As I get closer and closer to my 30s, mortality, the future outlook of society. and my fading youth are consistently ideas that are occupying my mind. So art that speaks to these topics in a thoughtful and insightful way have been especially appreciated as of late.

But unlike other genres out there, rap is still quite young. Therefore, there isn’t necessarily a ton of artists out there who are even old enough to provide such an aged perspective. And among those who are, many of whom are the likes of Jay-Z, Nas... who’s primary wisdom seems focused more on wealth-building and respectability politics.

That’s why the album we will be spotlighting in today’s episode, Reverberations of a Dead Man’s Ego, is such a breath of fresh air.

The mature perspectives we get from Alaska on this album are thoughtful, provocative, and remarkably honest. And they are accompanied by some of the best production we’ve heard from producer steel tipped dove to-date.

Listen on to learn about the making of this new album, the generational divide between Gen X and Gen Z, maturing with age, a sober outlook on the future of our society, and much more.

The Plug (0:45).

The Interview (3:10).

Aaron Rodgers’ broken COVID brain (5:01).

How Alaska and steel tipped dove’s relationship first formed, and what inspired it (7:58).

The shared worldviews between Alaska and dove (15:59).

Alaska breaks down a poignant line on “I Don’t Care No More” (19:46).

The overarching sentiment of the heavy subject matter on ROADME (26:09).

The future outlook for younger generations (31:16).

The inspiration of the Reverberations of a Dead Man’s Ego title (38:13).

Alaska and dove go back and forth on if ROADME is improvement on their debut (40:19).

Favourite songs on ROADME (51:29).

Upcoming projects / merch from Alaska and steel tipped dove (54:04).

Buy Reverberations of a Dead Man's Ego here: https://thatrapperalaska.bandcamp.com/album/reverberations-of-a-dead-mans-ego 

Follow Alaska on Twitter here: https://x.com/Alaska_Atoms 

Follow steel tipped dove on Twitter here: https://x.com/steeltippeddove 

Follow steel tipped dove on Instagram here: https://www.instagram.com/steeltippeddove/?hl=en  

Intro/Outro beat by: BLOODBLIXING

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The Plug (0:21).

The Conversation (2:01).

NxWorries’ Why Lawd came to me at the perfect time in my life. A time where I find myself in the best most healthy and rewarding relationship I’ve ever had with a remarkably beautiful and smart woman, who is sweeter than [insert sweet substance]. So the thought of it ever coming to an end feels mortifying.

It’s for all these reasons that Why Lawd has had a profound impactful on me. It is an ode to appreciating the special person I have in my life… that is masquerading as one of the most beautifully crafted, most gorgeous-sounding albums I’ve heard in a long long time.

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

The Plug (0:40).

The Interview (2:08).

An iconic rap album is more than just beats and rhymes. It’s the interludes, the cover artwork that set the foundation for the image we as listeners associate with the music.

All of those elements combined, when done exceptionally well, are the ingredients to leaving a true lasting impact on the game.

Today’s guests, DøøF and NCL-TM, are determined to leave a similar level of imprint on the underground with their series of NCL​-​D​Ø​Ø​FUS albums.

In this episode, we get insight into what sparked this duo to form, why they mesh so well creatively, and learn about how their new album, BULLETPROOF KUFFLINX, further builds on NCL​-​D​Ø​Ø​FUS world they have created.

The spark for the NCL-DØØFUS pairing (2:53).

The secret sauce that makes the NCL-DØØFUS work (8:19).

The musical world of NCL-DØØFUS (13:02).

How being in Barcelona impacted what DøøF (18:39).

The vintage sound signature of BULLETPROOF KUFFLINX (25:16).

How BULLETPROOF KUFFLINX connects to the other NCL-DØØFUS records (38:57).

Upcoming projects / merch / tour (51:44).

Buy BULLETPROOF KUFFLINX here: https://safdoofus.bandcamp.com/album/ncl-d-fus-3-bulletproof-kufflinx 

Follow DøøF on Twitter here: https://twitter.com/757doofus 

Follow NCL-TM on Twitter here: https://twitter.com/UNCLETiMband 

Follow DøøF on Instagram here: https://www.instagram.com/757doofus/ 

Follow NCL-TM on Instagram here: https://www.instagram.com/ncl_tm/ 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

Balens Cho showcases that Mach’s album-making skills have really improved here in 2021, which I definitely think can be attributed to him reuniting with Westside Gunn.

This influence was clearly felt on Pray for Haiti, and I believe that influence is found here on Balens Cho too, as the album’s flow, consistency, and lyrical focus is on point.

Balens Cho is the result of someone who put their 10 000 hours in. Mach sounds so remarkably comfortable and in control of what he wants to accomplish, where he can now effectively execute his ideas into music form with ease.

As listeners, we are reaping the benefits of a master at work. 

RMPP Preferred Cut: "Self Luh"

Stream Balens Cho here: https://open.spotify.com/album/3lYDlFILOCtV39ompt2uRs 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

After a stellar 2019 and 2020 that saw Your Old Droog drop his magnum opus, Dump YOD: Krutoy Edition, Droog’s music has been on the decline since then.

Thankfully, Space Bar corrects just about every issue I’ve had with Droog’s recent output, through better production, rapping, and guest features.

Space Bar’s beats, although not as captivating as Dump YOD or what was on Jewelry for sure, are much more up my alley.

Droog also tweaked his approach lyrically, showing improvement in this respect as well on Space Bar. 

There’s a fun braggadocios looseness that is more present here, that Droog has always thrived in, allowing him to up the bar quality in comparison with his last couple of projects.

He’s less personal on this album, and instead is more aggressive, airing out some grievances that he has with the rap game, and wack collaborators as well. Above all, YOD gives us punchlines on punchlines on punchlines.

Space Bar doesn’t try to do too much, and is better off for it.

RMPP Preferred Cut: "Meteor Man"

Buy/stream Space Bar here: https://yourolddroog.bandcamp.com/album/space-bar 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

Although I wasn't a huge fan of The Circus, I think Mick really learnt something from creating that album, as it relates to being more concise.

Elephant in the Room doesn't overstay its welcome. The songs are refined as hell, with no wasted space, showing his most finely tuned blend of melodic soul singing, and rap.

There's a great seamless flow to this album that is accentuated beautifully by the wonderful smoothness in the melodies and hooks. These hooks are all so well put-together, even by Mick's standards, which are high as this has always been a key strength in his artistic arsenal.

At its fundamental level, Mick is COMFORTABLE on Elephant in the Room.

What was a bit of a drawback on previous projects like Pieces of a Man, where I felt he didn't push himself as much stylistically, on this album he keeps certain elements like the production mostly familiar, while giving himself the room to be more natural and less forced, ditching the rigid themes and concepts found in his past records.

While not a project I think that reaches the highs of THC or The Water(s), Elephant in the Room is an album that manages to say more and do more, with less.

If Mick can find a way to marry this more looser approach with some more musical experimentation, I believe that he can still deliver the true classic album that I've always felt he's been capable of delivering.

RMPP Preferred Cut: "Reflection"

Buy/stream Elephant in the Room here: https://themickjenkins.bandcamp.com/album/elephant-in-the-room 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

On All My Heroes are Cornballs there was such an irresistible earworm effect to me, where so many of the glitches, weird transitions, and short bursts of melody did a great job of creating variety and maintaining my deep engagement. It made for a highly entertaining and colourful listen.

But LP! feels significantly more plain and bland by comparison.

There is a more live and organic feeling in these instrumentals on LP! though, which is pretty cool for the most part. There is significant usage of live drums and true basslines that elevate the size of this sound, making it fit for a stadium.

However, it's precisely this move away from less glitchiness and noise that makes this album feel much more tame than I would've liked.

Lyricism and pure rapping have never been JPEGMAFIA's selling point. He's always been a capable rapper, with fiery and often militant lyricism that was engaging. However, on this album, these songs are more dependent on this dimension of his music more than ever before.

LP! is an album that doesn't play its best hand, it's an album that doesn't put JPEG in the best position to succeed. It lacks the explosive aggression of Veteran, as well as the sugary sweetness of the melodies on Cornballs.

LP! mixes all of his previous styles, and adds some new live musical elements into the blender too, but unfortunately it lacks the charms of his previous work, and instead comes off a bit dry.

RMPP Preferred Cut: "TIRED, NERVOUS & BROKE!"

Buy/stream LP! (offline version) here: https://jpegmafia.bandcamp.com/album/lp 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

In Episode 86, we are joined by a true lyrical tactician, teacher, and newest signee of the ever-impressive Backwoodz Studioz label, Defcee. 

Defcee discusses being embraced by the Chicago hip-hop community as an outsider, and what he appreciates about the Chicago scene (4:01).

Defcee opens up about the reasoning behind taking a break from music, following 2015's Damn Near Grown (26:30).

Defcee details how he's been able to consistently improve his craft into his middle-age, and gives his take on the health of rap game currently, given the fact that so many other rappers have been producing quality music well into their "senior" years (31:52).

Defcee discusses how he sees competitiveness in hip-hop, and when that competitive spirit can turn destructive (39:38).

Defcee speaks on how vital graffiti is to the overall hip-hop culture, and how he tried to approach We Dressed the City with Our Names (44:38).

Defcee explains the influence of Backwoodz Studioz on his first album as a new signee of this groundbreaking label (51:05).

Defcee details the significance of the Trapdoor album title, and the overall intention behind the record (56:37).

Defcee reflects on the therapeutic nature of creating Trapdoor (1:01:36).

Defcee speaks on the importance of teaching the youth, and drops knowledge of some of the ills afflicting the modern education system (1:06:00).

Defcee gives his take on the complementary soundscape of Trapdoor, created by Messiah Musik, and why Messiah is such a great producer (1:19:03).

Defcee gives props to Nick Arcade and August Fanon's amazing talents, and waxes poetic about Messiah Musik once again (1:24:49).

Defcee gives a sneak peak to upcoming projects he has in store for us (1:29:03).

Support Defcee's music here: https://defcee.bandcamp.com/ 

Follow Defcee on Twitter here: https://twitter.com/defcee?s=20 

Follow Defcee on Instagram here: https://www.instagram.com/defcee/?hl=en 

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Looking to connect? DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

In Episode 85, we are joined by Virginia's effortlessly funny, multi-talented, rapper, producer, skater, and model, DøøF. On the heels of his tremendously dope new album with NCL-TM, SWAMP PHONK, he has dropped straight heat for the past year. His work includes his previous collaboration with NCL-TM, Hoodrat Noir, as well as Radioactive Spinach with none other than the talented Graymatter.

Getting to know DøøF's style and story is a must, if you want to stay updated on one of the underground's brightest stars. 

DøøF details the catalyst that led to him pursuing his music career more seriously in 2020 (7:43).

DøøF breaks down how he developed his one-of-a-kind rapping style (12:37).

DøøF gives his take on what defines the Virginia rap scene (26:19).

DøøF breaks down why he gravitates towards the warm, dusty, and warped sound that his beats feature (32:13).

DøøF details what he needs to see in another producer, in order for him to relinquish beat-making duties for a project (35:43).

DøøF explains why he messes with Graymatter's production style, as well as the backstory behind the lengthy recording process for Radioactive Spinach (39:25).

DøøF details what he learnt from working with NCL-TM on Hoodrat Noir, and how he applied any learnings to their latest album, SWAMP PHONK (43:37).

DøøF explains why SWAMP PHONK ended up being double the length of Hoodrat Noir (50:25).

DøøF gives a peak at what he has in store for fans in the near future (1:15:39).

Support DøøF's music here: https://safdoofus.bandcamp.com/music 

Follow DøøF on Twitter here: https://twitter.com/757doofus 

Follow DøøF on Instagram here: https://www.instagram.com/safdoofus/ 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

Speaking with GENG PTP, aka King Vision Ultra, was a deeply rich and knowledgeable journey into hip-hop culture, and the coalition of hip-hop that he builds with, from a man who clearly treats the art form with the utmost respect that it deserves. There is a lot to learn and engage with in this conversation, so sit back and enjoy!

GENG breaks down the reasoning behind his strong affinity towards hip-hop culture, and how he grew up embedded in the community (3:08).

Why GENG feels a sense of duty to give back to the hip-hop community, in a myriad of different ways (18:11).

GENG gives his perspective on the foundational traits that underpin the PTP umbrella (26:20).

GENG provides the backstory of the genesis of PTP, and its overall mission (34:25).

GENG walks us through his key inspiration behind his unique visual design work (41:45).

GENG expands on this idea of the importance of language, as it relates to to the way we consume and discuss music (57:18).

GENG gives his perspective on how recent underground waves have developed over the years (1:10:22).

GENG details the process of collaborating with AMANI, and executing the complex ideas they cultivated on An Unknown Infinite (1:27:08).

GENG discuses the reception and high praise An Unknown infinite received, from the likes of Ka and more (1:38:15).

GENG talks about his FOUND SOUND art of sampling course, and the importance of this concept to music generally (1:45:28).

GENG details what he has in store for us in the near future (1:56:29).

Support GENG's music, and PTP label here: https://purpletapepedigree.bandcamp.com/artists 

Follow GENG on Twitter here: https://twitter.com/purpicide 

Follow GENG on Instagram here: https://www.instagram.com/genggrizzly/ 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

In a myriad of different ways, Half God explores Wiki's home of New York through multiple angles, giving the listener a consistent thematic backdrop to discuss every way the city influenced and shaped the man he is today.

By discussing New York's deep hip-hop roots, gentrification, and growing up as a child in such a busy and often chaotic city.

All in all, giving us his most focused and developed lyrical performance of his entire career.

Wik has always been a better than average storyteller. But on Half God, Wiki doesn't just paint you a picture... he teleports you into his shoes to roam the NY city streets in his place.

His growth as a lyricist allows him to accomplish so many different things on a given track.

The song Roof is a vivid personal peek into Wiki’s childhood home. Throughout this track, it's incredible how great he’s become at one, giving you pieces of himself, amidst a flurry of sometimes, funny, dark, and harsh pictures that his almost stream of consciousness style provides.

It’s a style of lyricism that flexes how loose he can get rapping, while not actually falling off track. The subject matter seems so organic and spur of the moment, while still maintaining a focus that is incredibly sharp.

More than anything, Half God is intentional. It knows exactly what it wants to be, which I believe positively affected Wiki's ability to stay focused, while not losing the loose flair he's been known for.

Wiki always had this consistent North Star on the record to guide him... home.

RMPP Preferred Cut: "Grape Soda"

Buy/stream Half God here: https://wiksetnyc.bandcamp.com/album/half-god 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

As he has done on many Westside Gunn albums in the past, AA Rashid provides some words of wisdom at the beginning of both sides, but I want to key in on what he did on Side B.

This was probably my favourite contribution of his to-date, because it applied so well to Westside Gunn as an artist.

Rashid speaks about revolutionizing, shifting the paradigm... and what has Westside Gunn, BUT shift the paradigm? Two key waves I believe Gunn has spearheaded over the years are the following.

The first being that Gunn has shifted large factions of the rap game to not only accept, but celebrate the "curator" role that he has now settled so comfortably in.

Before him, the idea that an artist could have this many features, and not always be the focal point of his own album, would be a negative to many.

Now it is revered as one of the most admirable traits of Gunn's music, taking what I think an artist like Kanye West has historically been great at, in selecting the best collaborators and getting the best out of them... and taking it even further in this direction, where Gunn's presence doesn't always need to be on one of the songs if it doesn't need to.

The second wave he has led is popularizing the minimal dusty boom bap and drumless beat movement, which is now incredibly popular in the underground.

Again there are others who helped push this style to prominence... but part of being influential is being able to successfully make a certain level of impact. Gunn as the mastermind behind Griselda, certainly did that.

H***** Wears Hermes 8 was a fitting curtain call for Westside Gunn, and properly showcased all that has made his artistry so impactful to the art form.

RMPP Preferred Cut: "Free Kutter"

Stream H***** Wears Hermes here:

Side A - https://open.spotify.com/album/0M5cyXHBV0en8q02019vaC?si=GayzT-xiR4KMibj_rJO9og 

Side B - https://open.spotify.com/album/0KtFP56RU7bd32pcvdeWOU?si=F9OROMjJRQWG3ZNuvcBsvQ 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

After their self-titled studio album debut, with features from the likes of Freddie Gibbs, Rico Nasty, JPEGMAFIA... the sky was seemingly the limit for Injury Reserve.

But then during a chaotic June 2020 for us all, tragedy hit the group as Groggs passed away for unknown reasons.

When this happened, I like many I assume, thought this was the end of the group's run. No more music was to come from Injury Reserve.

However, surprisingly they had an album coming out in September of 2021, titled By the Time I Get to Phoenix.

On top of that, it was not just a money grab posthumous album. Instead it was a fully-fledged left-field put all the chips on the table-type album, which thankfully was largely created while Groggs was still with us.

It's safe to say that the album we got was NOT what I expected.

RMPP Preferred Cut: "Knees"

Stream By the Time I Get to Phoenix here: https://open.spotify.com/album/7L7oMPboBCeyGLJVsHSWM2 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

The Plug (0:49).

The Interview (3:31).

Nourished by Time is an artist who is on pace to becoming one of my favourites… of all time.

After dropping Erotic Probiotic 2, an album that made my top 5 of 2023, Nourished by Time’s stock has risen tremendously. And not just in my personal musical world. On the heels of recently signing to XL, his unique blend of retro synthpop, classic R&B, rock and hip-hop flavours has been growing in popularity by the day.

I was blessed to have Marcus of Nourished by Time on the show, just a day after his new EP, Catching Chickens, just released. In this episode we discuss his approach to songwriting, thoughts on his current rise in recognition, the impact of Erotic Probiotic 2, and his incredible new EP, Catching Chickens.

Nourished by Time is quickly shaping up to be a generational talent, so you do not wanna miss this episode.

Marcus’ self-belief in his art (3:38).

The political consciousness in Nourished by Time’s music (7:28).

The emotional impact of creating music (17:26).

Nourished by Time’s musical ear (20:07).

How hip-hop informs Nourished by Time’s music (27:17).

How musical schooling helped Marcus’ artistic development (33:04).

The lasting impression of Erotic Probiotic 2 (40:24).

What Nourished by Time’s music says about himself as a person (43:19).

Marcus’ mindstate creating Catching Chickens (47:07).

The recording process of Catching Chickens (56:53).

The sound direction of Catching Chickens (58:40).

Nourished by Time’s upcoming album, The Passionate Ones (1:02:28).

The Super Bowl chances of the Baltimore Ravens in the 2024-25 season (1:06:00).

Support Nourished by Time's music here: https://nourishedbytime.bandcamp.com/  

Follow Nourished by Time on Twitter here: https://x.com/nourishedbytime?s=20 

Follow Nourished by Time on Instagram here: https://www.instagram.com/nourishedbytime_/?hl=en  

--

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Looking to connect? DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

The Backwoodz Studioz invaision continues in Episode 80, as we are joined by fiery lyricist, Curly Castro. Castro has been on a tremendous run in recent years, from his collaborative LP with PremRock, ShrapKnel, his scorching-hot feature on Armand Hammer's Haram, to his powerful Bobby Hutton-inspired record, Little Robert Hutton. 

Curly's perspective on how it feels being part of the impactful Backwoodz Studioz movement (2:26).

Curly discusses how working with greats like ELUCID, Prem, woods, helps him hone his craft, and sets an unspoken standard of excellence (9:10).

Exploring the crew dynamics of The Wrecking Crew (11:35).

How the idea of ShrapKnel materialized (20:58).

Castro speaks on his bold outspokenness in his music, and not being afraid to say how he feels (27:23).

What Castro aimed to achieve with his Black Panther, Bobby Hutton-inspired album in Little Robert Hutton (31:46).

The vision behind this boldly explosive sound for Little Robert Hutton (41:40).

How Castro manages to weave in many guest verses into his lyrically-heavy albums (49:57).

The inspiration behind the Call Out Culture podcast (56:52).

Castro gives his take on the health of indie artist scene in our current music landscape (1:01:31).

Curly's future plans (1:06:22).

Support Curly Castro's music here: https://curlycastro.bandcamp.com/ 

Follow Curly Castro on Twitter here: https://twitter.com/curly_castro?lang=en  

Follow Curly Castro on Instagram here: https://www.instagram.com/curlycastro/?hl=en 

--

Fiending for some more quality rap content? Visit the RMPP website: https://rmpp.squarespace.com/

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Looking to connect? DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

In a very special Episode 79, we host our first Backwoodz Studioz member, producer/engineer/mixer/masterer, sound mastermind Steel Tipped Dove. Dove is a phenomenal artist, who has graced the best works in hip-hop, from Haram and BRASS, to his own work in 2021's great Call Me When You're Here LP.

De-mystifying what audio engineering, mixing, and mastering actually means (2:49).

Steel Tipped Dove's views on the emergence of more care and attention being put on engineering and mixing in recent years (11:23).

The role an audio engineer, mixer, or masterer, plays in the creative decisions of a record (14:58).

How Dove's deep passion for music begin, and how his work evolved from beat-making to post-production work (19:30).

How Dove initially linked up with Heems, Big Baby Gandhi, and Lakutis, which jumpstarted his career and garnered him an initial buzz (22:21).

The importance that his home studio in Brooklyn played in Dove's career (25:06).

The meaning behind the Steel Tipped Dove moniker (29:26).

Steel Tipped Dove recounts how his relationship with Backwoodz Studioz first began (32:57).

What about the Backwoodz Studioz camp inspires Dove (36:57).

Dove explains the unique vision and structure behind his 2021 instrumental album, inside.outside.inside.outside (41:23). +57

The conception of Dove's new album, Call Me When You're Outside (49:36).

Dove describes the sound that he attempted to create on his latest LP (54:16).

What Dove looks for in potential collaborators (58:40).

Why Dove is content with being in the background, and why he felt it was time to put out an album like Call Me When You're Outside (59:52).

Dove's favourite record to be a part of (1:04:43).

What Dove has in store in the near future (1:08:15).

Support Steel Tipped Dove's music here: https://steeltippeddove.bandcamp.com/ 

Follow Steel Tipped Dove on Twitter here: https://twitter.com/steeltippeddove?s=20  

Follow Steel Tipped Dove on Instagram here: https://www.instagram.com/steeltippeddove/ 

--

Fiending for some more quality rap content? Visit the RMPP website: https://rmpp.squarespace.com/

Want to support and help us grow? Become a RMPP Patreon, and gain access to exclusive content: https://www.patreon.com/therapmusicplugpodcast 

Looking to connect? DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

It would've been easy for Lukah to rest on his laurels after a very successful When the Black Hand Touches You, and just make another version of that album... but this isn’t When the Black Hand Touches You Part 2, or Chickenwire Part 2 either.

If Black Hand sounded like soul food, Why Look Up literally sounds like the absence of food. On this album, there is nothing but pure hunger.

Unlike the more wide-spanning subject matter on Black Hand, which spoke from a contemplative or reflective perspective that applied generally to Lukah's life, and acted as an educational document for his newborn son… the lyricism on Why Look Up is more laser-focused to specific moments, putting you in the heat of the action of some really dark and trying situations.

It creates this visceral hair-raising feeling that is downright intoxicating.

RMPP Preferred Cut: "IMMACULATE CONCEPTION"

Buy/stream Why Look Up, God‘s in the Mirror here: https://lukah.bandcamp.com/album/why-look-up-gods-in-the-mirror 

--

Fiending for some more quality rap content? Visit the RMPP website: https://rmpp.squarespace.com/

Want to support and help us grow? Become a RMPP Patreon, and gain access to exclusive content: https://www.patreon.com/therapmusicplugpodcast 

Looking to connect? DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

UK's Little Simz released the GREY Area back in 2019, which was a very thoughtful album. However, her perspective felt, as the title would suggest, not fully realized and fleshed out… like she was still working things out, and was more combustible as a result.

Sometimes I Might Be Introvert on the other hand, sounds like someone who has gone through those mental struggles, and came out the other side.

I basically see this album playing out like a coming of age story for Simz, seeing her embrace her womanhood, understanding who she is, her introversion, and being comfortable with it, and feeling herself a little bit now as a result.

The thoughtful subject matter though is supported by an even more ambitious soundscape provided mainly by Sault producer, Inflo.

This album is the closest to baroque rap we’ve gotten since Kanye West's Late Registration. Except in the presentation of this album, it’s even more grand and ambitious in scope, with different styles being explored incorporating Simz's Nigerian roots.

The production is so beautifully mixed, organic, and big in feel, with a really natural energy that doesn’t sound forced.

It's no surprise that Simz remarks in a recent NME interview, that her chemistry with Inflo is unmatched. The beats and rhymes are in lockstep, seeing Simz and Inflo perfectly working together on SIMBI.

RMPP Preferred Cut: "I See You"

Stream Sometimes I Might Be Introvert here: https://open.spotify.com/album/0DBoWQ52XUHtrZQdfAqOVj?si=SGT8FragSlqEnrkTLIkprQ 

--

For artist development/writing services, DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com 

Let's stay connected! Find me here: https://rmpp.squarespace.com/ 

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

In Episode 76, the remarkably honest and talented Teller Bank$ joined the show for a conversation that will surely make it clear why this Iowa artist is worth checking out.

How Teller developed his voice and recognized that this unique delivery could work (2:47). 

Why Teller gravitates towards Ed Glorious' production (18:25).

How Teller crafted the concept and narratives in The Grotesque & Beautiful (25:40).

Teller details the importance of spirituality in his music (32:47).

How Teller has grown as a man in recent years (38:57).

Teller explains how his creative process differs when he handles production duties on one of his albums (45:47).

Teller details how The Part & Parcel differs from the first Ed Glorious produced album, explaining how it is Part 2 of a trilogy (51:11).

Teller explains why he believes his rapping is better than ever on The Part & Parcel (58:17).

Teller's future plans (1:08:03).

Support Teller Bank$' music here: https://tellerbanks.bandcamp.com/ 

Follow Teller Bank$ on Twitter here: https://twitter.com/Teller_Banks?s=20 

Follow Teller Bank$ on Instagram here: https://www.instagram.com/teller_banks/feed/?hl=en 

--

For artist development/writing services, DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com 

Let's stay connected! Find me here: https://rmpp.squarespace.com/ 

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of my personal diatribe (0:49).

Beginning of the core review (16:00).

I was close to not even reviewing Donda, given the recent nonsense surrounding DaBaby and Manson's involvement with the album.

But I couldn’t get over that it would be so incredibly inauthentic, if I actually didn't talk about a brand new full-length Kanye album... because Kanye’s music has played a huge part in my life.

And so, if I was going to talk about Donda, I wanted to do something special with it.

Therefore, I did discuss the music on Donda, as you'd expect from me. More importantly though, I wanted to share a piece of myself… through the lens of Kanye West.

I hope that this episode will successfully show how Kanye is stitched into my life, and how that allowed me to come to the conclusions related to Donda that you can't find anywhere else.

This won't be like anything I have ever created before.

RMPP Preferred Cut: "Hurricane"

Stream Donda here: https://open.spotify.com/album/340MjPcVdiQRnMigrPybZA?si=dKYFYO3xTfaJ2n8y6vqBXw&dl_branch=1 

--

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

In Episode 74, we were joined by talented rapper, producer, visual artist, and rolling paper creator, Lync Lone.

Lync first discussed the aspirational aspects of Lync's music, and how being a rapper was his dream since day 1 (2:07).

The key influences that helped Lync develop his style (2:58).

Lync talks about how his distinctly cool and chill rapping style developed over the years (12:13).

Lync details how he maintains such a positive outlook on life, and why he finds it important to promote that perspective in his music (17:18).

Lync explains why his number 1 goal in music is to synthesize his own thoughts and feelings, so that he can better understand them (22:36).

Hear the hilariously natural way Lync and BLOODBLIXING created Decibelz, one of my personal favourite Lync project (25:40).

Lync discusses his Iceberg Theory collaboration in Acid Jazz, and how Guru's Jazzmatazz inspired that project (31:33).

Lync dives into the concept behind his latest and greatest project to-date, Lost & Found: In Paradise! (35:41).

Lync talks about his visual art design work, and the importance of being self-sufficient as an artist in 2021 (49:40).

Lync talks about his new line of rolling papers, GONZO (55:25).

Support Lync Lone's music here: https://lynclone.bandcamp.com/music 

Follow Lync Lone on Twitter here: https://twitter.com/lynclone 

Follow Lync Lone on Instagram here: https://www.instagram.com/lynclone/?hl=en 

--

For artist development/writing services, DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com 

Let's stay connected! Find me here: https://rmpp.squarespace.com/ 

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

In Episode 73, we had the pleasure to welcome Chicago's own rapper, producer, DJ, TV host, greenSLLIME to the show.

How SLLIME's magnetic personality of sorts developed over the years (3:51).

What inspired greenSLLIME to get into hip-hop when he was younger (7:01).

SLLIME details partnering with SolarFive to open the 406 studio in Chicago, and the thought-process behind taking this bold move (12:26).

SLLIME's unique relationship with Mick Jenkins, and how it helped develop his craft (20:54).

His relationship with Qari, collaborator on the 2019 project Operation Hennessy, and how that album helped "kill the doubt" for greenSLLIME (25:40).

His creative process (32:09).

The importance of Chicago to SLLIME's artistic journey (36:51).

SLLIME on the vision behind his Broke Ass Low Budget Show, as well as some upcoming visual ventures for greenSLLIME (40:53).

How SLLIME navigates some interesting combinations of vibes in both his lyrics, and his production (58:14).

Meaning behind the title of his latest project, and how greenSLLIME entered 'monk mode' to create it (1:13:07).

What the future has in store for greenSLLIME (1:18:22).

Support greenSLLIME's music here (including monk.'s deluxe vinyl set to release on September 24, 2021): https://sllime64.bandcamp.com/music 

Follow greenSLLIME on Twitter here: https://twitter.com/sllime64?lang=en 

Follow greenSLLIME on Instagram here: https://www.instagram.com/sllime64/ 

--

For artist development/writing services, DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com 

Let's stay connected! Find me here: https://rmpp.squarespace.com/ 

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

Drake's Certified Lover Boy reeks of stagnation.

Stagnation in the tired song topics and formulas, where the listener has heard different versions of just about every single song here.

And although more of a good thing can be... a good thing... the 6 God is doing the same thing with some of the least inspired performances of his entire career.

This stagnation is all but validated by the fact that many of these songs were leaked a year ago, and appeared on this album more or less in that same state

This shows that the lack of fresh ideas are not some hater fabrication I am concocting unfairly. The truth is plainly obvious.

RMPP Preferred Cut: "Champagne Poetry"

Stream Certified Lover Boy here: https://open.spotify.com/album/3SpBlxme9WbeQdI9kx7KAV?si=Ab1KghVeQs-Kb5-Tl3FEww&dl_branch=1 

--

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Let's stay connected! Find me here: https://rmpp.squarespace.com/ 

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

Ka is one-of-one, and is easily one of the best lyricists in the game.

With Ka albums, the commonality to them all is that Ka is consistently committed to giving the listener true wisdom that come from a place of tried and true lived experience... with A1 level wordplay, with clever turns of phrase in almost every line.

The lyrical detail he brings makes every situation he paints feel remarkably surreal and urgent, where the gravity of a single decision, or thought of a character in a Ka song, feels like life or death.

This lyrical picture he paints is devoid of hyperbole, devoid of any romanticism... its the cold hard truth.

Yet, with most or all of his albums... the wisdom in learning and the concept of growth is always present in his music, which never makes any of Ka's albums come off as cynical.

This brings us to Martyr's Reward, which I think communicated this complex idea of hope better than any of his previous work.

RMPP Preferred Cut: "Subtle"

Stream A Martyr's Reward here: https://open.spotify.com/album/5MOODX5ZNXcbIyMLSluNbw?si=k4Z5aXwDQLaaPdjunH0xUQ&dl_branch=1 

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Let's stay connected! Find me here:

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

The Plug (0:55).

The Interview (2:26).

These days, homebase for me musically is calming, grounded music that allows me to weather some of life’s recent storms in my personal life. And so the music of sleepingdogs, the duo comprised of andrew and jesse the tree, has been some of my most played as of late.

The way they capture the blues, and articulate their existential thoughts and introspective musings is truly powerful stuff. On top of that, these impactful messages are packaged with a ton of melody, tender vocals, and rock-infused production that makes their songs hit that much harder.

andrew and jesse’s chemistry is remarkable; they are a match made in heaven, and they join the show to explain why their pairing works so well, how they approached the creation of their recent solo works, and their brand new sleepingdogs album, will we ever dance again?

sleepingdogs origin story (3:36).

The sleepingdogs creative chemistry (7:22).

How jesse and andrew are similar as people (16:49).

The sleepingdogs sound (23:32).

What andrew is most proud of with don’t forget me bluest. (31:01).

The intent behind Not Fade Away (36:49).

Not Fade Away’s production (39:08).

Key inspirations and topical focuses of will we ever dance again? (41:44).

How sleepingdogs’ chemistry grew creating will we ever dance again? (48:06).

The evolution of sleepingdogs’ sound on their new LP (51:33).

Favourite songs off will we ever dance again? (56:20).

Upcoming projects from sleepingdogs (58:32).

Stream/buy will we ever dance again? here: [link coming on March 14]

Follow jesse on Twitter here: https://twitter.com/jessethetree401?lang=en 

Follow andrew on Twitter here: https://twitter.com/andrewwwdotnet?lang=en 

Follow jesse on Instagram here: https://www.instagram.com/jessethetree/?hl=en 

Follow andrew on Instagram here: https://www.instagram.com/searchableandrew/?hl=en 

--

Fiending for some more quality rap content? Visit the RMPP website: https://rmpp.squarespace.com/

Want to support and help us grow? Become a RMPP Patron, and gain access to exclusive content: https://www.patreon.com/therapmusicplugpodcast 

Looking to connect? DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

Boldy James continues on his hot streak with his latest Bo Jackson album, which features production from the legendary Alchemist once again. 

Boldy is in top-form, blending his blunt and cold delivery with evocative imagery in his street tales that give Bo a strong sense of surrealism. 

However, it is the legend in this case, The Alchemist, that doesn't hold up his end of the bargain to the best of his abilities.

Alc left earth on Haram, brought exotic textures and decadence to Fetti, but on Bo Jackson he keeps things to one relatively formulaic lane.

I have no problem with straight to the point, more simplistic production... but these beats are all super clean, and don't have that rugged grit that an album like this could've benefitted from.

I think Boldy improved on all fronts from A Price of Tea in China from a rapping perspective.

However, although I think Alc brought some good production to this album, the sound was too tame for my liking and didn't leave enough of an impression on me.

There just lacked an instrumental bite that makes me wanna go back to this album.

RMPP Preferred Cut: "Fake Flowers"

Stream Bo Jackson here: https://open.spotify.com/album/1KHFw3hsKvNGGCkXKQMrbT?si=h-WGm0BIR7SfWuoSZR_Ipg&dl_branch=1 

--

For artist development/writing services, DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com 

Let's stay connected! Find me here: https://rmpp.squarespace.com/ 

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Beginning of Episode (0:49).

Making hip-hop music well into your 40s and 50s is an astonishing feat to accomplish on its face, especially within a genre where many of the greats have sadly passed away. Legends in Black Thought, Jay-Z and Nas are not only still breathing... but are still making music at the forefront of the hip-hop scene.

With Nas, his technical ability is still mostly intact, but with most or all of Nas records post-It Was Written... there has always been something off.

The common gripe with his music is his beat selection, but I think that's a lazy argument. Nas has picked good enough production for the most part, just not to the level that his rapping ability has demanded.

For me, I think what has kept Nas' modern output at arm's length was his music's social commentary, and the inconsistencies between that and his personal life, and my personal socio-political opinions.

The core issue I have with King's Disease II, and most of Nas' later releases is that Nas merges black excellence/liberation ideas with what I call “mimosa rap”... where the end-point of all of this struggle is the accumulation of obscene levels of material wealth.

Nas makes all of this content sound super decadent and well painted lyrically, but it lacks the depth that I am looking for.

At some points, Nas does offer some solid commentary on issues in his community related to poverty, violence, etc. But then seems to make these disjointed jumps that connect his career and rise to glory, as the righteous end-result that all people in his community should have the opportunity to achieve as well.

In reality, we all know this is not true and is a gross simplification of how the world works.

But more importantly, what Nas paints on the other side of this journey to success, is just a bunch of material wealth of brunches and island getaways that lack self-awareness in the fact that he's participating greatly in the same system that is keeping his people down.

This all makes this brand of social commentary not resonate with me all that much.

RMPP Preferred Cut: "Nas is Good"

Stream King's Disease II here: https://open.spotify.com/album/6CM5qhYBvpgYNek5kYwuOJ?dl_branch=1&si=jAPZLalOT76CB0nOTn6J_w 

--

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Skip intro (0:49).

What’s wild about my feelings on GUMBO'!... is that it's the kind of album that I don’t typically like.

Yes, surely the individual parts of this are all things I love. I love soul and jazz infused hip-hop, and thoughtful lyricism.

However, more than most people, I really value cohesiveness, a sense of structure… and this album is absolutely all over the place.

But somehow some way, Pink Siifu made it all flow like water.

Whether it be through mixing choices, the transitions, skits, sequencing, Siifu managed to include autotuned melodic trap, vocal jazz, neo-soul, jazz rap and noisy rambunctious bangers all on the same album.

And through it all, Siifu is as wavy and free-form as ever from a rapping-perspective.

On paper, GUMBO'! should be a mess, but Pink Siifu really pulled off the impossible. He successfully fit a square peg in a round hole countless times.

RMPP Preferred Cut: "SMILE (wit yo Gold)"

Stream/Buy GUMBO'! here: https://ronee.bandcamp.com/album/gumbo 

--

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Skip intro (0:49).

The title of this album initially suggested to me that this would be a very urgent and emotionally visceral album. Instead, Isaiah Rashad is like that character in the burning house meme.

Isaiah is genuinely so calm and relaxed on this album, while being enveloped in significant turmoil that is going on in his personal life.

I'm really happy for Zay. It seems like he's genuinely in such a better place mentally...

However, I feel like my issues with THIB can be summed up by that meme. I feel like we hear "this is fine" from Isaiah without the necessary reasoning that explains why.

I think Rashad was attempting to illustrate the peace he has now achieved after these years of turmoil, through a catchy and wavy rapping style. 

Unfortunately, I don't think he gets this done because I feel like there's an entire chapter of Rashad's recent years that is more or less missing, or roughly sketched at the most on THIB.

He doesn't give me enough pieces of that trauma... in order for me to understand the context surrounding this tough road he's been on, and fully connect with the music.

To top it off, generally, I don't find he's lyrically specific enough to glean a lot of feelings from this album.

This is especially disappointing considering how tumultuous his life has been recently. I feel like there was a lot of stories, and personal anecdotes he could've gotten into, but we don't get much of it.

He certainly brings a level of emotion and intimacy in his vocals that I do like, but it's not nearly evocative enough to affect me to a significant degree.

RMPP Preferred Cut: "Headshots (4r Da Locals)"

Stream The House is Burning here: https://open.spotify.com/album/6TQ8nqw43uUOWu7Yqp58ko?si=Rag_Mz8rSlqOxDZgS6WGeg&dl_branch=1 

--

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

Skip intro (0:49).

It's been a minute since I've had an interview for you guys. But after a summer of falling back, and getting things in the background taking care of, this Fall expect to see a bunch of great artists join the show.

Starting with Ep. 66, hailing from New York, I have with me an unbelievably dope rapper, producer, who is probably the most played artist of the year for me, alongside my man Kincee BabyFace Pearlis.

His name is BLOODBLIXING.

The meaning of Blix's name name (2:11).

His thought's on the underground movement that he is a part of (4:13).

Backstory behind the Mach-Hommy influence (6:32).

Blix on why it's important to pay homage (12:25).

The first R&B GANGSTA EDITION w/ WHOBEJAZZZ (21:07).

His unique rapping style (27:09).

Working w/ 2 Dolla Will and recording BUTTE BEER (34:24).

The GANGSTA EDITION series (38:19).

The essential BLOODBLIXING releases (42:18).

What's upcoming for Blix (47:47).

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For artist development/writing services, DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com 

Let's stay connected! Find me here: https://rmpp.squarespace.com/ 

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

(Go to 0:49 to skip the intro)

In sharp contrast to the usual religious subject matter you hear in music, Iceberg Theory's perspective on this topic is NOT dogmatic. It's not a simplistic perspective that says "God will save us", or "God is perfect".

Ice either, uses these religious themes as cool motifs and poetic devices for his rhymes, or, is exploring the fundamental foundation of belief, and the complexity and contradictions that arise from this perspective. These thoughts are especially notable in light of the recent release of DONDA by Kanye West.

Having just listened to the DONDA album (2nd listening party version to be clear) prior to recording this review, it allowed me to see Horned Monk with a different lens, and develop a deeper appreciation for how it approaches the topic of religion.

Horned Monk deeply wows me lyrically, with production from August Fanon that never ceases to impress.

RMPP Preferred Cut: "(Untitled)"

Stream/Buy Horned Monk here: https://icetheoryrap.bandcamp.com/album/horned-monk  

Interview with Iceberg Theory here: https://podcasts.apple.com/ca/podcast/28-iceberg-theory-interview/id1527457780?i=1000506626322  

Review of Iceberg Theory & August Fanon's Dispatches from the Kali Yuga here: https://podcasts.apple.com/ca/podcast/25-navy-blue-iceberg-theory-august-fanon-fatboi-sharif/id1527457780?i=1000504296233 

--

For artist development/writing services, DM me @rapmusicplugpod on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

(Go to 0:49 to skip the intro)

What has always gravitated me to Vince Staples, is that he is frank.

Vince is so frank in the way he paints his life in Long Beach, describing harrowing street experiences with a cold bluntness that has defined his music to-date.

These blunt observations were often layered over loud abrasive production, or lively west-coast instrumentals that emphasized Vince's charisma and ability to ride the beat in a very catchy way.

With Vince's latest self-titled effort though, the usual formulas in a Vince release have been adjusted.

... And for that reason, VINCE STAPLES was easily one of the most unmemorable first listens of a highly anticipated album that I can remember.

I think the very lowkey nature of the album took a lot of getting used to, but eventually I can say that I think this approach brought something new out of Vince lyrically that I did like, yet limited an existing strong trait of his as well.

With Kenny Beats, I think this move to subtly took his typical vibrant energy and trapped it in a box.

The subtle grooves, melodies and samples only uncovered themselves on many listens… taking trips is great, lil fade has a really dope synth loop that I thought was super fresh

What I think Vince loses from this more subtle approach is that the highly animated delivery from Vince that I always have loved, which is now restrained and less present.

RMPP Preferred Cut: "ARE YOU WITH THAT?"

Stream Vince Staples here: https://open.spotify.com/album/2suR5CCbtL2Wq8ShFo8rFr?si=u5uH7aXVTR-kEbWLwqglrw&dl_branch=1  

--

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Let's stay connected! Find me here: https://rmpp.carrd.co/ 

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

(Go to 0:49 to skip the intro)

When I think of MIKE, the words that come to mind are sincerity and honesty.

In absolutely every album MIKE has released, he poured his heart out.

On "Disco!", MIKE certainly leans into his soulful nature once again, but without getting overly consumed by it.

In the past, MIKE would really exude the depression that he was experiencing at the time, and it's not like there's anything wrong with that from a music perspective.

However, it's nice to see him continue the progression we saw on weight of the world, where he seems more at peace with where he is in life.

I see tears of joy and weight of the world as MIKE processing the death of his mother and coming to grips with the pressure and residual effects that this unfortunate event inflicted on his mind.

Whereas "Disco!" feels like MIKE beginning a new chapter in his life, reflecting on the past without LIVING in the past... which can only come from acceptance.

It doesn't mean he isn't still dealing with similar struggles, but now he is doing so with a stronger sense of presence and assuredness that is palpable.

RMPP Preferred Cut: "ghoulish"

Stream/Buy "Disco!" here: https://mikelikesrap.bandcamp.com/album/disco 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

(Go to 0:49 to skip the intro)

On the surface, CALL ME IF YOU GET LOST sounds like Tyler flexing about how great his life is, with specific moments that reference a failed love he had with some girl.

But in reality, this album mirrors a famous poem by Charles Baudelaire in many ways, but takes it a step further and comes to a conclusion that is both realistic and interesting.

Tyler's primary subject matter on this LP is flexing his successes, and his wealth. But deeper than that, there is a real pride he displays in how he has navigated his way in the music industry, standing for what he believed in amidst a lot of hate and a journey to self-discovery related to his sexuality and identity.

Tyler sounds content and FREE.

This all serves to set the context for the one missing piece that is remaining in his life, which seemingly would upset this peaceful mind-state that he is otherwise painting in his rhymes... and that is a girl.

A girl he is trying to court to complete this decadent life Tyler now leads. This is precisely where the album's layers begin to unfold...

RMPP Preferred Cut: "WILSHIRE"

Stream CALL ME IF YOU GET LOST here: https://open.spotify.com/album/45ba6QAtNrdv6Ke4MFOKk9 

--

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

(Go to 0:49 to skip the intro)

On TIME, Your Old Droog shows he can paint lyrical pictures very well. However, the picture paints here is sometimes kind of dull in my humble opinion.

What Droog is talking about on TIME is a far cry from the much deeper exploration that occurred related to his relationship with his Jewish and Ukrainian identity on Jewelry and Dump YOD.

On those albums we saw YOD get personal... something he does do here as well, but in a way more captivating way that struck me on an emotional level.

But I'd also say that the bars on this album are not on the same level of Tha YOD Fahim, Jewelry, and especially Dump YOD, which was one of the best albums of 2020, with one of the craziest rapping performances I've heard in a long time.

All of these gripes are not even addressing the elephant in the room with this album... at least in the room where I personally am listening to this album.

This elephant for me is the production.

Rarely do these beats leave an impression on me, which is a shame because Droog usually selects great beats to rap over.

The listless nature of many of these beats, compounded with the less than always interesting lyrical content from Droog... makes TIME an album that sees Droog come back to Earth, after an impressive hot streak spanning all the way back to 2019.

RMPP Preferred Cut: "The Magic Watch"

Buy/Stream TIME here: https://yourolddroog.bandcamp.com/album/time 

--

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

The Plug (0:39).

The Interview (2:07).

Throughout my life, music has consistently been a vital channel for me to process emotions and make sense of the world. Very few artists have allowed me to explore the darkness and melancholy swirling around in my head quite like Sadistik.

Since the moment I first heard Sadistik’s music over a decade ago, I was taken aback by his beautifully-poetic and vulnerable approach to creating hip-hop music.

He also had a knack for collaborating with producers who understand his artistic vision - creating moody, dark, and cinematic soundscapes for his words, working with the likes of Blue Sky Black Death, Kno of CunninLynguists fame, and most recently Maulskull, the producer for his latest opus, Oblivion Theater.

In today’s episode we dive into Sadistik’s affinity for the darker things in life, his writing process, and the makings of his great new album with Maulskull, Oblivion Theater.

Sadistik’s affinity for darker subject matter (2:36).

The personal experience of creating such emotional and heavy music (9:46).

Origins of Sadistik’s interest in horror, human psyche, and filmmaking (12:31).

How Sadistik discovered his signature sound (20:41).

Sadistik’s writing process (24:45).

Sadistik and Kno’s creative connection (30:45).

The production vision for Oblivion Theater (34:36).

Key inspiration behind Oblivion Theater (37:12).

Oblivion Theater’s messaging (40:17).

Major rap influences for Sadistik (46:46).

Upcoming projects / tour dates / merch (50:39).

Stream/buy Oblivion Theater here: https://sadistik.bandcamp.com/album/oblivion-theater  

Support Sadistik here: https://www.sadistikmusic.com/ 

Follow Sadistik on Twitter here: https://x.com/IAMSADISTIK?s=20 

Follow Sadistik on Instagram here: https://www.instagram.com/sadistik/ 

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

(Go to 0:49 to skip the intro)

New York's Finest, Skyzoo, has returned with his latest studio album, All the Brilliant Things, just as Ottawa's Finest, The Rap Music Plug, has returned to continue taking the podcast game by storm. It feels great to be back!

The way the lyrical themes play out on this album, is ultimately why I appreciate All the Brilliant Things so much more on multiple listens.

Unlike In Celebration of Us, which focused on his new experiences with Fatherhood, and how life was growing up alongside his honourable father, All the Brilliant Things differs in Skyzoo's focus.

This time around his lens is more outward, focusing on how his hometown has changed over the years mainly due to gentrification, walking you through memory lane recounting various stories and life experiences.

Sky also spends much of this album discussing his place in the game, and his contributions to hip-hop. Obviously Skyzoo has been, and still is braggadocious about his skill and accomplishments. However, on All the Brilliant Things, what I'm referring to is a grounded and celebratory view on what his rap career has meant to the art form, and what his career has indirectly meant for young men from his home... serving as an inspiration for those that grew up alongside him.

I obviously recognized Skyzoo's lyricism to be great since day 1. But on this album, I find the themes are exceptionally put together and push this album over the top.

Couple that with exquisite jazz-infused instrumentals, and we have another great rap album in 2021.

RMPP Preferred Cut: "Rich Rhetoric"

Buy/Stream All the Brilliant Things here: https://mmg-skyzoo.bandcamp.com/album/all-the-brilliant-things 

--

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

(Go to 0:49 to skip the intro)

Sleep Sinatra's recent run has been nothing short of amazing, culminating with the fantastic DIVINENATION that he dropped earlier this year.

To discuss Sleep's impact and what makes him standout in the crowd, I joined the Freemusicempire and Camo Bucket Hats (@CamoBucketHats on Twitter) for a fantastic far-reaching discussion.

I hope you enjoy this bonus episode while I'm on vacation. But most importantly, I hope you support Sleep Sinatra's fantastic music.

Support Sleep Sinatra here: https://sleepsinatra1.bandcamp.com/ 

Join the Freemusicempire here: https://freemusicempire.com/ 

--

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Let's stay connected! Find me here: https://rmpp.carrd.co/ 

Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

(Go to 0:49 to skip the intro)

Another day, another Navy Blue record has dropped. As one of the most essential voices in all of hip-hop, I absolutely had to talk about it.

Navy knows how to name an album. Song of Sage, his 2020 opus, felt like a grand mission statement that perfectly captured what makes Navy... Navy.

Similarly, this latest album titled Navy's Reprise, feels like a reprise… like an addendum, an appendix to the main presentation that was Song of Sage.

By no means does this album not hold up on its own, but it doesn’t feel essential.

I feel this mainly through the production that feels a bit too lacking in impact, and rapping from Navy that certainly is great, and is consistently touching on similar topics of wisdom, freedom, etc… but unlike Song of Sage that felt like songs all added up to something larger than the sum of its parts, this set of tracks does not.

Navy's Reprise feels like a collection of like-minded songs that sound great, but don’t leave a lasting impression on me... like stray thoughts, loose ends, versus the complete picture that Song of Sage painted.

RMPP Preferred Cut: "Don't Get It Twisted"

Buy Navy's Reprise here: https://navybluethetruest.com/ 

--

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

(Go to 0:49 to skip the intro)

Mach-Hommy teamed up with Westside Gunn to create the long-awaited Pray for Haiti, Mach's Griselda return. 

Curated by Westside Gunn, this album is luxurious and smoother in sound than any other Mach album to-date.

I really do love how Mach sounds over these more airy melodically smooth productions, but I don't prefer this sound over the more tough grimy sound he's typically rapped over.

West has a unique ability to make his albums sound both gritty and luxurious at the same time... almost always managing to find the right balance.

But I think with Pray for Haiti, he turns the knob too much into the smooth category, making an album that is sonically very similar to Pray for Paris, but with even more smoothness to it that I don't think should've been present on this Mach album.

Even when the album leans more to his typical sound, the edge and grit behind the production sometimes lack that electric rawness that we get from his previous work.

This has nothing to do with Mach at all honestly, because Mach as a whole raps exceptionally well and focused on this album.

I really did like this album... but I guess it lacks just a bit of an IT factor in the production that takes some of the enjoyment away from me.

It's funny, because Pray for Haiti actually remedies the main gripes I had with Mach's Hard Lemonade... it's longer and more complete, but I think goes too far in the polished direction for my liking.

Mach himself absolutely killed this album though, and genuinely delivered one of his best rapping performances.

I just think West could've chosen a gritter set of instrumentals for him to rap over, as these beats washed over me a bit too much.

RMPP Preferred Cut: "The Stellar Ray Theory"

Stream Pray for Haiti here: https://open.spotify.com/album/7doW9YWOtpmqHBqAUuBaKO 

--

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(Go to 0:49 to skip the intro)

AKAI SOLO and Navy Blue joined forces to create the highly-anticipated True Sky, a record that is surely to scratch your lyrical itch.

AKAI explores themes of knowledge of self, spirituality, liberation from oppressive structures, and liberation from the ways modern society controls people mentally... which serves as the lens that AKAI uses to make observations about those around him, and society as a whole.

AKAI has an intelligent mind clearly, but most importantly knows how to get his point across in highly original ways that makes what he's saying that much more impactful.

He knows how to balance poetic word choices, with tangible clearly articulated ideas that make his lyrics digestible, even if the subject matter is heavy.

Navy laces AKAI with sample-based instrumentals that are exquisitely jazzy, glitchy, heavily incorporating horns, saxophone, which all make this album feel very grand.

That being said, what True Sky really crystallized for me in Navy's production, is the mechanical nature of it all.

The drum patterns and choice of percussion are arguably the most interesting aspects of Navy’s production for me. The mix of the modern hi hats and 808s, alongside super strange rhythms make for a very interesting combination.

This Navy Blue mix of sound gives these often repetitive looped samples of string and brass a certain knock and head-nodding rhythm, due to these intricate drums that are on just about every single track.

RMPP Preferred Cut: "No Doubt (feat. Navy Blue)"

Stream/Buy True Sky here: https://akaisolo.bandcamp.com/album/true-sky 

--

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

(Go to 0:49 to skip the intro)

The wonderfully multi-talented Big Flowers (Michael) joined the show to wax poetic on a number of topics concerning the hip-hop and art scene that he contributes great work towards.

We start by discussing the conception of Big Smile, and where Big Flowers' mind has been at throughout the pandemic (1:39).

Michael then details how Big Smile was a therapeutic recording process for him. (19:37)

As a member of a burgeoning movement of thoughtful hip-hop, Michael gives his takes on what from the underground right now (35:14).

Next, Big Flowers illustrates how he was able to orchestrate the significant levels of collaboration found on Big Smile (56:00).

Michael discusses what drew him to create Memories Gro , his re-invisioning of Memories Bleed by EYESWIDESHUT & Pepper Adams (1:10:05).

Since Big Flowers is an accomplished visual artist (who created the video animation for this very show!), we discuss why his visual design work is so special (1:19:53).

Finally, we talk about what the future holds for Big Flowers in 2021 (1:30:48).

Stream/Buy Big Smile here: https://bigflowers.bandcamp.com/album/big-smile 

--

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(Go to 0:55 to skip the intro)

In light of the recent release of Mello Music Group's Bushido, in a special bonus episode, I joined the Freemusicempire's #stateofthegame series as a guest to discuss what makes a compilation successful.

We explored this topic through conversations on Bushido, Ryde or Die Vol. 1, and Anticon Label Sampler: 1999-2004. Enjoy!

Join the Freemusicempire here: https://freemusicempire.com/ 

Listen to Bushido here: https://open.spotify.com/album/5kCNU9ouaRoRtQNJrtfavl?si=6644467f8cf54d4d 

Listen to Ryde or Die, Vol. 1 here: https://open.spotify.com/album/1mQkCjNNs32GHM7nlEpA2N?si=4vhE68pRSn6eeBuIrI6DQg 

Listen to Anticon Label Sampler: 1999-2004 here: https://open.spotify.com/album/4MZdFFnHTU91NL3IuxJxlV?si=0a633be239f849a7 

--

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Let's stay connected! Find me here: https://rmpp.carrd.co/ 

(Go to 0:55 to skip the intro)

To discuss the highly polarizing J. Cole, and his latest album The Off-Season, I was joined by Jay El, the creator of The Bytown Blog, to better understand the perspectives of a true Cole Miner.

We dive into some potential misconceptions related to Cole fandom, how Cole reminds me of The Weeknd (?), and of course... discuss our thoughts on this latest album from Jermaine, which Jay El dubs his best album yet.

RMPP Preferred Cut: "let go my hand"

Listen to The Off-Season here: https://open.spotify.com/album/4JAvwK4APPArjIsOdGoJXX 

Check out Jay El's new blog: https://bytownblog.com/?fbclid=IwAR1_sin0mc29UNCA59AmbQ0surK2APRTzQ2mqSUDFGc6bktp16ZAN0_IEK8 

Check out Jay El's YouTube channel: https://www.youtube.com/channel/UCy79w-sj5HyB8esfH8RllpA 

--

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Let's stay connected! Find me here: https://rmpp.carrd.co/ 

(Go to 0:55 to skip the intro)

Cities Aviv is an artist that I was introduced to through my exploration into Memphis rapper Lukah's music this year, who's amazing recent record I reviewed, and who I interviewed last month.

And just like Lukah, Cities is one of the best musical discoveries I've had in a long time. From Memphis as well, Cities has been making cutting-edge hip-hop music for the past decade.

This album is like a bowl of lucky charms, with every single bite being that perfect mix of cereal and marshmallow charms... notice how I didn't say the album was consistent bites of JUST the marshmallow charms.

That's because the album has a perfect balance to it, walking the tightrope between a lot of variety of moods and textures. Never too sweet, too cold, or too abrasive.

This album is so VIBRANT, exuding colour and life, just as the beautiful album artwork would suggest. These beats truly have a life of its own.

Cities' rapping adds a great dimension of engagement to his music that really puts this album over the top. I always appreciated his lyricism, but the flows and the larger focus put on his lyrics on this album, in comparison with some of his recent work.... was an absolute highlight.

It’s not like lyrically Cities is “good for a producer rapper”... he’s legit good. His lyrics are often strikingly emotional and introspective, seeing Cities pour out his innermost thoughts and demons.

His vocals are not only sharp, but they tend to fit so snugly within these instrumental tapestries that he's built.

RMPP Preferred Cut: "Talking to the Flowers"

Listen to THE CRASHING SOUND OF HOW IT GOES here: https://citiesaviv.bandcamp.com/album/the-crashing-sound-of-how-it-goes 

--

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(Go to 0:55 to skip the intro)

Wiki is a New York rapper, once part of the experimental hip-hop group Ratking, who is certainly a unique voice in the game. Teaming up with experimental producer NAH seemed like a natural fit for the left-field MC.

NAH's production here is very skeletal, but by no means dry. It draws from a distinctly 80s 90s sound pallet, infusing these instrumentals with pop, electronic, and rock influences.

The structure of this album's beats feature off-kilter very left-field drum patterns, 80s-90s pop, rock, electronic tones in the instrumentals... with a very glitch-hoppy aesthetic in the rhythms, along with these consistent blasts of bright sound that give this album a beautifully psychedelic feeling.

Telephonebooth gave me a similar feeling to Earl Sweatshirt's Some Rap Songs. Strictly in the sense that the songs were very short, with many ideas coming in and out quickly.

The key drawback I see in Telephonebooth though, is the other edge of the double-edged sword related to the nature of this album's leanness.

Wiki is very focused on these very short tracks, which is very appreciated. Except, unlike Some Rap Songs, Wiki doesn’t fully captivate me lyrically at all times, with an overall message that is less clear than I’d like.

Although he is definitely very focused on a specific topic on each track, is he always presenting complete thoughts? I don't think so. Often you don't get the full scope of the ideas presented on this album. This is largely due to the fact that the songs are just so short... and is magnified by the fact that these songs manage to have hooks and/or a lot of repetitive pseudo-hooks.

This brings me to the overall narrative I got from this album, which works to alleviate the importance of these drawbacks.

Wiki tackles each song like a mini conversation with someone on the phone. He's still transparent and vulnerable on the album, but he chooses to cover a large breadth of topics, versus deep-diving on one particular one.

Surely common themes emerge, but the details aren't deeply explored. So I do see myself wanting more detail at times... but there is simultaneously something intriguing in the way he gives you so many different but related thoughts. 

The genuine and raw atmosphere that he cultivates with his lyrics is great... and makes me keep wanting to press play over and over again.

RMPP Preferred Cut: "No Work"

Listen to Telephonebooth here: https://wiksetnyc.bandcamp.com/album/telephonebooth 

--

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Video animation by: Big Flowers

Intro/Outro beat by: BLOODBLIXING

The Plug (0:46).

The Interview (2:46).

Few things have been more important to me in my life than hip-hop music. Growing up, I lacked identity and a sense of community. So as I continued to listen to more and more hip-hop music in my teens and early 20s, it quickly became a key vessel for me to learn about the world and connect with a culture, and ethos that I resonated with.

And yet, as an Indian guy, it was rare that I ever saw someone who looked liked me that was contributing to this artform that I loved so much. It was hard to see how I fit in, if at all. This all changed once I heard the music of Heems, known for his work in Das Racist, Swet Shop Boys, and as a solo artist.

Hailing from Queens, NY, Heems has successfully injected his Indian roots into a brand of witty, thoughtful rap... and invariably helped me see that there was space for people like me in hip-hop after all.

So I’m pleased to welcome Heems, as well as Chicago-based producer Lapgan to the show, who produced the wonderful instrumental album History from last year, as well as the new collaborative album with Heems, LAFANDAR.

In today’s episode, we talk about incorporating Indian culture into hip-hop, Heems’ new venture Veena, and the making of this incredibly creative new album, LAFANDAR.

Heems’ experience ingratiating himself in hip-hop culture (4:00).

Importance of desi representation (7:37).

Heems’ legacy (13:52).

The inspiration behind Heems’ new venture, Veena (20:04).

The features on LAFANDAR (28:58).

Inspiration behind Lapgan’s 2023 instrumental album, History (32:28).

The untapped potential of Indian music in hip-hop sampling (36:30).

The LAFANDAR listening experience (43:21).

The musical direction behind LAFANDAR (52:09).

Heems’ witty, often hyper-referential, raps on LAFANDAR (56:46).

The natural creative relationship Heems and Lapgan (59:21).

The political focus in Heems’ music (1:00:48).

Upcoming projects / merch / tour dates (1:03:26).

Support Veena and LAFANDAR here: https://www.veena.nyc/ 

Support The Olive Tape (feat. Heems), which was compiled to raise funds for humanitarian aid in Palestine here: https://theolivetape.bandcamp.com/album/the-olive-tape 

Follow Heems on Twitter here: https://twitter.com/HIMANSHU 

Follow Lapgan on Twitter here: https://twitter.com/lapganMusic  

Follow Heems on Instagram here: https://www.instagram.com/nehrujackets/?hl=en 

Follow Lapgan on Instagram here: https://www.instagram.com/lapganlapgan/?hl=en 

--

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(Go to 0:55 to skip the intro)

The enigmatic Kincee BabyFace Pearlis joins the show for a conversation that I hope demystifies the incredibly talented Jennings, Louisiana MC... as he gives us rare insight into his unique lyricism, artistic approach, and business model. I have been ADDICTED to Kincee's music for the last few months, so I hope you all enjoy this conversation and tap in to this man's art.

We start our conversation at the beginning, uncovering how Kincee started rhyming, and the significance of his name and signature mask that he dons (3:03).

Kincee then details his time in the military, and how it shaped his worldview (5:59).

Next, we dive into his unique writing process and the central lyrical themes of his work (9:22).

Kincee discusses why he prefers to stand out with his abstract lyrical approach, and gritty sound (12:31).

Kincee details the cosmic connection he has with legend producer, August Fanon (17:27).

We next discuss Kincee's out-of-the-ordinary business model (23:47).

Kincee describes what makes his incredible collaborative albums with August Fanon so special, including his very rare BoKoR and BGOD records (32:33).

Next, Kincee details how his style has evolved more left-field over the years (39:26).

As an incredible visual artist, explains his fantastic visuals that accompany his music (41:19).

Kincee then talks about his views on NFTs, and the future of music distribution (43:43).

Finally, Kincee highlights the vast array of projects he has coming up in the rest of 2021 (48:28).

Listen/Buy Kincee's music here: https://kincee.com/ 

--

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Let's stay connected! Find me here: https://rmpp.carrd.co/ 

(Go to 0:55 to skip the intro)

My first main takeaway from La Maquina is that, as Griselda transitions further into the commercial space, Conway is better suited to thrive in this space than Benny the Butcher.

The reason is that Conway’s larger-than-life boss king persona fits well with the luxurious more clean sound. It's the reason why people respond differently to a Conway rapping over a beat like Grace, versus Benny... it's just a better fit.

Whereas Benny's appeal relies more on the hunger and that ‘came from the mud’ attitude, which felt much more at home on those grimy Daringer and Alchemist style productions.

So the ceiling for a Benny is still super high just like with Conway, but I think Conway’s floor is higher because he could make an album like La Maquina in his sleep.

That being said, although the results on La Maquina are better than Plugs 2... I just don't see myself coming back to this album all that much.

One way to look at the latest album from Benny and Conway is to say, "look Griselda is going commercial, and that's why these projects are falling flat".

Maybe so, but with Burden of Proof, If It Bleeds It Can Be Killed, and FKTG, those projects worked and worked REALLY well.

What I think a more interesting conversation is, and what I think the real key is, is that the Griselda business model has never been attempted or succeeded ever before. The idea that Conway in particular is maybe running out of musical ideas, may seem weak because he's only 5 years into his career.

But when you realize he has created 30-40+ projects during this span, should we really be surprised? I also don't want to knock him for putting out more good to great projects in 5 years than most rappers put out in 15.

That being said, I do think Griselda fatigue is starting to be a thing... so unless these guys really expand their subject matter, like both Conway and Benny did on Burden, FKTG, and If It Bleeds... their bread and butter style will inevitably become less and less filling as time goes by.

RMPP Preferred Cut: "Blood Roses"

Listen to La Maquina here: https://conway-the-machine.bandcamp.com/album/la-maquina 

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For artist development/writing services, DM me @rohview on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com

Let's stay connected! Find me here: https://rmpp.carrd.co/ 

(Go to 0:55 to skip the intro)

With all of Hus' music, his poetic outside-the-box lyrical approach consistently impresses and sets him apart. It doesn't matter what he's rapping about, whether it be some street content, braggadocio, or some romance talk like on this EP. No matter what, Hus always find a way to communicate in an interesting way, through clever turns of phrase, and strong wordplay.

This latest Threesome 2 EP is a perfect example of why rap is so untouchable as an artform. A project focusing on women, infidelity, sex, romance, is nothing new to hip-hop at all. Yet, it still sounds fresh because of the WAY in which he pens these rhymes and paints these pictures. It makes what could be played out subject matter, still sound interesting to the listener.

How Hus does this is by spitting game that isn't vulgar for the sake of being vulgar like much of our over-sexualized pop culture likes to promote... instead it's through cunning flips of common tropes, and abstract illustrations of sexual tension and innuendo that is so skillful.

The other defining trait of this EP, is the production. The production is mainly handled by Prynce P, who laces this EP with a smooth late 90s east-coast sound, sampling R&B/soul hits from that era. These elements give the EP a consistently classy feel, and adds to the game aesthetic Hus embodies on this project.

The sound of this EP successfully puts you in the environment of a late-night joyride with a pretty woman in the passenger seat... who may or may not be married to another ma... a very relatable situation for us all.

RMPP Preferred Cut: "Tell Me"

Listen to Threesome 2 here: https://open.spotify.com/album/15xFFA0azvVFU7xeO2r0Rj 

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For artist development/writing services, DM me @rohview on Twitter and Instagram, or shoot me an email at qlctv.podcast@gmail.com

Let's stay connected! Find me here: https://rmpp.carrd.co/