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June 8th Designated As The Official “Global Hip Hop Day”

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You know as well as I do that hip hop should be recognized as one of the most influential forms of music and culture to rise from the 21st century. Despite its relatively young age, hip hop has irreversibly impacted the music industry, and allowed people to share their views and passions from coast to coast and beyond. Now it’s receiving an official day of celebration.

On June 8th, 2017, the New York City Mayor’s Office of Media and Entertainment, the office of The Bronx Borough President, the office of Council Member Vanessa L. Gibson, and the NYC-based radio station HOT 97 are proclaiming June 8th as “Global Hip Hop Day.” Not only that, “Hip Hop Boulevard” will be unveiled at 1520 Sedgwick Avenue. It was here that DJ Kool Herc co-hosted a party in August of 1973, doing the dang thing and spawning hip hop by extending beats on funk records and MC’ing. Commenting on The Bronx’s significance, The Bronx Borough President Rubén Díaz Jr. stated, “We are thrilled to unveil Hip Hop Boulevard at 1520 Sedgwick Avenue in The Bronx, the birthplace of hip hop… The Bronx is an iconic, internationally renowned hip hop destination, the home of a once rebellious art form that has, over generations, become a global powerhouse.”

According to a press release, the schedule for June 8th will include a Proclamation Ceremony in The Bronx at 1520 Sedgwick Avenue and also a community block party celebration at Cedar Playground. The Proclamation Ceremony is invite-only, but the block party is open to the public.

Kool Herc is expected to be in attendance on June 8th, along with a plethora of artists including Doug E. Fresh, DJ Red Alert, Grandmaster Caz, D-Nice, Kid Capri, Slick Rick, Remy Ma, Fat Joe, French Montana, Cardi B, and more. The guest list truly represents a broad spectrum of hip hop that spans its timeline. The evolution of sound and lyricism is just one more aspect of hip hop music that makes it so captivating. As Julie Menin, the Commissioner of the NYC Mayor’s Office of Media and Entertainment Julie Menin states, “We are proud to proclaim June 8th as Global Hip Hop Day in the City of New York, part of the City’s inaugural New York Music Month, the first ever citywide celebration of the past, present and future of New York’s music. Beyond history and economics, Global Hip Hop Day celebrates the musical diversity that is a central part of who we are as a city.”

It’s difficult to overstate hip hop’s significance on music. As the Commissioner of the NYC Mayor’s Office of Media and Entertainment Julie Menin eloquently explains, “New York City is the music capital of the world… And hip hop, which has become not only a multi-billion-dollar industry, but also a vital way for young people from Paris to Vietnam to share their stories with the world, was forged here in New York City and went on to become the voice of generations across the globe.” Although this is a global celebration, it might reignite some interest in hip hop’s roots for those of us who were in the womb when Illmatic dropped.

A celebration of hip hop is a wonderful way to reflect on how it has shaped the world. What’s equally fascinating is how the world has shaped the content of hip hop. While reminiscing on the past and observing the present, I must wonder what’s next for hip hop? Mos Def once said that wherever we’re going is where hip hop is going, so I’ve deduced outer space is the next destination for hip hop. Before I die, I pray that I can hear extraterrestrial beings try their hands or whatever limbs they might possess to contribute to hip hop.

In all seriousness, Global Hip Hop Day is an important milestone for The Bronx, the five boroughs, and hip hop as a whole. It will be yet another excuse for me to think about how we’ve been influenced by beats and rhymes.

Kourvioisier talks “No Drive”, Working with Dre Rubio and Fighting Depression

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North Carolina artist Kourvioisier dropped his album “No Drive” back in April with his producer and high school friend Dre Rubio. The album was a cohesive mix of underground sounds and samples with more timely sounds. It doesn’t sound forced or manufactured but natural and varied. I got a chance to sit down and talk with Kourvioisier about the motivation behind the album and the approach him and Dre Rubio took to this LP.

Dead End Hip Hop: For those who are somehow still sleeping, let everyone know who Kourvioisier is?

Kourvioisier: Kourvioisier is an artist from Durham, NC who makes one a hell of sandwich. Maybe not the sandwich part, but an artist worth paying attention to haha.

DEHH: How did you get to into hip-hop?

Kourvioisier: My introduction to hip-hop was an annoying one haha. My stepfather had his turntables set up in my room, so I pretty much had to live through these jam sessions. I appreciated those sessions, because I would record them from my karaoke radio and bootleg the music now that I think about it haha. One of the earliest records I can recall standing out was Rakim’s I Know You Got Soul.

DEHH: Now let’s jump into the music, you’ve invested a lot into this project you did with Dre Rubio called “No Drive”, what was the motivation behind the record?

Kourvioisier: The motivation behind “No Drive” was honestly to quit music. I was in a dark place and I wanted to speak my peace on a variety of subjects. The artist life is a challenging path and it’s never a balance with your real life. No Drive was about not having motivation, but still finding a way to steer through life (no pun). The last meaning is for alllllll my people who have car troubles. The struggle car can be very humbling.

DEHH: A rarity these days are the one producer, one emcee albums, how did you and Dre Rubio hookup and what inspired this approach to the album?

Kourvioisier: Dre and I went to middle and high school together. We connected when we were in college and he had a goal to produce. A couple beats later and by that I mean many, he grew into well-rounded producer. Dre and I wanted people to have a project to ride to even through the darkest of subject matter. Sometimes I’d pick the record or sometimes he’d pick one.

DEHH: Furthermore, usually with the one producer, one emcee albums tend to have an underground stigma attached to it, but for “No Drive” you were able to grab and blend a plethora of sounds for this, talk to me a bit about that.

Kourvioisier: Dre and I wanted the sound to have a middle ground for average listeners as well as purist. We scrapped a project before No Drive that could have fit the underground stigma you mentioned. It’s also great that Dre is a musician who plays multiple instruments. His approach can sometimes differ from mine, but that only makes our chemistry more unique.

DEHH: When I first heard of the record, I thought “No Drive” was a loose concept, however the title track reveals there’s more behind the title than meets the eye. Walk me through the title track and what exactly “No Drive” means.

Kourvioisier: No Drive is a personal record that explains the artist life and your actual life. An OG once said, “you’ll never have a balance on this journey.” Those words always stuck with me. The second record on No Drive is called “Driver’s Story.” I was actually a victim of a hit-and-run, which led to me not having a car. Another play on No Drive haha.

DEHH: There are multiple ways to make a statement on an album, but you decided to have only a few guest appearances, tell me about the decision to tackle the majority of the vocals on your own.

Kourvioisier: Timing played a factor in the lack of features on No Drive. I’m grateful for every artist who who took part in this project.

DEHH: What do you want people to walk from “No Drive” with?

Kourvioisier: I want the people to feel my story, but also to walk away inspired to push themselves harder. Making music is therapeutic when fighting depression. I want to be able to help people by giving my experience.

DEHH: Genuinely getting into the hip-hop game is no easy task, what are some tips you can give young artists just coming up?

Kourvioisier:

Develop a great work ethic.
Figure out your short and long term goals.
Stay inspired, because this journey can be rough.

DEHH: What’s next for Kourvioisier? Are we going to see a follow-up to “No Drive”, will we see you on tour later this year?

Kourvioisier: I’m working on some new music as we speak. A tour would be dope after sharing the stage with Saba. Let’s cross our fingers haha. My focus is pushing the creative bounds, connecting with the people, and working smarter with my team.

You can check out Kourvioisier’s album “No Drive” HERE and you can check our review for the album HERE

Gucci Mane & Metro Boomin: “Drop Top Wop” [Album Review] by @MILFENCE

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On the one year anniversary of his release from prison, Atlanta trapper, Gucci Mane, blessed us with a collaborative mixtape/album with Metro Boomin entitled, Drop Top Wop. At this point, we already know what to expect from Gucci. For years he has been one of the central figures in the Atlanta trap movement, and has dropped numerous albums and mixtapes. He has quite the discography. Normally I don’t get too hyped for new Gucci Mane projects, considering its usually the same thing over and over. Then again I’m also a big fan of Future, who also doesn’t change his game up very much. However, when it was announced that Metro Boomin would be producing the entirety of the tape, I suddenly became anxious to hear it. When it comes to bangers, Metro Boomin never disappoints, and he certainly didn’t on Drop Top Wop. Combined with Gucci’s knack for flow and hooks, Drop Top Wop is a very enjoyable listen.

Before I delve in, I must make clear that I’m judging this album based on what it’s meant for. I certainly don’t expect wordplay and content from Gucci. Therefore, I’m not going grade this album like I would a Kendrick Lamar album or a Brother Ali album. This album was made for bumping in the whip (preferably a drop top if you have one). And it succeeds very well in accomplishing its task.

As I said before, Metro Boomin’s production was my most anticipated aspect of this project, and for the most part, I got what I wanted. Nearly all of the ten tracks, in my opinion, are solid beat-wise. Particular stand outs for me in this aspect were “Finesse the Plug Interlude”, “Bucket List”, “Met Gala” (feat. Offset), and “Tho”. The dark, lurking beat on “Finesse the Plug Interlude” is a sound I’ve come to love from Metro. His beats have always had dark undertones to me. They invoke a sinister vibe that I feel is necessary to have in a good banger. Because that’s what bangers are supposed to be at the end of the day right? Songs that evoke our hidden hedonistic pleasures. And one of the very best at doing this is certainly Gucci.

One of things I definitely have to give Gucci credit for is the fact that he complimented these beats very well, and even made them more entertaining. This project certainly isn’t the first time they collaborated, and you can tell. Compared to Metro’s last collaboration project with 21 Savage, this project has a lot more replay value. And we can thank Gucci for that. One of the problems with Savage Mode was that 21 Savage didn’t always hold up his end of the bargain when it came to rapping. Again, not that I expect bars from 21 Savage, but I do expect energy, flow, hooks, and some charisma. 21 Savage was only able to hold my attention for a few tracks. On the contrary, Gucci brought everything that 21 Savage lacked on Savage Mode. Almost every hook on this project is catchy (especially the one on “Bucket List”) and the raps are much more entertaining. Gucci’s endless braggadocio and narcissism is quite fun to listen to, whether he’s making “5 million a day” or he’s “so arrogant” that he “don’t even want the bitch”.

I had a lot of fun with this one. It’s still bumping in my car nearly a week later, and probably will be throughout the summer. The combination of Metro Boomin and Gucci Mane is a good one, and makes for a project that is a step up from Gucci’s usual work. If you’re looking for bangers for your summer playlist, you may want to add Drop Top Wop.

Grade: B

Kamron Bahani: “DSM VI” (Stream + Album Review)

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Emcee Kamron Bahani has really come through like a bolt of lightning over the last couple weeks. In releasing three singles during that time, Bahani out of nowhere decided to release the “DSM VI” tape, six tracks to introduce you to the emcee and his upcoming LP set to release later this year.

If I’m being frank this is a strong debut showing from an artist I didn’t know about a couple months ago. You can hear Bahani’s potential and raw talent from the beginning of the tape in “A.D.H.D”. Bahani’s ability to stay on beat and to keep his cadence and flow all the while conveying his story to the listener without missing a beat is impressive. His voice is gruff and just adds to the personality of an emcee that we’re just learning about for the first time here.

At first listen it’s easy to chalk up Kamron Bahani’s excellence to just studying the greats but his ability doesn’t just stop with raw rap talent. If you dig deeper into Bahani’s work you’ll see there’s a ton of creativity behind this tape. This is Bahani’s interpretation of different mental disorders, it’s most prevalent in “A.D.H.D.” in my opinion but tracks like “Substance Abuse” tackle those issues in another light. The production is varied enough to really give each mental disorder on this EP a different feel and evoke a different emotion on every track.

My only beef is that sometimes the vocal mix comes in a bit unbalanced, but other than that Kamron Bahani knocks this tape out of the park. I was pleasantly surprised by Bahani’s raw ability on the mic, his ability to handle beats is impressive. “DSM VI” tackles mental disorders, but he’s not covering it in a way that drags down the listener. In a variety of approaches over a variety of beats, Kamron Bahani’s “DSM VI” is more than an impressive showing and I’m looking forward to his full-length LP “By the River” which will drop later this year.

For now you can stream “DSM VI” below, let me know what you think in the comments, we’ll be dropping an interview with Bahani later this week.

Grade: B+

Mikeyy Austin: “L I F T E D” [Album Review]

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The universe is in a weird spot right now, our President is set on destroying the world, finding work seems harder than ever, the Warriors are somehow in the NBA Finals AGAIN the list goes on and on. Through all this and more though Michigan artist Mikeyy Austin has remained positive and crafted his debut album “L I F T E D” with that mentality. Throughout the process of releasing his singles I’ve said that this is the type of music we need in hip-hop right now. There’s nothing wrong with the brutally honest sociopolitical hip-hop that exists, in fact it’s my favorite type of music, however I think there’s a large space for the uplifting positive art that Austin has created here with “L I F T E D”.

Austin’s spoken word piece in the intro let’s you know where he’s been and where this album is going. “They tell me that it’s soulful, I tell them that my soul’s full, grandma in the kitchen whipping soul food”. “L I F T E D” continues on with “Supa-Fly” and it comes in with blaring horns and a jazzy sound that is guaranteed to get you off your feet. On “The Griot” Austin enlists Phourthelove, Ozay Moore and James Gardin to talk about the grind and the persistence that is required in this life. One of my favorite facets of the Detroit hip-hop scene is that there is a sense of unity and partnership. All the guest features are meaningful and important but it never stops Mikeyy Austin from being the star on this project.

“Fade Away” (Loose Thoughts) is my favorite track on “L I F T E D” because throughout the entire project we have him keeping us in a “L I F T E D” mindstate focusing on the good, “Fade Away” to me was a smack back to reality and realize things aren’t perfect. For this one Austin calls on Adam Reverie for the assist and the two talk about the reality of things. Mikeyy Austin speaks on the mic being something bigger than just music for him, but also talks about some of his insecurities in handling all this. It brings the project full circle to me, Austin remains positive but is cognizant of the world around him which makes his remaining positive outlook impressive.

I’ve said numerous times through his album rollout, but I genuinely believe “L I F T E D” is the kind of music we need right now. There’s no pointing fingers, there’s no causing rifts, Austin is a aware of the world around but chooses the good over the bad. I’m not usually one to compare rappers but Mikeyy Austin reminds me of a Chance the Rapper type. Full of energy and enthusiasm not just for the craft and hip-hop, but for life and the growing process that comes with it. If you looking for a pick me up or just need to get away from the negativity and division polluting our lives, look no further than Mikeyy Austin’s “L I F T E D”.

Top 10 Lyrics From Ab-Soul’s “Control System” (5-Year Anniversary)

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I remember when I first discovered Ab-Soul my sophomore year of college. I sent my brother a random picture of myself and he claimed I looked like this rapper who he knew I never heard of. Since my brother has a pretty great musical opinion I decided to check out Ab-soul (mainly to lie and say I knew who he was the whole time) and instantly fell in love with his music. His raps were intelligent, riddled in double entendres and required you to do a bit of research just to understand what he was saying half the time. This was my kind of hip hop and honestly still is.

That brings us to 2017 5 years after I discovered Ab-Soul and 5 years after his finest work and arguably one of TDE’s best projects, “Control System” was released. Soulo’s sophomore effort is timeless and just as relevant as it was when it was released. Tracks like Double Standards and Terrorist Threats.

What I like best about this album isn’t just how deep it is but the fact that I can still bang it in the whip (do people still say that?) 5 years later. This is undeniable Ab-Soul’s greatest body of work with DWTW close behind. That album even references Control System. He’s grown as an artist but still pays his respect to the album that made most people stop and really start paying attention to this lyrical genius.

It’s crazy to think that despite multiple features and other projects under his belt after this, Control System is the album most people will tell you to listen to when you’re about to check out Ab-Soul. This isn’t a review though this is me paying my respects to my favorite member of TDE. So what better way to do that than list my top 10 favorite verses from Control System.

1. “I run the town like Roc Nation, no exaggeration
Bet I rise like Lazarus, use your imagination” Track 2, Track Two

2. “Your picture still on my mind and it’s so scary. I swear I still ain’t looked at your obituary” Track 16, The Book of Soul

3. “I coexist in places you would never know existed” Track 3, Bohemian Grove

4. “We in a space where matter don’t matter
Just spirit molecules and geometric patterns” Track 5, Pineal Gland

5. “My auntie told me always treat my lady right
My uncle told me only love ’em for a night
You can see the immediate disconnection
Between a man and a woman, the reason for regression” – Track 6, Double Standards

6. “Lean in my cup, pinky up like Dr. Evil (zip it)” Track 8, SOPA

7. “I used to wanna rap like Jay Z
Now I feel I could run laps ’round Jay Z
Nas ain’t seen nothin’ this nasty
BIG and Pac got it comin’ when I pass, too
You got the mic? I ain’t the one you wanna pass to” Track 10, ILLuminate

8. “You got a past, but that’s in the past
And we all know that you can’t press rewind” Track 13, Empathy

9. “Everything I love the most gets taken away
My momma and music is next
And if that happens before I turn 28
Then I’m going out wit’ Kurt Cobain” Track 16, The Book of Soul

10. “Stick to the plan, I’ll meet you at our spot
If reincarnation is true and we don’t get too lost
Even if you forget me and everything you left behind
I never lied, I love you in a place where there’s no space and time” Track 16, The Book of Soul

I could pick through each track and pull out at least 3 lines that I absolutely love and think that every lover of hip hop should pay close attention to but that would make this entirely too long. Instead, I gave you just a few of my favorites and three from his emotionally vulnerable single The Book of Soul. Only time will tell if Ab-Soul will continue to deliver us projects that are just as significant in his discography as this one that sets him apart from his peers. However, if Control System taught me anything it’s that he’s got the confidence to make sure he is remembered as one of the best.

DEHH Premiere: Mikeyy Austin “L I F T E D” [Album Stream]

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We’ve been giving you guys tastes and teases of Michigan artist Mikeyy Austin’s new album “L I F T E D” and it’s finally here. Leading up to today my absolute favorite facet of this album is the positivity surrounding it. These days it’s really hard to look around and have anything positive to say about the state of things. If you ask me 2017 should be called “The Year of Division” because we do all seem divided.

Instead of wallowing in self-pity and the state of things Mikeyy Austin calls us to get “L I F T E D” overflowing with positivity Austin comes through on his debut LP. That doesn’t mean he’s sugar coating anything, he talks about the struggle that he’s faced while providing a proper call to action, to keep pushing to stay “L I F T E D”. Pop this in if you’re feeling down with guest appearances from veterans Adam Reverie, Yellokake, James Gardin, Jahshua Smith and more. Couple this with production influenced by all types of genres this should keep you in a good headspace moving forward. You can stream the project below and keep it locked here as we’ll be reviewing the album and interviewing Mikeyy Austin next week.

Romney Lewis talks the importance of “Society” [Interview]

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Brookyln emcee Romney Lewis just dropped his album “Society” a diverse effort that takes a creative spin to the album approach. The entire time listening to the project I was curious what the simple yet effective name “Society” meant. So I was able to sit down with Romney Lewis and talk to him more about the album and what’s next. To keep up you can stream “Society” HERE.

Dead End Hip Hop: Peace, let the people know who Romney Lewis is.

Romney Lewis: I’m a young man who feels the pressure of society everyday like everybody else. From Lansing, Mi with roots from Chicago and Alabama. The soul in my music comes from a place of pain and joy.

DEHH: Let’s just jump right in, you clearly have been influenced by a slew of different genres of music and people in your life, tell me how we got here.

RL: Going back and fourth from Lansing, Mi to Chicago when I was younger, me and my pops would listen to music while driving. Everything from 50 cent – “PIMP” (30x straight! Lol) to “everybody plays a fools” by the Main Ingredient!! Mannnn his playlist was so damn diverse!

I also grew up on a lot of gospel, he would play Gospel heavily in the car as well. My mom only listened to gospel music at her house too and I love how musicians write gospel music. Their hooks, bridges and repetition made the song easy to listen to but you FELT it! I like making music people feel rather than hear.

Good artist provoke emotion, whether it’s Migos with their adlibs or it’s Kirk franklin with a prayer, I love all of that equally.

DEHH: “Society” a simple name, but after listening to the album, holds a lot of weight, how did you come up with that title?

RL: Looking at people, reading stuff on the internet, conversations with people and just being observant. Mannnn every single person deals with pressure from Society! I don’t like it but I’m honestly I can’t change it. So at minimum, I’d like for people to listen to my album and become aware of what people maybe going though.

DEHH: You have interludes where someone is interviewing children, tell me the motivation behind those and the impact they have on the album.

RL: Kids are pure. You’ll hear pure answers from them…ever since we were kids our identity was being formed by society. It tells us what not to do and what to do based on gender and based on race.

I’ll never experience what it’s like being a woman and feeling the pressure they face. They go through a lot of emotions and feelings that are solely rooted from preconceived notions of who they should be and what they should look like. Especially black women…

Men get a different type of pressure.
I touch on a variety of topics on “Perfect”, “Same ol'” and “In A rush”.

DEHH: In this generation it sometimes seems like new artists really try to sell themselves by their guest features. But you don’t have any, what were you out to show people on “Society”?

RL: I use to be in a duo with my cousin. He stopped talking to me one day and I had to reshape myself as an artist. I had to find my voice and doing that time I noticed that I’m dope as hell…

I use to hate my voice, now I love my shit. I use to make the majority of the hooks in the group and now I fell in love with developing the whole song concept and verses.

I guess I was feeling myself *shrugs*….lol

There’s also 1million artist out there, I had to make sure people knew my voice before I introduced somebody new.

DEHH: Now what impressed me most on the record, was your ability to choose a gang of different producers yet still keep a cohesive sound both sonically and lyrically, tell me a bit about that?

RL: Sto! I love great albums…I’m obsessed with making a great album! And I love so many different elements of music, it was tough narrowing down the direction. But as I was making the music and talking to the kids, the songs were easy to place. I guess I got a little lucky. I made “Same Ol” in 2015, I made “Check” in Feb, sometimes it’s just divine intervention.

DEHH: You’ve already come through with over 20k+ plays what are some tips you can give artists that are just starting out and are looking to get into the hip-hop scene?

RL: Feed your core and work with people like Sto. Lol

I had a certain amount of people that knew me from my former group and I’m going to feed them until my fan base grows more. Good music spreads! I never have gotten this much feedback from music, it’s over whelming.

DEHH: What’s next for Romney Lewis, will we be able to catch you live this year? Will we hear a follow up to society?

RL: I have an Ep coming in September, 100% produced by Eclipse.

Shout out to east side fish and fry…J-Dubb and my grandma

Shout out to Sto for not asking me who my biggest influences are, if y’all listen to the album, y’all will know lol

Lastly, if you read the whole interview…thanks…google the word “Loquacious”

DEHH Premiere: Ill Poetic “Mermaid”

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Covers in hip-hop are bit of a rarity and we see it more on the production side of things, just because “covering” lines would be biting. However California artist Ill Poetic has done something rather unique with covering music in hip-hop.

In his newest joint “Mermaid” Ill Poetic cleverly mashes up Kendrick Lamar’s “Lust” & the hook to Andre 3000’s “She Lives In My Lap”. Ill Poetic re-produced the beat, added his own instrumentation to it, along with vocals AND went on to engineer the track. Ill Poetic is probably one of the only producers who could pull this off as his versatility & range is second to none.

“Mermaid” is the opener to Ill Poetic’s upcoming full-length album which is set to drop this fall. For now peep “Mermaid” below and let me know what you think in the comments section below.

Core Demonstration & Samurai Shin: “Two Katanas”

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The Prelude EP is an EP in conjunction with Samurai Shin a manga that started earlier this spring and looks to continue through this year. “The Prelude” EP will feature Metaphor the Great and Torae, however today I have the single called “Two Katanas” by the duo Core Demonstration.

Invoking and channeling my favorite Samurai Champloo with the hip-hop anime crossover Core Demonstration wax poetic over this jazzy, paino-infused beat. You can check the single above and if you’re interested in checking out Samurai Shin you can do so HERE. “The Prelude EP” will be released June 24th with Samurai Shin Issue 1.5 which will provide some backstory to one of the main characters in Keith Masaru.

Samurai Shin Credits

Created Artwork: Sukma Agustriyana
Release Date: June 24th 2017
Writer: Mikel Miles
Manga Illustrator: Harley Dela Cruz
Art By: Fahmi Fauzi & Sukma Agustriyana
Editor: Lavender Khan & Ivan Earl Aguilar