Kevin Smith snarls with a gruff Irish accent on "White Noise." Opener on 2018's Deli Daydreams, it translates claustrophobic as his teeth knock on being raised in a broken home. Ricocheting between pop-trap femme fatale Tacobella and goth nü metallist Trap Lavigne on 2018's Nasty, Brooklyn rapper Maria Kelly skids with a punk edge, growled ad-libs, and combative flows on expletive-drilled earworms such as "Bitch I'm Nasty." On January's debut EP Nür, the Sudanese singer/poet now based in Minneapolis retains a distinct vocal character that morphs between a funeral procession haunt in "Albany," inebriated, dilated-pupil slur on "Warm Pants," and candy-coaxed timbres for the crystalline "Sugar Mama." Like a soft breeze carving through topical geography, Saleh's pliable voice ebbs and flows. Crisp snares and skittered hi-hats pepper high-alpha flows. Led by Sosa Corleone, the rap crew's debut mixtape Be Home Soon brims with trap street rap. Upon releasing their joint-rolled banger "Take Off," Trenchmobb quickly became one of Chicago's most promising rap groups. 16, Main II, 12:55amīreaking ground on 2017's debut EP Lesson Learned, Australian rapper Rich Kwame Amevor then followed up with last year's Endless Conversations, six concise tracks venturing between the cold romance that interlaces featherlight keys on "Coffee" and the distorted 808s and hotheaded gruff of "Wow." Debut EP Wild Yout accented barks complemented by industrial-smeared 808s and jarring synth stabs. Single "Watchout" lies betwixt raucous warehouse rave and bold rap flair. 14, British Music Embassy Latitude 30, 11pmĪ newcomer to London's seasoned grime scene, Funmi Ohiosumah boomerangs between nimble flows and assertive braggadocio. Queer radical storylines float atop pocketed percussion on "Lovely Fiction," while biblical undertones seep in "Parables."įlohio Wed. Untangling a brawny bedlam of mental health and Philly's urban ills, North Carolina-born MC Taylor McLendon boasts a smooth cadence and poetic reflection on last year's Overgrown. A confluence of Afrocentric individuality, Parliament Funkadelic funk, hippie rhymes, and mercurial samples, it welcomed hip-hop to the weird outliers. In the post-Eighties world of clearing samples, the Long Island trio of Posdnuos (Kelvin Mercer), Trugoy (David Jolicoeur), and Maseo (Vincent Mason) have had a difficult time clearing their back catalog, specifically groundbreaking 1989 debut 3 Feet High & Rising. Last year's 20-minute EP What Happens When I Try to Relax doesn't achieve Lamar transcendence, but its glass-clear honesty traverses Nineties Flintstone throwbacks and post-Trump malaise. The Philadelphia MC's fleeting feelings mirror the 60-second songs, zigzagging from "All dogs go to heaven" naivete in "Pet Cemetery" to middle-fingered, country revenge on "Fuck Off" and doo-wop love musings for "Silly Sam."Įxplosively witty lyricism and self-awareness, Open Mike Eagle's most accessible full-length, 2017's Brick Body Kids Still Daydream, sidesteps gangster rap for a conceptual song cycle about a housing project in his native Chicago. Only 15 minutes to digest, Tierra Whack's 2018 studio debut Whack World brims with a surrealist imagination and an experimental abruptness as jarring as it is welcoming.
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