Loki lets off his energy over an epic synth-strings motivational beat in his single, “Ambition.”
Fans of the Wu-Tang Clan, Roc Marciano, Crimeapple, Daniel Son, Knowledge the Pirate and Conway should lock their ears onto Shaolin Luciano. His Bandcamp is a remix showcase that any boom bap enthusiast would argue that he’s making “improvements” not just “remixes” to a whole array of music: from slowed-down drum ‘n’ bass classics inverted into neo-boom-bap masterpieces. The most recent remix effort is Shaolin remix single of Le Zeppo and Double Profit’s “Nightcrawler.” Crisp snap-n-crack drums coupled with a melancholy, Taxi Driver-esque soundscape mellow brass loop, giving a whole new vibe to the initial release. With the new atmosphere to the legendary flow-of-consciousness rapping of Le Zeppo and DP, after listening to this remix, you’ll never want to go back to the original.
Uni V. Sol has been labeled as a “rising hip hop star” by Chris Jordan of the Associated Press, and his Ya Royal Flyness EP, which is a collaboration between Uni V. Sol and the producer collective, The Archangels, takes a left turn to create what Uni labels as “Dookie Stank Music to keep you Ghetto Groovin’, dig it.” As independent musicians, the group is able to offer a variety of styles from hard-hitting, head-nodding beats and razor sharp lyrics to a heartfelt soul-hop vibe.
Uni V. Sol X The Archangels have created to videos to support the 6 song EP, “No Rush” which is a lyric video and the latest music video “Ya Royal Flyness,” now available on YouTube. The EP has been released on all streaming platforms as of Sept 21, 2018.
About Uni V. Sol:
Uni V. Sol is an independent music artist disguised as a voice actor located minutes away from NYC, and is a go-to male vocalist for DJs and producers around the world. Uni as has opened for rap acts like Wu-Tang Clan, Tech N9ne, MGK, Redman and more. His voice can also be heard in commercials for Nike, AT&T, Pepsi an many others.
Three AM Fuxk 2nd album release, Clown, is an underground Soundcloud hybrid rap-emo-metal gem. The self-produced album opens with dark banger “Okay Maybe | Overreacted,” which shifts from reverb-flooded monotonal low vocals to angst-filled shouts and a pumping 808 bass booming around the low-end.
The 2nd track continues as a genre leap, “Clown,” an emo-inspired opening, which alternates between the monotonal-and-shouting vocals that “Okay Maybe | Overreacted” introduced, as well as emo singing.
The sudden variations between driving beats, dark cathedral-reverb-like monotonal voice with no beat, and then shouts, and dying fades midway into the track satisfies any underground rap enthusiast. The brooding synths of “Someone Else” with featured artist Koitres, the thriller-style “Pu$$y” with featured artist Marco Tasane, the depressive piano of “Suicide Notes,” the still ambience of “Summer,” the dark bass-driven forest of “I’ll Be Fine,” the minor-chord progression-driven feel of “Sad” (with featured artist, deeprest), “Fuxk My Feelings,” “It Never Ends” and an unusual surprise final track, shifting between an epic symphonic string, almost New Age style opening, then quickly stabbing in with an epic emo-metal chorus to finish off the album with an unexpected glorious death.
Columbus hip-hop artist Tieran bares it all in his new self-produced single “Sick.” The introspective track is written like a diary and Tieran certainly does not hold back, voicing his disappointments with his life and his musical pursuit. Tieran’s upcoming album ‘Deep End’ is set to release 9/28.
Tieran is a Columbus-based rapper and record producer from Lancaster, Ohio. He’s performed alongside acts such as KYLE, Joyner Lucas and Hopsin and has been featured in the likes of EARMILK, 2DopeBoyz and Word Is Bond.
Aaron D is a deeply intelligent MC whose appreciation of lyricism and conscious topics merge with a trap, slap-in-the-face aesthetic. Keeping his composure, calm, commentating on a wider perspective of the world, blending with personal stabs, but with an abstractedness that lets the listener fill in the gaps of what he’s meaning. The “Trap” EP is an entanglement of determined seriousness, abstract expansiveness and stream-of-consciousness thought experiments. His vocal lyricism tunnels into dense bass-filled beat forests and spreads tentacles into as far as the listener wishes to contemplate a string of phrases. “Trap” seemingly has all the elements of a modern underground rap classic, but if you try to decipher the inner goings-on of the lyrical tapestry, you’ll forage a labyrinth of possibilities and have a constant bass-driven hypnosis underlying your experience.
Unsigned, unknown, unheard (at least for now) you’d walk past KF Greatness and fail to recognize under his humble external appearance the passion burning under the surface. But his mixtape France Nights boldly cuts straight through the fluorescent flamboyance of 2018 rap by relentlessly pumping an AR-15 heart through a 19-year-old throat that sounds like it’s been inhaling and exhaling smoke for 30 years in an underground car park—a sound other rappers and producers are fiddling with pedals and plugins to try reach. An outsider to the mumble and cursive styles of his Soundcloud peers, KF Greatness articulates lyrical clarity with a flow so natural it sounds like he was forming rhymes when everyone else was just starting to say “Mommy” and “Daddy.”
Throughout France Nights, KF Greatness seeks to brush away the layers of negativity, fabrications and falseness surrounding him, and express the inner voice that speaks his truth: self-reassurance, self-motivation, self-determination and hard work to remain adhered to his goals and work (“My Calling” and “Steady Grindin”), relationship problems (“My Trust In”), appreciation and blessings for his family (“Outta Here/Family”), finding strength to pursue his dreams despite ongoing criticism and negativity (“Doubted Me”), the little devil on KF Greatness’ left shoulder deploying a diss track against his unbelievers (“Alter Ego”), the inability for KF Greatness to be understood, where as much as he outputs, he can’t get all the experiences he’s had through to people (“Understand Me” and “Thru It All”).
In an era where the introverted lyricist come up is getting replaced by extravagant buzz-generating social media experts, the search to find and communicate realness, values and awareness of one’s movements in society remains to be the undying essence of hip hop that lives on through KF Greatness. No matter how many views, listens and likes accumulate, KF Greatness is focusing on just one view—his own—and being true to it.
Surrounded by luxurious California perfection—smooth low rider cruising in spacious, weed-enhanced Cali air, loose bills on the floor, wads of cash in hand, big bags of the good herb, and spicy video hoes—CTB (Calitreeboy) flaunts textbook West Coast status in his new single and music video, “On Me.”
Filmmaker Angelo Deprater‘s cinematography blends the sleekness of the Cali vibe together with subtle bouncing elements—the convertible’s green furry dice, sharp rhythmic video cuts, and even tree branches—visually mirroring producer Imakefirebeats’ drum and bass grooves. The video dances with the percussive hits and smacks, the 808’s leaps and slides, and the Chronic-era reminiscent low synth stabs.
CTB’s presence, both vocally and visually, takes center stage. Cellphone in hand, smiling at the good life, serious at the work ahead for the better life, he’s the hard work-focused entrepreneur that makes time for a good time, available to talk if money’s involved, and enjoying every moment of it. Musically, his melodically-enveloping vocal delivery rides the beat with confident and effortless calm.
Lyrically, “On Me” takes swings at the core of personal responsibility: that your life is what you make of it. An interweaving of creative wordplay, sometimes simple and to-the-point (“hit the club and my energy is felt, touch a bitch and her pussy starts to melt”), other times comedic (“hit my line all I understand is money, I’m mean to my bitch like Al Bundy”), but the essence of CTB’s message that penetrates the peaks and valleys of entrepreneurial emotion in the hook:
“Everything’s on me.”
“If I get to the top, it’s on me.”
“If I don’t do nothing… on me.”
“Man I’m buying out the bar, it’s on me.”
Starting with accepting full responsibility for one’s actions and success “Everything’s on me, if I get to the top it’s on me,” the hook dips into the opposite introspection that internally burns anyone wasting their time—”If I don’t do nothing… on me”—and from that wake-up call, immediately kicking into optimistic wordplay suggesting that CTB has the means to “buy out the bar,” that he’s doing well, sharing his success with his friends.
If CTB is aiming for the top, then he’s definitely gaining respect and fans on his way up from this single and music video. Such top-end, integrative production demands attention.
44faced Personal Note: As a reviewer, I listened to and watched the song and music video multiple times, and the more I did, the more I enjoyed it. The hook and the overall optimistic Cali vibe of the video all left a positive vibe in me that I took with me into my day following it.
Rappers On The Come Up is a compilation dedicated to featuring rappers hustling to express themselves through their music to the world. Today, on one hand, we have all the means available to post our music and art through multiple channels and share them with the world. Yet on the other hand, the massive volume of posts coming out daily, the fierce competition to gain attention, and the increasing difficulty of many people to make ends meet makes it tough to gain the exposure that many artists deserve. Many don’t have the knowledge or the budgets to make their music known to those who would appreciate it. Rappers On The Come Up is here to showcase top rappers on the come up, presenting you with a track of their choice, and making it easy for you to follow them online. If you’re a new rapper on the come up, then with no strings attached, it is free to submit music to this compilation.
The compilation is divided by region. Click on a region to find new rappers on the come up according to the region, and connect to them…
California Rappers On The Come Up
Featured Track: Change Up
Ben Green’s Change Up has a unique backdrop of melodies and an electrifying beat that really matches Ben’s unique lyrical delivery. This song clocks in at slightly under the two-minute mark, packing a lot of punch and a unique attitude. The most stand-out element in the mix is actually the drum machine sound, which reminds me of the unmistakable thump of the 808-style drum machine. The melodic backdrop has a haunting and atmospheric feel, that suits the tone really well, particularly because it is never overpowering and allows the beat to stand out as much as possible. The vocal track is perfectly suitable for the song’s trap attitude. The greatest thing about Ben Green’s vocals is certainly the fact that he can be as direct and in-your-face as the best rappers out there, while on the other hand, add a lot of melody to the mix.
Ben Green Bio
Emerging from Venice, CA and at only 20-years of age, the aspiring Rap/Hip Hop and R&B recording artist delivers up a versatile and multifaceted signature sound and stylization with his witty rhyming techniques and next-level dynamic vocal projection. Determined to make his mark in the music industry, Ben Green has no intention of slowing down.
Follow Ben Green
- Ben Green on Facebook
- Ben Green on Soundcloud
- Ben Green on Twitter
- Ben Green on Instagram
- Ben Green on YouTube
- Ben Green on Spotify
Florida Rappers On The Come Up
Featured Track: Hallelujah
Andre Rose’s Hallelujah incorporates the culture and diversity of South Florida. The song blends a party vibe into a new age, wavy beat with a classical/gospel bridge, mimicking the atmosphere of South Florida. It is made up of two bridges, two verses and a subtle hook in two different languages—English and Spanish. Feel the full energy and exuberance Andre conveys throughout this track.
Andre Rose Bio
Born Jevon Roye, Andre Rose is an American musician. While hip hop is the cornerstone of his art, you will hear strong reggae and Latin influences. This is no surprise, as Jevon was born to Jamaican parents in the Latin-rich city of Miami on August 16, 1990,
Jevon was born in the suburb of Miami Gardens. He faced adversity very early in life, as he was all but pronounced dead at age 2. Two months in a coma, his parents were told that brain damage was the best to hope for. His first fight was literally for his life. He never stopped fighting. Seemingly to always have a chip on his shoulder, he fights with blending in. He fights a deprivation of knowledge.
Having a greater appreciation for the brain he almost lost, he strives to learn. He fought being a middle child in a broken home. This canopy of issues cast a shadow over a young star who was meant to shine. Incredibly, this may be his greatest and longest battle. The diversity and energy you hear in his music, the appreciation to breath, is a reflection of his early experience. The vulnerability you hear is a thirst to know more: a need to be understood while trying to understand. Literally begging for everyone’s love while not being sure if he deserved it.
His father often tells a story about playing the radio the day Jevon awoke from the coma. This might be why the pragmatic star said music saved his life.
During middle schools is where Jevon’s talent really emerged. Participating in rap battles and finding himself through music and art. It was a way for him to express himself at that age his parents had been divorced and didn’t get along with his siblings. This made him internalize and write raps, songs and poems as an outlet.
His style of music is a combination of his culture, his family of Jamaican origin, and the diversity of his Miami community. Being exposed to these elements, complex thinking and having to figure out his entire life alone, directly transpires to his musical talents, from flows to wordplay.
In his words: “It’s all a big puzzle that you have to create and solve at the same time, while having the dimensions to intrigue people, and the simplicity that they can relate to, and see the song as a movie, as the tracks play.”
Follow Andre Rose:
Featured Track: Barcelona Freestyle
Brooklyn-born Florida resident Reily Marte opens up his heart on his new RnB and soul release, “Barcelona Freestyle,” steaming on Soundcloud. The song testifies to how when you’re in touch with what you feel and want to say, and you’ve worked your craft to a point where the technicalities are no longer a disturbance, then you simply flow your feelings out through your words, your instruments or whatever it is you’ve worked on for years to serve your expression. 1 minute on this track is all Reily needs on to showcase his ability to do this.
Reily was introduced to the music industry at the young age of 13 by his father. “Dad was more focused on the Spanish scene,” he notes, “but there’s still little tips I get from him and learn from him.” Fast forward, he’s now a multi-faceted creative and a one-man team. “[I] record, mix and master all [my] songs,” he states proudly.
His first album, “Patience,” contains a plethora of vibes to attract a multitude of different listeners to his music. “My sound can go from a dark feel to an uptempo dancehall style to a soulful RnB type of sound,” he says, citing Eli Sostre, Drake, and a handful of regional artists as influences.
“My goal in the industry is to show the younger generation that you can create different types of sounds and still get support from fans,” he states confidently. “If you’re authentic with your music people will respect it.”
“Always keep it real … people [will] feel what you’re saying in your music.” – AboveAverageHipHop.com
UK Rappers On The Come Up
Featured Track: Devil Side feat. Foxes
Emotional hip hop song produced by Tunna Beatz and R0SHAN. Initially Devil Song was sang by the Foxes as a Pop song, but Tunna Beatz and R0SHAN have now created a newer version, adding a hip hop texture to it. The chorus by Foxes is still evident in this song, which gives it a boost.
Unsigned Recording Artist from London who loves football and music.
B.A.E. contributed more to the world than all the combined meetings of the G7 with this outstanding beat tape. I really liked this beat tape. It reminded me of when I would make music fucking around with my friends, and all the disconnected funny things that pop up from that kind of process that don’t happen when you create music seriously by yourself.
Here’s a rundown of the tracks, which I would definitely boast about if I were B.A.E…
- “I Am God’s Punching Bag” is synthy fun with an oscillating opening quick-changing into an 808 “bunce” and a half-time feel, with layers gradually adding over a repetitive “bunz-bunz-bunz-bunz” door-knocking style hits.
- “Cyber Molly” starts with what seems like it could be going in an avant-garde direction, then gets an electronica, 80’s style use of an 808-style synth, like in a chase scene of an action movie, a tin-can like sample starts panking around, and then saw-synth-like whurrs and shmurrs lick around, eventually developing into a hypnotic rhythmic feel, then changing up into an eerie sphlantz, and a quick dying entrance ends up synthing out at the end.
- “Liquid Confidence (Alcohol)” also enjoys an opening where you can’t tell whether it’s a barbecue cooking sample or just a noise loop, and then a nice mix of sounds that arguably shouldn’t work together, work together—8-bit video game shplings, synth melodic licks, middle-Eastern style synth sitar-like sounds, farty bass synths, and after a few polyrhythmic repetitions enters you into serious vibe with the beat.
- “Maad Ciiity” beautifully brings hesitant synth pulsing together with old-school beat slaps and occasional word samples and sword or knife shranking samples looping a city zone out of pulsating urban landscapes.
- “Binkers” is porn to any electronica enthusiast. It respectfully uses the buttons that no one’s touched on the 808 since the early 90s, and is a pleasant stabaround of a smorgasbord of electronic percussive sounds.
- “80HD” is a melodic adventure, sometimes making you cry, sometimes reminding you of a Hong Kong martial arts movie, and includes some nice delayed entrances of synth chords to please you if you’re on something while listening to it.
- “Atik Lovers” is a sweeping journey into deeper and deeper layers of meditative contemplation till a change-up with a low scary synth will frighten you out of it.
- “Augury” establishes a beat loop, setting the stage for subtle sweeping pad entrances, which then unexpectedly shifts into an gently-attacking arpeggiating keyboard part, while pads almost afraid of being too epic sweep around the side like spotlights on an empty night stage.
- “Cry” is the happiest track on the beat tape. Gospel-on-helium samples interplaying with what sounds like demo rhythms on cheap Yamaha or Casio synths. Oh, and dat recurring “Oh shit” sample coming back throughout the beat tape on this track is the best.
- “Shimmy Shimmy Ya [Flip]” captures the essence of friends fucking around making beats. It’s where illegally-used Wu-Tang samples remind you of the Wu-Tang Clan in an era where you hear the new-school synth playing above the samples more today than the Wu-Tang Clan.
- “80HD x Skateboard P” gets king emcee Skateboard P on top of the beat no emcee ever thought they could top. How far up the top can you get? Skateboard P shows you on 80HD x Skateboard P.
- “Poison in My Veins” is different in style to most of B.A.E.’s beats, a pleasant surprise at the end of such a great album. An avant-folk acoustic guitar with stabbing, reverberated beats, and a vocal melody that’s FX’ed to work, together with the 8-bit video game samples characteristic of B.A.E.’s hard gangster sound.