Reviews

Lofi Hip Hop Drum Kit – Samplified Essential Sounds

By 44faced on Apr 10, 2019 in Reviews - 0 Comments

As Samplified expands, they continue to bring different genres of production and create tutorials to assist in production efforts. To listen to Samplified’s current sample packs, you can visit their SoundCloud. You can keep up with the latest updates on future sample pack releases on their Official Website, Facebook, Twitter and Instagram.

Lofi Hip Hop Drum Kit

Samplified - Lo-Fi Chill Kit
Get the Samplified Lo-Fi Drums Essentials Pack Here »

Lo-fi Sounds and Drum Kit ‘Lo-fi & Chill’

Samplified - Lo-Fi Chill Kit 2

Get the Samplified “Lo-fi Sounds and Drum Kit ‘Lo-fi & Chill'” Kit Here » 

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Brian Hutson – Habit

By 44faced on Mar 18, 2019 in Music , Reviews - 0 Comments

There’s a sweetening of hardships that runs through Brian Hutson’s debut album, Habit, named after the critical acclaim of his EP Midnight Sessions and Billboard Top 100 success of his single “Habit” released in the fall of 2018.

How can Brian Hutson’s depictions of lost love, lust and heartbreak—life’s troubles—be so pleasant? It’s because he relates not to present anguish, but to past strains that have already passed, were sweetened, and received their fulfillment and restrengthening in a renewed Brian Hutson. The reflections on the pains he had been through in the past couple of years become sugarcoated and part of a more grownup Brian Hutson as he summarizes his own unique story for the world in a search that every artist ultimately works toward: admiration, appreciation and love.

The 10 tracks of Habit have Brian Hutson doing what the world’s best singers do: treating the recording studio both as a confession box and as a self-affirmation podium, with the world listening on the other side of the soundproof wall. Just 30 seconds into the opening track, “Finding My Feet,” has Brian Hutson already riding a transition toward the first epic chorus with an expression of loneliness after a broken relationship: “Lying on an empty bed with words still left unsaid,” as he then heads solidly into a heartfelt chorus, sacrificing some verbal simplicity for an elaborate word painting communicating the essence of finding the strength to pick oneself up and move on with life after a breakup.

The recurring theme of Brian Hutson’s love life connections, detachments and resurgence as a stronger individual thanks to pushing out of the emotional struggles play out hand-in-hand with masterful pop-rock production inclusions of recurring pluck-picked clean electric guitars, melancholic piano, sweeping synths, touching leads and vocal adlibs and doubles that add that extra oomph and echo right where the songs require it.

The transformation Brian Hutson underwent in the past two years as a person, changed by his relationship experiences, becomes enveloped throughout the album in a reflective optimism and hope. “I Swear Someday” encapsulates the pursuit of intensifying a relationship through his skillful pop storytelling devices that reveal one portion of a circumstance, concealing two other portions, thus leaving his listeners to fill in the gaps with their own context.

Brian Hutson carefully caresses his voice through his beloved cardioid microphone receiver, the inanimate listener positioned willing and ready to absorb every nuance of his finessing and fully-controlled vocal delivery, and with total comfort and calm, pours out his insecurities in the repetitive-albeit-unanswered question—”Do you love me?”—in the album’s third track, “Love Me Anymore.”

Already three tracks in of rises, falls, optimism, hope, reflection upon the past, affirmation toward the future, love, lust, breakups, heartbreaks, connections and separations—the scene is set for Brian Hutson’s first lead single “Habit” on the fourth track to hit home. The decision to release this single, and the reason it rose up the Billboard Top 100 last year becomes as clear as day the moment the distorted-guitar-like synth triumphantly opens the curtain of an epic hook 33 seconds into the song: “You’re my habit…”

Together with the lyrical reveal-one-portion-conceal-two-portions aesthetic aligning Brian Hutson’s approach with that of many-a-great songwriter, it could just be me, but when you listen intently to the lyrics, you miss a whole bunch of words, raising more questions as to what he’s actually saying. Since today is 2019, then I have to say, this is great. In a world where everyone’s seen and done everything, and less and less is impressing us from one day to the next, then such subtle change-ups as hiding some words under a question mark as to what was verbalized are exactly what can convert just-listening fans to fans who clack away at their keyboards on sites like Genius.com trying to work out what’s being said and what’s going on.

This is definitely a unique characteristic of Brian Hutson’s music: a surface seeming simplicity, where the more you listen intently, the more subtle complexity you discover, serving multiple layers of interest in a single, heartfelt transmission.

Pianos move to the front, acoustic guitars strum out in the background, and vocal layers fill out the center and sides as the album heads into rock ballad territory on “Dream,” where the lights go out, the lighters turn on, but you don’t see them anyway because you just want to close your eyes and soak up the symphonic layers of exultation that ecstatically consume your every cell. Once again, a complex layering of many subtleties leading to a very basic result: music that is simply beautiful.

As full as “Dream” is, “Anything Can Happen” allows for space to shimmer out again, entering with an acoustic-guitar-led sparseness opening and driving the verses as Brian Hutson meditates on the beauty of his love, until the instrumentation’s intensification combines with his shifting into the sheer joy of physical contact with his love, “And when we touch, when we kiss, and become one, an eternal bliss, all we hold true, is all that I am, I am for you.”

“Thought You Should Know” and “This Is It,” the album’s final two songs before a couple of club remixes set in, lead out Habit in classic style. A true world of experiences—ups and downs, intensity and calm, past reflections and present-to-future affirmations—the lead-out tracks take us through one last valley, a tranquility in “Thought You Should Know” and as a flame that gives a final spark before it goes out, “This Is It” asserts a final Beethoven-like triumphant ending, not Beethovien in style, but in feel. That is, a forward-looking optimism coated in a repetitive upwardly-moving chord progression, leading to a culmination of all those elements that Brian Hutson’s album consistently maneuvered to pour his heart out to the world: “Here, do you hear it beating?” He didn’t actually say that, but it’s the undertone throughout the entire album.

EazyFace – Blu Faces [Album]

By 44faced on Mar 18, 2019 in Music , Reviews - 0 Comments

The stylish Arkansas all-round producer, writer, rapper and owner of the Blu Flame Entertainment label, EazyFace (@EazyFace), is dedicated to bouncing the streets with his album Blu Faces—an optimistic and quasi-hypnotic journey into a wavy trap party zone kept real with EazyFace’s genuine tell-it-as-it-is vocal delivery.

EazyFace’s full-length combines all the elements of a stimulating modern trap classic: chill wavering synth hums fading and panning in and out of the mid-low-high section, alternating percussive smacks and bells that hold a rhythmic interest as they skillfully span through 1’s, 2’s, 4’s, 8’s, 16’s and 32’s placements, together with 808 stabs filling in the low end rumbling the chest, all enveloped around a dominant center-present prominence of EazyFace’s lead voice and adlibs artfully complementing the not-too-sparse and not-too-full mix.

The synth oscillations throughout joining the frequent snapping percussive feel allow the mind to detach and elasticize the body to the multilayered dynamism that EazyFace masterfully distributes across the sonic spectrum, opening the opportunity for his faithful-to-the-hustle lyrics to seep in straight into the subconscious. Whether it’s the autotune dreaminess of “Chances,” the enthusiastic repetitive delayed echoes of “Early in the AM,” the fiercely sober vibes of “Ride Around Town” met soon with the antithetical doped elation of “Mean Drip,” the surprise boom-bap turn fused with EazyFace’s aesthetic echoing adlib vocal production patterns in “Tricc,” and the serene bell trance blended with a committed vocal outpouring in “Say About Me”—these are just some of the highlights in an album that satisfies the desire to leave the mind behind, to let your body break into a feel with a beat, and let your subconscious fill with affirmations with one message standing out above all else: stay attentive to the hustle.

Since EazyFace successfully detaches the listener’s mind, then looking for strong moments becomes too much of an effort, since the vibe is to let go: EazyFace invites you to let go of your mind, enter the music and vibe from the opening cymbal splash in “Ride Around Town” all the way through a tapestry of auditory pleasure materials feeding directly through your body, chest and fluctuating your heart into EazyFace’s exclusive amalgamation of instrumental smoothness, lyrical determination and optimistic mesmerism, all the way until the final fading synth-stab echoes in “Money Gettin Addiction.”

EazyFace cites a wide range of influences that sparkle throughout his uniquely developed sound, spanning rap influences in Jay-Z, Scarface, T.I., UGK, Three 6 Mafia, 2pac, E-40, Kendrick Lamar and Trippie Redd, and producer influences in DJ Paul, Dr. Dre, KMD, Sonny Digital, 808 Mafia, Kanye West, Mannie Fresh and a slew of southern producers. EazyFace was once a member of Conway, Arkansas’ own Mo Game Click, and his artistic grind finds expression visually as he is also a professionally licensed tattoo artist. While listening to his album, head on over to his Instagram @EazyFace and check out his elaborate tattoos.

EazyFace is the personification of sonic and visual artistry, style and hustle with a southern flavor who is overflowing with positive vibes.

Stream and/or download EazyFace’s Blu Faces on:

Follow EazyFace on:

So Much to See and Learn in Billboard Top 10 Songwriter Ron Hamrick’s “Time”

By 44faced on Mar 06, 2019 in Music , Reviews - 0 Comments

What are the elements of popular songwriting? What makes a hit song? Multiple Billboard Top 10 songwriter Ron Hamrick’s single “Time” shows us many of these elements:

1) Feeling

Most people don’t talk about feeling with enough importance, but I’d say it’s the primary element. The songwriter needs to love what he’s doing. That love for music first and foremost shines through the moment Ron Hamrick’s voice enters the track.

2) Relief

The music feels like a great relief, i.e. that it stems from an authentic place in Ron Hamrick that feels every word he sings deeply and strongly. Every word and every nuance of every word is enveloped in the vision that Ron Hamrick is locked on, and which he’s trying to communicate.

3) Relatable

Before you know it, you’re in the chorus. Ron Hamrick touches a common chord in every person: time passing by.

No matter whether you’re a 55-year-old truck driver, a 35-year-old upcoming entrepreneur, and possibly harder for the younger generation, but there would be some early-20-year-olds and some teens also seeing what the song talks about: When you’re 13, you can still picture how you were an infant, a child in primary and secondary school, all kinds of different friends you’ve had, classes you’ve been in, your relatives, your parents and family. Places you’ve been, things you’ve seen and done. So Ron Hamrick chooses a topic that’s close to every person.

4) Picturesque

The lyrics weave together settings, objects, people and movements, making it easy to see music-video-like pictures of the sound painting Ron beautifully orchestrates.

The picture that came to me was a guy on a brown-and-white porch surrounded by green bush, kicking back with a cup of tea, as his eyes turned inwardly to his thoughts, and he traveled into a flow of memories and a contemplation of time. There was also lots of camera panning, zooming  and movement involved in these pictures.

5) Optimistic

Shining guitars, and drums-and-bass that hold the rhythm with a persistently calm drive, bed the track with a characteristic simplicity and positivity.

While different to most music I listen to, at the level of these elements—feeling a love for music, music as a relief in life, a topic common to all people, picturesque lyrics and an optimistic tone—it shares so much in common in today’s hip hop and rap songs that I like, and yesterday’s grunge and metal songs that I liked (and still like), and the day-before-that’s pop and rock music that I liked (and also still like), i.e. when looking through a more fundamental lens, outside cultural influences, with focus on the common things to all people that Ron Hamrick’s music has, I greatly appreciate the intermingling of elements that have woven together through Ron Hamrick with such precise professionalism. Ron masterfully uses his songwriting and musicianship skills, his body, his guitar and his voice, as tools to express exactly what he wants to sing to every person alive on the planet.

In addition to all that, since I help artists with their branding, I also have to mention Ron Hamrick’s genius branding tactic: using “Ron Hamrick is an internationally acclaimed Billboard Top 10 songwriter” as his tagline.

Why is this so genius?

It’s because, without knowing anything about Ron, when I received an email with Ron’s material, before clicking to listen to his music, I clicked to find out about him, and in about 2 or 3 places, it was strongly mentioned “Ron Hamrick is an internationally acclaimed Billboard Top 10 songwriter.” Thus, before I even started listening to his music, I already had the context locked into my head of “Okay, let’s find out why’s Ron Hamrick is such a successful songwriter.” Then, with that inquisitive ear, I entered the song, and the music started playing out as many answers to this question: “Why is Ron Hamrick a successful songwriter? It’s because…” and then I heard and wrote the reasons above. I believe that Ron’s branding approach and the domino effect it caused in me is worth a mention, because the context you set before people approach you helps shape the perception and feelings that you’re trying to convey.

I wish to thank Ron for the opportunity to listen intently on his music and write this review, which I believe provides great value to any upcoming musician, as well as anybody who wishes to take a deeper look inside a great musical experience.

Follow Ron Hamrick:

A Musical Journey to a Different Place in 3 Minutes and 52 Seconds of Love Ghost’s “Mr. Blue”

By 44faced on Mar 02, 2019 in Music , Reviews - 0 Comments

One of the greatest things music can do is take you from emotional point A to emotional point B, and even C, D and E etc. in just a few minutes. That’s exactly what Love Ghost’s “Mr. Blue” achieves.

Aside from the warm guitar tang, the full, chunky-yet-bouncy drums, the chest-felt bass undercurrent, graduating into a blooming ensemble of strings, pads and lead guitar, and the voice seated in the center holding a strong body throughout… i.e. aside from the luscious production and engineering work, the song makes a great use of dynamic range and intensification.

“Mr. Blue” opens at a relatively receded energy level. The more the song evolves, the more the interaction of efforts to combine sounds of the different instruments and the vocals together, materializing into a flourishing bouquet of harmonious elements.

The accumulation erupts when the chorus hits, like a drone camera sweeping into shore from high above the beach… waves of “I am Mr. Blue-oo” flowing over a field of an epic distorted guitar and additions of more and more strings and pads, continuously intensifying throughout and leading each time to the next song plateau.

Vocally, Love Ghost give out a hand to their parachute partners participating in the listening experience. In a style that can often spill into vocal overload, Finnegan Bell maintains a moderateness that is fair and perfectly complementary to the instrumentation. His inviting vocal delivery finds an integral slot in the dense palate of sound space that Love Ghost masterfully fill up thanks to producer Carl Restivo, known for working on Tom Morello’s The Atlas Underground.

With such a pleasurable musical world that Love Ghost generates, the connection to life’s problems communicates through the plane of language: the pain of Finnegan’s depression, struggle with relationships and finding his place in society clashing with the uplifting musical current like waves on the shore.

I see the world is tainted
I bid you all adieu
I am Mr. Blue

Ah, how the painful experience of life gives more flavor to the pleasurable experience of music. That’s what I love about Love Ghost, which is what I’m sure Love Ghost also loves about Love Ghost.

Or maybe, the experience of connecting to make music gives more flavor to the pleasurable experience of music. That’s actually what I love more about Love Ghost, which is what I also now think Love Ghost loves more about Love Ghost.

Here’s a great shot of them together…

Love Ghost

About Love Ghost:

Love Ghost is an alternative rock band consisting of Finnegan Bell (guitar and vocals), Mya Greene (Viola and Keyboard), Ryan Stevens (Bass and background vocals) and Samson Young (drums). They have just returned from a successful tour of Ireland where they played Whelan’s, Crane Lane, Roisin Dubh and Spirit Store (amongst others). They will be touring Japan in March and have 11 shows booked in Tokyo and Osaka. On April 27th they will be one of the featured bands in de Música de Vanguardia Festivalfff in Ambato, Ecuador- and they will be playing 2 shows in Quito prior to the Festival.

Follow Love Ghost:

Website: www.loveghost.com

Instagram: www.instagram.com/loveghost_official

YouTube: www.youtube.com/c/LoveGhost

Twitter: twitter.com/@LoveGhost_

Facebook: www.facebook.com/loveghost.official

Soundcloud: soundcloud.com/loveghost_official

Spotify: open.spotify.com/artist/7oYWWttOyiltgT19mfoUWi?si=uBDs4XScRp-F_7d6oiBvrg

 

Can Established Artists Express the Same Level of Motivation and Hunger as Jon Harris on His Debut Single “Big”?

By 44faced on Mar 02, 2019 in Music , Reviews - 0 Comments

Jon Harris - Big on Spotify

Listen to Jon Harris’ “Big” on Spotify »

The debut single release “Big” from New York recording artist, Jon Harris (@officialjholla), from his upcoming album Who Is Jon Harris? captures the motivational essence of the upcoming artist at the beginning of his journey up.

Encapsulating his vision for greatness, Jon Harris drops a manifesto-like vision of big things ahead for him in an anthem-like style. The opening grandeur of a brass section setting up an epic Rocky-like atmosphere, with a beat reminiscent of elements similar to the majestic quality of then-Puff Daddy’s “Victory.” I immediately thought how it’s been a while since I heard a motivational hip hop song, the kind that gives the energy to get through another rep at the gym, the kind that gives that feeling within to push through a state that holds back. This is exactly what Jon Harris’ “Big” does. It’s a motivational hip hop song in what’s become a desert for this style.

That is definitely something unique paying attention to artists right at the beginning of their careers still establishing themselves: the raw hunger for the come up before it becoming satiated and calmed with the money and status that a successful artist encounters.

The production work is a unique pull-away from the maximally compressed and limited loud sounds battling for the top of the volume war food chain today. The bass and drum machine combo takes from an almost late-80s, early-90s electro-dance and hip hop aesthetic, and the brass layering builds intensity throughout the verses toward a major hook climax, the kind of hook made to invigorate the crowd.

The hook of “Big” instantly grabs hold of the brain’s neurons, embedding itself into the memory reserve through a bouncing flow that immediately gives the impression of a stadium full of fans, bopping up and down with their hands in the air, mimicking its every word together with Jon Harris…

I think big, dream big, and I plan big
To make sure everything that I do is big
I try to get the most out of this life that I live
And the only way to do it is to do it big, so what’s up?

The beauty of Jon Harris’ “Big” is in how Jon acts out his desired future state, envisioning his status as an accomplished artist with a dedicated fan following. The song acts as an affirmation. It makes clear what Jon Harris is aiming at, and pieces together a unique ensemble of elements uncommon to the hip hop sounds we’re used to hearing today in order to achieve its motivational impression.

Jon Harris is a Hip Hop recording artist from New York. He grew up in an upper Westchester and start making music with no musical background or formal training. Jon spent his high school career, college career and the years to follow learning all aspects of the music industry until he felt he was ready. On December 14 he released his first official song titled “Big” from Living Life Our Way Entertainment.

Listen to Jon Harris’ “Big” on Spotify »

Jon Harris

Follow Jon Harris:

What Is Wystelands and Why You Should Be Listening to It?

By 44faced on Feb 27, 2019 in Music , Reviews - 0 Comments

I initially started this blog to sell beats on. I put my very first beats here. Anyone who knows producers knows that the very first beats, while they might show potential, are still very raw in terms of the sound: you’re a beginner, still lacking a lot of knowledge and experience with putting all the parts of the music together. For me, my problem with my first hip hop beats was that, although I understand music a lot, I still lacked an understanding of audio mixing and sound design. I always a much bigger sound than what I could produce.

Here is one of my first beats that I liked more, a trebly boom-bap beat coupled with a Twin Peaks-like synth and monotonic introspective vocals…

I recorded voice for this in my toilet (separate to the bathroom), which was very narrow and high, a sound with a lot of bouncing reverberation.

Since then, I’ve made new beats.

Beats are just one aspect of the complete production, which is not 44faced…

It’s Wystelands.

Wystelands is a complete production of voice and beats that power a message of what the world needs most today: peace, love, unity.

Wystelands is hip hop.

Hip hop was originally created to bridge divides in society, bringing together rival gangs in a spirit of creating a new, positively-connected culture. Instead of the anxiety world of violence, crime and drug abuse, hip hop aimed to elevate music, art, dance, people having fun together.

Now that hip hop has spread across the globe and become the most popular music style, it has also become a commentator of culture. That is, as society has become corrupt and divided, so too have the overriding principles and values of hip hop.

But hip hop, in its essence, is not a commentator on the world. Hip hop, in its essence, is not a passive, negative force that is used only to puppet a competitive self-interest-based value system.

Hip hop in its essence is a creator of a new world.

It is birthed from the unity of rivalries. Hip hop emerged as a creative, unifying force in society.

Therefore, because of its unifying essence, hip hop holds potential to bridge social divides and create a new and improved society.

As the world suffers the consequences—rising fear, anxiety, depression, loneliness, suicide, drug abuse, crime—of becoming increasingly corrupt, exploitative and emotionally detached from each other, hip hop’s roots hold the key to spark a connective impact between those detached nodes in the human network.

Hip hop has the potential to be a major influential force of positive change to a more peaceful, loving and united world.

It can help to raise awareness that it’s better to live peacefully, well connected and be loving to each other, than it is to retreat into our lonely individual worlds, where we try to make the most of it upon a constant gray background. Being emotionally detached from others is like being in a solitary confinement prison. The more we can raise the connected spirit of society, the more we will have happier, more confident and purpose-driven individuals.

That’s what Wystelands is about.

Check out Wystelands:

@Wystelands on SoundCloud

@Wystelands on Twitter

@Wystelands on Genius

WYSTELANDS.com

 

 

Ben Green – High Notes [Review]

By 44faced on Feb 10, 2019 in Music , Reviews - 0 Comments

Carrying forward the same vibrant energy as his debut single “Change Up,” Ben Green’s (@bengreen717) second single, “High Notes” is a track that exemplifies his versatile and multifaceted signature sound, laying its roots in layers of smooth, typically R&B instrumentals and very stylized vocals. It’s a sound that shines a brilliant light on Ben’s rap game, bringing a clarity and heightened anticipation to the delivery, amplifying the track and making an indelible mark on the listener.

Emerging from Venice, CA and at only 19-years of age, the aspiring rap/hip hop and R&B recording artist delivers up a versatile and multifaceted signature sound and style 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 his momentum anytime soon, and has hit the ground running since emerging into the game.

Some artists learn music, others are born for it. Ben Green fits this bill. As an artist that has sustained an insatiable passion for songwriting, music always came easy to him, and also became a form of therapy and spirituality. This ultimately became the foundation and cornerstone to Ben Green’s career, and he hasn’t looked back since.

Ben Green has always loved hip hop and the powerful messages that can come from lyrical content and skill level. His mastered craft and rhyming skills are well-placed, well-paced, and bring his artistic merit to the forefront. His music is also reminiscent of many musical inspirations and artist influences over the years, including industry heavyweights like Eminem, Lil Wayne, Kodak Black, Mac Miller, A Boogie, and several others.

KF Greatness – Humbled Recognition [Review]

By 44faced on Feb 10, 2019 in Music , Reviews - 0 Comments

When you hear that a 19 year-old artist has been recording for only 2 years, you don’t expect the kind of maturity that KF Greatness (@imkatajikfisher) showcases on his release, “Humbled Recognition.”

An 8-track release, “Humbled Recognition” delves into the essence of the grind in the face of adversity. KF Greatness’ almost Kendrick Lamar-esque voice sounds 10 years older than he is, and his lyrics too successfully express a wealth of life experiences, relationships, obstacles in the way of success, with clever wordplay and seasoned flows. KF Greatness’ voice has a lyricist percussiveness, with an ability to penetrate melodies through a natural throat distortedness. His verses make virtuosic lyrical maneuvers sound easy, and his hooks slam.

The beauty of catching KF Greatness at such an early stage is that song after song, you feel the hunger, the work, the grind, the raw energy, and a clear focus on what he wants… fiery passion shining through a very humble and calm, external expression. He’s not sitting back in any chair lavishing in his success… yet. He’s seeped in the life of the come up and blending all of its experiences into a new kind of salad.

The honesty and humbleness is probably most indicative in the song, “Honest,” where he states, “I’m just being honest, no time for games, I gotta run it.” But turn on the release straight from the first track, “Curious,” and listen through till the end. You’ll be glad that you caught this artist so early. Keep an eye out for KF Greatness.

Young G Works – Back II Works (Album Review)

By 44faced on Jan 30, 2019 in Music , Reviews - 0 Comments

Young G Works - Back II Works

Young G Works’ new album, Back II Works, available at all major distribution outlets.

Rising up in Ohio, Young G Works (@younggworks) brings a rare raw, unedited vocal style into the street trap game. In a genre loading up more and more with autotune and wavey adlibs, Young G Works cuts through with a direct-through-the-mic approach. And he does this with a highly energetic, money-getting focus track-after-track on his newly released album, Back II Works, produced by CoalCashBlac of TheCoalCashCollection.

The 16 tracks on Back II Works embrace the spirit of trap, vitalize its psyche and make it powerful and relatable. Natural is the word that best sums up Young G Works. There is nothing overdone, underdone or fake throughout the entire album, but a natural feel and a natural flow that sounds as if Young G Works calmly spit the album in one take.

Usually, I start getting into a track-by-track rundown of an album, but as I listen to Back II Works, it becomes a solid whole.

Nonetheless, the undeniable lead track for bouncing the party is “No Cap,” where Young G Works teams up with DameDot and Ace Cino flaunting the money/women/weed lifestyle atop a beat sampling Salt ‘n’ Pepa’s early 90s hit “Push It.”

Interestingly, on the production end, 808s aren’t loading up the bass zone, but rather kicks are given an extra “oomph” to cover the bass, which gives off a boom-bap scent among a clearly trap roll.

Young G Works consistently communicates confidence throughout. One look at his “No Cap” video makes you see his concealed, sunglass-wearing figure rapping in your ear the whole album though.

Confidence proves to be one of Young G Works’ greatest strengths. He quickly establishes a mood then rides it out till the end, which is part of what gives his vocal input that natural feel, as if he gets a feel and streams it out. Lyrically, Young G Works swivels around a panorama of life experiences. He has the power to set a scene quickly upon his lyrical entrance, but more than that, he builds a world focusing from his personal axle, examining, acting and reflecting, while throwing in a slew of similes and metaphors in his outpouring of often one-sentence statements that state his position clearly in relation to everything he describes.

Among the constant chest-bumping, head-nodding motion characteristic of Back II Works, Young G Works adds to his confident flavor by fully emboldering his Southern drawl, controlling his flows at a moderate pace, emphasizing his vowels, while sustaining a modern quasi-monotone in his rolling statement pieces, and then using his characteristic rising and falling of energy when delivering a string of other moods to his gunning rap attack style. In short, he creates such a natural sound and feel, it’s as if he’s talking to you the entire album, expressing exactly what he wants to, shifting the listener from sitting across from him in calmer times, to bumping the party at others.

In times when trap becomes more and more redefined and artificial, Young G Works makes you remember that trap arguably began in the South for a reason, that it remains most natural there. Keep an eye out for Young G Works.

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