Lunch Money (Prod. Kanye West)
Pusha T has had one of the most interesting career trajectories in hip-hop–from legitimate dope dealer to half of one of the greatest hip-hop duos ever to a potent solo artist and Kanye West‘s go-to feature emcee. His debut solo album, My Name is My Name, cemented his relevancy in the current rap landscape with its ferocious lyricism, versatile storytelling and general crazy-eyed energy. Naturally, his work with his G.O.O.D. Music label-boss, Kanye West, has marked some of his most groundbreaking recent work (see: “Numbers on the Board”) and today we get another collaboration with the first single from his upcoming 2015 sophomore album, King Push, which is due out early next year.
“Lunch Money” sees West once again crafting an unorthodox, minimalistic instrumental for Push with a bubbling, looped pad and a stuttering sample reminiscent of some of the Neptunes productions from the Clipse days. As always, King Push brings the heat with lines like, “Shout out my Mac-11 mobsta/Grew up on Nintendo playing contra/and though that n***a only 5’9″/100 bodies on his timeline.” Eghk…
It’s becoming overwhelmingly clear that we’re going to have a new meaning for Ol’ Number 7. Yes, we all know of that moniker’s ties to the classic sour mash whiskey. And for all of you Mile High Magic fans, you know we think of one thing when we hear “Number 7.” However, LA grunge rapper Jez Dior keeps dropping tunes that make us want to associate just one more thing with that profound nickname, and with one listen through “Leather,” you’ll understand why.
Dropping earlier today on Mr. Dior’s soundcloud, “Leather” boasts a slightly more speedy flow than what we’re used to from this budding young artist. While he casually speeds over counts, at times, he slows it up with ease, switching up lyrical cadence at the drop of a pin. That classic change of pace becomes even more evident when he switches gears to those smokey choruses, this time, completed with crunchy guitar riffs.
We would be remiss to glaze over the instrumentals, whose percussion-heavy approach provide a sturdy backbone for the artfully crafted lyrics. It’s a match made in harmony, one of which we won’t be able to soon forget. Get used to hitting repeat on this one. It’s pretty much a guarantee.
Kingpin (feat. Big Sean)
RL Grime‘s highly anticipated debut album, Void, is out next week and, if the releases thus far are any indication, it is looking like a massive project. Today, we get the Big Sean-featuring “Kingpin,” yet another strong release that stands in contrast with the laid-back “Remember” and festival bangers “Scylla” and “Core.” RL Grime’s production style shines on this one with trapped-out production accompanied by a swooning hindi vocal sample–the perfect backdrop for Big Sean’s punchline heavy lyricism. This is the type of song perfect to slap in the car at high volume, preferably in a residential neighborhood. Void drops November 17th and can be pre-ordered here.
Pure (prod by Jacques Greene)
The fusion of hip-hop and electronic music has been an on-going experiment since the rise of EDM that has proven potent when executed correctly. Of the many forward-thinking emcees with electronic beat selection, Atlanta’s Rome Fortune stands out as an exceptionally original example. His debut mixtape, Small VVorld, saw him maneuvering effortlessly over uncharted experimental soundscapes from the likes of Four Tet and Bassnectar.
Fortune’s latest release is yet another display of his versatility as he delivers a particularly personal song over an ethereal, lush instrumental from Montreal-native Jacques Greene. “Pure” sees Rome Fortune venting about disingenuous relationships and ulterior motives but also finding the strength to shake it off with the chorus, “I ain’t mad at all, but why can’t I find something pure? For once in my life.” Enjoy this powerful track, and grab a free download, above.
TMN: Hey guys. Thanks for taking some time to sit down with us. Let’s talk about the tour at hand right now. You guys are cruising around with one of our favorites, James Vincent McMorrow. Did that have anything to do with your stellar remix of “Cavalier”?
James Vincent McMorrow
Cavalier (MOORS Remix)
Keith: Yes. We had done a remix of BATHS’ “Miasma Sky”, and I think some of his people heard it. So, they contacted us and asked us if we’d like to remix “Cavalier.” After he heard it, he became a fan as well, and made instrumentals to it. I was like, “I fucking love this,” and wrote to it. We sent the remix back and they really liked it and invited us to come on tour with us. It’s a really great opportunity for us to expand.
TMN: It’s an interesting contrast as far as a line up goes. You’re definitely playing for a crowd that might not be expecting what you guys do. How do you handle that going into each show?
Keith: I don’t really think about it too much. I think what we’re doing musically is kinda different. It takes a lot of courage to do something like this. I respect JVM for having that. We go into it just expressing ourselves. If people like it – awesome. If not – cool.
Miasma Sky (MOORS Remix)
TMN: Speaking of that remix, we’ve been seeing an influx of that style lately – where not only is the music reinterpreted, but there’s also a verse thrown on to truly make something unique. Did James’ vocals inspire that verse?
Keith: His vocal style is different than a lot of shit than I’ve heard. To me, it has like a RnB-ish feel to it, which is something that I gravitate to quickly because I’m a big fan of RnB, especially that early 90′s shit. When I first heard the song, I thought he was black. Then when I saw him, I was like “ah, shit!” It just opened up my mind.
I think that’s what drew me to it. His lyricism is great too. It’s metaphorical and has you thinking a lot, and I’m a cerebral individual, so that shit just stuck out to me.
We always had in our minds that anything we remix, we’re going to try and put a verse to it. We’re going to try to remix things that aren’t traditional hip hop. We want to do things that challenge us and the listeners to get into something different. We think that hip hop is multi-dimensional, so we want to express that.
Eminem, Royce, Big Sean, Danny Brown
Detroit Vs Everybody Shade 45 Rip (prod. by Statik Selektah)
In a major move that almost nobody saw coming, Eminem assembles a few of Detroit’s finest to form a monster collaboration that pits the city’s top dogs against the rest of the rap game. This is a team up that fans have been pining after for awhile, and it’s great to see all of these Motor City natives assembled together under one roof. Featuring some heavy hitters like Royce Da 5’9″, Big Sean, Danny Brown and Dej Loaf, this absolute banger finds each emcee in top form as they trade indelible bars over a stadium worthy Statik Selektah instrumental. We won’t make a judgment on who murdered their verse the hardest, but it’s definitely closer than you might expect.
It’s only appropriate that the track would be featured on Marshall’s upcoming Shady XV compilation project, dropping later this month on November 24th. Those interested in copping this single before that date can pre-order the project on iTunes now. And if you haven’t had enough Eminem, check out the “SHADY CXVPHER” he released earlier today that features Slaughterhouse and Yelawolf, after the jump.
Black Out Days remix ft. Danny Brown and Leo Justi
Given hip-hop’s influence on their sound, it comes as no surprise that emcees are drawn to the music of Phantogram. Aside from their work with Big Boi, the electro pop/rock duo have seen a number of rappers flip their songs into instrumentals–Ratking‘s take on “Fall in Love” is maybe the best example. Today, we get another stellar hip-hop re-work as Phantogram enlists Danny Brown and Brazilian producer Leo Justi to take on one of their many hits, “Black Out Days.”
Justi does an absolutely amazing job keeping the original in tact while picking up the tempo with 808-percussion and layering of portions of the vocals. At about the 1:45 mark, the beat takes a brief backseat as Danny Brown steps in. When the instrumental returns, the talented emcee hits his stride demonstrating his hard-hitting delivery. Lyrically, this might be one of our favorite verses from Brown so we recommend giving it a close listen. You can check out our interview with Phantogram here if you haven’t already.