this changed, and we decided to start thinking of pop music not as a folk tradition but as an art; we started to picture musicians as people who invented sounds and styles, making intellectual decisions about their work.
But music is still, pretty obviously, tied to people. How else do you create a situation in which, after decades of hip-hop’s being the main engine of pop music, it can still be a little complicated when nonblack people rap? That vexed thing we call “identity” leans its considerable weight on all kinds of questions: which sounds comfort us or excite us; where and how we listen to them; how we move our bodies as they play. Watch a mere silhouette of a human being dancing to music, and you can immediately guess things about who they are and where they came from.
In 2017, identity is the topic at the absolute center of our conversations about music. There may be times when this fact grates at us, when it feels as though there must be other dimensions of the world to attend to; “surely,” you moan, “there are songs that speak to basic human emotions in ways that transcend the particulars of who we are!” But if you look through the essays in this magazine, you may notice two things. One is that, unbidden and according to no plan, they find themselves continually reckoning with questions of identity. The other is that they’re doing this because the musicians are, too.
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A Japanese-American musician writes a song called “Your Best American Girl.” An R.&B. singer titles one “F.U.B.U.” — or, “for us, by us.” Are you part of her “us”? The house music in Kanye West’s “Fade”: Does it make you picture the black Chicagoans who helped invent it or the club-going Europeans who embraced it? How does it work when a queer woman matches the sexual braggadocio of male rappers, when L.G.B.T. activists sing a country song for a restaurant chain that once fired gay employees, when Leonard Cohen revisits his childhood religious inheritance?
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This is what we talk about now, the music-makers and the music-listeners both. Not the fine details of genre and style — everyone, allegedly, listens to everything now — but the networks of identity that float within them. Maybe decades ago you could aim your songs at a mass market, but music does not really have one of those anymore. Artists have to figure out whom they’re speaking to and where they’re speaking from. The rest of us do the same. For better or worse, it’s all identity now. ♦
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Nitsuh Abebe is a story editor for the magazine.