Overconfident narcissist? Overachieving black kid at band camp? Childish Gambino releases a tirade, as is his wont, about those who doubt him yet love Chance. Or those who would dare question his skills in the face of all the privilege he lacks. The Atlanta references hint at an explicit Drake obsession but the rhymes are B+ strong because he studied so hard. Check the rant freestyle vid after the jump.
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“I juh might do this. I just might do that.” Thugger is most threatening when you don’t know what he’ll do. Such is the thrust of his songs and a tear-down of this summer, screeching his way into our minds steadily with the 1017 tapes. Listen to the mix of spaced out DJ Spinz ticks and Young Thug urgency in the track. After the jump.
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Elusive UK producer SBTRKT provides Raury with the fuzzy electro-hippie waves he needs to get fly, and lash out at society. And the young ATL spitter does his best not to get drowned in this fast-paced tidal surge. Go on and get “Higher” after the jump.
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Rich Gang just blessed y’all. They are the only more interesting southern trap blues outfit than Migos. Luckily we have them both and can enjoy the various blends and style of dopeboy siren songs. Check them wailing on “Pull Up” after the jump.
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Elle Varner has an exceptional voice to go with her distinct and pleasing look. For some reason, her pain shines through even the most slick, glossy songs like this one “Don’t Wanna Dance.” She can’t hide her heartbreak despite an inviting and devastating outer beauty. Ferg does his thing to assist the jovial mood of this one while Elle swallows it up with harmony. And you know you want to see her after the jump.
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The rap duo to reckon with arrives with all this fanfare and club champagne laid over sweet singing. They don’t know why they came to the club, question if people there like them really for who they are, and enjoy it frivolously. Watch their incredible lives popping off in the video after the jump.
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What a way to start a Monday. Chance and Cole World team up for this tribute to …creative loving females. This is more in Cole’s lane in terms of juvenile approaches to dating and girls with low self-esteem. In any case, the performance bumps and Chance revives the stage line by line, as J. Cole waits for some momentum to infect him. Watch after the jump.
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What the producer is saying: “Mustard on the beat.” That’s good news for Meek, who thrives on these empty-headed intoxicant songs. Less bars, more impact. Check out the song after the jump.
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This album sounds like it will be jumpy and feverish while not necessarily different. “I Like It” is a new boast from Meek and another of many middle fingers to the norm. Then again, his standard has been clear for a while…party and bullsh*t over snappy beats. Mac Miller can get with this. Check it after the jump.
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Good time trap house music from Kevin and company. It also might give you a seizure. Check it after the jump.
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Not sure how much political clout Maybach Music has. For real, if there were a lobby for them it would be the Koch Brothers or the Blackstone Group. Nonetheless they engage the conversation about hood hierarchy and the harsh realities of street options. Gunplay is exceptional here, though Ross gets the last say and is no slouch. Check it after the jump.
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ATL alternative Raury drops this hammer on Sway’s show, declaring himself a unique breed of artist with an Outkast outcast’s view. The Dre Benjamin influence only peeks through and what a welcome sight it is as the eclectic Atlanta scene grows further. Better than that: it’s improvised. Check the cameo after the jump.
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Makonnen linked with a young band for this work. You wouldn’t know they’re young’uns by the sound of this union. The Waffle House after-club ballad turns into a grander rock and rap style quickly. Check it and get hype after the jump.
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Big country Rittz is a real professional. He has diffused his Southern charm into this advertisement for a hood favorite, in terms of that brown liquor. This phenomenal set of words is an ornate accompaniment to a low-key luxury drink. Check it after the jump.
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Pro Era doing their best Odd Future here. As in, Powers Pleasant might have something up his sleeve that separates them from their 90s factionalism. Joey sounds smooth over this, and the space between his voice and the keyboards is finally imaginative instead of strict. Check this EDM influenced track after the jump.
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