All posts in December 2013

Ryan Hemsworth – Ribs (Let’s Have a Sleepover Version)


Ryan Hemsworth, Canadian DJ and music producer just released his remix of Lorde’s “Ribs”, and truly created an enchanting and amazing track. Hemsworth’s skill in music production was very well demonstrated in the song, creating a positive energy by utilizing Lorde’s unique voice and adding quick beats and upbeat synths to construct a joyful and exceptional track. Enjoy.


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The Notable Hip Hop of 2013 (Part 1)

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While some cry that that Hip hop is in a dying state, the genre quietly had a huge year. This list is partly for the Hip hop heads, but partly for y’all who aren’t big fans, who may want to be knowledgable going into 2014. Here is our year-end recap of what we thought was significant, and our opinions on the projects as a whole.

(Part one of this list was written by Charlie Johns, while part two was written by Jesse Kilgore.)

Notable Listens of Late 2012:

Captain Murphy’s Duality:

Duality serves as a great example of unorthodox hip-hop. When the project dropped, the identity of Captain Murphy was a mystery only known by those featured on the tape, and surprisingly, they kept tight-lipped. In fact, the entire release of this project was a bit strange. The download was of a 34 minute long audio file, released along side a video, but I’ll talk about that later. Being that it was one long audio track, it was very easy to get lost, which only adds to the uneasy feeling that this tape gives off. This is accomplished through masterful production by Murphy himself, and a motif of a “How to become a cult leader” video. Now, the video that was released in tandem with the tape was something I had never seen an artist do. The video itself is very well produced, and is sure to be the way Murphy intends Duality to be consumed. Take the Captain’s advice. If you have the time and have your mind opened, Duality is a great listen, and is something of a standout in the recent past.

Kendrick Lamar’s Good Kid M.A.A.D. City:

Kendrick Lamar crafted a modern day hip-hop masterpiece. This album was the kick in the mouth the rap game needed. We hadn’t gotten anything with this sort of depth, complexity, or influence in the recent past, so when the project dropped it saw universal acclaim. It was much deserving of this. Serving as the follow up to Section 80 was a big task, knowing that the LP was also a success, just without all the recognition. Kendrick tells a very dark and enthralling tale with GKMC, with topics covered such as his troubled past, gang violence, and the overbearing influence of drugs on his life. A song like “The Art of Peer Pressure” really does take us through an interesting set of motions. Starting with a melodic instrumental paired with relatively carefree lyrics that talk of Kendrick being with his homies. The song soon takes a sharp right into a dark tunnel of his past, delving into a moment that is hard to rationalize by just saying he is with friends. Kendrick also manages to get a deeper message across on a few of the more conventional radio songs. “Swimming Pools” and “m.A.A.d. City” are both able to be powerful if you listen and read into the lyrics, but are lively enough to get radio play. Another thing I can really commend K on are his choruses. Christ, the dude can hit a hook. I think that is an aspect that makes GKMC so special. I remember so much from it just because the hooks really do their job of latching onto my brain and not letting go. Kendrick Lamar did something great. He was able to make an album that both had wide public appeal, but stays mad compelling to us hip hop heads that really appreciate a well-told tale.

Notable Listens of 2013:

Lil B’s Pink Flame: 

Brandon McCartney, AKA Lil B AKA Lil B the Based God is a California rapper from the bay area who has exploded with Internet fame in the past couple of years. This fame comes mostly from this ability to change from a very fun, carefree, ignorant rapper, to an inspiring, uplifting, and positive messiah. His biggest and farthest-reaching mixtape of 2013 is February’s Pink Flame. This mixtape was full to the brim with personality and charisma, and was incredibly well received by fans, but debated among Hip hop enthusiasts. What is significant about Lil B is the discussion that he starts. Lil B’s tracks seem to be very hap-hazardly thrown together, with little to no thought put in. As Lil B has expressed countless times, however, is that this is entirely intentional. Having the emotion of the moment flow through his songs is what matters most to the Based God. What it really comes down to is how you personally interpret the music. If you listen to it on a base level, his tracks really are just the product of muddy production and silly freestyled bars. On a deeper level, the represent Lil B’s creativity, and the sound he thinks are fun and meaningful. What Lil B makes people discuss is if fun hype tracks can be just as good as very meaningful, compelling songs, like those of Kendrick Lamar, and Chance the Rapper, which is what is what a lot of music fans need to think about.

Joey Bada$$’s Summer Knights:

Joey Bada$$ has had an interesting run so far in his young career. His first mixtape, 1999, saw universal acclaim, while his Pro Era clique gain substantial popularity in the wake of it. In July, to follow up the subpar Rejex, the Brooklyn emcee released his third mixtape, Summer Knights. What unfortunately needs to be said is that this is Joey’s first solo project he dropped after his life long friend and fellow rapper Capital Steez took his own life. His death shook Pro Era, given that Joey and Steelo had a type of synergy that is rare in the rap game today. Now for the project. What is most important about Joey Bada$$, and in some ways, Pro Era as a whole is their new New York sound that they have created. This is the main argument I have heard for why they are constructive for Hip hop today. Their sound, however, is so heavily influenced on the sound of 90’s New York boom bap that it really is impossible for them to truly progressive. I would argue that the haze and grime of both the Underachievers and the Flatbush Zombies move New York forward much more than Pro Era’s nostalgia. For the project itself, Joey’s rapping is pretty uninterested, only sounding actually hungry on a few tracks, one of those being “95 Til’ Infinity.” Production wise, Summer Knights is certainly a step up. Since Joey has a very deep roster of producers in the Pro Era clique, the project comes off as diverse and varied. As a whole, Summer Knights isn’t too progressive, but certainly isn’t bad.

Earl Sweatshirt’s Doris:

No one can take away Earl’s bars. His rhymes have always been well written and clever as hell. On Doris, we hear Earl move a bit away from lyricism revolving around rape to talking about his actual life. In some ways this is a welcome change; it’s great that Earl isn’t the one trick pony that can only write rhymes about the girl he has tied up in his basement. In others, his flow could be described as uninterested on this LP. I always get the vibe that the dude is doing this for the paycheck, just by the attitude he exhibits on these tracks. This was a positive release, in the end. Earl continues the solid legacy in his ‘discography,’ if you could call it that, and he lives up, as always, to the OF brand. Earl was able to widen his fan base quite a bit with this LP, and I hear the name come up for more legitimate reasons, more than just how shocking some found his first mixtape, EARL. I don’t think that Earl’s sometimes repulsive bars had no value, however. I actually think that if Earl had stuck to a more outrageous writing style, I would have left Doris with more. The songs were solid, but maybe a bit void of personality compared to EARL, which was sometimes unpleasant because of how drenched it was with character.

A$AP Ferg’s Trap Lord:

With a renaissance of sorts for the trap sound in 2013, we were given Trap Lord. Ferg has always been the voice that stands out in the A$AP Mob for me. Rocky is cool, and his flows are nice, but Ferg shines with charisma and humor. Speaking of which, Trap Lord is a mad funny project. It’s really nails the loud, dumb, and fun sound that is so great about the trap style, and Ferg’s flow and tone blends perfectly into the mix. His rhymes are thick with flex bars, but given that Ferg is aware of the sound he is going for, they make the tape all the more entertaining. And that is just it. Trap Lord is super entertaining and easy to get through. Even if, in some ways, a bit falls flat, the next song is there to make it a good moment. When Ferg has a more intimate moment with the song “402,” and it doesn’t do much for the tape as a whole, the next song is there with a hook that goes, “I fucked yo bitch, nigga, I fucked yo bitch.” These moments are what make Trap Lord such a cool and constructive project. We don’t always need to have culturally sensitive bars. Sometimes we need some noise that will just make you move and give you a laugh.

Eminem’s Marshall Mathers LP 2:

This is was very excepted project out of the self-proclaimed rap god, Eminem. The Marshall Mathers LP 2 was Em trying to tell his fans he was going back to the sound of his prime, given that the name suggests that this was a sequel to his incredibly sucessful, The Marshall Mathers LP.  For me, what is synonymous with Eminem’s greatest tracks is that they challenged what Hip hop was, and this album did nothing but wallow in nostalgia. To give credit where it is due, Eminem spits really well on this project, and churns out some really catchy and engaging joints. Unfortunately, they don’t have the added bonus of doing anything new. Eminem’s classic points to rap about have all been covered in a bigger and better way before this LP. Just for a quick example, the opening track “Bad Guy,” is meant to be rapped from the perspective from Stan’s son. We really don’t need another “Stan” because it is an incredible song already and on its own. This is a lot of what MMLP2 is to me. It’s charted territory, it’s expected, and overall, it is a record that Eminem has made before. What really helps people connect with Em are his honest, heavy, and uncensored bars. We are just hearing these types of bars for the 5th or 6th time, so they aren’t as emotionally engaging and meaningful as they was the first time we heard them.

Death Grips’ Government Plates:

Death Grips dropped a real gem in October of 2013. Government Plates deviated from what the fans had come to expect from this heavily experimental Hip hop trio. The new project had its leg much more in the electronic pool, rather than the predominately drums and keys production of their past releases. Government Plates ended up being one of their most debated releases among fans. Some saw the change in sound as Death Grips finally bending to what the popular sound of today is, while others saw it as a really fresh change of pace. Both sides of the argument are understandable, but at the end of the day, this was a great release for the group. They kept their already progressive sound moving forward. Government Plates truly does earn and deserve its spot in the Death Grips discography.

Flatbush Zombies’ Better Off DEAD:

Better Off DEAD was a really rare release. This was the second mixtape out of the Beast Coast trio, the Flatbush Zombies. Groups of rappers normally make me nervous; it takes such talent and reciprocity to have several emcees synchronize in a way that produces good music. Luckily for us, the Zombies pull it off in an incredible way; they are the complete package. First, Meechy Darko, who many would call the lead emcee, has a voice that practically was made to spit. The deep and textured gruff of his delivery only adds to the general grime of his lyricism. Next is Erick “The Arc” Elliott, who produced this mixtape, and jumped on more than a few verses. His production is absolutely terrific on this project, with variation and personality being its best traits. Rounding out the trio is Zombie Juice, who is a solid rapper with a really unique height to his voice. Truly a key part in the trio, however, Juice can easily be distinguished as the least notable of the group. These three dudes come together in a huge way that makes Better Off DEAD, in my opinion, the most unique mixtape that came out in 2013. Seriously fam if you are going to pursue any project that we talk about, this would be the one. I can only see good coming from this group in 2014, so look out.

Clipping’s Midcity:

Deep and complex at times, and ugly at others, clipping released their new album, Midcity. Clipping matches some ridiculous flows from California Rapper Daveed Diggs, with incredibly glitchy and experimental electronic production by Jonathan Snipes and Rail. The instrumentals get to point where it is tough to discern their purposeful messiness as meaningful or just trying to be off the wall. The best example of this is on the track “five” where a dog whistle introduces itself into the melody. What I think really shines on this album, though, is the rapping of Daveed Diggs. The dude is such a technically solid and sound emcee, with some absolutely dynamite flows. Nowhere is this better demonstrated than on the intro track, where Daveed spits some absolutely unreal fire, with some super clever bars. “intro” as a whole is a good mirror for this entire project, actually. The production is so disjointed, and is seemingly just a tangle of electronic noise, with smooth verses in between the assaults. Midcity is such a fascinating and different listen than so much of what the 2013 rap game had to offer. Mad compelling, must cop.

Childish Gambino’s Because the Internet:

Because the Internet was Childish Gambino’s second studio album that was dropped to much excitement, but little vitality. His fans were pretty hyped, given that months earlier, Gambino seemingly disappeared from all of his social media outlets, thus making another project unlikely. There are more than a few tracks that stand out as distinct and enjoyable on this LP. His rapping makes this a very entertaining listen. Tracks like “Sweatpants” and “The Party” display this well, with machine gun flows and tricky word play. Childish is a vibrant rapper. For the majority of this project, however, his writing is full of self-pity and sadness. Not to say this cannot be done well; a song like “No Exit” does a lot of compelling things production-wise and over is something unique. In my mind that is what this record needs more of. Because the Internet is in no means a bad release. Gambino fans however, over hype it as the most thought provoking album of the year.

Pusha T’s My Name is My Name:

Serving as a followup to his very early 2013 mixtape, Wrath of Caine, Pusha T released his debut solo album, My Name is My Name. Pusha T was part of the mid 2000’s rap collaboration, Clipse, who released what many to see as a modern day Hip hop classic, Hell Hath No Fury. With Wrath of Caine under his belt for this year, Push was still unproven as a solo artist, with the project only leaving fans with five or so compelling joints. My Name is My Name, released October of 2013, is something new and different for the rap game. Push’s tone is so incredibly weathered and mature for today’s trap sound. His bars are full of very literal wordplay, which is surprisingly absent nowadays. His rappers he chose to hop on the project all add constructively and fit well thematically and sonically, which is a change from many modern features. The only real complaint that I have is that the album was sitting on a layer of modern pop-rap tracks. These types of tracks are only found in a few spots through this LP, but they unfortunately make their presence known. A song like “No Regrets” was a major bump in the road while I went through this album. Overall, Push created one of the toughest sounding listens of 2013, and it came off as incredibly fresh in the process.

Still looking for Acid Rap, Wolf, and Yeezus? Check out our second part to this list!

The Notable Hip Hop of 2013 (Part 2)

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Hello everybody, this is my continuation of the Notable Hip Hop Releases of 2013.

(This part was the doing of me, Jesse Kilgore, while the latter was Charlie‘s hustle.)

Notable Listens of Late 2012:

Death Grips’ No Love Deep Web:

No Love Deep Web continues the previous work of Death Grips’ Exmilitary and The Money Store albums with visceral, horrifyingly gruesome and profane lyrics and themes.

MC Ride’s vocals and lyrics being front and center come off as aggressive and psychotic as usual. Bone chillingly detailed lyrics of mutilated bodies, extreme drug abuse and sociopathic levels of recklessness.

NLDW’s lyrics and themes are arguably slightly toned down from the previous 2 albums but first time listeners will certainly have to do some adjusting because even with the Death Grips at their lowest, one will be hard pressed to find a rap group as brutal and raw as the Death Grips.

Comparatively, NLDW is far from The Money Store and Exmilitary’s genius. By itself, NLDW is certainly a good album, but overall lackluster and unfulfilling. Certainly recommended but do yourself a favor and give Death Grip’s previous work a listen, only if you’re prepared to listen to something that can only be described as hellish.

Notable Listens of 2013:

A$AP Rocky’s Long.Live.A$AP

Early January saw the debut full-length album of arguably one of hip-hop’s current largest new artists, A$AP Rocky and his Long.Live.A$AP project. Long.Live. is the amalgamation of flavors of many genres and styles of hip-hop music rolled into one, similarly to his previous Live.Love.A$AP mixtape. Rocky’s image varies throughout the album from a blunt blowing, pistol packing goon too a high fashion fiend to a nostalgic and even damaged teenager, playing each of these roles to near perfection, making each sound coming off this album highly believable.

While my impressions overall on Long.Live. are very positive, this album has some low spots, specifically on the songs “Hell,” “Pain,” and some terrible singing on “Fashion Killa.” None of these songs are out right bad or album ruining but leave a sour taste, just minor irritations that do slow the album down even with some of what I believe are 2013’s best hip-hop tracks like “Angels,” “Suddenly,” and possibly one of the best lineups for a posse track ever, “1 Train.”

Long.Live.A$AP isn’t a cohesive story strung along an entire album, it isn’t entirely thought provoking or incredibly deep, however it is one of the most enjoyable listens of 2013.

Kanye West’s Yeezus:

Kanye West’s Yeezus is without a doubt one of the most interesting albums that you’ll come across this year and is likely to spur much debate with your fellow hip-hop heads.  Instrumentally Yeezus is possibly the most “out there” a main stream hip-hop album has ever gone. Noiser, harsher and more crushing than nearly ever other hop-hop album to this day mainstream album out. Yet Kanye isn’t the first one to hop onto this industrial experimental hip-hop train with artists like Death Grips gaining traction in the under ground world.

Lyrically Yeezus sounds very rushed for Kanye . Painfully basic hooks, simply trashy lyrics and overall boring songs. To me there are only two great songs on Yeezus, “Black Skinhead” and “Blood on the Leaves.” The other 8 songs vary from being just bad to somewhat tolerable.

Yeezus is an interesting album that’s sacrificed great production for terribly basic lyrics.

M.I.A.’s Matangi:

M.I.A. is many things, artist, producer, philanthropist, political activist, controversial public figure and the lead artist of my personal favorite album of the year Matangi. Known for her politically charged lyrics, M.I.A. doesn’t sacrifice a meaningful message for sonically enjoyable music that could easily be seen as fun dance club music. Instrumentally, M.I.A. has always stayed fairly experimental and world-beat with some electronic and hip hop influences. However, with Matangi,  M.I.A. has gone even further with her experimental sound. Loud, abrasive, and sometimes rough on the ears, this project’s production is not too far off of what you might hear on a Death Grips album.

Matangi has an incredible well mixed variety of sounds from more traditional hip-hop with songs like “Bring the Noize” to a pop rooted track like “Come Walk With Me” to the incredibly odd and eerie “aTENTtion.”

M.I.A. vocally does come off as whiny and even inexperienced on a few songs, even though she’s been making music for 13 years now, but she can still also deliver rapid fire and hard hitting flows on her songs. If there is one discernable flaw to Matangi, it’s M.I.A.’s inflection and delivery one some of these songs.

Matangi isn’t exactly progress for M.I.A., but a continuation of a peak of brilliance that dropped off after her previous MAYA album.

Danny Brown’s Old:

Following a similar formula to Danny Brown’s previous album, XXX, Old features a selection of crazy drug fueled party tracks and serious, dark songs on each of their respective “sides” on Old. Danny’s choice to separate his album into two different sides depending on the topic or theme works just as well if not better, as it did on XXX.

When it comes to instrumentals, the party tracks or “Side B,” are far more electronic influenced. Whizzes and whirrs like on the song “Handstand” are the norm for this side. On “Side A,” the more serious side of the album, range from conservative and minimal to a traditional sounding hip-hop song like “The Return,” to the melancholy pan flute led song “Wonderbread.”

Lyrically Danny Brown’s staples of drug addiction, the highs and lows of his guttural hood life in Detroit and his upbringing are all present. Not atypical of Danny Brown but not in the slightest tired of repetitive.

Much fun can be had while listening to this album, but on the other hand, you can easily get lost within Danny’s deep wordplay and vivid stories.

Tyler, the Creator’s Wolf:

California MC and member of the Odd Future collective, Tyler, the Creator comes through on this newest album Wolf and provides a much more enjoyable listen than his last two albums.

Not being a fan of his previous work, I was looking forward to Wolf to see what Tyler would try next. Tyler covers some old, maybe typical, topics such as his lack of a father and issues with his newfound fame. However, Tyler redoes these stories in a way that’s far more interesting and engaging to listen to than his efforts on these topics on his past albums.

Instrumentally, Wolf isn’t that atypical of an Odd Future project. Synthesizer heavy, chilly and hollow fits most of the songs on Wolf, like on the songs “IFHY” and “48.” There’s also a stable of smooth and even classy instrumentals like on “Colossus” and “Awkward.”

Not without it’s low spots, Wolf does have some of my favorite OF songs, even some of my favorite hip-hop songs of 2013.

Chance the Rapper’s Acid Rap:

Chance the Rapper after the release of his 10 Day mixtape, grew a surprisingly large following in lieu of his 2013 project Acid Rap.

Chance shows himself off as incredibly witty, smooth and clever through out this mixtape despite being bogged down with copious amounts of drugs, a favorite of his being acid, hence the title “Acid Rap.”

Acid Rap is oozing with personality from Chances voice and vocal inflection, typically rapping in the higher registers of his voice with a slight rasp. Another touch to Acid Rap’s loveable “personality”, if you will, is Chance’s emotion he puts into his sound writing. Most of the songs on Acid Rap feel completely genuine and heartfelt, even his more sleazy songs.

What’s important about Acid Rap is what it does for the hip-hop genre. With the release of Acid Rap, hip-hop saw many new fans because of Chance’s ability to meld a very relaxed and easy-to-get-into song with a multilayered deep and soulful meaning.

Being such a young up-coming artist, Chance has a promisingly large and prosperous, even genre changing career. Chance must be on any music fans watch list.

Mac Miller’s Watching Movies with the Sound Off:

Mac Miller has grounded himself in the stoner rap, party boy, sound with his previous work. Generally uninspired, lazy lyrics and a simply boring sound, no thanks to his horribly weak punch lines and flow.

Watching Movies With the Sound Off is undoubtedly progress for Mac. Better instrumentals, mixing trap rap with his braggadocios and hazy sound. More clever lyrics, precise and thought out flows.

Far from one of the must listen essential albums of 2013, WMWTSO is important because it shows Mac Miller’s progress as a rapper and artist and breathes new live into his career with a newer fresh sound.

Kid Cudi’s Indicud:

Kid Cudi hopped into the rap game with a new dark and lonely style of hip-hop that’s catchy enough to gain much radio play with his breakthrough hit albums Man on the Moon 1 and 2.

Indicud also follows Cudi’s themes of loner rap but with a far less enjoyable sound. Indicud is a tad more experimental and darker instrumentally, vocally too with some odd filters or effects on his voice. However these pushes for a more experimental Cudi sound aren’t refined enough to produce an actually enjoyable listen, at least not even close to the levels of the Man on the Moon albums.

Even for a die-hard Kid Cudi fan, like myself, Indicud may be a disappointing listen. Far from a bad album, Indicud does fall very short of even Cudi’s debut mixtapes, let alone his legitimate albums.

Miguel – Sure Thing (ELOQ Remix)


Copenhagen producer ELOQ just put up his take on Miguel’s “sure thing”, mixing up his trap beats with Miguel’s soothing vocals to create a great chill trap jam. The only remainder from the original song is the lyrics, ELOQ’s beat pattern and new melody completely change the song to make it unique and original. ELOQ mostly sticks to remixes, but be sure to check out his sound cloud, which also has a scattered assortment of original mixes, and some free downloads.


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Eargrub’s Top 20 Rage Tracks of 2013


2013 has been an insane year for us. Beginning in only February, Eargrub has grown to become a monster none of us expected (that’s what she said). The support you guys have shown us has been unreal and we thank you for that. Now to get down to business. The team and I have compiled a list of our top 20 rage songs of the year into one cohesive playlist. In no specific order, I present to you Eargrub’s Top 20 Rage Tracks of 2013. Enjoy.

– Dave


1. What So Not – Jaguar
2. Martin Garrix – Animals
3. Carnage – Michael Jordan
4. Steve Aoki – Boneless
5. Jackal – Shakedown (LOUDPVCK Remix)
6. Diplo – Revolution (feat. Faustix & Imanos and Kai)
7. Kai Wachi – In My Blood feat Uffy Lane Snyder
8. Project 46 feat. Matthew Steeper – No One
9. Borgore – Decisions ft. Miley Cyrus
10. DVBBS & Borgeous – TSUNAMI
11. Don Diablo – Edge Of The Earth
12. Disclosure – You & Me ft. Eliza Doolittle (Baauer Remix)
13. Topher Jones – Talk About It
14. Flosstradamus & Yellow Claw ft. Green Velvet – “PILLZ”
15. Dj Snake & Alesia – Bird Machine
16. Dillon Francis – Without You Feat. Totally Enormous Extinct Dinosaurs
17. Major Lazer – Original Don feat. The Partysquad (Flosstradamus Remix)
18. Audiobot – Galactic (Original Mix)
19. Love Sosa (RL Grime Remix)
20. Valentino Khan – The Dip


Mr. Carmack – Riff Raff Is the Devil


The Hawaii-based producer Mr. Carmack killed it in the beginning of this year, and now he’s ending it even better. From the launch of his self-released tracks “Bang” and “Life/Death EP” that hit  #1 on Bandcamp this January to appearing on BBC Radio 1 multiple times over the course of 2013, Mr. Carmack really wooed us all. He just released his newest song “Riff Raff is the Devil”, and this one demonstrates his slightly experimental bass style that lingers in each of his tracks. Here he completely blends hip hop and dance in a perfectly progressive manner so that a pumpin, upbeat tune is created. The heavy bass line, intense synths, and piano riffs are all mashed up with a distinct (and killer) percussion mambo truly set the stage for a sick track. The hip hop tone of this song can be linked to the puffs of Riff Raff’s “Show You How to Be a Man” jamming in the background, which adds a fantastic beat. All in all this song couldn’t really get any better, and Mr. Carmack’s world domination has only just begun.


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Skye Chai – Polarise

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Skye Chai is a talented 20 year old music producer from London, who just released a new single, “Polarise”. The track begins with a lengthened fade-in, constructed of soft synths and relaxing waves, then transitioning into heavier drum patterns and distorted vocals. His techniques in music production leads to all of his songs harboring immensely dreamy vibes. Skye Chai definitely deserves more fame then he has received, so check out more of his music and download the track for free directly off the Soundcloud link.


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Vicetone – End of Year Mix (2013)


The duo of Vicetone has had arguably one of the biggest years in 2013, coming out of the shadows to become one of the biggest and best new EDM artists in the game right now.  Every single song they come out with is an instant banger that people rave about.  We are fortunate enough to be graced with an hour long mix by the masters themselves – so I encourage you all to sit down and take a listen and enjoy it!

And the best news of it all is that it is completely free to download at Soundcloud!

– Nick




Baauer – Good 2 U


Baauer, a music producer from New York City is back with a brand new original song called “Good 2 U”. Baauer is famous for his style of using fast heavy beats, powerful bass and unique sliced up vocals to create a special sound in all his songs. In “Good 2 U” these techniques are very well demonstrated, creating an intense listening experience, ensuring you to get pumped up. Download the new song for free directly off the Soundcloud link.


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Meechy Darko – The Baby of Rosemary’s Baby


Flatbush Zombies’ lead emcee Meechy Darko dropped some fire tonight. “The Baby of Rosemary’s Baby” is produced by the very familiar Erick “The Arc” Elliott (also a Zombie), but has an uncharacteristically upbeat and cheery instrumental. The production actually worked very well with Meech’s signature gravelly voice and sinister wordplay. This is a very intriguing listen, in the context of the Flatbush Zombies. Their 2013 mixtape Better Off DEAD is the definition of grime, combining varied, but normally dark and dank production with disturbed bars coming from all three Zombies. This track, on the other hand, still keeps the tone and atmosphere that Meech’s voice creates and pairs it with considerably lighter production. It’s a different taste, but it’s still quality. With the success that Better Off DEAD saw this year, maybe this is Meech taking his first steps into doing his own thing. I’m all for it. If he keeps rapping as hungry as he has been, nothing is going to stop this dude. And fittingly, the song fades and Meech continues to spit, which only leaves me wanting more. Now, go and enjoy “The Baby of Rosemary’s Baby,” and keep your fingers crossed for a solo project.

Also, download Better Off DEAD if you dig Meech’s sound.

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Charlie Johns