new music | Vibe by Gamebrand

While most of the country is enduring one of the craziest winters ever, a new duo by the name of Gamebrand (Brandon Canada and Derek Gamlan), decided to go ahead and set the pace for the upcoming summer with a new song titled Vibe. The track is one of eleven on their most recent project release called Pilot, and I must admit that Vibe has me anticipating a dope ass summer. It’s a fun-filled anthem that’s easily reminiscent of Will Smith’s Summertime and I can honestly say that I fuck with it. If given the proper promotion, Gamebrand could definitely conquer the airwaves with this single. Take a listen to the track below and see if it sets a new vibe to your season…literally. 

interview | Fleetwood DeVille

My introduction to indie rapper Fleetwood DeVille was random; however, his delivered truth in this interview steers far from any accidental occasion. His music captivated me through tracks like Cold Chillin’ and 9-to-5 but it is his story that has confirmed my stance as a true fan. With his hard-hitting verses, vast cerebration, and charisma, I can honestly say that for anyone who invests their ear into Mr. DeVille, they will gain a deeply connected return on their investment. Now, if you can't fathom that statement, then I highly suggest you take a listen to his music or better yet, take the opportunity to learn who Fleetwood DeVille is below.  

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Bria: Where are you from and where do you currently reside?

Fleetwood DeVille: I was born in Muskogee, OK at the Regional Medical Center three days before 1989 began. I lived there ten years, pinballed between a few other places for the next ten and landed here in Washington, DC in 2009.

B: When the two words Fleetwood and Deville are mentioned, the first thought that comes to mind are both of the classic Cadillac vehicle models, so what inspired you to take on the name Fleetwood Deville?

FD: When I started out rhyming in ‘04, my name was Franchi$e. Don’t judge my dollar sign; I was 15. Actually, it happened arbitrarily. Freestyling in Algebra II class and at the lunch table, coming up with cool punch lines and winning a couple battles had cats calling me “The Franchise” at school. And I wasn’t even really disciplined or particular about writing raps at that time. The name went from school to my neighborhood and from there it stuck. I never really was a fan of the name, though. Steve Francis hadn’t disappeared from the NBA yet and there was a dude I’d known since 7th grade who rhymed and also went by Franchise. Then, to pour more salt on the situation, Dem Franchize Boyz dropped “White Tee” in I believe 2005. I knew I had to get as far away from the name as possible. The name change came near the end of 2006. I’m a big alliteration guy and all my favorite rappers got first and last name aliases. So, first, it was Fleetwood Fran; then I thought about connecting the Cadillac theme and put DeVille on the end. When I came up with that, I knew it was fly enough to drop Franchise altogher…ha. I put ElDorado in the middle and made DeVille an acronym: Defeating Evil, Verbally Inciting Love, Liberation and Enlightenment. And there it is, as Elgin Lumpkin say.

B: Explain your first connection to hip-hop and your coming of age story through the culture.

FD: 1998 and 99 were my true introduction to holding a stake in the culture. I was nine years old until the end of the year. Aquemini and Hard Knock Life, Vol. 2 dropped on the same September Tuesday [September 29, 1998]. DMX had put out his first LP and I was riding through Austin, TX with my mama to all three of them. Jay-Z was instantly my favorite. His intelligence and confidence were things I could feel immediately, and a song with such ominous subject matter as “A Week Ago” was easy for me to understand even at nine years old. Aquemini was an album I loved from the first moment I heard it and my love for it has only grown as life has placed me in spaces to appreciate it on a visceral level. Black on Both Sides [by Mos Def] dropped in ’99…and I have yet to hear a better album.

When I was 12, I knew that I wanted to be involved with hip hop as either a producer or a DJ. Watching Rap City and seeing how the DJ got love while just sitting back in the cut killing shit intrigued me so much. I was all in The Source peeping Numark turntables with the Robin Harris eyes. I’d had a keyboard and a drum set already, so I was into making noise and I asked my mama for a beat machine for my 15th birthday. She came through, but I didn’t have any of the accompanying equipment needed to actually make beats or any idea that there was accompanying equipment needed. So that deflated pretty quickly.

I started rhyming my junior year of high school and my initial drive was a competitive one. I went to school and saw so many cats not only freestyling, but also being on the bus, in class and in the cafeteria playing the stuff they’d recorded at home, and a lot of it wasn’t good. I thought to myself, “I KNOW I’m capable of being at least sharper than these cats if I focus on writing”; at that point, I pledged to write at least a 16 each day. I banged out on that mission for about six or seven months before I missed a day. I had a ton of stuff written and nowhere to record; I went to Walgreens one night after Bible study with my mama, copped a tape recorder and a 10 pack of Maxell cassettes. From there it was on. I completed my first mixtape, in the most literal sense, the next year, 2005. I started passing it out at school once one of my homies figured out a way to get the audio onto CD. I got a response I never really expected but I believed that I had something worth pursuing. I told myself, “I’ll come back to making beats, but the focus is rap for now.” I’ve still yet to make my return to beats…ha.

B: How do you define great lyricism and how do you feel your music is a correlation of that definition?

carolina ardor | Jeremy Hagood

There’s not much information that I can provide about Jeremy Hagood, other than him being a rapper/producer out of my home state of South Carolina, but honestly, I really don’t need much more than that. While his rap persona acquired my attention, his production maintained my interest. The way he chopped and experimented with his beats had me replaying his instrumentals all week long...Yes, I’m serious. Check out three instrumental samples from Jeremy Hagood who’s also known as Buck C below…I think you’ll quickly catch onto his vibe.

   

interview | Lord Byron

Hailing from the crevices of Dallas, Texas, Lord Byron represents an adverse sound that sunders him from the rest of his southern hip-hop peers. With a lyrical intellect that runs parallel to an oleaginous flow, he is destined to gain mainstream’s attention through his talent, wit, and integrity. When you listen to his music, you won’t hear rhymes inclusive to lean or slabs but that’s the enticing element about his art - he speaks his truth because he acknowledges that his story is an art in itself. Why fly through the realms of conformity when you can be your own Lord, right? Get to know the young, Dallas lyricist known as Lord Byron below. 

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Bria: How would you explain who Lord Byron is?

Lord Byron: I'm a surrealist.

B: What did your adolescent years consist of while growing up in Dallas?

LB: I grew up like every other child in poverty-stricken environments. I wasn't poor but I had poor friends. I had good times and I had times where my adolescence was exposed to reality at an early age opposed to most of suburbia, whose children grow up shielded due to better circumstances. But that’s pretty much it in a nutshell. 

B: Your most recent release, Dark Arts Vol. 2, was the follow up to the first volume, which released in December 2012. How would you describe what the title means in regards to your music?

LB: Dark Arts are arts that are defined as disturbing or horrific in nature. I never told anyone this but Dark Arts Vol. 2 was inspired by Edgar Allen Poe’s short stories like The Tell-Tale Heart and The Fall Of The House of Usher. That's why those songs have an opaque aura to them and those lyrics narrate so vividly with deep metaphors and similes like a story. It may sound cheesy but it's the truth .

B: Describe the track that you feel most connected to on Dark Arts Vol. 2 and why?

LB: That's hard. Umm...it would probably be L'Chaim though. Shoutout to my nigga Brrd because if it wasn't for his excellence...that track wouldn't have been possible, but the record defines my morals to the tee. Everything I represent and stand for is in that song. I was staying with Brrd and ★★★★★ in Denver working on this project and Brrd sent me the beat with a Blitz sound bite in the beginning that spontaneously broke into a lush sample. So, I started listening to it for a few minutes and then it came to me that it sounded like rise and redemption and I should spill everything out [on the record].

B: Texas possesses a strong piece of hip-hop history through Houston and I think that causes Dallas hip-hop to fall into the shadows a little bit. What’s your opinion of the current hip-hop scene in Dallas and how do you see yourself playing a role in its future?

LB: Well Dallas itself is a beautiful city with vast amounts of talent and unique individuals that vary and stray from the stereotypical "hee haww!" Texan. As far as the music scene in Dallas, it definitely falls into Houston's shadows even though we bred artists like Erykah Badu, D.O.C, and Usher. Recently, as a city, I think we have to stray from the norm and not conform to it...be different and build our own stylized sound. It's getting better. It just takes time and my role is to basically launch that vessel and put Dallas on the map as a market hot spot so all of the niggas here can have a fair chance at pursuing their dreams and getting their mothers out of the hood or even just to flourish. 

B: What and/or who has influenced you the most in pursuing your rap career?

LB: My mother working at McDonald's for eighteen years to provide for my sister and myself, Jay-Z, and me knowing my importance to the people who need me. Also, just being a student of the culture. I love this shit like it’s my child.  I breathe and eat this shit and I can't see myself doing anything else. I'm dumb nice so I know it'll happen when the stars align and God is ready for me to have it, but it's already been foretold so look out for me ‘cause I'm coming. 

B: An evident facet of your artistry is your level of intellect through your word play and vocabulary, but unfortunately, the music game now promotes the “dumb down” versus smart lyricism. What is your plan to maneuver through that infamous stereotype and make people acknowledge your art?

LB: I don't have to do anything but stay true to myself. Real recognizes real and I’m going to remain an intelligent black man and not conform to the regular [stereotype]. People thought Basquiat's art was childish and mediocre until Andy Warhol gave him a platform and then he became a world figure. I'm trying to make [real] art and have timeless pieces next to my name. As I said, it's about the representation of the culture…once you become a famous rapper you're raising everyone’s kids, regardless of ethnicity, and rappers don't realize that. So I'll breakthrough by staying true and remaining smart on the music and business side. 

B: What’s your creative process like before you record a track? Is there any part that is easier or harder for you?

LB: Nothing's hard...laziness produces difficulty. It may take me two minutes to write a verse or two weeks to write two bars but I guarantee you that you'll never hear mediocre product from me. 

B: I’ve noticed that you don’t have features from other artists on your music, each record appears to be just you and the producer. Is that decision intentional? If so, please explain why.

LB: Yea the whole Very Nice Very Nice [LB's indie label] sound is stylized off exclusivity. I have to really respect you as an artist and visionary to want to collaborate. I did collaborate on DA2 with one of the new generation's prodigies DGH. 

B: As an independent artist what are the most important lessons that you have learned so far? Are there any mistakes/bad decisions you have made? Or are there any great decisions you made that worked for you?

LB: Um, I haven't really made any mistakes and I don't know how any of this is happening really. I only put out one album with no buzz whatsoever, I used one media outlet with ninety-two Twitter followers, in a city where the type of music I make isn't popular. Then, all of a sudden, things started to happen - all by remaining true to what I believe in. So with that said, my best advice to anyone is to be serious and diligent in your aspirations. 

B: What message do you aim to put forth in your music?

LB: How beauteous black is.  

B: If Lord Byron could only represent one thing, it would be....

LB: Black excellence. 

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Check out more from Lord Byron here. 

Feature: @lrdzbyrn

Writer: @kwnbria

carolina ardor | Crooked Smile: The Visual

There’s a reason why Jermaine Cole stands to be one of the few mainstream artists that I admire in this new generation of hip-hop and it’s because he doesn’t allow his new found stature to distance him from the people. His music runs parallel to the everyday struggles of everyday people and I appreciate him for doing that. His latest visual for his single, Crooked Smile, further validates my opinion of him as he decided to provide an artistic message by highlighting the heinous murder of Aiyana Stanley-Jones. If you’re not aware of who she is, then please research it because if I reveal it, it will spoil your experience in watching this amazing work of art. 

carolina ardor | Omar Bunyan - Sail Fast Live Slow

South Carolina has never been a haven for good hip-hop music, and I say that as a SC native; but OxyxMoron are definitely constructing a new lane that will introduce SC hip-hop as being good music. As I have mentioned before, each of the three members of Oxy are releasing solo projects and the first member to break into his solo lane is Omar Bunyan. His first release is titled Sail Fast Live Slow and honestly, it’s pretty damn good. My best music experiences are born from my ability to relate to an artist and that’s the type of experience I gained from listening to SFLS. Not only is the production great, but Omar’s flow is consistent and his truth invites you to become a part of his story. I love it when artists provide that type of vibe and I know you will feel the same way once you give it a listen. A personal favorite of mine is Broken Glass…Omar and I share a similar truth on that track. Check out Sail Fast Live Slow below. 

underground sounds | Shearz

The sound of Virginia is a vessel of hip-hop that exhales veracious breaths over soul-fueled beats. Well, at least that’s the case for Virginia native and producer, Shearz. When I was first introduced to his sound, I didn’t have the slightest clue who he was or what he was all about, but as I’ve always said, an artist’s truth comes from their art and that’s what I’m learning about Shearz. As a producer, he builds the foundation for V.A. hip-hop group, 1989 Wolfklan, by allowing their members to infiltrate bars beyond measure; so, get to know the tiers of one of Virginia's underground sounds. 

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The Influence 

It all began in the summer of '87- '88. My uncle bought me my first vinyl [disc]. I believe it was "Mary Mary" by Run-DMC. The only thing I knew how to do was play and spin the platter backwards. Originally, I wanted to DJ, while my homeboy Reggie wanted to produce. Over the years of listening to various types of music, it amazed me how producers could take segments from a record, chop it down, loop it and do whatever to create these new symphonies. 

I respect every producer, no matter the genre. My main influences are the legends: Marley Marl, Premo, Wu-Elements, Pete Rock, Dr. Dre, Daz Dillinger, Havoc, DJ Muggs,  the whole DITC [Diggin’ In The Crates] Crew, Large Professor, Nottz, J-Dilla, Q-Tip, Trackmasters, and Alchemist; mainly, anyone who keeps the music at its essence. Listening to these individuals over the years gave me the inspiration to do what I do. 

The Obstacle

Being from Virginia has its obstacles. We’re not mainstream like artists from NY, LA, ATL, and other major cities, however with the amount of talent we have, we can be an unstoppable force. The problem is that we lack unity. If crews would come together and actually build, then the outcome would be monumental. It's like it's every artist for himself though. Artists only want to deal with the people inside of their camps. Individuals will tell you they'll contact you just to say so, but they don't really want to spend any money. Life's not about handouts and nothing is free in this game. You gotta’ pay to play and that's real. 

carolina ardor | Dreemz by Omar Bunyan

It's amazing that I can show my Carolina Ardor (pun intended) so frequently these days. As I've mentioned before, SC hip-hop group OXYXMORON, are temporarily embarking on their solo journeys, and Mr. Omar Bunyan becomes the second member to provide an audible orgasm for our ears. Take a listen to his first solo single titled Dreemz below.

carolina ardor | Ain't Much Goin' On by Ment Nelson

One of my favorite hip-hop groups, OXYxMORON, has decided to venture into doing solo projects as a unique way for each member to exercise and enhance their musical talents. The first single release out of the trio is from Ment Nelson and it's titled Ain't Much Goin' On. Now, some of you may think I'm reaching with my next statement but I swear Ment's voice alludes an influencing sound of Andre Three Stacks on this record; which makes the song quite intriguing. Take a listen to Ment's debut solo track below and let me know what you all think.

carolina ardor | The Woods by OXYxMORON

It’s a special feeling to have artists from my home state bring forth talents that are fitting yet distinguished within the hip-hop industry (since it is so infrequent) and a group of young guys called OXYxMORON allowed me the opportunity to express my Carolina ardor with their newest EP titled The Woods. OXYxMORON is composed of three guys from a small town called Florence, SC, who met while attending Francis Marion University, and made a unison decision to evolve their musical talents instead of studying the theory of evolution. Now speaking in terms of South Carolina, there aren't any artists that I know of who have a sound similar to OXYxMORON. In fact, the only artists I can compare them to is Nappy Roots or a triplet version of Big KRIT and when you listen to The Woods, you will understand my comparison. Read more about OXYxMORON here and give a listen to The Woods below. 

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Tony (left): This album is my struggle, it’s my hopes and desires to get my family in a better place. This is album is my faith in God 

MENT (center): This album is literally my last hope. I dropped out of school, so all my eggs are in one basket. My dad is unemployed and my mom has a home daycare. They struggle so much, and I HATE watching it, especially since they’re such good people! It had to be as perfect as possible to potentially put me and my family in a better place, so that’s where the raw emotion comes from. 

Pedro (right): For me this album is my journal. I’m not the best speaker so often times in conversation I’m not able to say exactly what I want or express myself how I want to, but with this body of work I was. I’m just starting to fully understand the whole concept of trusting in God ‘cause I’ll admit I worry ‘bout shit more than I should at times. Just as hard as God shows abundant blessings, Satan works just as hard to tear that down and the back and forth battle for your soul can tear you down in the process at times. So for me, this album is me reaffirming my faith and coordinating my inner with my outer…finding oneness.

good kid, m.A.A.d city | Kendrick Lamar

The excessive delivery of microwave careers and exhausted grammar has quickly become the accustomed experience for fans of rap music. Authenticity is near extinction. Fallacies are now the foundation for unstable bullshit that quickly demolishes to the ground before most rappers can build a career; and grandiose lifestyle depictions now act as façades where reality is not the focal point, but fantasy is. However, in the midst of these caricatures, who are loosely known as artists, there exists a lyrical form of say...Jean-Michel Basquiat, who goes by the name of Kendrick Lamar. Rising from the depths of Compton’s vast chasm, Kendrick stands to be the most profound voice from the West since Tupac Shakur. Now, to specify my context, I am not saying that he is the next Tupac or that he is better than Tupac. My statement only supports my opinion that I know he is the best West Coast following since Tupac’s departure. Furthermore, with Kendrick’s mainstream debut, good kid, m.A.A.d city, it is apparent that authenticity, lyricism, and intellect will construct its own bridge to the mainstream side, as long as a great engineer designs it and Kendrick is that engineer right now. He isn’t just the griot that passes his story from person-to-person, he allows everyone to experience his story. With tracks such as Money Trees, Sing About Me, I’m Dying, Bitch Don’t Kill My Vibe, and many more, he gives you real. He gives you his truth. That element alone is void in the rest of hip-hop because the lives that those caricatures speak of…have never been lived by them. As one of my mantras reads, Truth is a language we all understand yet fail to translate (Think about that one) and I respect Mr. Lamar for being himself and translating his truth for the entire world to comprehend. His album is in stores now so do your job and support great music. Oh, and understand this theory people: if you desire a hip-hop evolution, then support artists that evolve not only music, but also the art of music which lies in the truth of the artist.

Respect,

B.

aural fix | FUNd$

 

Shearz, Donte, and Chize of 1989 combined their talents to deliver a very raw + energetic record from the land of Virginia. The sound is reminiscent of Camp Lo and Wu Tang to me (sigh)....good shit. 

Retrospect | Nas + Scarlett

With the recent release of Nas' Life is Good album (if you haven't purchased it please do) a debate erected between me and my friends about Nas' best album. With a few titles being thrown around, I claimed Street's Disciple because I think it was a creative masterpiece. In my opinion, Nas ventured into a new road of storytelling. It was a lyrical mural so to speak. Of course I love Illmatic and It Was Written just as much as the next Nas fan but Street's Disciple was dope and highly underrated. Furthermore NO ONE ever speaks about the record below titled Live Now. The record follows Nas and his female alter ego named Scarlett (how many of you even knew that?) through a breathless end of reflection over Nas' life while he's on his deathbed. Hands down this is one of my top five Nas tracks and one of the greatest hip-hop records...Ever. 

Listen Up | Donte the Great

Around the beginning of this site I was musically introduced to this unsigned rapper by the name of Donte The Great. I was so impressed by his talent that I decided to interview him. By listening to his music and exploring his mindset a little bit, I became a believer in his ability to fill a void in hip hop music, which I believe is creating quality, authentic music. Back in March, he released an EP titled Vintage Masters Collection and yesterday he dropped another collection called Brass Tacks. After giving it a full listen, I heard a lot of growth and I do believe that he is on the verge of something big. Check out Brass Tacks below and connect with this Hampton, VA native here. 

New Music | Up

Travi$ Scott is slowly but surely making his entrance into hip hop's showroom, not only as a rapper but as a very talented producer too. So far, his recent tracks have been pretty dope and with his new single titled "Up" featuring Casey Veggies...twenty-twelve is shaping up to be a good year for Mr. Scott. 

Vintage Culture | Bad Boy '97 Tour

If it is one thing that anyone can say about hip hop music, whether you are a fan of it or not, it is that hip hop has progressed world culture more than any other genre of music. No argument. That fact leads me into this footage from the Puff Daddy & The Family's No Way Out Tour back in '97. Sean Combs put together a national tour that consisted of hip-hop's then rising legends of everyone from Jay-Z, Busta Rhymes, Usher, Nas, Kid Capri, and of course, the Bad Boy Family all on ONE TOUR. True that was the rising phase of most of those artists' careers but still...that tour was a monumental moment for world culture because it proved that hip-hop was not volatile but rather a successful, branded platform. It's old footage so the visual is not of the highest quality but any hip-hop fan will certainly appreciate this.



Credit: Brandan

Swizz Beatz Wisdom

As an avid fan of music within so many genres, and being a creative and a business person; I love to see artists & producers expand their horizons by fusing their talents and business ventures together. It's funny because even though I'm young, my first introduction to hip hop was via DMX and the Ruff Ryders. I literally studied everything about them and I remember it was so crazy to me that Swizz Beatz, circa 2000 era, was requiring $100k to just step into a studio with an artist. Back then, as a young kid, I was amazed that a rap producer was accruing that type of income but fast forward to now, with endorsements from Lotus, Reebok, Christian Louboutin, and through his own artwork; I see that Swizz has just always understood the business aspect behind his talent. It's a powerful thing and I hope that all aspiring music artists and producers really pay attention to this guy. It's important to understand that behind the fun...there is a business that outlines it. So check out his interview that he did with the Breakfast Club this morning to gain some enlightenment from Mr. Beatz.  

AVID Visionaries: Donté Interview

Name: Donté

Hometown: Hampton, VA

Visionary Class: Music - Rapper

Small Fact: 
He's a part of a crew called 1989 Central Park Wolfpack Gang aka 89. The name is a homage or reference to the  "Central Park 5" who were accused of raping a white woman in Central Park (NYC) on April 20, 1989. 

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Bria: When were you introduced to hip-hop?

Donté: Well, as far as my mom told me, the first hip hop song that I ever heard was Kool Moe Dee's "Wild  Wild West" but honestly, my first recollection of hip-hop has to be Snoop Dogg's "Whats My Name" when the video came out on MTV...that's my first memory of hip-hop. From then on it was just embedded in my brain forever.

B: Now Vintage Masters Collection, is it a free album or a mixtape?

D: I label it as an EP because  its only 9 tracks and its not even thirty minutes long, so by the industry's

standard it would be an EP, but I guess by people not knowing me and me not having a deal, it would be considered a mixtape.

B: How does the title define you and your artistry?

D: It's pretty much a representation of the type of music that I grew up listening to and the type of music that I enjoy making. In the past I have tried to conform and make songs that would gravitate towards the mass crowd rather than doing something that's from the heart...so I feel content when I make [vintage music]. It's that 90s era of hip-hop. I love it.

B: On your track, Owe You One, you have a line that says, "passport since 14, I explore maps," so have any countries that you visited impacted your perception on life?